“I think that we have finished our conversation about the paradox within the mind of the warrior in ourselves too abruptly. Although at an earlier age and in another way, I have known the euphoria of the conqueror. As young girl, I had caught a grasshopper in a matchbox. I felt an unknown joy; I would never be lonely any-more, because I would always have a companion in my life. When I had shaken the box, I could hear my grasshopper. The next morning the grasshopper was death. This was my first real loss in my life; herewith I lost my innocence: this started my decay. When I look at the Palace of the Medici, I am reminded of my matchbox”, says Carla.
[1]
“I had read somewhere that the family of de Medici – after a short exile from Florence – had wished to use its influence behind the scenes in the 15e centurary and purposely had wished to have a low profile to the outside world. The outside of this palace – build in commission of Cosimo de Medice – shows this strive [2]”, says Man
Carla, Man and Narrator enter the palace.
“In the 15th century the well-off in Florence were aware of the periodic floods of the Arno River, therefore they had their living areas on the first floor. This palace resembles the Ark of Noah [3] from the book Genesis in the Old Testament. In this palace an image was available of all wealth and of everything of value within the de Medici family. Everything in this Palace is a miniature reflection and a reminder of the conquests of the family in the outside world. When the tide goes well, then the reflection and the memory will be brought back into reality. This Palace shows the inner world of the family in all its wishes and with all its expectations”, says Narrator.
[4]
“In this hall Luca Giordano [5], the aspiration of the familiy – displayed within this palace – shows God-like traits. The paintings on the ceiling of this hall resemble the ceiling paintings in the churches of this city.
[6]
The second dynasty of the Medici family is depicted by the painter Luca Giordano as a mirror image of the heaven wherein Cosimo de Medici – as the Central father-god – enthrones above his two sons and his brother. Here shows the inner of the prevailing “warrior” the ambition to at least match the Christian Divine Trinity, if not to take the place of God”, says Man.
[7]
“That is evident. At the height of his power, a warrior feels invincible and supreme: the warrior evades the world of mortals; the warrior can conquer the whole world. At the same time, the world of the warrior is dehumanised; care for the environment and the empathy for living beings and humans disappears. A state of euphoria – a perception of uniqueness and omnipotence, self-centredly focused on the warrior, his compagnons and the world for which they exist – arises. This state of euphoria can be recognised within Arjuna and Kṛṣṇa when they shot arrows with joy at everything that tried to escape from the fire in the Khandava forest, within you Narrator when you as a young warrior with a militia in Central Africa shot at everyone who tried to escape from a burning village, and within Karl Marlantes [8] when he – as lieutenant at the American Marines during the Vietnam war – let the air forces drop napalm on the jungle with Vietcong fighters [9]. ” says Carla.
[10]
“”The hel are the others” [11], had Jean-Paul Sartre written in one of his plays, maybe also because the others limit the warrior in his omnipotence – and thereby in his freedom”, says Man.
“You explain my feelings of joy and exhileration during the shooting at all and everyone who tried to escape from the burning village very well. But after this euphoria I felt shame and fathomless emptiness. In the first part of our Odyssee to “Who are you” [12] – at the description of the Peloponnesische war – we noticed on on-going cycle of honour/power – pride – wrath – revenge [13] among the parties concerned. In my experience we must add to this cycle “shame and emptiness” that simultaneously is an antipode to honour and power. In the time of my forefathers, the combatants in the old India took their spoils of conquest – usually stolen cattle within the cattle cycle – to their home village. There the loot was shared with everyone during a big feast. Showing the victory to the world was more important for the warriors than the victory itself [15]. After the feast an emptiness began to arise together with an emerging shame about aimlessness. With honour/power as antipode to this emptiness/shame, an urge arose for new conquests to confirm and maintain the inner and outer ego of the warriors. The conquest – or wealth in our time – creates at the same time an emptiness and a lack of something. Wealth creates a lack of richness that is not yet conquered. This hall reminds the living warriors within the family de Medici to the worldly riches which they must defend and expand, and to the richness of the Godlike Kingdom of Heaven that they still do not possess”, says Narrator.
“In this reasoning lies a truth. The decline begins after a conquest, because there is something to defend; the imperator must always conquer more for safeguard what he already owns. From the possession of wealth arises the need for more lasting wealth; also the imperator is subject to the law of nature called “greedy little pig”. Is there a difference between men and women?”, says Man.
“There is a study on the role of women in Mahābhārata. In the Mahābhārata a warrior only acquires immortal fame when fallen on the battlefield at the time women mourn him in shrill cries and weep over his life boasting his former beautiful appearance [16]. The women of the warrior caste put their men into action; the warriors are monomaniacal executors of the wishes of their women. When all warriors are deceased within the Kshatriya caste, the women go to the Brahmins to procreate new warriors. Women have their own role in the mind of the warrior”, says Narrator.
“Don’t we all have a role within the mind of the warrior? What do you think of the Gods and the Bodhisattvas?”, asks Carla.
“Also they, also we”, says Man.
“That is true. Shall we tomorrow – on our last day in Florence – visit Palazzo Pitti where the family of de Medici showed its splendour and magnificence to the outside world”, says Narrator.
[1] Source image: http://en.wikipedia.org/wiki/Palazzo_Medici_Riccardi
[2] Source: http://en.wikipedia.org/wiki/Palazzo_Medici_Riccardi
[3] See also: http://en.wikipedia.org/wiki/Noah%27s_Ark
[4] Source image: http://it.wikipedia.org/wiki/Palazzo_Medici_Riccardi
[5] See also: http://it.wikipedia.org/wiki/Galleria_di_Luca_Giordano
[6] Source image: http://it.wikipedia.org/wiki/Palazzo_Medici_Riccardi
[7] The Apotheosis of the Medici: Cosimo III sat central between his two sons and his brother below him, Palazzo Medici-Riccardi. Source image: http://it.wikipedia.org/wiki/Galleria_di_Luca_Giordano
[8] Source: Marlantes, Karl, What it is like to go to war. London: Corvus, 2012 p. 40 – 41
[9] See also: http://en.wikipedia.org/wiki/Viet_Cong
[10] Source image: http://nl.wikipedia.org/wiki/Napalm
[11] In the play “Huis clos”. See also: http://nl.wikipedia.org/wiki/Jean-Paul_Sartre
[12] See also: Origo, Jan van, Who are you – a survey into our existence – part 1. Amsterdam: Omnia – Amsterdam Publisher, 2012, p. 200 – 209
[13] See: Lendon, J.E., Song of Wrath – the Peloponnesian war begins. New York: Basic Books, 2010 p. 9
[14] See cattle-cycle in: Origo, Jan van, Who are you – a survey into our existence – part 1. Amsterdam: Omnia – Amsterdam Publisher, 2012
[15] See also a contemporary observation by Hannah Ahrendt in: Keen, David, Useful Enemies – When waging wars is more important than winning them. New Haven and London: Yale University Press, p. 9
[16] Source: McGrath, Kevin, STRῙ Women in Epic Mahābhārata. Cambridge: Ilex Foundation, 2009, p 25
[12]
[13]
Who are you 
