Prima Secundae
109. Shakespeare on the Effects of Fear, the Death of Saint Ferdinand, and the Causes of Boldness (Question 45, Articles 2–3)
Class of 2013-03-14
https://berquistcourse.com/course/theology/11-prima-secundae/109-shakespeare-on-the-effects-of-fear-the-death-of-saint-ferdinand/

[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. God our enlightenment. Guardian angels, strengthen the lights of our minds, order to illumine our images, and arouse us to consider more correctly. Saint Thomas Aquinas, angelic doctor. Pray for us. Help us to understand, Lord, your wisdom. Father, Son, Holy Spirit.

[0:33] Amen. By the way, did you hear about the appearance of the angel down there in Florida? Was on the news, you know, and so I was on the computer there and saw pictures. You know, it looks like an angel up there in the sky there, you know, red, you know, and so they're associated with the new pope and so on.

[0:56] But it looked a little bit like an angel, you know. It was very, you know, steamed down like that, and a rose in the sky. So. In the afternoon or in the evening? Evening, I guess, sunset or something, you know.

[1:12] Okay, now there's a little bit of amusement here. Recall the question 44, which is on the effects of fear, right? And the first article was whether fear makes for contraction, right? Huh? I think that means you know not only the contraction of the emotions, but the contraction of the what? Body pain, right? Okay. Then the second article was whether fear makes us take what? Counsel, right? Huh?

[1:48] And the third article was whether fear causes trembling, right? Then the fourth article, whether fear impedes what? Operation, right? Now you know Shakespeare's two narrative poems, huh? In addition to his plays, he's got two narrative poems, and one is Venus and Adonis, right? Based on the mythological story of Venus, the goddess of love, falling in love with the mortal Adonis, right? Huh? And then the rape of Lucrece, from the history of Rome, huh?

[2:27] Well, anyway, in Venus and Adonis, huh? At the time when she hears that he's planning to go boar hunting with his friends, she's what? Jealous No fear. is it that he's going to be hurt by the boar, right? Huh? Okay. Let me read you about a few little verses here. Oh, let him, meaning the boar, keep his loathsome cabin still, right? Cabin in style, style. Beauty hath not to do with such foul fiends.

[3:01] She's afraid the the boar will do that, right? Come not within his danger by thy will. They that thrive well take counsel of their friends. It's reference to what? Counsel, right? When thou didst name the boar, not to dissemble, right? I feared thy fortune, and my joints did tremble.

[3:30] Didst thou not mark my face? Was it not white? Yeah. In the weakness of it, yeah. Sawst thou not signs of fear lurk in mine eye? Were I not faint, and fell I not downright?

[3:50] So in just in in six seven lines there, huh? He touches upon almost all the causes or effects, rather, of fear, right, huh? Okay. So you can read *Venus and Adonis* better for having known this, right? Or you know, these things illustrated in beautifully, huh? It kind of concise as Shakespeare packs so much into a few words. So he's got all the effects of fear there, and almost in the previous equipment here, he has them in those few lines there.

[4:25] So you can find other examples of that Shakespeare too. But it just kind of struck me that you know, so concise and packed in there, right? Yeah. Okay. I'm also going to bring you in the account of the death of Fernando the Saint. Fernando was a great what? Spanish king, right, huh? And he's he's kind of his Camus in some sense, right? And he he finally conquered I think Seville, right?

[4:58] You know, so he kind of extended it as far as it went before Ferdinand Isabella completed the thing, huh? Okay. Just read you from the chronicle of Fernando the Saint, right?

[5:13] And just after his last conquest, which I won't go into, right? In the midst of his preparations, which spread consternation throughout Mauritania, the pious king fell dangerously ill at Seville, right, of a dropsy, right. When he found his dying hour approaching, he made his deathbed confession and requested the holy sacrament to be administered to him. A train of bishops and other clergy, among whom was his son Philip, Archbishop of Seville, brought the sacrament into his presence.

[5:51] The king rose from his bed, threw himself on his knees, with a rope around his neck and a crucifix in his hand, and poured forth his soul in penitence and prayer. Having received the viaticum and the holy sacrament, he commanded all ornaments of royalty to be taken from his chamber. He assembled his children round his bedside and blessed his son, the prince Alfonso, as his firstborn in the heir of his throne, giving him excellent advice for the government of his kingdom, and charging him to protect the interests of his brethren.

[6:28] The pious king afterwards fell into an ecstasy or trance, in which he beheld angels watching round his bed to bear his soul to heaven. He awoke from this in a state of heavenly rapture, and asking for a candle, he took it in his hand and made his ultimate profession of the faith. He then requested the clergy present to repeat the litanies and to chant the Te Deum Laudamus.

[6:55] In chanting the first verse of the hymn, the king gently inclined his head with perfect serenity of countenance and rendered up his spirit. The hymn says the ancient chronicle, which was begun on earth by men, was continued by the voices of angels, which were heard by all present. These doubtless were the angels which the king, in his ecstasy, had beheld around his couch, and which now accompanied him in his glorious ascent to heaven with songs of holy triumph.

[7:28] Nor was it in his chamber alone that these voices were heard, but in all the royal alcazars of Seville. The sweetest voices were heard in the air, and seraphic music, as of angelic choirs, at the moment that the saintly king expired. He died on the 30th of May, the Vespers of the Holy Trinity, in the year of the Incarnation 1242. That would be during what Thomas's life, right?

[7:58] Age 73 years, having reigned 35 years over Castile and 20 over Leon. Two days after his death, he was interred in his royal chapel in the Holy Church in a sepulchre of alabaster, which still remains. It is asserted by grave authors that at the time of putting his body in the sepulchre, the choir of angels again was heard, chanting his eulogy and filling the air with sweet melody in praise of his virtues.

[8:33] When Alhamar, the Moorish king of Granada, heard of his death, he caused great demonstrations of mourning to be made throughout his dominions. During his life, he yearly sent a number of Moors with 100 wax tapers to assist as exequies, which ceremony was observed by successors until the time of the conquest of Granada by Fernando. That's beautiful, huh? That's it. That's the end of the chronicle of Fernando the Saint, one of the Spanish papers that they call Washington Irving, right?

[9:08] And interesting, the effect, you know, of these Spanish things upon Washington Irving. I just as once I hear the sending thing into Knickerbock, you know, the New York Magazine, right now they did suggested the title of him, but

[9:32] they're sending one of these things in here, and he says talking about the influence of the Spanish things. He says, "In the present day, when popular literature is running into the low levels of life, oh, and luxuriating on the vices and follies of mankind, and when the Universal pursuit of gain is trampling down the early growth of poetic feeling and wearing out the verdure of the soul.

[10:08] I question whether it would not be of service for the reader occasionally to turn to these records of prouder times and loftier modes of thinking, and to steep himself to the very lips in old Spanish romance. Right. For my own part, I have a shelf or two of venerable parchment-bound tomes, picked up here and there about the peninsula, Spain, and filled with chronicles, plays, and ballads about Moors and Christians, which I keep by me as mental tonics, in the same way that a provident housewife has her cupboard of cordials.

[10:47] Whenever I find my mind brought below par by the commonplace of everyday life, or jarred by the sordid collisions of the world, or put out of tune by the shrewd selfishness of modern utilitarianism, I resort to these venerable tomes, as did the worthy hero La Mancha to his books of chivalry, and refresh and tone up my spirit by a deep draught of their contents. They have some such effect upon me as Falstaff ascribes to a good sheriff's sack, quoting it now, warming the blood and filling the brain with fiery, intellectual shapes.

[11:34] I here subjoin, Mister Editor, a small a small specimen of the cordials I have mentioned, just drawn from my Spanish cupboard, which I recommend to your palate. If you find it to your taste, you may pass it on to your readers. Your correspondent and well wisher Geoffrey Crayon as a pseudonym right?

[11:57] So, try to give people their opinion of my friend Washington Irving. You know, to go to his house down the Hudson. There, I used to all visit it down his tours of the house, and so you see these big dusty volumes. You know, I think they must be the ones from Spain. You know, he was, you know, twice twice. You know, when he went back as ambassador, right?

[12:21] He was ambassador to Spain, so he's greatly, greatly loved by the Spaniards because they know so well about the Humble. You know, that sort of thing. I didn't know he was ambassador I didn't know he was ambassador. Yeah, yeah. Daniel Webster recommended him to be the ambassador to Spain. I didn't know he had a house in Spain. No problem. The area where he lived, it's Cherry Town, Sleepy Hollow, and it's got some strange weather, and then it's there's a certain gloom there at times where you can really imagine that headless horsemen and stuff like that, which may have been an inspiration to some of his writing.

[13:00] Where the Capinzi is, where it kind of spans out like almost like a lake, you know. That's you know. The day today, the president, the beautiful sunset, you know. We just kind of, you know, it's day today. Okay, now we left off here in question forty-five. What article was it here? Article two, we'll look at. Okay. We looked at a little bit of article two, didn't we?

[13:26] Yeah, article two. We did then. We could do that, okay. To the second one goes for thus. It seems that audacity does not follow upon what hope, huh? For audacity is with respect to bad things and what terrible things, as is said in the third book of the ethics, huh? But hope regards the good, right? I think we saw some of this before, but we'll look at it again Pericles says the thing.

[14:05] worth saying is worth saying twice. Therefore, they have diverse objects, right? One has as object the good, right? And the other, what the bad, right? And they're not therefore of one order, right? Huh? Therefore, audacity does not follow upon what hope, huh?

[14:33] Moreover, just as audacity, or we could translate it as boldness, right? Is contrary to fear, so desperation is contrary to what hope, huh? So we spoke of this before, right? Out of desire or wanting, right? For something good, right? If there's a difficulty in getting it, right? Then there can arise either hope if you think you can overcome those difficulties, right? Or despair if you think you can't overcome these difficulties, huh?

[15:11] And likewise for the opposite of desire, which is sometimes called aversion. We're trying to avoid something that's bad, right? If there's difficulty avoiding it, right? There can arise fear if you think you might not be able to avoid it, right? Or there can require boldness, right? If you think you can overcome it, right? Okay.

[15:37] So it says just as audacity or boldness is contrary to fear, so desperation is contrary to hope. But fear does not follow upon what desperation. Nay, rather, desperation excludes what. Fear, right? Nothing to lose now. Let's sow our lives dearly, as they say, right? As the philosopher says in the second book of the rhetoric. Therefore, audacity does not follow upon hope, right?

[16:14] Now, in replying these objections, you have to understand kind of how hope and fear are the chief what passions in the irascible, right? In two of the four principal passions.

[16:30] Moreover, boldness intends some good, which is what victory, huh? But to tend to a what difficult good pertains to hope. Therefore, audacity is the same thing as hope.

[16:51] Therefore, it is not what follow upon hope, huh? 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, right? Huh? So it seems, therefore, that boldness does follow hope.

[17:19] Now, Thomas says, "I answer it should be said, as has been said many times, all these passions of the soul, or we call them emotions, also in English, right? Pertain to the desiring power, right? Huh? Okay. But every emotion of the desiring power is reduced to the pursuit, I guess, or the flight or fleeing, right?

[17:50] But pursuit or flight of something can be either what per se or per accidens This famous distinction. How universal is that distinction between per se and per accidens? Yeah. And so Aristotle takes up in the fifth book of wisdom, the fifth book of metaphysics, the names that are used what most of all in wisdom and used in the axioms, and because of their commonness to some extent everywhere, right?

[18:28] Takes up among other words, of course, the words "being" and "one," right, which are the subject of wisdom, huh? And these are most universal, right?

[18:40] Being and and say something, right, in English too, are most universal, right? So everything that is in any way whatsoever can be said to be a being, right? Well, of course, Aristotle points out many distinctions of being, but what's the first distinction that he gives of being? Per se and per accidens, yeah, he does that with the one and two, right? So you see how universal it is, right?

[19:06] It's like the first kind of distinction that we see in being. So, and then he takes being per se, and he gives three divisions of it, right? Being according to the figures of predication, substance, quantity, quality, and so on, and then being as true or false, and then being as act in what ability, right? And those are very universal divisions too, but not as universal as per se and per accidens, right?

[19:42] So my being a man—that's an example of being per se, right? Okay. But my being a Christian, uh geometer, right? An Example of what? accidens Yeah. yeah Because. it. Hardly is being at all, right?

[20:05] Because by what are you a Christian geometer? Well, if there was such a thing as Christian geometry, then there'd be something by which you are a Christian geometer. But there is no such animal, right?

[20:19] I wasn't always a Christian geometer, right? When I was born, I was neither a geometer nor a Christian. And is there a way of becoming a Christian? Yeah, my mother and father took me to be baptized, right? That's how I became a Christian. And is a way to become a geometer, right? When my teacher, the cleric, said, "Get Euclid," I said, "Why get Euclid?"

[20:46] But is there some way to become a Christian geometer? No, it's just a way to become a Christian. No way to become a geometer, right? But there is no way to become a Christian geometer. So if I was not always a Christian geometer, and there is no way to become one, how can I be one today, right?

[21:09] And yet, if the Christian Academy wants to hire a Christian geometer, here is one right here. Pope Francis, there. They had him stuck in stuck in a high school there teaching mathematics, right? Okay, they really got you. So being the one a Christian mathematician, right? So,

[21:37] so here you find the same distinction, you know, of the per se and per accidens, huh? But what is per accidens, right? Oh, excuse me, let's go back a little bit.

[21:53] The pursuit or flight from something is both per se and per accidens huh? Per se is the pursuit of the good, because the good is such as worthy of being pursued, right? And flight per se is from something that is bad, right? But as per accidens, that one is going to pursue something what bad, right? Like David going out there against that monstrous man, there, right?

[22:34] You pursue the bad on account of some good, what? Joining to it, right? And you flee the good on account of something bad in the way joining to it, right?

[22:51] But what is per accidens follows upon that which is what per se, right? Can you see a little bit just in that why we might think of fear as being a principal passion, a beginning passion, right? And hope, right? Rather than despair and what boldness, right? Because despair, in a sense, is going to lead you away from the good. But why would we go run away from the good?

[23:20] So you are not as such, right? It must be per accidens, right? And the same way, why would you want to go towards something bad? You know, what's his name? Goliath. Who's that Goliath Yeah. Why would one go towards Goliath, right?

[23:39] Okay. Per se, right? Okay. I know even in a distinction between being per se and being per accidens, being per se is before being per accidens, right? So I could be a geometer without being a Christian, as maybe my friend Euclid of Alexandria was, right? As far as I know, he was not a Christian, right? And you could be a Christian without being a geometer, like maybe my wife is.

[24:13] Um. So being per se is before, right? It's a second sense of before, right? If this can be without that, but not vice versa, then this is before that in the second sense.

[24:34] I told you that influence it had upon me in all trying to understand tragedy and comedy, right? And I was taking, you know, the the contrary of what fear as being what boldness, right? So I was thinking comedy being the contrary tragedy would move us to boldness, right?

[24:56] If tragedy moves us to fear, as Aristotle says, right? But I was not at that point understanding yet what the chief passions, right? And as you study comedy more, you see it's more concerned with hope than with what boldness, right? And makes sense that the two principal forms of fiction, which are tragedy and what comedy, right? That they should be concerned with sadness and fear and joy and what hope, right?

[25:29] Which are the four principal what passions, right? And therefore, since the per accidens follows upon the what per se, then the pursuit of something bad, pursuing Goliath, right, going towards him instead of away from him, follows the pursuit of something what good. And the fleeing from something good follows the fleeing from something what Bad.

[26:09] so these four things pertain to four passions for the pursuit of the good pertains to hope and the flight from evil to what fear and the what pursuit of a terrible evil pertains to what boldness the flight from something good giving up as we're right turning away from the pursuit of it pertains to what desperation right

[26:44] whence it follows that boldness follows upon what hope for from this that someone hopes to overcome something terrible is imminent from this he boldly what pursues it right huh because he has a hope for something good which is victory over Goliath right then he boldly what approached him right huh isn't that statue of of David there that's in Florence isn't that preparatory to finishing off Goliath huh doesn't he have his sling there in his hand or something that's so yeah and to fear there follows what desperation right huh

[27:37] for there someone despairs because he fears a difficulty which is about the good what the hopes to have right or should he hope for it but and when it comes to boldness wouldn't the per se cause be the the victory that you're seeking you know with the victory of something good right huh okay wouldn't that be the per se cause of the passion of the hope yeah no oh I'm sorry but about the boldness but in other words what was well I see in the boldness you're pursuing something that is bad and as such that is not something to do you shouldn't you shouldn't seek something that is what bad right huh you know these famous battle scenes there you know where sometimes the king

[28:30] of one you know was fighting by hand too as well as his troops right he wants to get the other king right huh and he goes through the the field right because he knows if he slays the other king you know that that's going to change the whole battle right huh and so he has hope of what victory right that gives him the boldness to pursue the camp you know and there he is you know and but so boldness doesn't have as object the victory No, it has something bad as its object.

[29:01] I see. I see. Yeah. So it's not as a principle of passion as hope is, right? But everything has a per se cause, right? So the per se cause of boldness. No, he's saying he's no, not everything has a per se cause, and he's distinguishing the per se and the per accidens, right? Here, and how it's per accidens that you pursue something bad, right? Because the bad as such is something that is, as such, repulsive, right?

[29:35] And so, but the per se is always before the per accidens So I mean, like being a Christian, geometer, is there something like that involved. Well, yeah, yeah, to be a Christian is an example of per accidens being To be a geometer right is an example of per se being. Mhm To be a geometer right? Mhm Is an example of. Per se being right. To be a Christian geometer is an example of accidental being.

[30:07] But obviously, you can be a Christian without being a Christian geometer, and you can be a geometer without being a Christian, right? So, a Christian geometer in some way depends or follows upon your being a Christian and you being a geometer, right?

[30:28] If it followed upon there's such a thing as Christian geometry, then would be you know being per se, right? But there ain't such an animal. Ain't no such thing as Christian geometry. So,

[30:41] get very careful when the popes talk about Christian philosophy, right? You know, you got you got to explain that, right? Just like Thomas explains certain texts of Augustine, so on, right? So you don't misunderstand it, right? huh?

[31:01] So you can't say Christian philosophy There's a way to become a Christian, right? And is a way to become a what? Philosopher, right? And they're not the same way, right? Say,

[31:16] and there's something by which you are a Christian, and there's something which you're a philosopher, right? But there's nothing but which you are a Christian philosopher, right? Okay. By the thinking, the fact, you know, one can what contribute something to the what to the other, right? Okay. Just like if I'm a Christian, you know, and I might read Saint Augustine because he's one of the greatest minds of the church, right?

[31:42] And Augustine might insist, you know, you you better learn the liberal arts, you better learn the trivium and the quadrivium, right. And as Monsignor Dionne was pointing out there, you know, Augustine he when he was being deceived by the Manichaeans, right? Huh? And one of the great teachers of Manichaeans was coming to town, you know, and so on. And Augustine was not yet able to really judge whether what the great teacher of the Manichaeans was saying was true or false, right?

[32:13] Huh? But then he realized he didn't know the what liberal arts, right? Well, how can I trust a man who doesn't have the fundamental things, right? When he talks about these things that are what above him, right? Huh? Okay.

[32:29] Just like if I had never studied, you know, solid geometry, right? And some guy was starting off about theorems in solid geometry, and that I was not able to judge whether they're true or false, right? But then I got talking to him, I realized he didn't really understand plane geometry. I say, I don't know what what he's saying about solid geometry is true or false, but how can you do solid geometry if I haven't plane geometry first, right?

[32:58] So Monsignor Dionne said, "if a person had a training in the liberal arts, he would not have been taken in by the Manichaeans You know, he emphasizes the importance of the liberal arts, right? You know, my kids went to a school called what? Trivium, right? And of course, TAC. You get the Trivium and the Quadrivium, right? So,

[33:27] can you say that boldness and despair have those passions have pair actions? Converse? Yeah, yeah, yeah. The pair of same thing comes before, right? Okay, the hope and the fear. Yeah, and it's more clear, perhaps, in the case even here, of audacity falling upon hope, right? But Thomas points out that to fear follows what? Despair, right? Okay. So if the guy is, you know, pursuing a beautiful girl, right?

[34:02] Huh? And he wants to marry her, but he's afraid to ask because he's afraid she might say what? No, right? Okay. He's not in despair yet, right? But if the fear becomes too great, then he can what? Despair, right? His fear, the fear can fall into despair at the very beginning, right?

[34:26] Okay. Shakespeare has these two narrative forms: Venus and Adonis, which is really comic, although it's not comic for for Venus, and then what? The Rape of Lucrece, which is tragic, right? So on. It's kind of tragic and comedy, right? The two main forms. You know the the great Homer. By the way, you know we have only his Iliad and his Odyssey, right? But the both Plato and Aristotle knew his *Margites*, right?

[35:03] Aristotle says that the *Margites is to comedy, as the *Iliad* is to what? Tragedy, right? So if the *Margites was to comedy, as the *Iliad* is to tragedy, then Homer was the master of both what? Tragedy and comedy, and you can see that that in Shakespeare, right? He's a master of both tragedy and comedy. And most people are more familiar with Shakespeare's tragedies, like *Hamlet* and *Macbeth* and *Romeo and Juliet* and so on.

[35:35] You know, I remember my brother Richard there. You know, seeing some one of Shakespeare's comedies, and he says to me, "I didn't realize it was so funny," you know, you know. And so, but I mean, you can go with that, right? You see, he's a master of both, right? And actually, you know, most of the comedies come earlier, right? You know. And so, unfortunately, lost the margins of Plato, but I mean of Homer.

[36:00] But we can take, you know, Aristotle. I think, right? No. And but now, if you have Moliere, right? You know, where they try to get something a little bit tragic in one of those plays, but I don't think it really works enough. Moliere is kind of limited to what? Yeah, yeah, yeah. So he doesn't have that universality, you know, that that Homer has and and Shakespeare, right?

[36:25] It has to do with what? Tragedy and comedy. That he has both. you know In other words, Because otherwise, you can speak of the universality of man too. You know, his plot, character, and what diction, right? He excels in all those things. Homer, right? In the same way, Shakespeare, right?

[36:56] Now Aristotle says that Homer taught all the other Greeks how to write a good plot. And of course, he praises you know Homer for his characters, but there are beautiful things in Hegel about Homer's characters, you know, and how superior they are to the characters in French tragedy, you know. They're multifaceted, multi like a diamond with many beautiful sides to it. You know, that's why Homer's characters are right.

[37:23] Why the the Rome the French tragedy ends? You know, they're kind of one passion personified. You know, and kind of narrow as opposed to this, you know, Homeric character. And then, of course, you know the way Aristotle and and Hegel praised the diction of Homer. You know, magnificent similes and everything else that he has in there. So he excels in everything, right? Isn't that right? I remember in college there, you know, a freshman there was taking a course there, and we were doing section on Shakespeare.

[37:58] You know, he said, "You know, Shakespeare is one of everything. That's true, right? You know, as Irving said, you know, I don't for me to take any credit for what I wrote. You know, Shakespeare said it all. You know, who am I? Who am I? " Said this old age, wonderful, wonderful writer, second best writer in America, writer, but compared to Shakespeare. Who'd see himself? What? Who's that?

[38:27] He said, "My friend Washington Irving. " Oh, Washington. He he signed his name in gold for me. Yeah, you know how friendly we are. How much he thought of me, right?

[38:41] Okay. Now he says the first objection, right, is saying, well, one is about the good, the other is about the bad. How can one influence the other, right? To the first, therefore, ought to be said that that argument would follow if good and bad were objects having no order, right, not having order to each other, right. But because the bad has some order to the good, it is posterior to the good, right?

[39:20] Just as a privation or lack is, But posterior or after the habit, the having of something, right? And therefore, audacity or boldness, which, what follows or pursues the bad, is after hope, which follows the good, as the per se is before the gradience. Now, in the second one here, right? To the second, should be said that although the good is simply. Before the bad, right?

[40:05] If you didn't love life, you wouldn't what hate death, right? Nevertheless, nevertheless, nevertheless, flight is before owed to the bad, then to the what good. Just as what not fouling. Or fouling is what before owed to the good, then to the what bad.

[40:38] The good is what all want, right? The bad is what no one wants. So why should you pursue the bad? And therefore, just as hope is before boldness, so fear is before desperation, right?

[41:00] And just as from fear there does not always follow what desperation, but when it was what intense, right? So also from hope does not always follow boldness, but when it is what vehement or strong, right?

[41:25] So this helps you to kind of see what the chief passions are, right? And vice versa, understanding chief passions helps you to see why there's this order, right?

[41:42] Now you know what are the the culmination of Mozart's symphonies, right? Well, it's the last what five symphonies, right? Okay, which are thirty six, thirty eight, thirty nine, forty, and forty one, right? There is no thirty seventh symphony, although there is a thirty six and a thirty eight, right? Okay, so we all know that story, right?

[42:13] Okay. Mozart wrote a what symphonic introduction to a symphony of Michael Haydn, the brother of Joseph Haydn, right? And he thought the symphony the whole symphony is by Mozart, and so that was called his thirty seventh symphony. Well, then when they discovered that it wasn't, they held on to the custom of calling the thirty seventh symphony the thirty eight, in fact, right? And rather confuse people, right?

[42:43] And change all the numbers, right? There's always confusion there, I notice, in the people. Should they call him Pope Francis or Pope Francis the first, right? I think the correct name is Pope Francis, and not say Francis the first. But I see people falling into it still. Well, you know, but we never call the first Pope Pope Peter the first. Not only because there's no fun coming after him, right, with the name, but you're called Peter the first.

[43:18] And John Paul, when John Paul was elected, wasn't there some story about his calling himself John Paul the first? Yes. And they said, you know, you know, you don't get called first until you're second. You know, he said something about let it be because he prophesied John Paul the second or something. At least I heard a story about it.

[43:41] Yeah, we heard it on the tape. Who was his secretary? The Irish, the Irish, Irish from New York. Yeah, he was telling the story. Yeah. But there was one Pope who was elected, but before he was inaugurated, wasn't he died? Right. Before he became bishop. Yeah. So then there's the question of is this is two was it sixty six or two sixty seven something you know? Oh, right.

[44:02] Yeah. Thank you, Bob. Yeah, yeah. To third should be said that boldness, although it is about something bad, to which is joined the good of what It's about victory, according to the estimate of the one whose bold, right? Huh. Nevertheless, it regards something what bad, right? But the good joined hope regards, right? Okay.

[44:37] And similarly, desperation regards the good directly, which it what refuses, but the evil adjoined tear regards, right, or fear regards. Whence, properly speaking, boldness is not a part of hope, but its what effect, right?

[45:00] So looking before and after Thomas does right, huh? But as I always say, you know, what distinction is before seeing order, right? So unless you see how boldness is really distinct from hope, you can't go on to see later on that hope is before, right?

[45:21] Just as neither is desperation a part of fear, but its effect. An account of this also, right? Boldness cannot be able, is not able to be a what chief or principle or beginning, but passion, right? Okay. I was going to say there about Mozart's last symphonies, right? The thirty-six and the forty-first are representation of what magnanimity, right? And magnanimity is a virtue that is concerned with what hope.

[45:57] Okay. And then the thirty what eight and the fortyth symphony representation of courage right huh and courage is more concerned with the passion of what fear right so by the the what the the thirty ninth symphony is more joy right huh okay but you got the principal what passions there right hope and fear and joy right

[46:31] again sadness of course is also in the fortyth symphony right okay so you got the four principal passions they kind of stand out though in Mozart's last five symphonies huh

[46:48] okay now article three whether some defect is the cause of what boldness huh to the third then one proceeds thus it seems that some defect is the cause of boldness right

[47:09] for the philosopher says in the book about problems that lovers of wine are what strong and brave and audacious or bold right now so when they get you know not just wine it could be whiskey or something else too right then they're ready to what fight right they get off the stool and then he realizes hey next time is really bigger than them they see the muscles are bulging and so on

[47:49] but from wine there follows the defect of what drunkenness I guess huh therefore boldness is caused from some what defect huh moreover the philosopher says in the second book of rhetoric that those who are without experience of what dangers are what Bold. yeah so that's why the young kids they drive their cars too fast right and you read you know some horrible accidents the last two days and you don't bother to read the newspapers anymore but you know you see you hear about some horrible thing you know where some you know seventeen year old or whatever it is is going off the highway and killed herself and six other guys in the car and so on right you know but they're more bold than we

[48:44] are right huh okay and you know every time the snow comes in the winter you know and it's a little bit icy and all then so soon Cropping up of accidents, right? My father used to say, when winter comes, you have to learn how to drive again, right? Well, that's the man of experience talking, right? I mean, but if you have no experience, right, of driving on a icy road, right, you're going to be more bold than someone else would be, right?

[49:17] This guy was coming behind my wife. I mean, I'm always a very good driver, but it was icy, you know, and she knows she couldn't go any faster, right? This guy was getting annoyed that she was not going any faster, so he he speeds up and passes her and goes around the corner. So she stopped to see if he was, you know, in the hurt or something, you know, and Julia's saying, engaging in a conversation with this guy, right?

[49:40] There's always some jerk behind you, right? You know, who wants you to, you know, go across the intersection, you know, but it's not really, you know, cars are coming too fast. You got to wait sometimes. It's kind of painful to have to wait for a while, but you know, behest of this guy back there honking his horn, you know

[50:02] I don't know. So those inexperti, right? Those without experience of dangers are what bold. That's the famous thing that Washington said when he was a young soldier there, you know, that he's writing to his brother or something, you know, and and bullets, talking about the sound of bullets going by you, you know, and how exhilarating it is, you know. So they brought this up to Washington when he's later an older man, you know.

[50:30] So well, I was young then. You know, you talk about how exciting it is, you know. And interestingly on the battlefield with the when you hear those bullets whizzing by you, you know.

[50:53] Okay. Now those what who have undergone unjust things are accustomed to be more what bold, just as beasts when they are what struck. So should you kick a dog or not when he's barking at you? Is the thing worst? Never kick a dog.

[51:24] My brother Mark was riding a bike with this other guy, you know. The dog came barking, you know, out there. The guy stopped his bike, got off to the guy, he went over to the dog, he gave him one good kick. The dog was ripping off. That sounds like a dangerous thing to do, right? Now make the dog more. But to suffer in something unjust pertains to a what defect, right?

[51:51] Therefore, boldness is caused from some defect, huh? But against this is what the philosopher says in the second book of the rhetoric, that the cause of boldness is when in the what imagination, I guess, right? There was hope, right, of salvation, right, as being near, right, but there are fears when what either things that are not or that are what far distant, right? Okay.

[52:33] But that which pertains to defect either pertains to the what remote or removal or the remoteness of things that are what going to save one, or to the what nearness of the what terrible things. Therefore, nothing that pertains to defect is a cause of what.

[53:04] I answer. It should be said that, as has been said above, boldness follows what hope, and is contrary to it. Whence, whatever things are apt to cause hope, or to exclude fear, are causes of what boldness, right?

[53:35] Because, however, hope—I mean, fear and hope—and also boldness, since they are certain what passions, right, in the strict sense, which involve the body, they consist in a motion of the what desiring power, and in a certain what bodily change. In two ways, one can take the cause of what boldness, either as regards the what provoking of hope, right, or as regards the exclusion of fear. In one way, on the side of the desiring motion, the motion of desiring power; in another way, on the part of the what bodily transmutation.

[54:29] So he spoke about how Aristotle in the premium to the three books on the soul. Talks about these two aspects of the emotions, right? The formal aspect, like you know, in anger, you know, it's a desire for revenge, right? That's the formal aspect, the side of the desiring power. But then there's some kind of body changed in there with anger that you maybe have experienced at some time in your life, right?

[54:51] You know, sometimes In a sense of course it gets hot under the collar, literally hot under the collar, turns red, and he's got a good sense of anger. There's a real bodily change there, right?

[55:21] Now, on the side of the repetitive motion, which follows upon some what knowing, some apprehension, some grasping, right? Hope is what called forth, right? Causing boldness, right? To those things which make us estimate or guess, right, that it's possible to obtain what victory, right?

[55:58] Either according to one's own what power, as the strength of one's body, right? Huh? Experience in what dangers? Multitude of buddies, right? And others of this sort, right? Or through the power of others, as the multitude of friends, or of anyone, what aiding or aiding, aiding them, right? And especially if a man has confidence about the what? Yeah, wasn't that true about David? Did he went out to meet?

[56:42] Once those who have themselves well to divine things are more bold, as even the philosopher says in the second book of the what rhetoric, right?

[56:56] Now fear is excluded according to that, according to this mode, through the what emotion, the through the what removal or of terrible things approaching. When a man, because he does not have what enemies, right? Because he has what harm no one, right? Because he does not see any what danger is imminent, right?

[57:30] For to those there seems most of all what dangers to be near, who have what harmed others, right? So Stalin didn't trust anybody, did he?

[57:49] Now on the side of the bodily change, there is caused boldness through the calling forth of hope and exclusion of fear from those things which make hotness around the heart, right? Let's get fairly primitive. Once the philosopher says in the book on the parts of animals that those who have a what a small heart in quantity are more what bold. That's curious, huh? And animals having a large heart, according to quantity, are what timid, huh?

[58:29] Because the natural heat cannot heat up so great a heart, right? As it could heat up a little heart, right? What do you mean the large heart Just as fire cannot so much what heat a large house as a what small one, right? And therefore it said in the book of Probl uh problems, right? He says that those having what.

[59:05] Large Lung, bloody lung, right? Are more what bold on account of the heat of the heart, right? Falling thereupon, right? And therefore also that those who are lovers of wine, right, are more bold on account of the heat of the wine. Well, that makes sense to me in my experience, right?

[59:29] It's funny, you know, I had these faculty meetings, you know, and I was teaching out at Saint Mary's College in California because that was run by the Christian Brothers, right? So we had faculty dinner on campus there, right? We'd have Christian Brothers wine, right? And maybe sometimes, you know, Christian Brothers brandy, right? And

[59:55] so after you had one of these nice dinners with this wine, and beer you know, I'd always. feel like getting up and going over and talking and and attacking some liberal professor, right?

[1:00:10] I remember in the faculty dining room there, you know, Ron MacArthur comes in on the day of voting, you know, and and one of the liberal professors says to Ron MacArthur, Hey, did you vote yet, Ron?" He says, "Yeah." He says, and he canceled out your vote too.

[1:00:27] Well, you can bet you got a little bit of wine in you, you know. You're going to you know some of these remarks even more, so you're being more what bold because the wine, because you've been warned by the wine, huh? You know, and

[1:00:43] yeah, so there's some truth to that, right? Yeah, I know. Funny, funny, arguing these guys sometimes. Arguing with a liberal historian, time and I was, quoting Roosevelt's son, right? You know, again, there's Eliot there, where he'd been with him at at the Yalta, you know, and he said to him, "They're going to bed one night," he says, "Can we trust the Russians?" He says to Roosevelt, you know, and Roosevelt said, I don't see, "Why not?"

[1:01:32] So his answer to this was, you know, that one of these psychologists had had met Roosevelt and said, "You never know what he's got in his mind." He wasn't kind of a crafty guy. That was the thing, but maybe he didn't mean, but he was. But it seems like he would see it as slim, you know, when he thought about the Russians. At least two of his top advisers were Stalinist agents.

[1:01:54] Yeah, yeah. White and Well, Hiss was there at the Hiss Alger Hiss was there at the Yalta you see him sitting there. Talk about an appropriate name. Yeah.

[1:02:13] The liberals tried to hold out that he'd been framed, you know and all this stuff, but then when they finally got the Russian files after the fall of the Russian Empire, right, there was no question about him being a communist spy, you know. Was that the Venona Yeah, Yeah, yeah, that's part of it. Yeah, yeah. But anyway.

[1:02:36] Okay. So it's said that ebrietas makes for the goodness of what hope, right? Okay, that's why people get into fights when they've been drinking, huh?

[1:03:01] And the heat of the heart repels what fear, which is tied up with the coolness, right? You become cold when you are fearful. That's why you tremble, right? And you could you could tremble because the weather is cold too, right? Shiver, you know. See, and I guess that your body is trying to warm itself up, right? Because of the cold, right?

[1:03:27] So the heat of the heart repels fear and causes hope, on account of the extension of the heart and its amplification, right? Okay. So, in regard to the first objection, then he says that drunkenness or ebrietas causes what boldness, right? Not in so far as it is a what defect, right? But in so far as it makes for the expansion of the what heart, and in so far as it also makes for a what estimate that something is what is of some magnitude, right?

[1:04:15] Okay. Now, those who are to the second, it should be said that those who are without experience of dangers, right, are more what bold, not on account of the defect, but per accidens, right? Because, on account of their inexperience, neither do they know their what weakness, right? Nor do they know the presence of what dangers, right? Huh? And thus, in the subtraction of the cause of fear, there follows what boldness, huh?

[1:04:57] To the third, it should be said that, as the philosopher says in the second book of the rhetoric, those who have undergone something unjust are rendered more bold because they estimate that God will give aid to those who have undergone something unjust, right?

[1:05:17] And thus it is clear that no defect causes boldness except what? Per accidens Yeah, insofar as it has joined to it some excellence, which might be either true or what? Yes, right? Huh? Either on one's part or on the part of another. Huh? So take a little break here. I wonder if that answer to the second example, drunkenness causes daring, that must be

[1:05:49] prompted by his cultural environment he was in, because everybody drank wine every single day. I mean, because otherwise, I think otherwise. In this this culture, you might say, well, drunkenness is going to lower your inhibitions. Yeah, yeah. So that's I mean that's a different kind of thing altogether. But you're going to overestimate your ability there, right? I guess that. By all means, okay.