"Disenchantment, whether it is a minor disappointment or a major shock, is the signal that things are moving into transition in our lives"
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Disenchantment isn’t framed here as a personal failing or a mood to be medicated; it’s treated like a flare shot into the night sky. Bridges, a career soldier writing in an era obsessed with progress yet haunted by upheaval, recasts disappointment as intelligence: the moment your old map stops matching the terrain. That move matters. In military life, confusion and shock are not abstract feelings; they’re operational realities. A plan breaks contact with conditions, and suddenly you’re in the fog of war. Bridges smuggles that sensibility into ordinary life, turning emotional rupture into reconnaissance.
The intent is quietly disciplinary. Instead of indulging the romance of “closure,” he offers a more austere comfort: if you’re disenchanted, you’re not merely hurt - you’re being updated. The subtext is almost evolutionary. The “enchantment” we carry is a story about how things are supposed to work: careers reward effort, relationships stay stable, institutions protect us. Disenchantment is the instant that story collapses under evidence. Bridges refuses to call that collapse an ending; he calls it a “signal,” language that suggests both warning and guidance. It’s a cue to shift posture, not to freeze.
Context sharpens the edge. Late Victorian and Edwardian culture sold confidence in order, empire, and rational mastery. A soldier of that period would have seen how quickly order can become improvisation. The line lands because it dignifies the uncomfortable truth: transition doesn’t arrive with a trumpet. It arrives as a letdown, then asks whether you’ll mourn the old script or start writing the next one.
The intent is quietly disciplinary. Instead of indulging the romance of “closure,” he offers a more austere comfort: if you’re disenchanted, you’re not merely hurt - you’re being updated. The subtext is almost evolutionary. The “enchantment” we carry is a story about how things are supposed to work: careers reward effort, relationships stay stable, institutions protect us. Disenchantment is the instant that story collapses under evidence. Bridges refuses to call that collapse an ending; he calls it a “signal,” language that suggests both warning and guidance. It’s a cue to shift posture, not to freeze.
Context sharpens the edge. Late Victorian and Edwardian culture sold confidence in order, empire, and rational mastery. A soldier of that period would have seen how quickly order can become improvisation. The line lands because it dignifies the uncomfortable truth: transition doesn’t arrive with a trumpet. It arrives as a letdown, then asks whether you’ll mourn the old script or start writing the next one.
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