Prima Secundae
97. Summa I-II Q37 a3–4 & Q38 a1: Whether Sadness Hinders Action and Harms the Body, and Whether Any Pleasure Eases It
Class of 2012-12-13
https://berquistcourse.com/course/theology/11-prima-secundae/097-summa-i-ii-q37-a3-4-q38-a1-whether-sadness-hinders-action/

[0:00] In the Name of the Father and Son, Holy Spirit. Amen. Thank you, God. Thank you, guardian angels. Thank you, Thomas Aquinas. Deo gratias God, our enlightenment. Guardian angels, strengthen the lights of our minds, Lord illuminate our images, and arouse us to consider more correctly. Saint Thomas Aquinas, angelic doctor. Pray for us. Help us to understand all that you've written. Name of the Father and the Son, Holy Spirit.

[0:31] Amen. So we're up to thirty-seven, I guess. Article 3 Find out about the effects of what sadness, huh? To the third, one goes forward. Thus, it seems that sadness does not impede every operation,

[1:00] for solicitude is caused from what sadness, as is clear through the authority of the apostle induced, huh? But solicitude aids to doing well, right? Hence, the apostle says in the second epistle to Timothy, chapter two, be solicitous, right?

[1:26] To show yourself to be in a what Inconfusible operation, huh? That means a good operation, right? Huh? Okay, take care of yourself. Therefore, sadness does not impede operation, but more aids to many doing to doing well.

[1:50] Moreover, sadness causes in many concupiscence or desire, as is said in the seventh book of the Ethics, right? But concupiscence or desire makes for the intensity of the what operation. Therefore, also sadness, right?

[2:11] Moreover, some operations are proper to those who rejoice, so also some operations to those who are sad, as to what weep, I guess, son. But each thing is increased in what is suitable to it. Therefore, some operations are not impeded, but are aided in account of sadness, right? So I can cry better when I when I'm sad, right? Yeah. You know, I

[2:40] joke about them paying actors, you know, to to weep, you know, and trouble was it the more they paid them, the less they wept. That was the.

[2:58] What was it? Was Liberace? I guess somebody criticized the origin of the the statement. Somebody critiqued his his style or something, and they thought they might have hurt his feelings. And Liberace's brother, who was a spokesman or something, said, "Yeah, he cried all the way to the bank." That's where that. So he was making so much money. Yeah. No matter how bad he played, he was making lots of money.

[3:24] But against this is what the philosopher says in the tenth book of the Nicomachean Ethics that pleasure perfects operation, but contrary, sadness what impedes it.

[3:40] Now Thomas is going to see in the body of the article here a simple distinction, right? And he won't even bother to reply to the objections one by one because he sees the elementary truth in them, right? From the distinction, by the way.

[3:56] I answer. Thomas says it should be said that it has been said, sadness sometimes does not so much weigh down or absorb the soul. Sometimes, right? That it excludes every inward and outward what motion, right?

[4:17] But some motions are sometimes caused from sadness itself. Thus, therefore, operation can be compared to sadness in two ways. In one way, as to that about which is the sadness,

[4:37] and thus sadness impedes any what operation. So if you're sad about learning something, studying something, it's going to impede your studying of that, right? And what's this vice there? acedia is not kind of sadness, huh? So if praying makes you sad, huh? That's going to impede your prayer, right?

[5:09] For never that which we do with sadness do we do as well as that which we do with what delight, or at least that we do without what sadness. Sadness, huh?

[5:23] The reason for this is that the will is the cause of human what doing, right? Human operation. When, whence, when the operation is that about which what is sad, necessarily the action is what debilitated, right? Huh?

[5:48] In another way, he says operation is compared to what sadness as to a beginning and what cause. The beginning and cause mean the same thing. No, at the end of the chapter on beginning, there in the fifth book of wisdom, he says every cause is a what beginning. So sometimes Thomas almost uses beginning in that last sense as kind of synonymous almost with cause. But it's also more what that word can be more general than cause.

[6:23] So every cause can be called a beginning, but not every beginning is a cause. The point is the beginning of the line, but not really the cause of it.

[6:34] And thus is necessary that such an operation is increased. increased. Yeah, from sadness. Just as when someone is more what sad about something, the more he tries, huh, to expel the what sadness, huh? So long as there remains a hope of what expelling it, right? Otherwise, no motion or operation would be caused from sadness, huh? So then he's seeing the truth in each of those objections, right?

[7:07] In that second way, right? So I told you about the old Dominican. I guess you'd say, you know, never affirm, rarely deny, always distinguish.

[7:26] The other way I've heard said was, "Don't say yes, don't say no, say distinguo." Yeah, yeah. Okay, Article 4. With the sadness more what harms the body than other passions of the soul. To the fourth one goes for thus. It seems that sadness does not most of all infer harm to the body, right? For sadness has spiritual being in the what, soul.

[8:07] But those things which have spiritual being do not cause a change of the body, just as is clear about the intentions of color which are in the air, from which no body is what, colored. Yeah. So when the red is coming to my eye through the air, right? Thomas says it's a kind of what, spiritual existence, right? And it doesn't make the air all red to my eye, right?

[8:37] The color is more bodily than Thomas says to a thought in Aristotle, but kind of see the point he's making there, right? I'm not sure about smells. They're more, you know, they stick up the place, right? Okay. Affect the the air.

[9:03] Moreover, if it makes some harm, bodily harm, this is not except in so far as it has a bodily change joined to it. But a bodily change is found in all the passions and all the emotions of the soul, as has been said above. Aristotle spends some time with that in the proemium to the De Anima right? So that this argument is going to define the emotion completely.

[9:33] You'd have to bring in a bodily change that's with it. But this bodily change is found in all the passions of the soul, as has been said above. Therefore, no more does sadness than other passions of the soul harm the body, right?

[9:51] Huh? Moreover, the philosopher says in the seventh book of the Ethics that anger and concupiscence make some what insane, right? Huh? Which seems to be the greatest harm, right, to the body, huh?

[10:13] Since reason is the what most excellent of those things which are in man. But desperation seems to be more what harmful than what sadness, since it is the cause of what sadness, right? Therefore, sadness does not more harm the body than other passions of the soul, right? Huh?

[10:40] But against this is what is said in the book of Proverbs, chapter seventeen, verse twenty-two: "A what soul rejoicing, huh, makes a flowering age age, right? But a sad spirit dries out the bones, huh? Doesn't sound very good.

[11:04] And Proverbs twenty-five just as what moth, moth, yeah, the vestment and the worm to the wood, and worm to the wood. I was reading the life of of um, what

[11:19] do I say? The life of somebody. Was he reading the life of Christopher Columbus, yeah, right, right. But you know, they talk about these worms that get into the wood of the ship, you know, and some of them really get going, going, yeah, down there. That was really a problem with those wooden things. We're so used to metal ships, you know. I guess the worms can't do that, but these wooden ones are really it was really a problem down there in the Caribbean.

[11:50] Especially warm waters, yeah, yeah. Kind of worm eat wood, but just get antsy to work. Yeah, so sadness, right, harms the heart of man, right, and death hurries from sadness, right,

[12:24] huh? Okay. The Washington Irving one, this book's telling him he says, "Woman had died from being abandoned by a man, right, huh? Okay. What's the one that Dickens has there, huh? Great Expectations. Oh, what's her name? The wretched old woman. Yeah, yeah. She set about the clocks, you know, set the time so eccentric. Yeah, yeah. Hampshire, but she kind of kind of went mad, right, because of this being left the altar, right?

[13:02] Winning Kate, they're still corrupted, you know, affected by the vice. But Thomas says, "I answer it should be said that sadness, among all the passions of the soul, right, among all the emotions, more what harms the body, right?

[13:28] The reason for this is that sadness is repugnant to human life as regards the very species of its what motion. And not only as regards the what measure or the quantity as the other passions of the soul.

[13:50] That's kind of interesting he says there. For human life consists in a certain motion, which is diffused from the heart to the what other members. Is that good biology, Joshua, or what do you think?

[14:08] In the heart, the kind of the center there, right? Okay. Which motion belongs to human nature according to a determined what measure, right? Huh?

[14:29] They had me counting the money at the church there last Sunday, right? So one of the guys who's there usually, he's just got a pacemaker, right? You know, and so he's saying, I guess the pacemaker, it only helps your heart, but it also keeps you from getting Alzheimer's, right? I don't know. Freaky Alzheimer. You're a little more alert, right?

[14:56] I don't know. There's hope. Yeah. If therefore this motion goes forward beyond the suitable measure, right? Huh? It is repugnant to human life according to the measure of the what quantity, right? Huh? Not, however, according to the likeness of what the species, huh?

[15:30] But if it impedes the process of the motion itself, it's repugnant to life according to its own what species, huh? Now it should be noted, huh, that in all the passions of the soul, that the bodily change which is material in them is conformed and proportionate to the motion of the appetite, which is the formal aspect, right? And that's the reason he gives there. Just as in all things, matter is proportioned to what form, right?

[16:11] We don't think that Pythagoras is right about the transmutation, you know, the soul going from one body to another body, right? Huh? You know, he said, "Stop being that dog," and I recognized the soul, my friend, someone's soul who had died, right? Huh? In the dog, right? Huh? But these things are what like relative to each other, right?

[16:36] Those, therefore, passions of the soul which imply the motion of the appetite to pursuing something. Are not repugnant to the vital motion in their species, but they could be repugnant to it according to their what? Quantity, right? As love, joy, desire, and things of this sort. So some people have died of joy, not because joy as such is by reason of what it is, as opposed to this motion, but because it's excessive, right?

[17:10] Huh? To overcome, you understand. That's what Francis de Sales says: in: the Blessed Mother she died of love, excessive love. Yeah, yeah, yeah. So,

[17:27] and therefore, these, according to their species, aid the nature of the body, but on account of their excess, they are able to what harm them, right? Huh? So Shakespeare alludes to that in what play?

[17:47] I guess we'll be able to. No. The Merchant of Venice, right? About the time when when Bassanio is making the right choice of the caskets, there, you know. You know she's bound by her father's will, right? Okay. And she says, you know what, you know, for joy, but no late, you know, because she could pass out, you know, she could be overcome with the joy of making the right choice, you know, because this is the man she

[18:23] she wants, so. Now the passions which imply emotion of the appetite with flight or what, retraction, right? Are not repugnant to the vital motion, not only according to quantity or measure, but also according to the species of the motion, and therefore simpliciter

[18:55] Yeah. Yeah. He says simpliciter because not what. Qua too much, but simply whatever you know amount of them there is, they're going to be opposed, right? Because they're opposed to to the motion.

[19:19] As fear and desperation, right? And more than all, right, or before all, sadness, which aggravates and weighs down the soul from the present, but evil. Of which there is a stronger impression than of the future, which you have, I suppose, in fear and desperation. That's all interesting. Touching upon the body there, right? He says, huh?

[19:53] You convinced with that argument? I'm still thinking of it. Yeah, I think it's kind of interesting. He says here, but it seems to somewhat agree with experience, right? Mm-hmm. Okay. Yeah, Offman dispells guys and Gilman falls. Yeah. Yeah

[20:15] Yeah, that's what uh George Bernard Shaw when Frances Chesterton died, a couple years after Gilbert died or something. And he kind of mused after she died. She said, what did she die of? Was it widowhood? Because she was very fond of Gilbert.

[20:36] Now, to the first, it should be said that because the soul naturally moves the body, The spiritual motion of the soul naturally is a what cause of the bodily what change?

[20:54] Nor is it like it about the spiritual intentions, like the color in the air, right? Huh? Which do not have naturally an order to moving other bodies, huh? Which are not apt to be moved by the soul.

[21:14] So the soul is the what first act of a natural body composed of tools. Actually, moves the body, right? What's a famous example there? The guy who was in the bathtub, you know, and suddenly thought of the solution to a geometrical problem, right? And he said, "Eureka!" And he jumped out of the bathtub and started running down, the street without too much clothes on, you know. But you know, there's been a connection between what happened in the mind and the spiritual thing, and his jumping out of the bathtub, running down, right?

[21:55] Huh? Yeah. And even that experience, you know, you discover something, you know. Also, you said, you had to go for a walk or something. That's what they said when St. Thomas was at dinner with somebody and he was abstracted the whole time in the middle of the meal. He pounds his fist on the table. That's how to solve the Manichees problem, or something. Yeah, finish the manicheans.

[22:20] Yeah. Finish them off. They apologize to the king, and the king said, "No, no, sorry, right down with Thomas." It happens all the time here. Yeah. Okay.

[22:45] Now, in regard to the second one, it says, "Where is there always some bodily change?" The second should be said that other passions have a bodily change, right? That are conformed according to their species to the what vital motion, but sadness, what the contrary, right? Okay.

[23:08] Isn't that famous thing you always say about the doctor? You know, he's talking about the man who's at the, you know, doesn't want to live anymore or something. You know, he's kind of lost his will to live, right? He's kind of crushed or aggravated by what sadness, right? Huh? And he's not going to live too long, right?

[23:30] Okay. Third objection here, right? From a Later cause, huh Levior causa, is impeded the use of reason, right? Then life is what corrupted, right? Huh? For we see many sicknesses to take away the use of reason, which do not yet what take away life.

[23:57] But nevertheless, both fear and anger bring greatest what harm bodily harm from the mixture of sadness in them, right? On account of the absence of that which is what desired.

[24:16] Sadness itself sometimes takes away what reason, as is clear in those who, on account of sadness, fall into melancholy, right? Or into madness, I guess.

[24:33] That's I'm reading in modern expressions, but that sounds like bipolar. Melancholy is down, and mania is up. Too extreme bipolar. Yeah. Now it's interesting to go through these emotions here. You can go all the way back to the main thing in theology, which is what God. Yeah, yeah, and the names of the eleven emotions. Two of them can be carried over from the emotions to the acts of the will, and to God Himself, properly speaking, and those are what love and joy, right?

[25:23] Now, some of the other names can be carried over instead of God metaphorically, right? And so, if you understand these emotions well, you can see which can be said or carried over properly, but with a new meaning, right? Which can be carried over metaphorically. Metaphor means carried over, by the way, in Greek, and then which cannot even be carried over metaphorically, right? So anger, for example, is that found properly in God?

[25:56] No, an anger arises from some kind of evil, right? Some kind of sadness. There's no evil for God, and so on. But anger is said of God metaphorically in Scripture, and it's by the likeness of the effect, right? So the man who's angry punishes, right? Okay, you're stepping on my toe, and I say nicely, you. You're stepping on my toe, and you say so what? Then I get angry, and then I punish you, right?

[26:26] And so, when God punishes, then metaphorically, by reason of the likeness of the effect, he's said to be what angry. It's not really angry, okay? And and pity is said of God, right? Okay, because the man who pities right relieves the suffering of another, right? And so, when God does it by an act of His will. Then he said, "Too much pity, right? Huh? But an emotion like, say, fear, could fear be carried over to God even metaphorically?

[27:00] There's really, no likeness there, right? Huh? God's afraid of something, you know. So you can go all the way back to God, right, from the treatise on the eleven emotions, right, to see what can be said of God properly, what can be said of God figuratively or metaphorically, and what cannot be said in either those ways of God, right? Huh?

[27:30] Can God despair? No, no, God can't despair. I wouldn't even even say of God. uh. hope, you know, huh? Hope for the salvation of the sinner or something. Yeah, I don't know. Certainly, despair and fear. I mean clearly, those emotions could not be said even metaphorically. God, you know, no real likeness there. It's hard to try to take emotions from true experience in time and try to transplant them into eternity too.

[28:00] I don't think. Yeah. Yeah. Yeah. Well, I was, you know, rereading my favorite book there. You know, the Summa Contra Gentiles right? And Thomas is talking about this and how it can be applied to God, right? And he's arguing, you know, that the that we take the names of emotions and we carry them over to the acts of the will in man's will, right, our own will, and we drop the bodily aspect out of them, right, huh?

[28:27] But we keep the formal aspect, right? And then the next step is to carry over some of these names even to God, right? And Thomas will argue that only joy or pleasure and love can be carried over to God, right? Okay. And the others cannot properly be done. But then he comes back and talks later on about how some can be carried over metaphorically, and he talks about anger and pity, and even God has said, you know, I regret that I made man, you know, huh?

[29:01] And so on, and he doesn't really change, though. But he does what something different than he had done before, right? Huh? Which we do as a result of our change of heart, right? So it's not that God has a change of heart, but he's metaphorically said to repent of having made man or something of this sort, huh? So always remember, it's been my the ultimate thing we want to go back to God eventually with all these things, huh?

[29:30] But there's all these other things that say this is useful for that I've been talking about, huh? You can't study ethics without what knowing the emotions because some of the virtues are concerned with emotions, huh? Do all of the emotions carry over the will in the human will? Yeah, those names, yeah, yeah. The eleven names could carry over to our will, yeah, but not to God's will, right?

[29:55] As proper acts of the will. Yeah, yeah, but you drop off the bodily aspect, right? So there is a yeah. In other words, you distinguish between sensible fear, the emotion fear, and the will fears. Yeah. Yeah. There's a distinction between. Yeah. Yeah.

[30:16] Where does he Where does he do that? When the first book of the Summa Contra Gentiles, he does this very nicely. Okay. Towards towards the last part there, you know, where actually takes up the will. He takes up the will, you know. Nice. And then he takes up after the will or attached to it. He takes up the. Pleasure or joy of God and the love of God, right?

[30:40] Actually, the chapter on the joy comes before the chapter on love, right? Of course, the thing about joy, as you can see, the reason kind of for that, because the object of joy is a good possessed, right? Why love can be for a good possessed. that you don't yet have, right? So it's not quite as obvious that love is going to be found in God, even though we seem to talk about love of God more than you know.

[31:05] God is love and so on, John says. But Thomas has to point out that you can love something even when you have it, right?

[31:18] But I mentioned how Socrates argues in the Symposium, right? That if you love something, you want it, and if you want it, you lack it, you know. And therefore, he's arguing that love is not such a great thing because you love the good and the beautiful. But if you love something, you want it. If you want it, you lack it. So love must be lacking in goodness and beauty.

[31:45] And has to, you know, you know, use that, you know, and say, well, if God, you know, loves, then God wants, and then if God wants, God lacks the good, and so. what a tangle But you see you can see people have a little problem with love, right? Huh? But you would have quite with the joy, right? Huh? Okay. So Thomas can actually one of the reasons for saying that there is love in God is because there is joy in God, huh?

[32:12] And and joy is about having the good that you love, right? So if there is joy in God, there must be love in God too, right? So he actually reasons from there being joy in God to there being what love in God, huh?

[32:29] It's beautiful too the way he ends up. You know, he gets to the the last three chapters there in the first book of the Summa Contra Gentiles is one hundred and two chapters, right? The last three chapters are about the beatitude of God, right? And of course, he's mainly showing this, you know, from the fact that beatitude is the supreme good, and the fact that God's understanding, you know, is so perfect and so on.

[32:53] But he has one argument that's kind of strikes you, you know, kind of surprises you to find it there. He's saying, you know, you know, involves happiness involves what joy or delight, right? But he's shown in the in the second chapter on beatitude that God is beatitude itself, right? He says, other things being equal, you you love more your own good than the good of what another, right?

[33:20] Huh? And of course, he appeals to the fact that we love more those that are joining to us, you know, by birth and like a brother or sister or mother, father, and and those being associated with, you know, in our in our life and so on, huh? And so God must love beatitude more than we do. Because he is beatitude itself, and therefore he has more joy, more pleasure in his beatitude, right?

[33:50] It's him. See, while you and I will be blessed by partaking of the beatitude of God Himself, you know, like Thomas at the end of the of the Adoro Te Devote, right Jesus in the Adams to you Yeah Your Glory, right now, I'd be blessed in the Son of Your Glory, right? And so, my my beatitude will be a partaking of God's beatitude, huh? Won't be me myself, right?

[34:21] It's kind of strange he says that, you know, but it just brings in the kind of perfection of God's joy, you know. I mean, if your if your son is successful in life or your daughter something like that, you have more joy than someone else's son. I mean, you, you know, it's natural, right? And it's because they're they're tied to you in some way, right? You know.

[34:50] Won't you rejoice? Rejoice more with him. Even Thomas, though, in his division, there was was his sister, I think, that died before him, or something. And he said, "What about brother's son? " So he wanted to know what happened to his brother. You know, there was a brother there. You know, I forget. I think he's at least in purgatory. I think he made it at least to heaven, right?

[35:09] You know, Thomas himself wanted to know that, right? You know, because he's attached to his brother, right? Because of his one of his brothers didn't die, so it's marvelous, marvelous. So now we get to the remedies of this terrible thing, sadness or pain, right?

[35:45] Then, we're not to consider about the remedies of pain or sadness, and about this five things are asked. First, whether pain or sadness is mitigated, diminished, I guess, through any what pleasure, right?

[36:07] Second, whether it is mitigated by weeping, huh? Third, whether through the compassion of what friends, huh? Fourth, whether through the contemplation of what truth? Last, not least, whether through what sleep, huh? In the bath. Knits up the. What does Shakespeare say? Knits up the the raveled sleeve of care, right? Sleep does.

[36:42] Of course, some of these people can't, you know, sleep at that time, huh? Remember when my grandfather died? I think they gave my grandmother a little thing to help her sleep, you know, because she couldn't sleep, you know. But the sleep is, you know, a little bit of yeah, and bologna is at the bath, right, or something. Very concrete, right?

[37:06] Aristotle says somewhere that the pleasures of the bath are those of a freeman. The pleasures of the bath, right, are those of a freeman, right? Okay. Those are people. Tell you know, you sing in the bath, the shower. A lot of people sing in the shower, you know. Oh, he says you're singing the shower there. I said, you see, I have something to do, you know. Maybe it must be causing some kind of joy that you start to sing, you know.

[37:41] You know the the. You don't start. To the first, then one goes forward. Thus, it seems that not just any pleasure mitigates just any what sorrow or sadness, huh?

[38:13] For a pleasure does not mitigate sadness unless, except insofar as it is what contraria. For medicines come to be through contraries, as is said in the second book of the ethics, right? If a man's too hot, you cool him down, right? He's too cold, you heat him up, right? Simple, simple. Let it go hard, right? Aristotle's father, you know, was a medical doctor, right? Apparently, a very good one, you know, for the time because he was the for the king.

[38:48] That's how he became known to to Philip, and then Philip decided to get Aristotle to be the teacher of Alexander, right? So Aristotle was supposed to have written a book on Homer just for Alexander, right?

[39:06] Of course, you heard the stories that told about the Aristotle published the metaphysics, right? We're obviously men of those days, you know. Alexander's supposed to have written Aristotle. You know, why did you say that for me? You know, why didn't you share it with other people? And Aristotle says, "Well, only those who already understand the science will understand the book he says, so don't worry."

[39:27] Plutarch tells that story. But Homer's supposed to have kept you know Homer by his bedside there, right? As he conquered the world, right, the known world. That's that's and some of the you know some historians say you know that the the Athenians you know up against the Persians you know inspired by the reading of Homer you know so he's quite a as Thomas says you know poetae student inducere ad virtuosum per delectabilem representationem he did it with the Athenians yeah and that's you know Achilles there you know working you know in mortal glory you know his hands you know you know clotted blood you know and so on just how he describes it you know glorious glorious things but they say that inspired the Athenians

[40:22] right because a lot of the Greek cities didn't really come out and fight but the Athenians and Spartans right They stopped those saved Europe yeah so

[40:40] but not every pleasure is contrary to every what sadness right huh so no it's like loneliness would be opposed to what friendship right huh

[40:57] so if I'm lonely I'd seek a friend then I'd be seeking the contrary right huh this is what the argument is saying right huh

[41:07] therefore not every pleasure mitigates every what sadness huh Moreover, that which causes sadness does not mitigate sadness huh that seems reasonable but some pleasures cause right sadness huh Because, as is said in the ninth book of the Ethics, the bad man is saddened because he is pleased, huh?

[41:36] Not every pleasure, therefore, mitigates sadness, huh? Moreover, Augustine says in the fourth book of Confessions that the one who flees what from his country in which he was accustomed to what, yeah, um, will be with his friend now what dead, huh?

[42:10] For his eyes, right? Let's seek him, right? Where they are not accustomed to see him, huh? Subtle Augustine there. From which it can be taken that what those huh

[42:37] dead friends, absent friends, what hadn't come with us, right, huh? When they are become ours, right, huh? Of their death, sorrowing over their death, death or absence. Yeah, then they become onerous, right, huh? But they most of all communicated with us in what pleasures, right, huh? Therefore, those pleasures become for us onerous right, huh? Non ergo, non therefore does every pleasure mitigate every what sadness, huh? Some people, after you know, someone has died and close, you know, they can't stand music for a while, you know.

[43:22] That's kind of a joyful thing, but. But against this is what the philosopher says in the seventh book of the Ethics that pleasure expels sadness, huh? And that which is contrary and that which is happens, right? Maybe not contrary, right? If it is what strong, right? Okay.

[43:47] So it's not only the contrary pleasure, apparently, but any pleasure, right? Especially to be strong, right? Okay. Now, what does the master say? I answer: It should be said that as is clear from the things foresaid, that pleasure is a certain rest of the appetite in the what suitable good, huh?

[44:18] So we speak of the beautiful as what how restful it is, right? Beautiful view, you know, how restful. But sadness from that which is what repugnant to the appetite, right?

[44:39] Okay, so pleasure is a rest of the appetite in the good that is suitable. right? Sadness is from what is repugnant to the appetite.

[44:55] Whence, in the same way, pleasure is to sadness in the emotions of the appetitive powers, just as in bodies, rest is to what? Fatigue. Fatigue. Yeah.

[45:12] Fatigazione, huh? Fatigue. You get the wordiness. Which happens from some what unnatural what change, huh? For sadness implies a certain. Fatigue, huh? Right, or a certain what sickness, as a word, of the appetitive what power?

[45:46] Now who's that in Shakespeare, right? Twelfth Night, isn't it? The brother of the Count. Don John that sadness, right? Okay, he's sick. So he tries to, he wants to ruin the marriage of somebody, right? So he pretends, you know, that he has his his girlfriend pretend to be the other girl, right? And be up carrying on a lewd conversation, you know, and the day before the wedding night.

[46:21] Oh that's right Yeah. Yeah. But no, much ado about nothing. Yeah, yeah, much ado about nothing. Yeah, yeah. And then, because he comes to the wedding there to denounce it, right? Oh, it's beautiful. But yeah, it's a beautiful thing, you know. Don John is the name. I forget.

[46:51] Okay, just therefore as any rest of the body brings some remedy against any what fatigue, right? Huh. Coming from what any unnatural cause, huh? So any pleasure brings some remedy to what? Mitigating right sadness from whatever it proceeds, right? Okay. Well, maybe Thomas is going to say that it was contrary more so, maybe, huh? But then he applied rejections, right?

[47:28] That's interesting, though. We do use the word "restful" there for beautiful, right? You define the beautiful, you know. We say the beautiful is what pleases when seen, right? Huh. Which is like the definition of the good of what everyone wants, right? But Augustine, in the De Vera Religione, I think it is, he says the beautiful is what pleases when seen, and then he raises this Socratic question: right, is it beautiful because it pleases us, Of course, it pleases because it's beautiful?

[47:58] He says, "I have no doubt it pleases us because it is beautiful." He says, "Right." Just like we ask that same question, you know, is it good because you want it, or you want because it's good, right? And that's a question Socrates taught us to ask, you know. So he's a good Socratic there to Augustine.

[48:20] So, but we also say the beautiful is what restful, right? So it pleases, right? But it's also restful. You think about contemporary art and how beauty has been sort of left by the wayside, and it is not restful. Most of it is supposed to spur intellectual excitement, or it's supposed to. It's explosions all the time. Explosions all the time. Or stir up the emotions in an unpleasant way.

[48:49] Yeah, yeah, it is. Yeah. Now, to the first, therefore, it should be said that although not every pleasure is contrary to every sadness in species, right, is nevertheless contrary in what genus, huh?

[49:15] And therefore, on the part of the disposition of the subject, any sadness is able to be mitigated through any what pleasure, right, huh? Okay.

[49:33] I think you might say that one that's contrary might do so more so, right? Okay. So if I'm lonely, right, then calling up a friend, enjoying this conversation, right? Yeah. Have a bowl of ice cream or something. Yeah, yeah, yeah, yeah. Although there's nothing wrong with ice cream. No, no, no.

[49:53] I knew this guy in high school. You know, he got to the house and he says, "You know, you want some ice cream?" And I said, "Oh yeah, fine." He got a great big. I said, "I've never seen so big a bowl of ice cream, you know." But then I I realized, later on, of course, you know, he had been um he had been in the minor seminary, right, of some missionary order, and was that rough, you know?

[50:20] And the food, I mean, the bread had worms. I mean, you had flies in it, you know. And he got this what they call spastic stomach. Oh, yeah, yeah. So he came out, you know, huh? And he was he was underweight, you know. He was so his his aunt and mother were trying to fatten him up, you know. So those big bowls of ice cream. They don't work, especially if you gotta have it there.

[50:44] They don't work. So my brother used to sit when he was a kid. He was in high school. He was a big help in ice cream. And my mother said to him, "This is typical high school boy." My mother said to him, "You're going to get really fat if you keep eating ice cream like that." And he was puzzled. He said, "It melts. It goes right through you."

[51:02] Yes. Well, he lost ten pounds recently. He told me so. That's good. To the second, it should be said that the pleasures of bad things do not cause sadness in the present, right? But in the future, right? Insofar as the bad have penance about the evils about which they had what pleasure, right?

[51:38] And to this sadness, one can aid through contrary, but pleasure, pleasure, right? Now the third objection. Back to objections in a second here. This is a difficult one Yeah.

[52:09] So thing, Augustine's. So I suppose Augustine says in the fourth book of Confession that he flees from his native country and where he was what?

[52:19] Yeah, yeah, yeah. So if you go to a place where you used to walk with your friend and have long conversations, you know, your friend is now dead, and you don't go walking there, right? Because it reminds you this, huh? Okay.

[52:40] Even though it's pleasant to walk with him, right? So Thomas very subtly here says, to the third, it should be said that when two causes are inclining to what Contrary emotions. one impedes the other, right? But nevertheless, that finally conquers which is stronger and more longer lasting, right? In the one, therefore, who is sad about those things in which, together with his dead friend or his absent friend, he was accustomed to delight, right?

[53:19] There are two causes moving him in contrary are found here. For the death or the absence of the friend, when you think about it again, right? cogitata, inclines to what sadness, huh? But the present good inclines to what pleasure, right? Whence both, through the other, is diminished, right?

[53:52] It's interesting how you associate a particular piece of music sometimes with the place, right? Where you what heard it, right? Here's certain piece of music, and I think San Francisco, I think of Quebec, you know, and you know, and there's no maybe necessary connection between that piece of music and that, or you associate certain piece of music with a certain person, right?

[54:23] But nevertheless, because more strongly does the sense of the present move us, right, than memory of the past, and the love of what? oneself. Yeah. Then the love of another. More enduring. Hence, it is that finally the pleasure expels the sadness, right? Whence, after a few things, Augustine adds, right, that his dolor, right, gave way to what? The first pleasure. Yeah, yeah. It's kind of hard to digest.

[55:09] So we take a little break now. Can't wait forever.