Prima Secundae
108. Emotions, Virtue and Music; Q.44 a.4 Whether Fear Hinders Action; Q.45 Audacity, Its Contraries and Its Relation to Hope
Class of 2013-02-28
https://berquistcourse.com/course/theology/11-prima-secundae/108-emotions-virtue-and-music-q-44-a-4-whether-fear-hinders-action/

[0:00] So now you see when we go on to the virtues, huh? There are some virtues that are in the irascible appetite, right? And some virtues in the concupiscible appetite, like temperance will be in the concupiscible appetite, and and courage will be in the irascible, right? And then some virtues will be in in the will, like justice, right? And of course, some virtues will be in reason itself, like wisdom, and so on.

[0:26] And so you have to understand these things, right? And said the difference between the emotions and the acts of the will, and. You see, in music, music is is basically a representation of the what emotions, right? And the reason why the music of Mozart, say, and the music of the Baroque is better than the Romantic music, right, is that it represents the emotions in a state where they're sharing in reason.

[1:03] Well, that's the one thing the Romantic guy doesn't believe in, right? That the the the emotions should partake of reason, should be subject to reason, right? And so, when your music, when your emotions are moved in harmony with the music of Mozart or the Baroque, then you're being kind of disposed in a remote way, at least, for what the virtues of temperance, right? And that's why Plato talks about that in the Republic, and so on.

[1:33] Maristella talks about it in the eighth book of the Politics, right? It's important the kind of music that the children and adults, that matter, listen to, right? And uh but but. Aristotle also says, kind of strangely at first sight, you know, but he says that in in music the representation of the virtues that are concerned with emotions, right? So, like in Mozart's last symphonies, like the thirty-six and the forty-first among the five last symphonies, they're both a representation of magnanimity, right?

[2:09] Which is one of the great virtues concerned with magnanimity aspiration, right, with hope. And they're both in what C major, right? Why Mozart represents say say fear or anger, he uses what minor key, and usually what C minor or D minor, right? The two concertos that have anger represented them are the C minor in the twenty-fourth and the twentieth, the D minor concerto, right? And the fearful scenes in Don Giovanni are in D minor, right?

[2:43] So Mozart understands, you know, why the you know sadness might be more in in like say G minor, right? So the the minor keys are used to represent anger, right? Fear and sadness, right, that sort. And the major keys are to represent joy or love or you know hope, right? And

[3:11] when Mozart changes the key, it's always significant, you know. When they compare Mozart with with Haydn, of course Haydn recognized Mozart as as the master, but Mozart learned things from Haydn too, and eventually surpassed him, right? At the end, Haydn is what imitating Mozart and running from Mozart, right? It's beautiful, beautiful. It's like Albert the Great, you know, going down to Paris at the end, with after Thomas had died, he's defending the teaching of Thomas now, you know, against all kinds, you know.

[3:43] And but Haydn will will will will modulate to another key in his variety of spice of life, right? But Mozart, there's a real what reason for doing it, huh? So he represents the emotions, but in this way that's what? in harmony with reason, right? This is what Aristotle talked about, right? The reason why there can be moral virtue in the emotions is because the moral the emotions can to some extent partake of what a reason, right?

[4:18] And so they compare the emotions and reason sometimes to a man and a horse, right? If you read my friend Washington Irving, if you read his Western narratives, there, right? Beautiful descriptions of the taming of the horses out there. And of course, when you first get one of these wild horses out there in the prairies, you know they all throw you off, you know. But you gotta, you know, they can tame them very quickly, you know, and then the horse would what.

[4:46] Obey the man and be a better horse for having that spirit, right? Well, this is kind of the way, you know. When you get on your emotions, the first thing emotion to do is throw you off, throw reason off, right? But if you keep on coming back upon it, right, you might eventually what tame it in some way, right? You know. But in a sense, you know what good parents do.

[5:06] In a sense, is to what tame your emotions somewhat so that when you get old enough to have some use of your reason, right, the emotions are more apt to what listen to your reason, right? Aristotle has a beautiful comparison where he says, you know, should reason rule the emotions like a master rules his slave, or like a father rules his son, right? You know the way he puts it, right?

[5:33] And of course, he concludes that he should rule like a father rules his what son, right? Huh? And the reason why he says that is that the master rules the slave for the good of the master, right? And the slave has no saying about what he's going to do today. By the son, the father rules the son for the good of the son, right? And the son has something to say about how he what he does in life, right?

[6:04] So it's a beautiful comparison. Aristotle is saying that reason should rule the emotions like a what father rules his son, you know. My father was was a very good man in many ways. He's telling me this fun story about this business friend. You know, this guy had all kinds of hopes for his son, right? And so they're in Minnesota, and of course he he got his son into Amherst College, which is kind of prestigious college, you know, and they're all very stuffy and so on.

[6:32] And the kid wasn't really, you know, suited for Amherst. wasn't even suited for college. And of course, the first year, of course, he slunk out of Amherst, right? So now he's coming back. You know, what does the father do? He says, "What do you want? What do you want? " You know, since I like to have a filling station, you know, gasoline station, you know, working cars and you know that sort of stuff.

[6:57] Okay, so daddy was a good wealthy guy, so since I'm up in a filling station, right, everything everybody's happy, right? I think my father was telling me this because this was kind of you know he never tried to you know force us into something that was not suitable to us, you know.

[7:14] The the since my father comes to the factory there, you know, and one of his business friends, you know, and the guy would say, "Oh, see me working down there in the factory, you know, bringing it from the ground up. That's the last thing I want to do is spend, you know, my life in farm equipment, you know. But but you know something my father was telling me is the father rules the son, right?

[7:35] Rather than it's a master slave, you know, where he wants you to, you know, if I'm a lawyer, he should be a lawyer, if I'm a doctor, he should be a doctor, or I'm a business manager of the company or something, you know, and and. So that's what a good father does, right? I mean, he gives guidance, right? And but but the son has something to say about what he's going to do in life, right?

[8:01] But because of his bodily aspect, right, the emotions are not obviously fully what subject to reason and so on, right? And so they have to be what accustomed to listen to what to reason, right? It's interesting when Thomas is talking about the sins of of intemperance, right? He says he has an article there, I think, is called "These are childish vices," and he has good reason for calling them that, right?

[8:32] Because a child, if he's not corrected, right, he's let to go his own way, eventually can't control the child, right? He becomes uncontrollable, right? And so if you give in as a word to you can keep the way emotions when they're moving to some kind of excess, eventually you can't what control them anymore, right? I used to hear about you know when they would convert a the prostitutes in Paris that was kind of a standard example, right?

[9:00] But you know a lot of times these women would relapse into their sins, right? And so you're so accustomed to these things, right? So Aristotle is very strong in the ethics, right? You know, it makes a great deal of difference, right, how a person is brought up, right? Makes a great deal of difference, he says, or rather all the difference, right? Is if there was very little chance for someone who was brought up what you know let's go wild, you know, in these families now where they don't have a father and so on, right?

[9:33] My father come home and if I've been misbehaving, you know, say you sit in that chair now, you don't get out of the chair. My mother, I sit there, I don't get out. And my mother, you know, would marvel at my father's you know command, right? No, it goes back to what Aristotle says, right? You know, the ruler has to be in some way separate from what he rules, right?

[9:57] So the parents try to join the kids and be be a playmate, you know, that's that's not they lose their authority, right? But no, the truth is, on

[10:13] the emotions here is a key thing for understanding music and for understanding fiction and for understanding rhetoric, right? But in this context, for understanding moral theology,

[10:26] of course, you know the the old we'll meet the four cardinal virtues, for example, that's a common thing, right? And you said temperance and fortitude or courage and and justice and prudence, right? But there are four different powers of the soul, right? So prudence is in the reason and justice in the will and courage in the irascible. and then temperance in the concupiscible right

[10:54] and so it kind of is a kind of the anchor there, you know, in the soul, right? So you want to see that there's, you know, the general thing here, without getting too concerned here about all the detail about the bodily change, right? But there is definitely a bodily change associated with these emotions, and it's very obvious in the case of anger and emotions like this, you know, what the bodily change is to some extent, right?

[11:33] Anger and fear and so on. So we might have to talk about that bodily change. A little break now, or I might do. I'll set up the great thing Okay To the fourth one, proceeds thus: it seems that fear impedes operation. For operation is most of all impeded from the disturbance of reason, right, which directs us in our doings, huh? But fear disturbs reason, as has been said.

[12:08] Therefore, fear impedes operation. Moreover, those who do something with fear more easily fail in what they're doing, huh? Just as if someone is upon what a beam, right, posited on height, right, huh? On account of fear of easily falling, right, huh? But he would not fall if he what went upon the same beam laid down on the other ground, right, and immo positum, right? on account of the defect of fear, right, huh?

[12:41] So, therefore, fear impedes what operation, right? In our our backyard, there, you know, my father put up a kind of a wooden fence, right? I mean, there's wire there in between, but but the thing was about that wide, you know, and we as kids, we get to walk along that thing, you know. Okay, it was a lot of fun, you know, and you know about this height off the ground or something, you know, about that height.

[13:06] But if that was between, you know, two skyscrapers in in New York, you know, and you tried to walk across there, you know, you'd probably fall off. You would get so so frightened, right? That's a good way of saying it impedes operation, right? Huh? It's all because of your fear, right?

[13:26] I've seen sometimes you see on TV or something, you know, the guy walking between the two buildings, you know, and my wife and I would watch the thing, you know, and I could watch it, but I mean, I certainly wouldn't want to do it. Moreover,

[13:45] what laziness? I guess, but quiddam species of laziness? right? There's a certain species of fear, but laziness impedes operation, right? Huh? Therefore, also fear does, right? Huh? But against this is what the apostle says. Well, at Saint Paul, right? He's called the apostle by Toinamacilia, yeah, Ian Peter. But against this is what the apostle says in the Epistle to the Philippians, chapter two: work out your salvation with what fear and fear and trembling, huh?

[14:23] Okay, that. Yeah, you don't hear that much very often in. So you get the. You see the importance of the word tremor, right? Yeah. Right there in Saint Paul, right? Okay.

[14:40] I answer. It should be said that the operation of the exterior operation of man is caused by the soul as from a first what Mover. but from the bodily members as from what instruments or tools. Now it can happen that an operation is impeded both in account of the defect of the instrument or tool and in account of the defect of the chief mover.

[15:11] Now on the side of the bodily instruments or tools, fear, as such, is always apt to what impede the operation on account of the defect of what heat, right? Which defect happens from fear in the exterior what memories, right? Okay. I was hearing about that some pianist there. He had the he was so rattled making his performance for some event that he had to have it taped in or something, you know.

[15:50] He said he's afraid, right? He's going to make a mistake, right? And the building was cold and so. And what did he have taped in? Yeah, yeah. What did he have taped in? The playing the piano, right? Oh, he had it taped in. Yeah, yeah, yeah. Or

[16:08] or did he play it and then then he later on when they were going to release it, you know, he he had it edited, you know, so he had all the right notes, you know. But because of the of the lack of temperature in there and the fear, so I was having to read that somewhere. I forget these names.

[16:30] But on the part of the soul, if the fear is what moderate, right, or moderated, right, it does not much disturb what reason, right, huh? And then it confers to operating well, right? So as I saying, even the sporting events, right, huh? A little bit of fear that you might lose to this other team, right, huh? You've got to play your best, and you've got to take advantage of the opportunities that arise in the game and so on, right, huh?

[17:02] It confers to bene operando, right? It's not excessive fear, right? Insofar as the little moderate fear causes a certain solicitude, solicitude, right, and makes a man more attentively take counsel and to operate more intensely, right, more attentively.

[17:25] But if the fear increases to such a great extent that it disturbs reason, it impedes the operation even on the part of the what soul, right.

[17:38] But about such a fear, the apostle is not what speaking, right? Okay. You say the same thing is true about philosophy, right? If you had such a fear of being mistaken that you don't use your reason at all, because you think you might make a mistake, well, then that's not going to be good, right? But a moderate fear, right, of making a mistake, right, will make you use your reason more what carefully.

[18:11] Can I ask a question? Let me ask a question. Sure. Well, the part of the soul is the fear of being moderate, without much disturbance of reason, it conduces to working well. Some place else does he discuss that? Yeah, well, it's in two in general about the emotions, right? That they, if they're moderate, they don't disturb reason that much, right? But an excessive or very strong emotion, right, will, right.

[18:38] Okay. You can see that even anger, you might say it, right? Huh? Very strong anger, it really doesn't impede reason, right? But a little bit of anger doesn't do that. Okay. Okay.

[18:52] You're talking about Pope Benedict there, you know, kind of very mild man, right? No, but but a couple places he went, you know, they had somebody, you know, kind of acting against him, right? You know, he can be very strong apparently, but he has to be, right? Okay. Named Cardinal Rastigner. Yeah, yeah, or even when he was pope. Yeah, was pope where this Pope Benedict.

[19:23] And to this is clear the response to the first one, right? Huh? Okay. I said about excessive anger. I mean, fear of it. Now, those who fall from the what beam placed on high suffer a disturbance in imagination on account of the what fear of a of a fall imagined, right? Huh? You see how that is, right?

[19:56] It's actually more of the. So it's not the imagination that's acting on. So it's more the imagination rather than the fear. Well, the fear because of the imagination, right? Okay. Okay. Just a minute. I hope we get the objection. Now, what about this thing? Everyone fearing refuses that which he fears, and flees from that which he fears, and therefore, since laziness is a fear about the operation, right, doing a little bit of work, right, in so far as is laborious, it impedes the operation, right.

[20:40] Because it draws the will from it. But fear, which is about other things, to that extent aids the operation, in so far as it inclines the will to doing those things to which man flees that which he fears.

[21:02] So sometimes when reading their commentaries and so-called gentiles, and gee, this is a difficult thing to absorb. This chapter, right? I'll read through it today, right? Then tomorrow I'll do it again. A little fear, right? That might not, you know, be up to really absorbing it today, right? But I'll familiarize myself with the text, nevertheless, right? But leave till tomorrow, you know, my full digestion of the text, right?

[21:35] Sleep on it. Yeah, sleep on it. Yeah. Sometimes you wake up and got the solution, right? Wake up next morning and they say your mind works. I don't know. Okay, got time to do a little audacity or not? Is that okay. Before I close now. we'll get through them. Then we're not to consider about audacity, right? Now, how do you translate your text there? Sometimes you translate boldness, huh?

[22:02] Yeah. Yeah. Okay. Boldness is also the way they translate it sometimes, but Augustine is always concerned about audacity and thinking, right? About this, four things are asked: whether audacity is contrary to or boldness is contrary to fear. Second, in what way does audacity have itself to what hope, right? This connection there too. And then about the cause of audacity and about its what effect?

[22:45] To the first, then one goes forward. Thus, it seems that audacity is not contrary to fear, for Augustine says in the book of the eighty-three questions that audacity is a what a vice, right?

[23:04] But vice is what opposed to virtue, right? Since therefore fear is not a virtue but a passion, it seems that to fear is not what contrary audacity. That reminds me as a kid there, where you sometimes you'd give what anger is a vice or a sin, right? We got to be careful about that, right? Because even our Lord is angry, right? In some of the passages in the Gospel, right?

[23:38] So you got to be aware of how the words are used sometimes here, right? Moreover, to one thing one is contrary. That's a famous thing that Socrates says, right, and Plato and Aristotle, because they say contraries are what the species that are furthest apart in the same genus. Well, on a line, you know, how many points can be furthest apart? Just the endpoints, right? There can be many points that are the same distance apart, but only two can be the furthest apart, right?

[24:14] Like black and white in color, right? But to fear is contrary hope. And I talked about my own thinking there about what comedy, right? Huh? I said what comedy is the contrary of what tragedy. So if what?

[24:40] Yeah, then courage should be boldness, right? But there's not to be hope, right? But hope seems to be in some way contrary too, right? Okay.

[24:53] Therefore, if hope is contrary to fear, of course people sometimes go through that thing, you know, they have hope and they fear, right? No, they hope now they fear. It's they seem to be contrary in some way, right?

[25:07] Therefore, it's not contrary to audacity. Moreover, each what passion excludes the opposite passion, right? But that which is excluded by fear is what security, right?

[25:24] As Augustine says in the second book of Confessions, that fear gives us what warning against security. Security is mortal's chiefest enemy, as Shakespeare says. Therefore, security is contrary to what fear. Therefore, not audacity. But against all this is what the philosopher says in the second book of the rhetoric that audacia est timori contraria. That audacity or boldness is contrary to what fear.

[26:00] Well, I answer Thomas says, huh? It ought to be said that it's of the ratio or the definition of contraries that they most of all are distant from each other, right? Huh? As is said in the tenth book of the metaphysics. That's the book on the one and the many, right? And that's where you take up contrariety. Now, that which most of all is distant from fear is what audacity, right?

[26:30] For fear refuses or flees from the what future harmful thing, right? On account of its victory over what the one fearing, right? But audacity or boldness, huh? Approaches, right? The imminent what danger, on account of what its victory over the danger, what things will be a victory over the danger, right? Huh? David and Chris did something else, right?

[27:09] But he went boldly against David, right? Huh? Like David had some fear, right? That he might not win. Whence manifestly to fear is contrary what to audacity, right? Huh? So the one leads you to what run away from something where you think you might be what overcome, and boldness makes you push it with the view that you're going to what veni vidi vici you know, I've overcome, right?

[27:38] Shakespeare translated that I came, I saw, I overcame, right? So it has a little bit of can't translate exactly that the brevity of the great Caesars but you need to be brief. That's boldness, right?

[27:56] Of course, Washington Irving describes the boldness of some of these Spanish captains, right? Something you and the Greeks are outnumbered, right? Cortez, yeah, Greek guys.

[28:12] Okay. To the first there, if it should be said, huh, that anger and boldness and the names. Now we're talking about the names. The names of all the passions, right, can be taken in two ways, right?

[28:33] In one way, according as they imply absolutely the motion of the sense-desiring power to some object or in some object that is good or what bad, and thus they are the names of passions. In another way, according as at the same time with this motion they imply a recess from the order of what reason, and thus they are names of vices. So I was giving an example of my own upbringing.

[29:01] Yet you know, in the catechism, anger was given as a what? As a vice, right? But then in the Gospels, you know, there are a few places where Christ is angry, right, with the hardness of the of the Jews. Yeah, yeah, and he's spoken as being angry there, right, in the text. Well, I mean, obviously there's a different meaning here of the word what anger, right?

[29:28] And Augustine is speaking in this way about audacity, right? Huh? And Augustine, you'll. Probably speak about it, right? Audacity in a philosopher, yeah. But we now speak about audacity according to the first mode, right? Notice how he orders that objection first. It's not maybe the most important objection, but it's an objection that's based upon the meaning of the word. And unless you're using the word in the same meaning, you're going to be all messed up in your understanding of the matter.

[30:06] Now, what about being contrary to hope, right? Let's just do what Thomas says here. To the second, should be said that to one thing, by the same, there are not what. According to the same, there are not many what contraries, but according to diverse things, nothing prevents many things being contrary to one thing. This is just that he goes this far, right? And thus it has been said above that the passions of the irascible have a twofold what contrariety.

[30:44] One according to the opposition of good and bad, right? And thus fear is contrary to hope, because hope is about the good and fear about the bad, right? But another way, according to the opposition of approach and recess from something, right? And thus fear is to fear is contrary audacity, and to hope is what desperation, right?

[31:21] So that's interesting what he says there, right? So he's speaking of a twofold contrariety, right? That's interesting. I was telling you how when I was trying to understand comedy, I was trying to find the contrary of fear, right? And I thought it was what boldness, which is in one way, right? But comedy is not so much concerned with boldness as it is with hope, right? I was telling you I was reading this book on the it was Terence's comedies and the guy you know translated all Terence's comedies I guess that come down to us and talking about them and then he was quoting that what you know faith hope and charity from Saint Paul but he's kind of changed the meaning of it there and saying

[32:09] but in comedy it's not charity it's hope you know but it stood out for him right that hope is what you know is being inculcated in these what or being moved in these comedies of Terence right so I gradually saw the point right? I was influenced a lot by Tommy's pointing out that the principal passions are what joy and sadness and fear and hope right and so the two principal forms of fiction tragedy and comedy right which other ones seem to be kind of something in between those two right but the two principal kinds are going to be concerned with the principal what passions right and so comedies with hope and mirth which is a kind of joy and tragedy with pity which is a

[33:04] kind of sadness and what fear right so the principal forms of fiction are concerned with the principal passions mainly Comedy's also trying to purge melancholy right but that's a kind of sadness which is a principal passion too okay that's a beautiful thing that's happening right

[33:35] but between say love and hate you used to have one contrariety it would seem right yeah to the second to the third it should be said that security does not signify something what contrary to fear but only the what yeah it's a lack of fear right but it's not another emotion right for that man is said to be secure who does not what fear right when security is opposed to fear as a what privation right but audacity as a what contrary so contraries are what forms that are furthest apart right species that are furthest apart privation is the what lack of a form right

[34:31] and just as the contrary includes in itself privation like vice implies a lack of what virtue right but vice is not simply the lack of virtue right. Vice is a real habit, right? A real inclination to do what you shouldn't do, right? So, audacity includes what security.

[34:59] Yeah, that's a very important distinction on that they make between the contrary and the lack, right? So, I used to say, you know, which is easier to convince to vote for your candidate: someone who's supporting the opposite candidate, or someone who hasn't made up his mind yet. See, because the one guy merely lacks, right?

[35:32] Conviction to vote for your candidate, right? The other guy has a real conviction; he should vote for the other guy. Is it? Or I said, you know, what's the difference between someone who doesn't know, say, a theorem in geometry or some other science, and someone who has a false opinion about the matter?

[36:01] Yeah. And he's going to resist you more, right? And which is easier to bring up to be, say, tempered or let's say, chaste, right? The little boy or girl who has neither the virtue nor the vice, but lacks both of them, right? Or someone who's acquired the opposite vice now, but they're going to resist, you know, right? In a way, the other person will not, right? So you see the difference there between the contrary and the lack, right?

[36:48] You know, used to have a joke there when I was teaching. A student comes in and he thinks he's a little ahead of the other students because he reads a few books or something or some articles or something on the subject, right? But usually he's picked up a number of mistakes or errors. So he'd tell him, "You know, you're even further away from the truth than the students who haven't taken up the matter at all yet."

[37:12] You know, and it takes a while, you know. Well, teacher, I'm sure he could have had some bad teachers, you know. It took him a long time to get rid of some of these mistaken notions, right?

[37:25] So someone who has no opinion at all might be easier to convince, right? Than someone who has a contrary opinion. See, the man has a contrary opinion; has a real opinion, right? He doesn't just lack a true opinion; he has another opinion that is. Yeah. Yeah.

[37:50] How is it that contrariety implies privation? Well, you see, if I have a false opinion, I lack the true opinion, don't I? Yeah. But does everyone who lacks the true opinion have the false opinion?

[38:11] Okay. Okay. And again, you know, a newborn baby is he chaste? Does he have the virtue of chastity? No. No. But does he have the contrary vice? See, by Thomas, dude, not your age. If you don't have the virtue, you've probably got the opposite vice. Because like the virtue, you got a real bad habit. You know. You see. Well, whether newborn baby has neither good nor bad habit right

[38:43] now. Okay. One more article or another. I know what you. Tank one more. Okay. With their audacity, follows hope, right? To the second, one precedes us. It seems audacity does not, but follow hope. I mean, this is going to touch upon, you know, how how hope is a principle of passion, right? Rather than audacity, right?

[39:10] For audacity or boldness is with respect to bad things and terrible things, right? As is said, the third book of the Ethics. But hope regards the good, as has been said above. Therefore, they have diverse objects, and they're not of one order, right? Therefore, audacity doesn't follow upon what hope, right? Moreover, as audacity is contrary to fear, so desperation is contrary to hope. But fear doesn't follow desperation, right?

[39:49] Rather, desperation excludes fear, as the philosopher says in the second book of the Rhetoric. Therefore, audacity does not follow hope. Moreover, audacity intends some good to wit victory.

[40:06] But to tend in a difficult good pertains to hope. Therefore, audacity is the same thing as hope. Therefore, does not follow the hope, right?

[40:19] But against this is what the philosopher says in the third book of the Ethics, That those who are of good hope are what bold, audacious, right? Therefore, it seems that audacity follows what hope, right?

[40:39] Well, Thomas says, I answer it should be said that it has been said many times already. All of these passions of the soul pertain to the desiring power, right? Now, every emotion of the desiring power can be reduced to the pursuit or the flight from something, right?

[41:03] But pursuit or flight is a something both what per se and what per accidens. That's the famous distinction, right? This distinction that Aristotle gives of one and being in the fifth book of Wisdom is being per se and being per accidens.

[41:28] Now, per accidens can be the what pursuit of something bad, right? On account of some good that is joined to it, and also there can be flight from the bad on. Account of something bad, what? Joined to it, right? But what is posterius always follows that which is what? Per se. Per se, yeah.

[42:01] And therefore, the pursuit of what? The bad follows the pursuit of what? The good, because the one is per se, and the other is what? Yeah. Just as the flight from the bad follows the flight from the good, flight from the good follows the flight from the what? Bad. But these four things pertain to what? Four passions. For the pursuit of the good pertains to hope. The flee from the evil to bad.

[42:37] But the pursuit of a terrible bad thing pertains to audacity, right? That's kind of tragedy, right? The flight from the good pertains to what? Desperation. There's something unnatural about fleeing the good, right? And something kind of unnatural almost seems right. Pursuing the bad. Whence it follows that audacity

[43:03] follows upon the good. I mean, upon hope rather. For from this that someone hopes to overcome the terrible thing that is imminent, from this he boldly pursues it, right? That's my hope of winning, right? That makes me what? Pursue this boldly, this thing. And to the fear there follows what? Desperation, right? Therefore, someone despairs because he fears the difficulty which is about what? The good hope for, right?

[43:45] Now that reminds me of what Thomas is saying there, you know, in his commentary on these Psalms, right? You know, where sometimes it talks about what? Fear and hope being necessary in the soul, right? We were talking before about the fear of the divine justice and the hope and the divine mercy, right? But Thomas says you have to have a certain balance between these, right? So if your fear is excessive, fear the divine justice, you will despair of your own salvation.

[44:17] But if your hope in the divine mercy, you know, he's a good guy, he's not going to, you know, put me down there. If you have this excessive hope, then you become what? Presumptuous. Yeah, just quite audacity, right? You know. So you can see how one kind of follows upon the other, right? This tied up with the fact that these are the principal passions, right?

[44:43] Okay. He says the first objection would follow the argument if good and bad were objects not having any order to each other, right? But because the bad has some order to the good, it is what posterior to the good, just as privation is posterior to what habitum. So also audacity, which what pursues the bad, is after hope, which follows upon the what good. Just saying the argument.

[45:40] Now, look at the second objection again. Just as audacity is contrary to fear, so desperation to hope. But fear does not follow what desperation, rather desperation excludes fear, as the philosopher says. Therefore, audacity does not follow hope. To the second should be said that although the good is simply before the bad, nevertheless flight per prius, right, before is owed to the bad than it is to the what good, right?

[46:16] Just as the pursuit is before owed to the good than to the what? Yeah. Do you pursue the good or the bad? Yeah. Do you feel the good or the bad? Right, the bad, right? Per prius, right? And therefore hope is before what audacity, right? Because you're pursuing the good before what pursuing the bad, right? So also fear is before desperation, huh?

[46:55] Because fear is moving away from the bad, right? But desperation, in a sense, is giving up the what the good, right? I despair of getting the grapes and the fox.

[47:09] And just as from fear does not always what follow what desperation, but when it is what intense, huh? So also from hope does not always follow boldness, but it does when it is what vehement, when it's strong, right? To the third

[47:39] now, huh? But this claim that audacity is the same thing as hope, right? He says that audacity, although it is about the evil, to which is joined the good of victory, according to the estimate of the what? Estimate of the one who's bold. Nevertheless, boldness does regard the bad, right? But the good joined to it, namely the victory over it, I guess, the hope regards, right? And likewise, desperation regards the good directly, which it what gives up on, right?

[48:20] You might say, or please. But fear regards the bad that is joined to it, huh? Whence, properly speaking, boldness is not a part of hope, but its effect. Just as neither is desperation a part of fear, but its what effect?

[48:42] And in count of this, also boldness is not able to be a what? Yeah, the same way you could say that what? Desperation cannot be. Yeah. It kind of rises, right? Because my hope of victory, huh? I've had some hope that I can when win over these guys, right? Have a hope of of winning a victory that makes me bold, right? Huh?

[49:23] Or if my fear of losing is so great that I despair. Now I was young there. We were in the Big Ten there because Minnesota teams were in Big Ten, and we were going to play the the Rose Bowl, right, with them. So I don't think we sent out our best team because we couldn't send the same team out twice and something like that. But anyway, they built it up in newspapers, you know, for weeks, you know, beforehand, you know, and they're going to, you know, sink the Illinois team and so on.

[50:00] Well, when we get out there, we got ahead of the game, right? And they just, you know, let these college teams sometimes collapse, right? They're saying the second stringers, the third stringers, they're still beating the heck out of the California team, whatever it was. We are, you know, all excited about that, you know. But I mean, these guys, you know, they they they fear, and then they what?

[50:24] They'll see how they're going to get back in the game, right? And then they just despair and give up, and the second stringers and the third stringers just get a chance to to beat the heck out of these guys and have part of the the glory of beating the California team and. That's very important to see that hope and fear are what the principle, right? I'm saying to do that on by the you know the virtues are what fear the Lord, right?

[51:08] Hope of course is one of the logical virtues, right? Very important. Well, I guess we got to stop right now. We'll meet again next week here.