Arlington National Cemetery was just another sightseeing stop to me when our family stepped on the Tourmobile bus in Washington, DC a few weeks ago. In the city on a week-long vacation, we planned to spend our first day taking in the monuments. Since Arlington was on the route, we might as well go see it. The bus crosses the Memorial Bridge over the Potomac, and the tour guide brings our attention to a pair of huge, gilded equestrian statues we pass between known as “The Arts of War,” named “Valor,” and “Sacrifice.” By the time we would return across that bridge, my perspective would have changed.
As we drive in, our guide gives us some history of Arlington and reminds us to be respectful, as we are on hallowed ground here. He points out the different areas of the cemetery for veterans of different eras, and then the bus pulls around to stop at the Tomb of the Unknowns for the changing of the guard.
I am usually a bit ambivalent about displays of military pomp and circumstance, but as the crowd gathers around on the steps, I notice that this feels different. The sense of sacrifice is palpable here. Knowing that these volunteer sentinels perform the same ceremony 24 hours a day, 365 days a year, in the freezing rain at 2:00 a.m. in January and in the sweltering heat of midday in August makes me feel that I’m witnessing something that’s actually quite private—it’s almost intimate. I take one picture, but then put the camera away. It seems disrespectful, somehow, to treat this place, this occasion, as a photo opportunity.
I watch the sentinel on duty stoically marching back and forth in his measured, rhythmic steps, and suddenly I am choking up a bit behind my sunglasses. I find I have to put my hand over my mouth for a minute to compose myself. Another sentinel marches out and asks us to stand. I solemnly watch as the guard-changing ceremony unfolds in front of us, performed exactly the same way so many times that a path is worn into the stone by their footsteps. It feels like watching another culture, and I suppose, in a way, it is.
The next stop on the tour is Arlington House, the former home of Robert E. Lee, located on the highest spot at Arlington with spectacular views of the city. I notice the flag is at half staff, and ask the ranger why it is lowered. “Well,” she replies, “we lower the flag whenever there is a funeral here, and lately that’s been pretty much every day.” I remember the tour guide telling us that between WWII veterans, family members, and war casualties from Iraq and Afghanistan, most days there are usually three or four funerals.
After getting back on the bus we cross back over the Memorial Bridge and see a second pair of gilded statues perpendicular to the first. These are known as “The Arts of Peace,” and named “Music and Harvest,” and “Aspiration and Literature.”
I think about the sentinels. Regardless of one’s personal opinions on the political motivations or effectiveness of any war, it is hard to not be moved by the knowledge that these young men, seemingly so different from myself, would, if asked, sacrifice all so that I can be free. They practice the arts of war so I can be free enough to take for granted the opportunity to cultivate the arts of peace.
Later that day we go to the Korean War Memorial and see the stainless steel figures eternally on patrol, watched over by ghostly faces of support forces etched into a polished granite wall. Nearby the numbers of killed, wounded, missing in action and POWs are etched in stone at the Pool of Remembrance. So many wars, I think. So much sacrifice.
Back home, at church this past Sunday, the names of members of the military killed in Iraq and Afghanistan last week were read during Prayers of the People, as they have been every Sunday for at least four years now. Since we started I cannot remember a Sunday when no names have been read. So many wars. So much sacrifice.
I don’t want to waste my opportunity to cultivate the arts of peace. This Veteran’s Day, I think, “Dear God, what can I do to keep just one more name off that list?”
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