The tribal ceremonies of birth, initiation, marriage, burial, installation, and so forth, serve to translate the individual’s life-crises and life-deeds into classic, impersonal forms. They disclose him to himself, not as this personality or that, but as the warrior, the bride, the widow, the priest, the chieftain; at the same time rehearsing for the rest of the community the old lesson of the archetypal stages.

Man constantly prayed to God for peace, but peace never happened, so he decided that his god must really want war because the other side was sinful. Man invented and extolled virtues which could only be exemplified under conditions of war, like heroism and gallantry and honor, and he gave himself laurel wreaths or booty or medals for such things, thus rewarding himself for behaving well while sinning. He did it when he was a primitive, and he went on with it after he thought he was civilized.

He took his time strapping on his customized armor and loading his weapon magazines, rifle, pistol, and assorted knives. For him, preparing for battle was a divine ritual, a blessing and sacrifice to the Holy Ones. He intended to show his devotion by expunging as many of the enemy as he could.

Most of the monotheisms were tribal, pastoral, retributive religions that committed holocausts and built pyramids of skulls and conducted organized murder for a few thousand years, so there were lots of opportunities for one guy's god to fight some other guy's god. Each tribal religion claimed that its god was the One True God. Every prophet had his own idea about what that meant, of course, and as a result man was always being jerked around between different people's ideas of god, depending on who'd won the most recent war, or palace coup, or political battle.
"This meant mankind was always being asked to accept deities foreign to his own nature. I mean, if your prophet was sexually insecure, or if his later interpreters were, that religion demanded celibacy or repression or even hatred of women; if the prophet was a homophobe, he preached persecution of homosexuals; and if he was both lecherous and greedy, he preached polygyny. If he was luxurious, he preached give-me-money-and-God-will-make-you-rich; if he felt put upon he preached God-of-Vengeance, let's kill the other guy; and no matter how much well-meaning ecumenicists pretended all the gods were one god under different aspects, they weren't any such thing, because every prophet created God in his own image, to confront his own nightmares."

The tribal ceremonies of birth, initiation, marriage, burial, installation, and so forth, serve to translate the individual's life-crises and life-deeds into classic, impersonal forms. They disclose him to himself, not as this personality or that, but as the warrior, the bride, the widow, the priest, the chieftain; at the same time rehearsing for the rest of the community the old lesson of the archetypal stages. All participate in the ceremonial according to rank and function. The whole society becomes visible to itself as an imperishable living unit. Generations of individuals pass, like anonymous cells from a living body; but the sustaining, timeless form remains. By an enlargement of vision to embrace this superindividual, each discovers himself enhanced, enriched, supported, and magnified. His role, however unimpressive, is seen to be intrinsic to the beautiful festival-image of man — the image, potential yet necessarily inhibited, within himself.

Social duties continue the lesson of the festival into normal, everyday existence, and the individual is validated still. Conversely, indifference, revolt — or exile — break the vitalizing connectives. From the standpoint of the social unit, the broken-off individual is simply nothing — waste. Whereas the man or woman who can honestly say that he or she has lived the role — whether that of priest, harlot, queen, or slave — is something in the full sense of the verb to be.

Rites of initiation and installation, then, teach the lesson of the essential oneness of the individual and the group; seasonal festivals open a larger horizon. As the individual is an organ of society, so is the tribe or city — so is humanity entire — only a phase of the mighty organism of the cosmos.

Warrior cultures (and warrior leaders) enlist shame, not only as a counter to fear but as a goad to honor. The warrior advancing into battle (or simply resolving to keep up the fight) is more afraid of disgrace in the eyes of his brothers than he is of the spears and lances of the enemy.

The indispensability of play-acting in the grim business of dying and killing is particularly evident in the case of armies. Their uniforms, flags, emblems, parades, music, and elaborate etiquette and ritual are designed to separate the soldier from his flesh-and-blood self and mask the overwhelming reality of life and death.

Bass bands, flags, banners, parades, and monster demonstrations are no different in principle from ecclesiastical processions, cannonades, and fireworks to scare off demons. Only, the suggestive parade of State power engenders a collective feeling of security which, unlike religious demonstrations, give the individual no protection against his inner demonism. Hence he will cling all the more to the power of the State, i.e., to the mass, thus delivering himself up to it psychically as well as morally and putting the finishing touch to his social depotentiation. The State, like the Church, demands enthusiasm, self-sacrifice, and love, and if religion requires or presupposes the “fear of God,” then the dictator State takes good care to provide the necessary terror.

It was for the most part by sacrifices, processions, and religious dances, which he himself appointed and conducted, and which mingled with their solemnity a diversion full of charm and a beneficent pleasure, that he won the people’s favour and tamed their fierce and warlike tempers. At times, also, by heralding to them vague terrors from the god, strange apparitions of divine beings and threatening voices, he would subdue and humble their minds by means of superstitious fears.

Yet the ivory gods, And the ebony gods, And the gods of diamond-jade, Are only silly puppet gods That people themselves Have made.-

In war-as-spectacle, appearances could be more important than reality, because appearance often ended up determining reality.

Early on, of course, it was assumed that there were lots of gods who caused various things, and one needed access to them to propitiate them or ask them to undo what some other god had done or, in rarer cases, to say thank you. Since there were lots of them, one always had a god to go to if some other one was acting up. Not a bad state of affairs, really, very much the system Phansure has today. Of course, it carried the seeds of its own destruction, because some of the priests that rose up around the man-gods got carried away with their own greed or need for power.
"So, some of them became prophets, each of them claiming his particular god—or some new one he'd thought up – what is the biggest or the best or the only. Sometimes they said God was all-good or all-powerful or all-something-or-other or even, God knows, all-everything, which inevitably created dualism, because if God was all-everything, why did these contrary things keep happening? This required that man postulate some other force responsible for contrariness, either a sub-god or a bad angel or man himself, just being sinful, and that placed man squarely in the middle of this cosmic battlefield, always been told it was his fault when things went wrong.
"And as long as man was in the middle, nothing could happen but a kind of tug-of-war. Man constantly prayed to God for peace, but peace never happened, so he decided that his god must really want war because the other side was sinful. Man invented and extolled virtues which could only be exemplified under conditions of war, like heroism and gallantry and honor, and he gave himself laurel wreaths or booty or medals for such things, thus rewarding himself for behaving well while sinning. He did it when he was a primitive, and he went on with it after he thought he was civilized."

Some aspects of initiation rites may be detected archaeologically through skeletal alterations, rock art motifs, and props such as scarified dolls.

Yes I'm talking about this war dance A patriotic romance And I know all you poets Have seen it all before About the stirring of those young hearts Back in the first world war