style,
inallthosehumanphenomenarepresenting
the
moodofthe
mo-ment.Weare
constantlyaltering
theformswehaveinheritedfromprevi-
ous
generations,
andthesechanges
aresigns
of
lifeandvitality.
Indeed.
thethings
thatdon’tchange,
theformsthatrigidify,
cometolooktouslikedeath,
andwedestroy
them.The
youngshowthismostclearly:
Uncom-fortablewiththeformsthat
societyimposesupon
them,having
nosetiden-tity,theyplay
withtheirowncharacters,
tryingon
a
varietyofmasks
andposes
to
expressthemselves.
Thisisthe
vitalitythat
drivesthemotorofform,
creating
constantchanges
instyle.
Thepowerful
areoftenpeople
whointheir
youthhaveshownim~mense
creativity
inexpressingsomething
newthrough
anewform.Society
grants
them
powerbecauseithungers
forand
rewardsthis
sortofnewness.The
problem
comes
later,
whenthey
often
growconservativeand
posses-sive.
They
nolonger
dreamof
creatingnew
forms;
theiridentifiesare
set,theirhabits
congeal,
andtheir
rigiditymakesthemeasytargets.Everyone
knowstheirnextmove.Insteadof
demandingrespectthey
elicitboredom:Getoffthe
stage!
we
say,letsomeone
else,someone
younger,entertainus.Whenlockedinthe
past,
thepowerful
look
comica.l——theyare
overripefruit,
waiting
tofallfromthetree.Powercan
onlythriveifitisflexibleinitsforms.Tobeformlessisnottobe
amorphous;everything
hasa
form—~—itisimpossible
toavoid.
Theformlessness
of
power
is
more
likethat
of
water,ormercury,taking
theformofwhateverisaroundit.
Changingconstantly,
itisneverpredictable.
The
powerful
areconstantlycreating
form,andtheir
powercomesfromthe
rapidity
withwhichthey
canchange.
Theirformlessnessisinthe
eyeofthe
enemy
who
cannotsee
whatthey
are
uptoand
sohasnothing
solidtoattack.Thisisthe
premierpose
ofpower:Lmgraspable,
aselusiveandswiftasthe
godMercury,
whocouldtake
anyformhepleased
andusedthisability
towreakhavoconMountOlympus.
Humancreationsevolvetoward
abstraction,towardbeing
morernen~tal
and
less
material.
Thisevolutionisclearin
art,which,
in
this
century,madethe
greatdiscovery
ofabstractionandconceptualism;
itcanalsobeseenin
politics,
whichovertimehavebecomelessovertly
violent,
morecomplicated,
indirectandcerebral.Warfareandstrategy
toohavefollowedthis
pattern.Strategybegan
in
themanipulation
of
armieson
land,
posi—tioningthemin
ordered
forrnations;
on
land,
strategyisrelatively
twodi-mensional,
andcontrolled
by
topography.
Butallthe
greatpowershaveeventually
takentothe
sea,forcommerceandcolonization.Andto
protecttheirtrading
lanesthey
havehadtolearnhowtofight
atsea.
Maritime
war-farerequires
tremendous
creativityandabstractthinking,
sincethelinesareconstantlyshifting.
Navalcaptainsdistinguish
themselvesby
theirabil»itytoadapt
totheliteralfluidity
oftheterrainandtoconfusethe
enemywithan
abstract,
hard—to—ant:icipate
form.They
are
operatinginathirddi-mension:themind.Back
on
land,guerrilla
warfaretoodemonstratesthisevolutiontowardabstraction.T.E.Lawrencewasperhaps
thefirstmodernstrategist
tode-(Ill\l"x’\<Tlxll\Il\l(!l(To
tarry
can
(heinsliamualinhih2li(mciemamled
bythemodernworldandInhr?ableIn
cope‘withthemergyrllmxwhichresults
from
thismhihistion,
the
ego
hasIn1mrt'r.'rg0
41
change.Theego.i.e..that
partofthe
person
lhalisexposed
to
dangur.bccanzex
rigid,aswesay,wlwnil lrcontinu-ully.\‘uhje('Ied
to
lhcsmiteorsimilarc'on_f?z'cr.r
betweenmar,-xi
anda
j}'ur-inducingouterworld.I:
acquirerinthis
prr,7L't's.\'achronic,amommirallyfuncrlmrirlg
mmle
ofreu1‘Iir7IL,
i.e..its“vim!-(Ic'1er."IIisas
iftlrea/"fecti
vc
personalityarmored.
.j.'(Li
ifthehard5/zellit
developswereinlmdeclto
deflectandweakentheblowsoftheouterworldaswellasthe
rlurmrririgofme
innerneeds.Thisarmoriug
makertheperson
lesssmszrnreInunpleasure.
hmaimreyrrim‘
Izil‘libirlimzland
::ygre5sivz'motilityandthusri‘(lll(‘E’Shis(1/z/uwityvfor
(1r,'IIimze-men!
and
pleasure.Wesaythe
egohasbecomel'c.c,\'
flexibleandmorerigid.
11/111Ihu?
{ht
(rbiI~flyto
regulatemeenemy
economydeprenrlx
rmthewrmntof
the
armnring.VVIIHELMREWH.l897-A1957LAW 48 425