Prima Secundae
103. Hope and Action; Is Fear a Passion? (Prima Secundae Q40 a8, Q41 a1)
Class of 2013-02-14
https://berquistcourse.com/course/theology/11-prima-secundae/103-hope-and-action-is-fear-a-passion-prima-secundae-q40-a8-q41/

[0:00] In the Name of the Father, and of the Son, and of the, Holy Spirit, Amen. Thank you, God. Thank you, Guardian Angels. Thank you, Thomas Aquinas, Deo gratias.

[0:13] God, our enlightenment, Guardian Angels, strengthen the lights of our minds, ordain to be our images, and arouse us to consider more correctly. Saint Thomas Aquinas and Chalcedon. Great. Help us to understand all that you have written. Father, Son, Holy Spirit, Amen. Thinking about Guardian Angels, you know, we got off the airplane. I said to my wife, you know, I'd ask my Guardian Angel to watch over the airplane, right?

[0:40] She says, "Why ask mine too?" She said. One three two one three. Yeah, we mustn't be getting cowards down at old age, you know, flying these crazy contraptions. It's kind of

[0:55] actually coming. It was kind of you know for a while. There was people like that, you know. That always makes me kind of nervous. That sort of stuff, kind of up and down. Yeah. I heard some people who've been in airplanes go, "Ooh, we need down," and my my one of my cousins are years. I'm gonna fly again, you know. They're up and down, up and down, up and down.

[1:11] Excuse me, what's that? If you, when the video goes, I die. Big drop, I'd be. Glad to be back on the earth. I know they stop serving meals on the plane. Okay, so up to Article Eight here, in Question Forty.

[1:36] To the eighth, one goes forward. Thus, it seems that hope does not what. Help. Yeah, or aid operation, but more that impedes it, right?

[1:52] For security pertains to what hope, right? But security gives rise to negligence, huh? Which impedes operation. Shakespeare says that right. Security is mortal's chiefest enemy.

[2:13] Therefore, hope impedes what operation, right? Huh? Okay. When you're running for office, there you should have gone scared. They said, right? Huh? Moreover, sadness impedes operation, as has been said above, huh? But hope sometimes causes sadness. Oh yeah, I just quoted this too. For he said in the Book of Proverbs, Chapter Thirteen, that hope which is deferred or delayed, huh, afflicts the soul, right? huh? The soul is in purgatory.

[2:57] And therefore, hope impedes what operation, right? So I suppose those who are in purgatory are impatient to see God as He is, huh? So we got to pray for those souls.

[3:18] Moreover, desperation is contrary to hope. This has been said. But desperation, most of all in warlike things, right, aids what operation, right? For it said in the second book of the Kings, chapter two, that danger, a dangerous thing, is desperation, huh? To sell our lives, you know, a good price, as they say.

[3:54] Therefore, hope makes a contrary effect, impeding operation. See what idea that contraries have contrary what causes, right? So if desperation makes you fight like a wild man, right, be very fierce, well then hope would have the opposite effect, huh?

[4:19] Okay, but against this is what is said in the first epistle to the Corinthians, chapter nine, that the one who what plows up, I guess,

[4:31] yeah, Yeah. Are to plow in the hope of the fruit, what, receiving the fruit, and the same reason is given in others. Well, what does Thomas say?

[4:47] Hence it should be said that hope per se has that it aids operation, right, by intensifying it, huh? Intendendo, I guess, to be intensified, probably.

[5:06] You say per se now, right? For at its ends, it could be something different, right? And this from two things, huh? First, from the notion of its own object, right, which is the good that is difficult but possible, right? Notice three words there, right? Bonum arduum possibile, right? We have the grammatical reverse order, right? But the possible, difficult good, right?

[5:40] For the estimate of the what arduousness of it, the difficulty that excites the what, arouses the attention, right? And the estimate that it is what possible does not slow down or retard the attempt, right? Whence it follows that a man intensely operates on account of what hope, huh?

[6:10] Secondly, by reason of its effect, for hope, as has been said, causes delight or pleasure. Gives you what hope to attain this, right? Which aids operation, as has been said. Whence hope aids what operation?

[6:39] The two very interesting reasons he gives there. Even if for it has its effect, right? Okay. Now, what about the first objection? That secure that hope, the security pertains to hope, right? And security begets what negligence? Okay. What do you say about Monsignor Dionne His principal passion is fear.

[7:15] Okay. By the man who has hope, right? Getting the truth, you know, doesn't have that fear. He's going to be negligent, right, in his thinking. Now,

[7:32] which could never be said about Monsignor. Give half a course in a paragraph of Thomas or something. We'll invite you maybe sometimes, but someone's going

[7:50] to learn from that, right? Okay. Because De Koninck read Thomas more carefully than Kasurik, and much more carefully, he might say, and Dionne read it even more carefully than De Koninck right? Yeah. Why Kasurik was saying, "Duane, don't read very carefully." That first started out Yeah, Then you kind of built up there, you know.

[8:22] The first, therefore, should be said that hope regards the good to be what obtained, huh? Why security regards the what evil to be what Avoid it. avoided? Now, so what is social security? Avoid penury in old age. Yeah, yeah, some bad thing to be avoided, right? Huh? Because when you didn't like social security, so they quote the Shakespeare: "Security is the mortal's chiefest enemy." Yeah, sure is.

[8:50] But we got a little different context there. Whence security seems to be more opposed to what fear, whose object is the bad, right? And then it pertains to what hope? Yeah. And nevertheless, security does not cause negligence, except in so far as it diminishes the estimate of it being what do we call difficult. In which also is diminished the notion of hope, because hope is about a good, difficult, but possible to be attained.

[9:33] Right. So it's kind of interesting what he's saying there. That security, what, does not cause negligence, except in so far as it diminishes the estimate of how difficult it is. Right, and which also diminishes the rati hope, right. For those things in which man fears no impediment, huh? Are as it were already not regarded as what difficult, right, So what do you think about that, huh? What about our friend Socrates, right?

[10:15] What do you say about him? Doesn't he have that fear of what being mistaken, that fear that I might think I know what I don't know?

[10:33] I've often wanted to ask some professors, some people. Did you ever have any fear that you might not know what you thought you knew? What?

[10:46] But at the same time, you had to have that what hope of what? Yeah. Yeah. So truth is a what? If truth was just a good, then desire for truth would be enough to pursue it, right? But because it's a difficult good, right? You need hope, right? But hope also has to regard it. You have to regard as a difficult good, able to be what obtained. Yeah.

[11:14] Yeah. The old president of TAC there used to say, the former president Dillon there, that Euclid is kind of curing people of their despair of coming to know the truth, right? You know, there you can really see when you first study Euclid, huh? Hey, I'm really knowing something, right? You know. Maybe it's possible to really know something somewhere else too, you know, and not just somewhere else.

[11:36] Yeah. Yeah. You find Euclid difficult when you're out there? At first. Yeah, yeah. When you get to be a junior, then you look back and you see that you laugh at the freshman there who was stumbling over the text of Euclid, huh?

[11:59] My son-in-law got me teaching the two daughters, you know, their Euclid, right? One of them liked it, the other didn't. So. Okay. Now the reply to the second objection, right?

[12:22] Well, sadness impedes operation, right? Notice the way Thomas answered that. To the second, it should be said that hope per se causes what delight, right? Because by hope you regard something good, right, which is a cause of pleasure, the good, right? As what about difficult, right? As something what difficult but possible, right? And therefore, you have a certain what pleasure anticipation, right? Okay. You assume he's going to show up or she's going to show up for the wedding, right?

[12:52] Unless Ms. Havisham didn't get her groom, right? You know. But I mean, as long as you have this hope, you know, that person's going to show up for the thing, huh? Yeah. Okay.

[13:14] So, how common is that distinction between the per se and the per accidens? You met that in study of fallacies. What fallacy is that? Where does that belong in the kinds of fallacies?

[13:32] Yeah, yeah, yeah. It's interesting in the if you take the most general thing like being, right? Huh? What is the first distinction in the fifth book of wisdom of being? What's What's the first distinction of being? What is the distinction of being? Per se and per accidens. Yeah, yeah. And then later on, he'll distinguish per accidens into three kinds, and then under being per se, he will distinguish three kinds of distinction, right?

[14:02] Huh? Being according to the figures of predication, and then being as true, and then being as act and ability, right? Yeah. But notice the universality of this per se and per accidens, huh? Okay. And of course, enters into the distinction of what causes, huh? I'm just going through the parts in the in the Summa Contra Gentiles there on good and bad, right? Huh? And good has a per se cause, right?

[14:33] And once in a while, I can have a per accidens cause, right? Like I dig in the ground to plant a tree, and I find the treasure there, right? Buried by Captain Kidd or somebody. Um, but what about the bad? What kind of cause can the bad have?

[14:53] Only per accidens, yeah, yeah, yeah, yeah. Thomas goes through the different kinds of causes to show this, right? But shows you how important that distinction is of per se and per accidens, right? Because good and bad is very universal, right? Huh?

[15:13] Yeah. Most people don't understand good and bad, which is bad, I think. Yeah. Ignorance of this. But you know, Aristotle defines the good as the good is what all want, right? Most people say, "What do you mean? " Most people want bad things, right?

[15:42] But do they want the bad as such? No. They want the bad because of some little good in it, or because some appearance that it has of the good, right? So the good as such is wanted, and the bad only per accidens, huh?

[16:07] If you can't see that distinction between the pericene and the brachidens, you don't understand the first definition of good. Just to be very blunt,

[16:21] but something very common, right? People just don't know what they're saying. To the third, should be said: the desperation in war, right, becomes dangerous on account of some hope joined to it, right?

[16:52] For those who despair of what flight, become weakened in their what fleeing, but they hope to what vindicate their what their death, and therefore from hope they fight more what sharply, yeah. Once they become dangerous to the host, right?

[17:24] Okay. So now we're going to pass to the other chief passion in the what irascible appetite, right? So the chief passions, the principal passions are what joy and sadness, right? In the concupiscible and hope and what fear, right? So if you look at the place we're in right right now, question forty was the first question in the what irascible appetite, huh? And notice he takes up first hope and desperation because it's the opposite, right?

[18:11] And then secondly fear, right? And audacity or boldness because it's the opposite, right? And third place comes what anger. And there you touch upon altogether five what emotions, right? So there's five emotions in the irascible, and the concupiscible there were what six. Six, yeah.

[18:42] Now if you're thinking, why is there an even number for the concupiscible and an odd number for the what? We see hope and despair arise from what emotion in the concupiscible? Because the concupiscible is more basic than the irascible, right? What? Yeah. Well, hope and despair arise from desire, right? Okay. So if you desire some good and there's no difficulty in getting that good, then there's no reason to bring in the irascible emotions at all, right?

[19:23] Okay. So I'm your typical American sitting in front of the TV there watching football game, whatever it is, and you got a bowl of popcorn in there or chips or something, and you know, so you don't need any hope to get those chips into your mouth or that popcorn into your mouth. You do evaluate in thinking, right? Okay. But if what you desire is a good difficult, right?

[19:46] To obtain, right? Then there arises either an estimate that it is possible, right? Which case you have hope, or estimate that it's not possible for you to overcome that, right? Huh? And then you have despair, right? Huh?

[20:07] And then fear and audacity arise from what emotion in the irascible? I mean, in the concupiscible. Against the approach of what's bad, what you don't want. Yeah, the the opposite of what. Of a desire, right? Aversion, right? Returning away from this, right? Huh? Okay. Now, if I pick up the menu and it says salmon, right? You know, there's a aversion right away, right? Huh? Okay. If I am a free man and I'm just going to order whatever I want from the menu you know order from the thing, you know.

[20:45] So I don't have any fear that's going to be imposed upon me, right? Huh? But when you invite out to somebody's house and they're serving salmon, now you've got a little more problem, right? This fear. What are we going to do? Okay. So there's some difficulty to avoid something that you have an aversion for, right? If you think you might not be able to avoid it, right?

[21:10] Then you start to feel what? Fear, right? Huh? If you think you can overcome it, you know, then it's in boldness, you know, huh? And courage, right? Okay.

[21:24] Now, where does the last passion, which is going to be what anger, right? What does that arise from? What what passion in the compulsible does it arise from?

[21:45] I guess it comes from your your hatred of the good. I mean, you have bad. I'm sorry, the hatred of the bad. Yeah, yeah, but it is more. Of course, the hate and the love underlie desire and aversion too. But doesn't anger rise more from sadness or pain, right? You know, so if you're stepping on my toes and I say politely, you're on my toe. You say so what?

[22:15] But then I'm going to get what? Angry, right? Huh? You see. Or if you call somebody, you know, a particular such as that he doesn't want to be called, that causes him a little bit of pain, right? And he's going to be angry, right? Huh? Okay. And so,

[22:38] but anger rises if you're think you can do something about it, right? Okay. So anger is kind of in presence of a bad that is already here, right? It's upon you, right? Okay. I've been insulted, right? But you're actually stepping on my toes, right? Why? Why fear is something in the what future, right? Huh? Okay. Just like hope is for something in the the future. So from sadness arises this this anger if I think I can overcome it, right?

[23:11] Okay. And but now you say if if mosquito says landing on my thing and biting me, no, I don't get very angry. I just you know because because there's no difficulty in getting rid of that, right? Huh? See. Refusing to be on my toe and refusing to go, there's a little difficulty here, you know, that has to be met, huh? And that requires a certain amount of what?

[23:37] Anger, right? Remember this friend of mine now, it kind of nasty little kid next door, right? Kid comes over to his backyard there, and they have kind of a thing with a potted plant, right? The kid looks at at my friend, and he takes the plant, and

[23:55] the guy picks him up and whacks him. The parents are doing their job, right? He probably didn't tell him nowadays with the way they are. You can't whack a golden kid, let alone an English kid, you know. But he kind of deserved it, you know, huh? Yeah. Or he did deserve it, should say.

[24:16] So what's that? That's what's that example? Well, that's a little bit of pain he's causing, right? You get a little bit annoyed at a kid come over and in front of you, you know, take your plant, knock it over, and smash the damn thing. Yeah. Punish that kid. Yeah. No particular difficulty there. Yeah. That's a present evil, though. You see, the sadness is caused by a present evil, right?

[24:41] It's already been done to you, right? It's it's here and before you. Right. Never become angry because there's no difficulty because there's no difficulty, right? Well. Yeah. There's no anger. When when this case is a little difficult, you have to make an effort to spank that kid, right? Yeah. Yeah. Yeah. And I mean, may not be necessary, but you know, since a parent, I suppose, can punish without being angry, right?

[25:12] You see, the kid should be punished. But now, if you have some good that you enjoy, does that give rise to a need? What emotion? And the.

[25:29] That's part of the reason why you have this odd number here, right? Yeah. Something arising from desire, two of them, right? And two possibly arising from what? Aversion, right? Okay. But if the bad is imposed upon you and you can't do anything about it, you don't have anger, right? You just.

[25:57] But in the case of of the enjoyment, well, there's no difficulty there, right? Enjoy the good that you have, right? You know, that's that's easy, right? So.

[26:13] We go to music of Mozart now. You can see you pick out these emotions. Warren Murray and I went to making a tape of the different emotions there to show it to another friend. Okay, so we're two with hope and desperation, as far as Prima Secundae is concerned here, and now we're going on to fear, right?

[26:49] Consequently, one ought to consider the premium. He says first about fear, and secondly about what audacity, right? Because fear is the principal emotion, and audacity is the what secondary.

[27:13] Okay. Now he says about fear, four things ought to be considered. First, about fear itself. Secondly. About its what Object Third about its cause, and fourth about its what effect? Huh? I wonder why he says a different article for the object and the cause, because I thought the object of the emotions was the cause of them, right?

[27:50] So when he argued, you know, that good is the cause of what of love, right? Huh? It's because it's the object of what love, right? And in general, we say that about emotions, right? I mean, what causes your fear? Well, it's the things you fear, okay? Because emotions are being what?

[28:13] Yeah, the the the appetite and the faculty is being acted upon by the what object? Yeah. Okay, that's why we call them passions, because passions means what being acted upon, yeah, undergoing, right?

[28:34] Aristotle extends the word passion, you know, from the emotions to the to the what sensing, right? And altered the understanding, which is a different kind of of passion in a less full sense of the word passion, right?

[28:52] Okay, to the first, then, oh, and fourth about the effect. Okay. Now about the first four things are asked. Gee, Thomas is going to be more thorough about this fear. He must be like Monsignor Digan, right? huh?

[29:13] What do they describe Thomas when he was stumped on something, he'd fall to the ground and pray, you know. Laid on the floor, they prayed, and then like Ah, I've been enlightened, you know.

[29:33] About the first four things are asked. So you know, you got if you look at the at the footnote, they got a question for each one of these four things, right? Okay. Now the first question is about fear. secundum se by itself, or in itself. About the first four things are asked. First, whether fear is a passion of the soul. Strange, he says this. Right? There's some some doubt about this.

[30:00] Huh? Second, whether it is a special passion, not the name of something common to many passions. Third, whether there is some natural fear. Huh? I'm convinced that there is. And fourth, about the what species of fear?

[30:21] Didn't ask that about others. What? Didn't ask that about others. No, no, no, no. And so. Special consideration of fear, right? Used to joke about when Zigliara you know, in his Vatican II, there, the Cardinal called him. he'd fly over to Rome, right? Then they said he'd sell a return ticket and come back in the boat.

[30:47] I don't know if that was true or not, but he was afraid to. Oh, I'm not afraid. I think it's more pleasant to sell on the boat. Like, no jet lag on a boat. Yeah, yeah. To the first, end one proceeds thus. It seems that fear is not a passion of the soul, right? For Damascene, a doctor of the what Eastern Church, in the third book, huh, Orthodox faith, huh?

[31:25] He says that fear is a what? Power, right? A virtus. Secundum sistolena, which he translates as what? Contraction, right? Okay. Oh, like systolic here. That's contraction. I guess so. Must be. There you go. Used to have in my college. I used to have a chorus taught by the Greek and Latin professor for pre-med majors, right? Yeah. They learn some of these Greek words that are used. You know, then these words don't seem so mysterious, right?

[32:00] Huh? Very common in Greek, huh? Essentia desiderativa, desire of what being, I suppose, right? But nulla virtus is a what? Passion. Passion. As is proven in the second book of the Ethics, right? Therefore, fear is not a passion, right?

[32:27] No one's here to get Damascene off the hook, or not. Moreover, every passion is an effect coming from the present of some agent, right? But fear is not about something present, but about the future. Damascene says in the second book, huh? Couldn't you have given that same objection against hope or something? Yeah. Therefore, fear is not a passion, right?

[33:00] Huh? Moreover, every passion of the soul is a motion of the sense desiring power, right? Appetitus means what? It can mean desire, I suppose, in Latin, right? But it's also used to name the what? The ability to desire, right? The desiring power, and here I think it's desiring power, right? Okay. Just like the word understanding, right? Huh? Or intellectus, right? You can name the the actor, can name the power, can name the virtue, you know.

[33:35] So, but the sense is not apprehensive of the future, but of the what present, huh? Since therefore fear is about a future evil, it seems that it is not a passion of the soul, right? This is touching upon the idea that the irascible is closer to reason, right?

[34:02] And the irascible right The Mozart's five last symphonies, right? The thirty-sixth and the forty-first are about magnanimity, which is about what hope, and the thirty-eighth and the fortieth are about courage, which is about fear, right? Now, Mozart, the most reasonable music ever written, most beautiful music ever written.

[34:41] What did John Paul II say? The Church could not fail to do homage to the genius of Salzburg. I have physical quotes that I just did, in Mozart. Make a little florilegium for yourself, in Mozart. Yeah. But against this is what Augustine says in the fourteenth book of the City of God.

[35:14] Is that Augustine enumerates fear among the other passions of the soul, right? That's enough. And who is Augustine, right? He is somebody. Augustine, Thomas said, "Kind of the greatest minds there that you just had." John Paul II has got an encyclical on Augustine, so you want to realize, you know, the importance of Augustine for the whole tradition of the Church, right? And in the in the the what do you call the catechism of

[35:53] the Catholic Church, right? The most quotes are from Augustine, aren't they? Yeah, except for maybe the Bible, but quite few from Thomas too, but even more from Augustine. So he's really still the big the big shot, right?

[36:16] I answer. It should be said that among the other emotions of the soul, after sadness, right. Fear has more obtains more the aspect of a passion, right? What's the idea that a passion is? Got the idea of something what? Type more the bad originally than the what? Good, right? Okay. Now, kind of the English word for passion would be suffering, right?

[36:53] Okay. Which obviously something to do with the bad, right? Okay. What Shakespeare says in one of the plays there, you know. A woman says that that you suffer love for me.

[37:10] Well, they're starting to move it away from the original meaning of suffering, right? But even there, you're applying the word suffering to what? To love, huh? Which of my attributes, you know, that you suffer love for me? Well, you were moved by something. About her, you know, that moved you to love her, right? So you underwent, you know, love, huh? Of course, the other English word there that I use sometimes, "passio," is undergoing, right?

[37:40] Okay. And that, as though originally, the aspect is something bad, right? So if I say, you know, he's undergone a lot in life, or she's undergone a lot in life, what does that mean? A lot of good things happened to him or her? No, no. So, or if you say you're under the weather, right? Does that imply usually something good or bad? The weather has cheered you up or something?

[38:10] Something that you've been acted upon in a way that's somewhat harmful to you, right? Okay. I already told you about that guy who's teaching philosophy there at one of the public universities there, and he described this student. You know, was saying, "Why are you doing this to me? " It's like you're undergoing something, you know. Yeah. It's like you're as So, notice what Thomas says here, among other emotions of the soul, after sadness, right?

[38:42] Huh? Pain, right? So when I'm in pain, right, you know, might be seeing an apparition, whatever it is, I'm really undergoing something, he'd say, right? Okay. Come under the knife and stuff. Okay. But after he says sadness, timor, fear, more has the notion of what a passion is, right? Huh?

[39:05] Okay. Now, this has been said above, huh? To the notion of passion, first pertains that the emotion of a what? Undergoing power, right? Passive power To which, what? Is compared its object through the manner of a what? Active mover, right? Huh? Okay. In that the passion is the effect of the what? Agent, right?

[39:43] And by kind of extension, in this way also, to sense and to understand are said to be a pati undergoing. Because Aristotle says this very explicitly in the second and the third book, right, of the

[40:00] De Anima, right? But he'll point out differences between them, right? Like he says in the third book, you know, that when the senses undergo a strong object, they're kind of what? I'm able to see lesser things, right? So if I shine a bright light in your face and then you can't see. Things that are dimmer for a while, you know. But he says this is not true about the understanding.

[40:26] If you understand something very understandable, you can understand even better lesser things, right? Okay. So I notice, you know, the greatest minds I've known, like De Koninck's mind or Dion's mind, so on, they had a good judgment in music, right? Okay. Now music is is reasonable, in what sense? What way? Is it reasonable like a like a theorem of Euclid is? In what way is is music reasonable, right?

[41:03] Partakes of reason. Yeah, that the emotions can partake of reason, right? Okay. The way Aristotle teaches us in the Nicomachean Ethics, huh? Okay. And

[41:29] so it's not as understandable or knowable as say geometry is, right? But the man who's understood something higher, when he turns to something less reasonable, only reasonable by participation, he's a better judge, right? Okay.

[41:51] So they would judge, you know, that Mozart was very good or Bach was very good or something. And same with you know fiction, right? You know Shakespeare was was the one for the moderns or Homer for the ancients, right? Okay. Aristotle calls Homer the poet, right? Huh? You know. I was reading now Alexander Pope's Introduction there to the Iliad this morning. You know, he's talking about how Homer is the greatest poet, right, and how he excels Virgil and so on, you know.

[42:23] So, but men whose minds consider things are very understandable. They turn to these lesser things; they can kind of see that, right? Huh? My wife was complaining about the the music in one of the churches there down in El Paso. She said, No sense of what church music should be like," you know, huh? But but someone who who's got a good mind and studied high things, you know, could see that right away, you know.

[42:51] You see. Why the senses are kind of overcome by bright light or bright taste, right? There's some foods you know so hot, you know, some of these hot things that you can't taste anything after them, right? You know, they're so hot, right?

[43:10] Okay. But still, there's an undergoing in both ways, right? Receiving. But but as you go further away from the body, the original sense of passion, the receiving is what actually perfecting the thing, right? Huh? So when you receive the sound of Mozart in your ear, your ear is being perfected, right? When you receive the teaching of Thomas, your your mind is being perfected, right? And so on.

[43:35] When you receive a kick, you're not being perfected; you might be rehabilitated a bit. Okay. And in this way, he said, even to sense and to understand is said to be a pati, right? Okay, undergoing.

[43:55] Secondly, more magis propria, right? Okay. That is said to be a passion, which is the motion of the desiring power, right? Okay. At adhuc magis propria right? Even more properly, right? The motion of a what desiring power that has a bodily what organ, right? Huh? Okay. So notice he's saying there that the desiring power, the like the will, even right, is more what moved, right? More undergoes than the senses or the reason, right?

[44:34] But not as much as the what sense desiring power, which has a bodily organ, right? Huh? Which comes about with some bodily change, right? Huh? At adhuc even further propriissime huh? That's it's a relative, right? Okay. Those motions are called passions, which imply some nocumentum, right? Okay. Okay. Now, you know, from the point of view of of logic and of naming things and of knowing things, huh?

[45:09] Um, if I you know start sticking you with a pen right now, right? You'll be very much aware of the fact I'm acting upon you, right?

[45:21] And I'm really acting upon you though with my talk, right? Because your ears are being bombarded at least by the sounds, I don't know, if the thoughts are going in, But at least the sounds are going to your ear, right? Huh? Or even you know looking at somebody, I mean you know the light is is acting upon you, but it's not as obvious that you're being acted upon by the light as it is by what the pen, right?

[45:46] Huh? So in something bad like that, is you're being acted on in a way that's contrary to your nature, you're more aware of the fact that you're being what acted upon, right? So that's kind of the first name of what undergoing suffering, right? Huh? And if the word suffering had been extended the way the word passio Latin extended, we could say you know sensing is a suffering, right?

[46:12] And understanding is a suffering. Kristall sends the same, right? But in fact, the English word has been what suffering has stopped at the first meaning, so to speak, right? But the word "passio" has been carried over, right? Okay. Now in Sindiang say there are those who can't move a word, right? The word is stuck there; they can't carry it over, right? And but I, in English, trying to accommodate English, I've I've used the word sometimes "undergoing," right?

[46:46] Huh? Which is maybe not a strong suffering, right? Huh? But undergoing, as we said before, seems to imply at first something what bad, right? I'm under the weather, right? I've been acted upon by the weather, but in a way that is what not perfecting me, but making me worse, right? I've undergone a lot in life, someone says, or something like that. Huh? Bad things have happened to you, right?

[47:13] You know, horrible things. Okay. So when it gets to the most proprissime right, Like this, is, like the first meaning of the word, right? Okay. So,

[47:35] you know, when we speak too, even of the will as being more moved by something, right, than the reason is being moved. Although that can say it's being moved too, right? You know, moved by the arguments, right? But you're moved by somebody's situation or misery or something.

[47:54] Interesting. What what what is the the definition of tragedy, by the way? It's something that moves you, moves your emotions to some kind of some kind of representation. Yeah, yeah. It's a likeness of an action that is serious, complete in some magnitude, in sweetened language, right? Acted out rather narrated, and moving us to what pity and fear, so as to purge these, right? Okay. And we always often take the the prologue of Romeo and Juliet, right?

[48:40] Because Shakespeare is kind of preparing the way for tragedy, right? And so he says, whose misadventured piteous overthrows, do with their death bury their, do with their death bury their parents' strife, right? The fearful passage of their death-marked love, you know. And this is the second and third quatrain of the prologue. But notice, huh? Pity is a form of what sadness, right? And fear at the very beginning of the thing he said, among the other emotions of the soul, after sadness, fear more is a notion of passion, right?

[49:14] Well, tragedy is moving us to a kind of sadness, right? Kind of pity, just sadness over the misfortune of another, right? And then uh, and to fear, right? This could happen to me.

[49:34] There's a woman of Trachis there, you know, and she sees the prisoners coming in, and there's a she's especially moved by the by the princess there, you know. Before she was in her father's house, a happy young lady, you know, and now she's what a slave, right? And she has pity for her, right? But then she fears something could happen to her, because it will. You know, that's that's.

[50:02] It's kind of interesting that that the the two emotions that he says magis rationem obtinet passionis, right? Are the ones that tragedy is, and they make a greater effect upon us, right?

[50:24] If you think of love, say just in love in Shakespeare, right? You think more of Romeo and Juliet, right? The tragedies, right, rather than the comedies. So the comedies have something to say about love too, right? Huh? But if someone says the Shakespeare understood love, right? Everybody would think of Romeo and Juliet, right? Some tragedy, right? Or Antony and Cleopatra, you know? No more famous pair is than Octavius at the end, yeah.

[50:50] So, so, so most properly those emotions are called passions, which imply some nocumentum, right? Huh? Now it is manifest, however, that fear, since it is de malo, it's about something bad, right? Huh? Pertains to the desiring power, right? Now, still use the word potentia appetitiva right? So you could translate it as desiring power, right? I've spoken before why he names the desiring power from desiring particular, right?

[51:32] What's the reason for that? Motion. Yeah, things in motion sooner catch the eye than what not stirs, right? Huh? And desire seems to be a motion towards something, right? And of course the the kind of strongest emotions are kind of love and what anger, right? And difficult excess in these things and so on. Then they stand out, right?

[52:02] Because the desiring power, per se, regards the good and the what bad, huh? Just like reason regards the true and the false, right? Um,

[52:17] it pertains, however, huh, to to the the pertains to the sensing sensitive desiring power, right? For it comes to be with a certain what? Change in the body. Yeah. With a contractioni, as Damascene says, right? Yeah. Okay.

[52:41] So he takes that contractioni there as touching one of the bodily change, huh? Yeah. And because Aristotle spends time on this in the proemium to De Anima, right? He talks about how you don't really know the emotions unless fully you don't know the bodily change that accompanies these emotions, huh? I remember holding a little kitten in my arms, you know, and the dog was I could feel the the cat's fear, you know, huh?

[53:07] Just in her body, you know, and just holding in my hands, so I just you know. We had a cat out the lake one time, and it was a real nice dog, you know. It wouldn't harm the cat, even you know, but the cat was scared to death. And she ran in the house and under the bed. There's a bed out in out in the screened-in area out there, you know.

[53:32] And wouldn't come out under the bed for about a day, you know. And finally, kind of involved, got her to come out again. And she came out, stuck out the door, and she'll talk again.

[53:53] Funny, you know these animals. I guess if you introduce them early, they'll play with each other, right? I had a cat one time when I was little, and the neighbor had a dog, and we let them, you know, stick each other out, and they they play with each other, right? At my son's place too, they have a a dog, and they got a cat, and they got a rabbit.

[54:12] I guess the rabbit was brought up with dogs. Oh boy! And so, guess along with the dog, with the dog, and with the cat, too. Somebody showed us a video of kittens with older dogs. Yeah. Very mild, man. The kittens are just crawling all over the dog. Yeah, yeah. Grabbing and snout and doing. Yeah. And the dog is kind of adoring it all.

[54:39] If it was some some undergoing kittens. And implies a certain relation to the bad, right? According as the bad has in some way a victory, right? Overcoming the ratio, I mean. Something good. Yeah. Over something good, yeah. Whence most truly to it belongs the ratio of passion. But nevertheless, he says after sadness, and I guess the reason for this is because that's about a present present evil, right?

[55:17] Why fear is about a future evil, which doesn't as much move us as the what present, right? Now, what about this word virtus? How are we going to solve that use of Damascene's word there? To the first effort should be said that virtus names a certain what beginning or source of action, right? And therefore, in so far as the inward motions of the appetitive power are beginnings of the exterior actions, are sources of those exterior actions, they are called what Virtues.

[56:00] virtues, huh? But the philosopher negates passion to be a what virtue, which is a habit to us, right? A habit, right? So, what kind of fallacy was involved in this argument there, young man?

[56:17] Accident. Well, if Aristotle meant by virtue some kind of habit, and Damascene meant by virtue any principle of action, then what kind of a fallacy is involved here? Yeah, yeah, the most common kind of fallacy, right? Aristotle says in the book on sophistic refutations. Yes, right. Thomas put it first, right? It's not the deepest objection, but it's the most common.

[56:58] Now, how can you be acted upon by something that ain't there? To second, should be said that just as a body, as a passion of a an actual passion of a body, comes from the bodily presence of the agent, right? So the passion of the soul comes from the what? Animal. Presence, the the the souly soulful presence of the agent, even without a what bodily or real present, right?

[57:34] It's just present in your mind, right? Okay. But you, you know, this to say, you know, people sometimes you call some embarrassing moment in their life, you know, and they kind of go it again, you know. But it's because the past is what present to them, right? Okay. Well, likewise through the imagination, so on, the future can be what present, right? Okay. Was it the the the woman saint that was suffering a lot, and she complained to our Lord, you know, that he was only on the cross for so many hours, but she's been suffering for months or years.

[58:10] He said, "Well, no, no, no," he says, you know, from the beginning of my life, I had this, you know, before me, right? He's going to undergo, right? That's probably why Christ is not as jovial as people would like him to be, you know. Got this hanging over him all the time, huh? Okay.

[58:35] Insofar as the evil that is what in the future in things is present according to the what? Soul. Yes. Reminds me, of of uh I was young. I used to go down to Saint Paul Public Library from Saint Paul, Minnesota, and they had a big music room. You could take out about six of these old records for for two weeks, right? Huh. And you could hear a lot of these things, but behind the desk there, they had a a room, you know, that was kind of you know soundproof, where they could hear you know what's going on there.

[59:13] And the you could reserve times, you know, I mean, just you know, whatever was was open on the thing, you know, sign up for sometimes some music, and then take the records in there and play them, right? And it was kind of you know the sound was kind of dulled by the by the acoustics, what I call it, but you could kind of hear it on there.

[59:39] We're in there one day, and this guy was playing, you know, wedding marches over and over again. Everybody was kind of, you know, he's singing the room by himself, you know, things, but apparently he's about to get married, right? He comes. Come to practice. Yeah, yeah. Well, he's he looks so happy, you know. Marriage was as happy as anticipation was, right? But but what was present to him then, right?

[1:00:11] Huh. You know. I told you my experience going in there one time. I was kind of interested in the music of Prokofiev right? Which is pretty interesting. And I I I decided to hear some music of Prokofiev I'd never heard before, right? So I went in there and I put it on, you know. I was listening to this awful stuff of Prokofiev, and the woman at the desk comes in.

[1:00:34] She thought I had got the wrong speed. No, no, no, this is Prokofiev It just didn't sound right to her, you know. I mean, So. I first heard the what is it, the thirty-six Symphony? There, you know, and they had these the windows there, and they you know go up like you know these two-story, almost windows, you know. And it's one of these days with a dark blue sky and these puffy clouds that look really great.

[1:01:06] Listening to the beginning of the thirty-six Symphony, you know, it really stuck in my mind the rest of my life. And someone said, you know, if all that survived of Mozart was the beginning of the thirty-six Symphony kind of action, it'd be enough to establish his greatness. It's true. I had a lot of thoughts about that. Music rooms. It was good. You can take out six records and hear them.

[1:01:28] You know, you have to have the pieces at your house and hear them over and over again for a while to really know them. You know.

[1:01:41] Okay. But it's present, according to the apprehension of the what soul, right? Okay. Now to the third, we're just saying now the senses, right? Know the thing that is present, right?

[1:02:06] To the third, it should be said that the sense does not apprehend the future, but from that which it apprehends that is present, the animal by a natural what instinct is moved to hoping some future good, right? Or fearing some future evil, right? The birds fly south or something, right? Yeah. What they call those people go down to Florida in winter, snowbirds. Snowbirds. Yeah, at that time.

[1:02:36] Thanks, Christian. Okay. You know that you're from Florida, right? Yeah. Should take a little break now. Okay.