Prima Secundae
68. The Four Principal Passions, Comedy and Hope, and the Start of the Treatise on Love (ST I-II q.25 a.4; q.26 a.1)
Class of 2012-04-12
https://berquistcourse.com/course/theology/11-prima-secundae/068-the-four-principal-passions-comedy-and-hope-and-the-start/

[0:00] Article four here. To the fourth one goes forward. Thus, it seems that there are not these four what principal or chief right passions, huh?

[0:19] Joy and sadness, hope and what fear, right? For Augustine in the fourteenth book of the City of God does not lay down hope, but what cupidity or desire, right? In its place, Augustine is not as careful as he should be sometimes, huh? But we'll see Thomas. will excuse excuse him a bit, right? Yeah He's a busy man after all Yeah Yeah and a bishop Yeah. Moreover, in the passions of the soul, there is a twofold order as we've seen before, right?

[1:03] Naming the order of intention and of carrying out of generation. Either, therefore, the chief passions should be taken according to the order of intention, and thus only joy and what sadness, which are last or final, are the chief what passions, huh?

[1:25] Or according to the order of carrying out or generation, and thus love will be the principal what passion. Therefore, in no way One to say that there are four principal passions: these four, joy and sadness, hope and what fear.

[1:50] Moreover, as boldness is caused from hope, so fear from what desperation. Either, therefore, hope and desperation ought to be laid down as the chief passions, right? As were causes,

[2:12] or hope and what affinity to each other, right? Because they're both what approaching your object, right? Hope approaching difficult good and striving for it, and boldness the difficult evil. But against this is what Boethius says in the book, The Consolation of Philosophy. Right. He enumerates the four what principal passions. So what what's is that the pellant Is that that's disturbing the time the passions or something? I think I looked it up here.

[2:53] If it's a command, it means drawing something out. Yeah, yeah. The lady wisdom is you know sees you know. Forget about your emotions. But anyway, Gaudia, Timorum, right? Spem,

[3:09] and Dolor, right? So, joy and sadness, right? Timor and Spem, hope and fear, right? Okay. Now, in my footnote there, beginning of the reply, as a reference to Cicero and one to, I guess Gregory and Nemesius you know and then one to Jerome and Ezekiel, right? Oh. So apparently there are some other great minds there that Nemesius for, you know, but the Sicondrius Boethius too, also, right?

[3:52] How does this rhyme go? I don't know if it's a rhyme. It's just. He has rhymes in there, but I mean, I don't know what the whole thing is, yeah. Okay.

[4:11] I see. I answer. It should be said that these four passions, communiter, commonly, right? Huh? Are said to be the chief ones, right? That's when they have this footnote that I mentioned here, right? So reference to Cicero and Nemesius, which I guess is Gregory Nemesius right? I did the De Natura Hominis. Heard that work of his, and then Jerome and Ezekiel, right? Okay. Of which two of them, to wit, joy and what?

[4:40] Sadness are said to be chief because they are what? Completing and final simpliciter, right? With respect to all the passions, are their most principal, you might say, right? Huh? Whence they follow upon all the passions, as is said in the second book of the Ethics, right? So I get angry, and I get revenge, and I have joy, right? You know. Okay.

[5:10] Now, fear and hope are principles, right? Not as as it were being completivae, right? simpliciter, not being completing simply, but because they are completing in the genus of what? Motion, right?

[5:33] In the appetitive motion to what? Something, right? For with respect to the good, motion begins in love, and from there proceeds to desire, and comes to an end in what? Hope, right? With respect to the bad, it begins in hate, and proceeds to aversion, and ends in what? Fear, fear, right?

[6:04] And therefore, it's customary for the number of these passions to be taken according to the difference of the present and the future, right? For motion regards the future, but rest is in something present. So, for a present good, is there is joy. For present evil, there is what sadness. For a future good, there is hope coming at the end there, right? And the future evil is what fear, right?

[6:39] Now, all the other passions, which are about the good or the bad, present or future, are reduced to these as completing, right? Whence also by some these are said to what be principal these four passions because they are general, right? Which is true if hope and fear designate the motion of the appetite generally tending towards something to be desired or fled, right? Let's be tried to excuse Augustine, right?

[7:15] To the first, therefore, it should be said that Augustine lays down desire or cupiditatem, in place of hope, in so far as they seem to pertain to the same thing, namely to a future what good. So Augustine has some part of truth there, right? To

[7:40] the second, should be said that these passions are said to be principal according to the order of intention and of what completion, right? And although hope, fear, and hope are not the last passions simply because that's joy and sadness, Aristotle said. Nevertheless, they are the last in the genus of passions tending towards another, as it were, something what future, right? Nor can there be an instance or objection except about anger, right?

[8:19] Which nevertheless is not laid down to be a principal passion because it is a certain effect of what boldness, right? Which cannot be a principal passion, as will be said below, more fully manifested, right? So I'm going to be mentioning a little bit more about this, right? In the third objection.

[8:45] Okay. To the third, it should be said that desperation implies a receding from the good, which is as it were what praecidens to what To recede from the good, right? Okay, because the good is what all desired, right? And audacity implies a what approach to the bad, right? Which is also praecidens, right? Tell this to the poor soldier, right? But you admit that, right? Now,

[9:23] you know. As in the car, Douglas MacArthur said, "The soldier above all prays for peace, because he was there." You know, the the late great Leo Albert, that's what he had on his car. He was a he was a Marine in Korea. So on the one hand, he had his Marine sticker with the sword, and the other one said, "Pray the rosary for world peace."

[9:46] And therefore, these passions cannot be principal because what is praecidens cannot be said to be what chief, right? And thus, also, neither can anger be a principal passion because it. follows. upon attacity right There's some boldness there in, anger, right?

[10:08] I think I can get rid of you who are causing me this pain right now. Now I'll give a little text here from one of the constitutions in the Second Vatican Council. There are what, there are four constitutions in the Second Vatican, I think, and two of them are dogmatic constitutions, right? But now one of the pastoral constitutions is what, the Church in the modern world, right?

[10:41] Okay. And the very first paragraph in that says the joys and hopes, and the sorrows and anxieties of people today, especially of those who are poor and afflicted, are also now he repeats the same four words, are also the joys and hopes, the sorrows and anxieties of the disciples of Christ, and there is nothing truly human which does not also affect them. Okay.

[11:22] Now those seem to be touching upon the four what, principal passions, right? Joy and hope by name, right? Gaudium et spes, right? The same ones Thomas says. The sorrows and anxieties, well, luctus is sorrows, right? Which would be the sadness and so on. Anxieties, you might say, is referring to, you, you fear, right? I'm anxious about so much coming up. I fear they

[11:50] might get re-elected or something. Enough to destroy the country. Yeah. Okay. So those four I said twice here, right? You know, so they're kind of associating themselves with what, the whole feelings of the people in general, but they signal out the four what. Yeah, yeah. Now I mentioned before how myself when I was first studying fiction there and read Aristotle's book on the poetic art, and the part on comedy has been lost, right?

[12:21] Although we have some remarks on comedy, right? And so I was kind of, without knowing it, using a dialetical place, right? That tragedy and comedy are contraries, right? Therefore, there should be some contrariety in the definitions of them, right? And therefore, the emotions that tragedy moves us to should be contrary to the emotions of comedy, right? So I was trying to, you know, work out the definition of comedy, right?

[12:51] Well, I knew that tragedy moved us to what pity, which is a form of sadness, right? And fear, right? Pity and fear. It's very clear in Aristotle, right? And if you looked at the prologue to Romeo and what Juliet, right? Those exactly two emotions that you know, the fearful passage of their death-marked love, right? You know, and and in the sadness, those are you know, piteous misadventure overthrows, right?

[13:26] So something piteous and something fearful, right? Now it's going to be presented to you in this Romeo and Juliet. And so then I said, well, then comedy should move us to some kind of joy, right? Which joy probably is called mirth, right? Now, and merriment is the kind of exterior manifestation of it. And then, and that's the that's the contraries, you know, and joy of sadness. And then instead of fear, it should be what?

[14:01] No, no, I said boldness, right? Because that's that's the opposite of you know, okay. And that doesn't fit perfectly, right? Okay, but then when I started to meet this, I think it was in the De Veritati, but this is the same teaching here, you know, the

[14:22] De Veritati question twenty six, article five gives the reference there, right? But anyway, same place. Then I began to understand the principal passions, right? And then the list was not was with joy and sadness, yeah, and fear, but hope rather than you know. And then I said, well, maybe it makes more sense to say that comedy moves us to some kind of joy, mirth, and to hope, right?

[14:48] And the tragedy and comedy are like the principal or chief forms of fiction, right? And the other one seems to be what kind of in a mixture of these two in some way in between, right? So maybe the chief or principal forms of fiction should move us to the principal passions, right? And therefore, it should be hope rather than boldness, right? And then, as as I got into more, I found more evidence that was hope rather than boldness, right?

[15:20] And I remember in particular, you know, reading a book, Terence's comedies in it, right? Thomas quotes sometimes in the, you know, the Moral Matter, right? It's Terence. And but the man, you know, was quoting Saint Paul, saying, you know, you know, Saint Paul says, "Faith, hope, and charity remain, right? " But the grace is a charity. But in comedy, it seems to be hope. He says, right?

[15:47] So here is a guy who had translated the comedies of Terence, and you know, thinking about comedy, obviously, right? And and saw this hope. It seems to be the principal thing there, right? huh? Was sitting in irascible, right? huh? You didn't see boldness, right? But hope, right? And so

[16:11] that's one place that is, you know, in my own thinking, you know, about about comedy, right? Huh? Was led to defining comedy in terms of a kind of joy, which was mirth, right? And and and hope, right? Huh? Though it also, I think, you know, can be said to to purge away melancholy, right? Huh? Okay, but that's kind of an effect of moving us to to mirth and hope, right?

[16:41] So that, and then when I saw the beginning of this, right? In English translation, I used to have an English edition myself, but I just have the Latin now. But it's the joys and hopes, you know. So it is more even more clearly anxiety. I think they might use the word fear or something, you know. But anyway, it seems to me they put some passions again. Maybe you should look up see what Gregory says and what you know Jerome says, you know.

[17:08] But we have the one here from the great Rufius, right? But apparently, the reference is Cicero too, you know. De finibus boni et mali. whatever that is

[17:21] It's interesting because you know modern comedy is always really despair. Yeah. Yeah, that's interesting. Yeah, yeah. You know, who I think of, I was never. I I don't remember much of him except was George Carlin. George Carlin. Yeah. He he could be really really funny, but he was so bitter. He and I, from what I understand, died a few years ago. I don't commit suicide or what.

[17:48] But um, pardon? But but um, I think that was kind of the impression I got when they said he he was a very very bitter man. Yeah.

[18:01] Well, that's that's another thing. Well, I think it's a mistake when they say the tragedy too should move us to make us melancholic, right? Yeah, yeah. That's a a mistake, you know. Because it's pity and pity melancholy are different kinds of sadness, right? And and melancholy is kind of a a bad sadness, right? Yeah. And pity is kind of a good one if it's you know. That's what I remember.

[18:31] We had I was an assistant. I was this was way back when helping some ninth graders prepare for confirmation. Yeah. And they had a penance service for them in the school gym, and and they tried to make a whole thing merely an emotional experience for them. Yeah. And what they did was they so they had these turn the lights down and these little tables with candles burning.

[18:56] The priest was sitting there at the table, you know these, and they had them spread around the gym. And what what they they played this like these forlorn love songs. That's what they were playing for mood music. And I remember the guy put the music on, and they said. What do you? What's that all about? He says we got to get in the mood, and the mood.

[19:18] So that was simply that they wanted to make the kids melancholy. What? You can make you can make you can make teenagers cry at the drop of a hat. Yeah, yeah. But you see, in a play like Death of the Salesman, you know, do you feel pity or make more melancholy? You know. Yeah, that's just. And when you have a you know great man fall, you know, then it writes kind of a noble pity, you know, and it does make you melancholic, exactly.

[19:43] Yeah. I think Coriolanus. Yeah. Yeah. What's that say? Underlined most great literature. I have the stuff I had to read in seventh grade. Oh yeah. It was just outright melancholy. It's just yeah. just beer. You Just put it down.

[20:03] Where's where's the cum rope? Uh if you're If you're a little older, you say, Just give me another schlitz. That's awful stuff. Yeah, I saw a production of uh, Death of a Salesman. Dustin Hoffman. It was so grim. I mean, he just looked depressed. Oh God, there's nothing left.

[20:33] It was it was it was on television. It was a play, and it was. I mean, it was well done. It was well produced, but so grim. It was just terrible Yeah. Yeah. Who wrote that again? Death of a Salesman by Arthur Miller. Arthur Miller. Arthur Miller. Yeah. I think so. Yeah that's awful Yeah. Last night,

[21:06] the class left. You know, watching a little bit of the thing, and you're talking about Catch-22. You know, I remember the author. I never read that myself. I read it. We had it

[21:20] in high school. I worked in a bookstore. I never read it. Yeah, we read it my senior in high school, and it was kind of another dark sort of story. It was. Yeah, it's about the war, a little bit, or what? The war, and it was sort of like the Catch-22 was their expression for like there's no way out in certain. And military is a perfect example of that.

[21:39] You know, like you get into certain situations where there's like there's no hope to get out of the situation. That's that's undesirable, whatever it is. And if I do this, I get blamed for that. But if I make appeal to do this, I have to back to something else that's worse or whatever. I don't. I don't remember the details of the story. And come through. People use the term "Catch-22" all the time.

[21:59] Yeah, conversation, you know, but you must have read the thing or heard it. Yeah, well, it's true. Catch-22 is basically you got two options, and both of them are just bad, and and they just sort of lead you back to something else, and you get in an infinite loop. Yeah. Now, I was kind of surprised they try to compare it to Iliad, you know, because I thought the guy does an anti-war thing or something.

[22:20] I don't know. The Iliad is kind of a silly war, you know, or you know, a purpose war, you know, or thing like that, you know. And this supposed to be the author's favorite work, you know, the Iliad, you know, and so and so I don't know. I never read the Catch-22. I even know what it is. Is that the Vonnegut book. Kurt Vonnegut? I don't remember.

[22:38] who wrote it. I have no idea. I remember. We were supposed. We read it. I think it was my senior. Is it Henson? Henson there? Henson like that? I don't remember. It was. It was not one of the most memorable things. Yeah. I just remember the one line that line that my classmates picked up on while we were reading is one of the one of the characters in the story where.

[22:57] Whatever happened, he'd just say, "Oh well, what the hell." That was this one girl, she said it the whole time we were reading. Oh well, what the hell.

[23:09] The thing is you know since we've read For Whom the Bell Tolls you know those are depressing things, you know. Yeah, yeah. And I don't know if we need that. melancholy, you know, it's not. Especially for teenagers. Yeah, that's exactly. Yeah, there's strange books that. Yeah. I'm telling you, this was my summer reading list.

[23:26] I remember one summer we we read what was *A Bridge to Terabithia, A Light in the Forest*, and then later on *A Light in the Forest*. That was about the Indian boy. That was about the Indian boy. Both of them. I read them. And then *The Pearl* by Steinbeck. Then *Flowers for Algernon*. Another depressing one. I think they're teaching me to say counselor. You see a shrink.

[23:48] I remember River about the the friend was talking about reading. I don't know what some course it was. A whole bunch of Hardy novels, you know, and he says, "You know, get very depressed after reading it all." Yeah, I know that Hardy boy. Not be Hardy, you can read English novels, you know. Oh, I'm doing. I've been very depressing, you know. Not the Hardy boys, though. This is

[24:25] Shakespeare. Sometimes puts those four together. You see the those four principal passions, you know. So, well, shall we go into love or not? You you you're coming back next week. Yeah. Okay. I you were talking about going to visit your your children at some point. I wasn't sure when. Oh, May 24th, I think. Oh, May May 24th. Yeah. Yeah. Yeah.

[24:57] Okay. Consequently, right. We're not to consider about the passions of the soul in particular, right, in speciality. And first about the passions of the concupiscible. Secondly, about the passions of the what, irascible.

[25:19] Now, the first, part consideration ought to be threefold. huh See dividing the two, dividing into three, you know, that's what he does usually right.

[25:34] For first, we will consider about love and hate, right? Secondly, about concupiscence and flight. Now, I tend to want to call that passion aversion, but he uses the word fuga, you know, flight. I mean, flight doesn't it, huh? Mm-hmm. Get the word fugue, you know. Mm-hmm. Yeah, yeah, yeah. Third, about pleasure and what sadness.

[26:05] Now, about love, three things ought to be considered, huh? First, about love itself. Secondly, about the cause of love. Third, about the effects of it. Looking before and after, right? Looking at love itself, and looking before it, and looking after

[26:28] it. I finally gets out of this two-three business here. About the first, he asks four things, right? First, whether love is in the concupiscible.

[26:42] Secondly, whether love is a what passion? We call it. What do we call them in English? huh? We don't call them passions, do we? Emotions. Emotions, yeah. We take them the word for emotion, right? Huh. So it's good to be named from those things like desire, right? Appetite, which are like emotion, right? The emotion. that's most like emotion would be most easily identified. Whether love is the same thing as what dilectio right?

[27:22] huh. Just taken from the word, apparently, for choice, huh? Chosen love. And four, whether love is, suitably divided into the love of what friendship. And the love of what concupiscence, right?

[27:48] So actually, the the third and the fourth articles there are about two different what divisions of love, right? Huh. Because if you contrast love with amor, we get the word amorous, right? Amor keeps more the sense of the sense love, right? The one, or dilectio is more the love that's in the the will, right? And you know, from you know, teaching you know, college students there, you know, it's very hard for them to see the difference between the love that's an emotion and the love that's an act of the will.

[28:22] Sometimes even the priest touches upon this in a you know sermon or something like that, right? Where people have a hard time seeing that difference, right?

[28:35] What's the love of your neighbor, right? What does that mean? Right, supposed to have this, you know, warm emotional feeling about your neighbor, you know, and you know.

[28:46] One priest has got it. They have it in the parish there. You know, we say the prayers, you know, before the the offertory there. You know, after the gospel and so on, you know, and something about regarding everybody as your brother and sister here, right? You know. So I'm just, I'm telling these people to say, "Hi, brother," or "Hi, sister." Join me. These old people. He said, "You know, God each other as brothers and sisters, right?

[29:15] " That's a high sister. They're taking the lead. Getting me some trouble these days. Hi, brother. Hi, brother. That's what Father told us to do. You know, God, you're my, you're my, you're my brother. You're my sister. You know, but.

[29:35] You guys call each other brother, right? But in the convent, do they do? Do they call each other sister or what? I guess. Yeah. Yeah.

[29:49] They might have other choice names. Yeah. Well, someone asked me about the difference between the gift of the Holy Spirit, which is pietas, right, and the gift of the Holy Spirit, which is the fear of the Lord, right? Because in some text Thomas says you know, they're both proceeding from reverence for God, right? So he was going into the difference between the two, but you know the gift of Holy Spirit there's pietas, huh?

[30:19] Regards God as a father, right? That's why it takes its name from the virtue. It has the same name as the virtue of pietas, which is regard to your human father, right? And then you know if you have this pietas, the virtue of pietas, right? Well, the guy is objecting, you know, to this name of this gift of the Holy Spirit. It should be called religio, right?

[30:46] Because religio is higher than pietas towards your earthly father, right? So religio worships God, right? Now you know, he renders to God. what in justice is due to him, right? Huh? Right. pietas, renders to your earthly father, what is due to him. Religio is higher than what? Pietas, but the gifts of the Holy Spirit are higher than the moral virtues, right? So shouldn't it be named from the higher one, religio, rather than from pietas, right?

[31:16] Well, Thomas, you know, admits that religio is higher than pietas, right? The virtue now, but he says the gift of the Holy Spirit is pietas, right? Regards God as a father rather than as the Lord or Creator, and that's even higher than regarding him as Lord the Creator, right? I was kind of kind of struck by that because Thomas, you know, he's looking before and after here, and he says the gifts of the Holy Spirit they direct, you know, prudence and fortitude and justice and temperance, right?

[31:50] And they're higher than them, right, in a sense, but they themselves are less than the three theological virtues, right? And of course, in the Our Father, which is what Augustine Thomas always explained with hope, you're taught regarding his Father, right? Huh? So you can see how this kind of carries over, you know, to pietas, where you're regarding God as your Father, right? But it also extends to your neighbor because then it's his brother and sister.

[32:15] But all these things, I got to watch myself, you know. So, so by by by the gift of Holy Spirit, which is pietas, I have to regard my fellow parishioners there as brothers and sisters, right? If I'm supposed to regard my father as Father, right? Because Thomas goes back and says that you know the virtue of pietas regards your own father, then you have to treat your your offspring, you know, of your father with respect and so on, you know, because you're a father, you know, you know.

[32:44] So, but you know, there's something in in in uh Alphonsus you know, we've been doing the the Lent there, you know, when our Lord says in the thing that's recorded in Matthew and Mark, "My God, My God, why have you forsaken me?" Right? He addresses him as God, right? Huh? But then at the end, when he's when he's saying Father, into thy hands, he addresses him as Father, and you're noting that difference there, right?

[33:13] Huh? And it's connected with this, right? Huh? Yeah, the first petition is Father, forgiveness, begins with Father. Yeah, yeah. That's the first word. Okay.

[33:43] So with the love is in the concupiscible. It seems that love is not in the concupiscible, right? For it is said in the book of wisdom, in the eighth chapter, I have loved wisdom, right? And what sought it out, I guess, from my youth. This is baby Solomon speaking, right? In his old age No fool, worse than an old fool, as the saying goes. huh Yeah. You know, that's why uh Who's it said that Was it Shakespeare?

[34:23] Said, "Yeah, you're old before you're what? Wise. Your age, you know, because you're you're old before you're wise, right? Old before your time. But the concupiscible, since it's a part of the sense-desiring power, cannot tend towards what wisdom, right? Huh? Which is not grasped by sense, right? Therefore, amor is not in the what concupiscible, right? Huh? Okay.

[34:56] And so we speak of the love of. Wisdom, right now. Well, that love must be in the will, so love can't be a what? Yeah, yeah. Well, it's part here. I suppose the question of the word here that's used, but it's a good thing to stop and think about this, right now.

[35:15] I remember that Dion had a text there from Dionysius. There, you know, he wants to apply the word in Greek, which corresponds to amor, and seems to be meaning more a sensual thing. You know, he would apply the word eros, right, to even the love of God, right now. There is a reason for he does that, right now, in terms of the intensity of it. Now,

[35:38] moreover, love seems to be the same thing as any passion. For Augustine says in the fourteenth book of the City of God that the what love seeking to have what is loved is desire, right? And having it, love is enjoying it is joy, right? Seeing it, it is fear, right? And if it happens, sensing it, then love is sadness, right now.

[36:09] So, very sadness there under the cross is your love, right? That's the way of speaking, right now. But you can see that that way of speaking is. But not every passion is in the concupiscible, but fear, which is here enumerated by him, is in the what? irascible. Yeah. Therefore, it ought not what simply to be said that love is in the concupiscible. This is because it gives rise to other things, right?

[36:40] Speaking. Moreover, Dionysius in the fourth chapter of Divine Names lays down a certain natural love, right now. But natural love more seems to pertain to what? Power. Yeah, which are of the plant soul, right? Therefore, love is not simply concupiscible, right? So they say about some plants, the nursery, you know, that likes a lot of sunlight. And I've been told that broccoli is a big feeder.

[37:13] Like to eat. But again, this is what the philosopher says in the second book of the places that love is in the concupiscible, right? He's got to go to that, you know. Scrounges around Aristotle. He goes to the rhetoric sometimes to discuss the emotions to bring out something, you know. It's a matter of ego, the end

[37:40] of Aristotle. Magnitasio. Saying to Warren, Warren, the phone today, you know, you know, my you're talking about Thomas the commentator, in, Aristotle, right? You know, he said. You know my my principle was Aristotle means what Thomas says he means that's that's my ruling principle you know I say that based on some experience you know that

[38:11] absolutely incredible every time I'm called in you know to look at somebody's thesis or something like that you know and it's some crazy modern you know giving this crazy interpretation of Aristotle you know it's just just

[38:25] Aristotle means what Thomas says he means period that's all you know I need to know okay answer should be said that love is something what pertaining to the appetitive power right

[38:43] now since the object of both is the good right huh whence according to the difference of the what appetitive power there is a difference of love right for there is a certain desire not following upon the apprehension and the knowing power right the grasping right of the one desiring but of another right and of this sort is the thing called natural appetite right that we're talking about in the plant right

[39:19] for natural things desire what is suitable to them according to their nature not through grasping it themselves right but through the grasping or knowing of the one instituted in nature as has been said in the first book huh

[39:39] you know you're dealing with you know trying to trying to get a bolt in a hole or screw and thing you know doesn't want to go we say right you know it's not it's not made for that right doesn't want to go you got the wrong thing there

[40:01] another is the desire following upon the grasping of the one what desiring but what from necessity and not from what any free judgment huh liberum arbitrium and such is the sense desiring power in the what in the brutes huh

[40:27] which nevertheless in men partakes of something of what freedom in so far as it obeys reason right huh another is the desire following upon the grasping of the one desiring who has free what judgment huh and such is the desiring power that's called rational Or intellectual, which is called the what the will, right?

[40:59] Now, now in each of these desiring powers, right? Each of these desires, love is said to be that which is the beginning of the motion tending towards the end loved. Now, in the natural desire, the beginning of this motion is the what agreement with nature, right? The connaturality of the one desiring to that in which it tends, which can be called natural what love, huh?

[41:33] Just as the connaturality of the heavy body to the place which is the middle universe, right, the weight, huh? And can be called natural love, right? My love is my weight, as Augustine says, right? One is male, one is man. And similarly, the adaptation, you might say, of the sense desiring power, or of the will to some good, that is the what

[42:04] agreement, right? Of the good is said to be sense love, or intellectual or rational love, right? Reasonable love. Now, the sense love is in the sense desiring power, just as the intellectual love is in the understanding. Yeah, and it pertains to the concupiscible, which is said with respect to the good absolutely, and not by respect to the what arduous, which is generally irascible, right? So the object of love or or liking is a good period, right?

[42:49] Why the object of the irascible? if it's the good, it's the good as difficult to achieve, right? Okay. Now that text from the book of wisdom there is talking about intellectual rational love, so it's easily solved, right? Okay. The second one now, where Augustine is saying, well, love fleeing the evil is fear, love rejoicing in the good is yeah. The second should be love is said to be fear, joy, desire, and sadness, not what essentially, but causality, right?

[43:34] Yeah, yeah. It's a bit the way Aristotle speaks, you know. He called predication, you know, by causality, right? So Aristotle says that understanding or sensing is an undergoing. I mean, that's the cause of it, right? It's because you. Something of the of the the thing known has been impressed upon you, right? And the result of that is that you know, right? The undergoing is really the cause of knowing, right?

[44:03] Okay, but you know, speak that way sometimes, huh? Now, natural love, huh? Natural love is not only in the powers of the what plant soul, but in all the parts of soul, right? And in all the parts of the body, in in general, in all things, right?

[44:33] Because, as the Dionysius says, to all is the beautiful and the good, what loveable, right? Since each thing has a connaturality to that which is suitable to it according to its nature.

[44:51] I was in the in the doctor's office there and the I was waiting there. Smithsonian magazine, you know, from the museum. So we knew they talked the article. They're talking about the colors of the birds, right? And I guess there's some birds that are blue, you know, on the crest. There, they're speculating to why they have this color of blue. You know, it's kind of a odd way that it's produced the color blue and these things.

[45:19] But the thing that attracts the female, you know, that will find it beautiful. So, I don't think anything. Yeah. I think I think man is kind of unique, you know, among animals. They really seek only beautiful. You know, I used to play Mozart for the cat. Yeah. You know, the cat just sticks right to the Mozart. You know, and then go out to the kitchen and open the icebox and get a little sandwich meat, and the cat would be right there next to me, you know, waiting for me to open the package of the sandwich meat.

[45:48] I guess you've got to stop here.