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The Ultimate Experience The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari The Ultimate Experience January 18, 2008 19:52 MAC/TUE Page-i 9780230_536920_01_prexvi Also by Yuval Noah Harari RENAISSANCE MILITARY MEMOIRS: War, History and Identity, 1450–1600 SPECIAL OPERATIONS IN THE AGE OF CHIVALRY, 1100–1550 January 18, 2008 19:52 MAC/TUE Page-ii 9780230_536920_01_prexvi The Ultimate Experience Battlefield Revelations and the Making of Modern War Culture, 1450–2000 Yuval Noah Harari Department of History Hebrew University of Jerusalem January 18, 2008 19:52 MAC/TUE Page-iii 9780230_536920_01_prexvi © Yuval Noah Harari 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN-13: 9780230536920 hardback ISBN-10: 0230536921 hardback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Harari, Yuval N. The ultimate experience:battlefield revelations and the making of modern war culture, 14502000/Yuval Noah Harari. p. cm. Includes index. ISBN 0230536921 (alk. paper) 1. Combat“Psychological aspects“History. 2. War (Philosophy) 3. Experience“History. 4. Experience (Religion)“History. 5. Combat in literature. 6. Military history, Modern. I. Title. U21.2.H357 2008 355.001“dc22 2007052972 10987654321 17 16 15 14 13 12 11 10 09 08 Printed and bound in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne January 18, 2008 19:52 MAC/TUE Page-iv 9780230_536920_01_prexvi To Itzik. Anicca vata sankhara. January 18, 2008 19:52 MAC/TUE Page-v 9780230_536920_01_prexvi This page intentionally left blank Contents List of Figures ix Preface xii Acknowledgments xiv Part I Introduction: War as Revelation, 1865–2000 1 Part II The Supremacy of Mind: 1450–1740 27 1 Suffering, Death, and Revelation in Early Modern Culture 29 2 The Absence of Revelation from Early Modern Military Memoirs 35 The conversion narratives of Christian soldiers 35 Secular military memoirs 56 3 Why War Revealed Nothing 95 Bodies should not think 96 Conclusions 124 Part III The Revolt of the Body: 1740–1865 127 4 Bodies Begin to Think 129 The War of Austrian Succession and La Mettrie’s L’Homme-machine 129 Sensationism and sensibility 135 The novel of sensibility, the Bildungsroman, and the ideals of Erlebnis and Bildung 145 Romanticism, nature, and the sublime 150 5 The Rise of the Common Soldier 160 Common soldiers begin to think 160 Common soldiers begin to write 190 Conclusions: War and Bildung 193 6 The Rise of the Revelatory Interpretation of War 197 Sentimentalizing and Romanticizing war 199 The key experiences of war 213 vii January 18, 2008 19:52 MAC/TUE Page-vii 9780230_536920_01_prexvi viii Contents Flesh-witnessing: Those who weren’t there cannot understand 231 The master narratives of late modern military experience 240 Conclusions: The Things Which Make You Know, 1865–2000 299 Notes 307 Works Cited 347 Index 373 January 18, 2008 19:52 MAC/TUE Page-viii 9780230_536920_01_prexvi List of Figures On the Cover. A detail from John Singleton Copley, The Death of Major Peirson, 6 January 1781 (1783). © Tate Gallery, London. Image N00733/118. 1 Simone Martini, Saint Martin Renouncing Arms (1312–17). Assisi, San Francesco. © 1990. Photo Scala, Florence 39 2 Peter Paul Rubens,The Siege of Pampeluna (1609). From A Series of 80 Engraved Plates, Illustrating the Life of St. Ignatius Loyola (Rome, 1609–22), plate 2. © The British Library. All Rights Reserved. 554.b.56 p. 12. Record number c11566-08 48 3 Peter Paul Rubens, The Conversion of Saint Ignatius Loyola (1609). From A Series of 80 Engraved Plates, Illustrating the Life of St. Ignatius Loyola (Rome, 1609–22), plate 4. © The British Library Board. All Rights Reserved. 554.b.56 p. 14. Record number c11566-07 49 4 The Cover of Time Magazine, 2 October 2006. TIME Magazine © YEAR Time Inc. Reprinted by permission 67 5 Niklaus Manuel, The Fortunes of War (c 1514/15). © bpk / Kupferstichkabinett, Staatliche Museen zu Berlin. Photo: Jörg P. Anders. Bildarchiv Preussischer Kulturbesitz, Berlin, 2007 79 6 Pieter Steenwyck, Allegory on the Death of Admiral Tromp (1653?). © Stedelijk Museum De Lakenhal, Leiden, The Netherlands 83 7 Henrdick Andriessen, Vanitas Still-life (c. 1650). © Mount Holyoke College Art Museum, South Hadley, Massachusetts. Warbeke Art Museum Fund Purchase 83 8 La Danse Macabre. Death and the Knight (1510?). © Bibliothèque nationale de France, fonds français, 995, fol. 4 84 9 La Danse Macabre. Death and the Peasant Woman (1510?). © Bibliothèque nationale de France, fonds français, 995, fol. 36 85 10 Urs Graf, Battlefield (Schlachtfeld), (1521). © Kunstmuseum Basel. Kupferstichkabinett. Photo credit Kunstmuseum Basel 88 ix January 18, 2008 19:52 MAC/TUE Page-ix 9780230_536920_01_prexvi x List of Figures 11 Soldier Glances Sideways at Dead Comrade (1967). © Visual Photos 88 12 Raphael, Deposition (Deposizione) (1507). Rome, Galleria Borghese. © 2005. Photo Scala, Florence – courtesy of the Ministero Beni e Att. Culturali 90 13 Jacques Courtois (le Bourguignon), After the Battle (c. 1660). © Fine Arts Museums of San Francisco, Museum purchase, Mildred Anna Williams Collection, 1974.3 91 14 Peter Paul Rubens and Anthony van Dyck, Mucius Scaevola before Porsina (1620). © Szépm¯uvészetiMúzeum, Budapest 105 15 The Martyrdom of Thomas Cranmer from Foxe’s Book of Martyrs (1563). From John Foxe, Book of Martyrs. Actes and monuments (London, 1563), p. 1503. © The British Library Board. All Rights Reserved. C.37.h.2 p. 1503. Record number c11566-09 106 16 Henry Hexham’s The Principles of the Art Militarie (1637), pp. 14–15. © The British Library Board. All Rights Reserved. C.122.i.4 p. 14–15. Record number c11601-05 114 17 Jan Saenredam, Prince Maurice of Nassau (c. 1600). © bpk / Kupferstichkabinett, Staatliche Museen zu Berlin. Photo: Volker-H.Schneider. Bildarchiv Preussischer Kulturbesitz, Berlin, 2007 120 18 Francisco de Zurbarán, The Defense of Cadiz (1634). Madrid, Museo Nacional del Prado, cat. Madrid 1996, no. 656. © Museo Nacional del Prado, Madrid 122 19 US Army Recruitment Poster (2003). U.S. National Archives RG 553-RP Records of U.S. Army Training and Doctrine Command. U.S. Army Recruiting Posters 553-RP-SKILL TRAINING-RPI-217. Copyright 2003 United States Army. U.S.G.P.O. 547–121 195 20 Joseph Wright, The Dead Soldier (1789) © Fine Arts Museums of San Francisco, Museum purchase, Roscoe and Margaret Oakes Income Fund, Estate of Don G. Speakman, Grover Magning Endowment Fund, Bequest Funds of Henry S. Williams in memory of H. K. S. Williams, and the European Art Trust Fund, 1998.29 207 21 Jacques-Louis David, Napoleon Crossing the St. Bernard (1800). © Réunion des musées nationaux, Paris. Malmaison, châteaux de Malmaison et Bois-Préau. (C) Photo RMN / © Daniel Arnaudet 211 January 18, 2008 19:52 MAC/TUE Page-x 9780230_536920_01_prexvi List of Figures xi 22 Emanuel Gottlieb Leutze, Washington Crossing the Delaware (1851). The Metropolitan Museum of Art, Gift of John Stewart Kennedy, 1897 (97.34). Image © The Metropolitan Museum of Art 212 23 Benjamin West, The Death of General Wolfe (1770). The National Gallery of Canada, Image number 8007. Transfer from the Canadian War Memorials, 1921 (Gift of the 2nd Duke of Westminster, Eaton Hall, Cheshire, 1918). © National Gallery of Canada 224 24 John Singleton Copley, The Death of Major Peirson, 6 January 1781 (1783). © Tate Gallery, London. Image N00733/118 225 25 Antoine-Jean Gros, Napoleon on the Battlefield of Eylau (1808). © Réunion des musées nationaux, Paris. Paris, musée de Louvre. (C) Photo RMN / © Daniel Arnaudet 229 26 Christian Wilhelm Faber du Faur, Near Oschimany, 4 December (1812–1830). Plate 89 from Christian Wilhelm Faber du Faur, Pictures from my Portfolio, Collected in situ during the 1812 Campaign in Russia (1831). © Anne S. K. Brown Military Collection. Brown University Library 278 January 18, 2008 19:52 MAC/TUE Page-xi 9780230_536920_01_prexvi Preface This book is the product of a lifetime of impressions and experiences. Writing it was an act of closing a very personal account with the study of military history and with the experience of war. Luckily, most readers do not know me. Consequently, they can read the book without being disturbed by its autobiographical aspects. In contrast to many of the people about whom I write, I have no intention of basing my arguments on the authority of personal experience. However, the personal nature of this book makes it difficult to thank those who helped me write it. Singling out the people most deserving of gratitude is a tricky and misleading enterprise.
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