Tertia Pars
90. Question 41, Articles 1–2: Why Christ willed to be tempted, and why in the desert (with digressions on Mozart's symmetry and the virtues in music)
Class of 2010-04-22
https://berquistcourse.com/course/theology/13-tertia-pars/090-question-41-articles-1-2-why-christ-willed-to-be-tempted/

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

[0:35] So, what's the second commandment of love? Yeah. Now, does that include your guardian angel? See your neighbor. I think he has a good claim to it. Yeah, you know, think of it easily. You know, think of a neighbor simply. You know, other human beings, right? But the, but I think that the angels would be included in that. Part of loving angels yourself is a little different than we are.

[1:03] Mm. But is this his neighbor? Doesn't he? Yeah, yeah, yeah. It's a being Catholic. Does that mean there's a being guardian angels out there? Oh, yeah, yeah. That's a lot of angels. Well, there's that many people. The church fathers. Angels take up less space than people.

[1:27] Church fathers speak of the angels assisting at mass too. That's the common common thought among them, huh? I was reading the chapters 39 to 45 there of Thomas. They're in the second book of the Summa Contra Gentiles gentiles, where he's talking about distinction or the universe and how this is an effect of God, right? Of course, he goes through you know all the wrong ideas about what the cause is and shows at the end that pertains to God.

[2:03] But God makes everything for the sake of what himself, huh? He's the beginning and the end of all things. But he doesn't get anything out of this, right? Okay. His His goodness doesn't depend upon the universe, and it doesn't get anything any improvement upon it. So, what is God really up to? You see? in making all things the sake of him? Well, he's trying to make creatures like himself, huh?

[2:33] He's trying to. In that sense, he's the end of the universe, right? Well, when Thomas is explaining the inequality of creatures, huh? He says, "Well, if there wasn't this inequality of creatures, then no creatures would be like God in perfecting others." So I was thinking, you know, of how we say about the word. This is the light that enlightens every man that comes into this world. So God enlightens everybody.

[3:05] But you know, we can also say that Thomas Aquinas, say, or our guardian angel, that they enlightened us, and so that they're in that respect like what God in a way, right? So God wants creatures to be not only like themselves and having some perfection themselves, but also some of them to be like him in perfecting others, although in a partial way compared to the way he does it, right?

[3:34] So that's why God made you and me so inferior to Thomas Aquinas or Augustine or somebody like that, or Euclid in geometry, so we could be enlightened by these men, right? Like Euclid has enlightened me about squares and circles and triangles and angles, and Aristotle has enlightened me about the soul and about God and Thomas says and so on, Augustine. So that's that's marvelous, right?

[4:10] So that's the way it should be, right? Rather than all of us thinking for ourselves and no enlightening anybody else, huh? Okay, let's start question forty-one here. Then, not to consider about the temptation of Christ, and about these four things are asked: first, whether it was suitable for Christ to be tempted; secondly, about the place of the temptation; third, about the time of the temptation;

[4:48] and then fourth, about the way and order of the temptations, huh? So to the first, one goes forward. Thus, it seems that it is not suitable for Christ to be tempted, because to tempt is to get what experience, to take experience, which is not except about something unknown. But the power of Christ was known even to the what demons, for it is said in Luke chapter four that he did not allow the demons to speak because they knew him to be the what Christ.

[5:31] Therefore, it seems that it was not befitting for Christ to what be tempted, huh? Moreover, Christ came for this purpose that he might dissolve the works of the devil, according to that of one John three. In this, the Son of God appeared that he might dissolve, huh, the works of the devil. But

[6:01] it is not of the same to dissolve the works of someone and to suffer them, undergo them. And therefore, it seems unsuitable that Christ would suffer or allow himself to be tempted by the what?

[6:21] Moreover, there is the threefold temptation from the flesh, from the world, and from the devil. But Christ was not tempted by the flesh nor by the world; therefore, neither should he have been tempted by the what? Devil, huh? Socrates would call it example right from one particular to another particular.

[6:47] The weakest of the arguments. The weakest of the four arguments. But against this is what is said in Matthew chapter four, that Jesus was led by the Spirit, and that's the Holy Spirit, huh? Into the desert that he might be tempted by the what? Devil.

[7:10] Now he says, "I answer. It should be said that Christ willed to be tempted, right? " And he's going to give now four reasons. First, that he might give aid to us against what temptations. Whence Gregory says in a homily,

[7:35] "What's a homily, by the way? What's the English word for homily? " The English word for homily We made a word out of the Greek word, but does it actually mean homily? Means word. What? Word. I think it means talk. Yeah. Yeah. So. It's a little bit less formal than a lecture, right? Sermon Sermon I think At least in English. Yeah, but the Greek word I think I looked it up the other day.

[8:06] It means talk, I think. So it's a little more casual, if you wish. Yeah, yeah, but Aristotle creating more substance to these homilies, sir.

[8:19] It was not undignified, right, for the our Redeemer that he wished to be what tempted, who came also to be what killed, that thus he might overcome our temptations by his temptations, just as he overcame our death by his death, huh? That's quite a trick if you can do that, right? But that's a nice proportion there that Gregory has, right? So Plato and Aristotle talk about the importance of being able to see a proportion.

[8:59] The fourth tool of dialectic. Now, the second reason he gives, on account of what, a caution for us, huh? A warning for us. That no one, no matter how holy he is, should think himself to be secure and immune from what temptation. That's a beautiful, interesting argument, right? Whence also after baptism he wished to be what tempted, huh? Because as Hilary says upon Matthew, in those made holy, right, most of all, right, the temptations of the devil are what

[9:45] made abundant, right, or weighed down. What? I was just agreeing. Okay. Yeah, because victory is more desired over the what. Saints, right? Huh? So he, if he can make a saint sin, right? Then he has greater what? Joy in hell over it. successful temptation, right? Huh? Yeah. Ah, whence it is said in the book of Ecclesiasticus that son, when you are approaching the service of God, stand in what?

[10:26] Justice and in fear, huh? And prepare your soul to what? Temptation, huh? Okay. So when the guy was coming in, wasn't uh, into the trappist there, you know, and the first confession, so it's taken there, you know, he says, he says, you're gonna be tempted to leave here someday. That's kind of the first thing you say, right? You're gonna be tempted to leave here someday. And. So this is a very good reason that Thomas gives here, right?

[10:59] Huh? Question, huh? Yeah. Next line of Saint Anthony the Desertus: Cast all your care upon the Lord and expect temptation to your last breath. I remember Dominican saying that, you know, it's like I've been keeping my body in subjection all these years, you know, it's like a, you know, an old guy you can't quite trust, you know, looking for an opportunity. An old what's the word?

[11:31] Missionary, an old missionary. Yeah. Third, on account of what? An example, right? Huh? That he might instruct us how we are to overcome the temptations of the devil, right?

[11:50] Well, what did the Aristotle say in the book on the Poetic Art, huh? He says that man is the most what? Imitator of all the animals. And at first, he says we learn by imitation, now. So that's part of the reason why Plato wrote these dialogues, right? Where it gives you an imitation of philosophical conversation, now, if you'd imitate.

[12:16] I mean, like we imitate Mary, I guess, huh? The way the last chapter, isn't it, on the Church there is about Mary, huh? And so she's kind of a model, huh? I was thinking of of the beginning of the Magnificat the other day because we're reading Luke, you know, again. And she says, "My soul magnifies the Lord, and my spirit rejoices in God, my Savior." Right. What's the connection between those two things, right?

[12:46] Huh? Because essentially, saying my soul magnifies the Lord, my soul what? Praises in a way, God, right? Huh? And why does she say my spirit rejoices in God, my Savior? What does that follow from that? Huh? I was thinking those words of Augustine, right? He's talking about the next world. He's talking about the connection between love and praise, and he says, "Amari in laudibus" to love in praises, and "laudare amore" to to praise in love, right?

[13:22] Now, why do those two go together, right? Well, it's because you praise somebody because there's something good in that person, right? As you know from your study of the treatise on love, you were there when you did that, the object of love is the cause of love, right? And the good is the object of love, therefore it's the what? Cause, yeah. So that's why praise and love go together, right?

[13:50] Praise him in love, and love him in praise. Well, now if you love God, then that's going to give rise to what? Yeah, that's going to give rise to what? Joy in the Lord, right? Okay. Because we only take what joy in what we like, right? I take no joy usually in eating fish. I don't like fish much, but too right. But I take joy in eating steak or something which I I like.

[14:18] See. I take joy in Shakespeare. Yeah. You don't sing the praises of fish No, no, no, no, no, no. The only good fish is a disguised fish. Yeah. Yeah, yeah, right, very definitely, very definitely, very definitely, very definitely. You have more the nature of dog than cat.

[14:40] Opposite to trim. I know. We first had had a cat at the the lakeside place, and we cleaned some fish, right? And then some of that paper was in the wastewater basket and the cat's jumping into the wastewater basket just because of the smell of the the paper that's in

[14:58] there. So Mary's got a thing now. What is it? The they say the principal hours are lauds and vespers, right? Of course, lauds is named from what? Praise. Vespers is the name for the time of day, but lauds gives it away, right? Huh? So when you're praising God, you should be praising God in love and loving him in praise, and then you should, like Mary, then what?

[15:23] Rejoice in the Lord, right? That Psalm there was ninety nine enters gates with thanksgiving, his courts with praise, give thanks to him, bless the Lord, for he is good, right? But there you see the connection between the good and and praise, right? I was reading you know his praise of the what play there Shakespeare before class, and I would assume that he likes the play the way he praises it, right?

[15:51] Huh? You know, see, we tend to praise somebody that we really what like. We praise something that we like. Huh? I was listening to Don Giovanni a bit there. The other day, it's absolutely amazing. This is the opera of operas, right? Now, this is a little bit of the Marriage of Figaro. Some of them were describing some famous writer. They're describing, and then going to the old Vic for a performance of, you know, the Nonce de Figaro, the Marriage of Figaro.

[16:21] the vindication of opera. That's kind of a marvelous thing, right? You know, because not people like opera, but this is the vindication of opera. Opera is really something great, you know. So, so Brahms, the other words of Brahms, he could. I can't understand him, but he could write something as perfect as The Marriage of Figaro, right? That is never let down. Every number is perfect. Very interesting.

[16:44] Of course, the highest thing in Mozart, and you get these, you know, maybe usually six different singers, you know, singing together, you know, kind of a, you know, yeah, you know, single things and duos and something. You have these things where six tenors, six people singing, and oh, it's just incredible what he does. But anyway, so if you praise these things, if you praise them, the opera of operas, you must like the opera, right?

[17:11] So this is the third reason, then, on a common example, right? But because man has to learn by example. Once Augustine says in the fourth book about the Trinity that Christ gave himself up to be tempted by the devil, that he might be the mediator in what overcoming temptations, not only by his aid, right, but also through his what example.

[17:43] And fourth, that he might give us hope or confidence about his what mercy being bestowed, huh? Whence, it is said in Hebrew, fourth, we do not have a high priest who is not able to compassion with our infirmities, for he is tempted in all things, for likeness, but without what sin. So that's the four good reasons why Christ was tempted, right? Yeah, kind of interesting.

[18:14] That's the whole sermon itself, right? At least he wasn't supposed to make three points in the sermon, I guess. That's the old old rule. I'm sure you could probably arrange Jesus divided into two or three. To the first, therefore, it should be said. Kind of interesting what he says here about the devils. You're never too sure exactly what do they know, you know, about this man here.

[18:45] To the first, therefore, it should be said, as Augustine says in the ninth book about the city of God, that Christ, to that extent, was made known to the devils as much as he willed, right? Not through that that he is eternal life, right? But through some temporal things that were effects of his power, right? And then did they know from this? No. From which they had a certain, and this is the Latin word for guess, right?

[19:19] From which they had a certain what guess that Christ was the Son of God, right? But because again in him they saw certain signs of what human infirmity, not for certain, right? Did they know him to be the Son of God? They didn't know in the strict sense, right? Still remains a guess, and therefore they wanted to tempt him, right? Huh? And this is signified in Matthew chapter four, where it is said that after he hungered, he saw this weakness in Christ, this human weakness of hunger, the temptator, the tempter. Approached him, right?

[20:03] Because, as Hilary says, the devil would not have dared to tempt Christ unless, through what, the infirmity of hunger, right? Huh? He recognized him to be a man, right? The things of man.

[20:20] And this also is clear from his way of tempting, when he says, "If you are the son of God, right? Huh? " Which the great Gregory expounding says, "Ah, what does such a beginning of his speech

[20:37] wish except that what? He knew the son of God to be coming, right? Huh? But he did not think he came through the infirmity of what? The body being a little more relaxed, a little more glorious, or something, right? So he kind of it's not getting sure of the devil, right?

[21:06] No, when they talk about about Mary being betrothed and so on, right? Was party you know, to to safeguard her honor, but also keep the devil kind of ignorant of what this. Yeah. Yeah. Maybe it's just another human birth, you know, However excellent it might be.

[21:27] Now the second point that Thomas makes in reply to the second objection here, how you can overcome the devil, right? Thomas makes his point in other places. I've seen it. He wants to overcome the devil not so much by his power as by justice, right? And so, in the devil, you know, this is seen most of all in the what crucifixion, so on, right? Because the devil is being unjust, right?

[21:56] Huh? Then he merits, shall we say, to lose his what? Authority to lose his kingdom, huh? Okay. But also because Christ doesn't want you to be a lover of what? Power. To

[22:13] second, it should be said that Christ came to dissolve the works of the devil, not by what acting in a powerful way, right? potestative, but more by suffering from his what members of the devil. That he might overcome, that justice might overcome the devil, they might overcome the devil by justice, not by what power.

[22:43] As Augustine says in the thirteenth book of the Trinity, that the devil was not what to be overcome by the power of God, but by what justice.

[22:57] And therefore, about the temptation of Christ, it should be considered what he did by his own will, and what he what suffered from the devil. For that he offered himself to the tempter was of his own will, right? Whence it is said in Matthew chapter four that Jesus was led into the desert by the Spirit, that he might be tempted by the what devil, which Gregory understood to be said about the Holy Spirit, right?

[23:30] That the Holy Spirit led him there where he knew that the evil spirit, right, would find him to tempt. But from the devil he was what undergoing that he be taken either on the pinnacle of the temple or also in the high mountain, right? The other two temptations taking place. Nor is it marvellous that Gregory says that from him he permitted to be led into the mountain, who permitted himself to be crucified by the members of that same devil, right?

[24:08] Now he is understood to be taken by the devil not as a matter of necessity, but because as Origen says he follows out the temptation as an athlete proceeding spontaneously, huh? That's kind of a nice image that Origen has, huh?

[24:32] Now, what about Christ being tempted by the devil but not by the flesh and so on? Well, he's going to apply to that here in the third objection. To third, it should be said that the apostle, as the apostle says, Christ willed to be tempted in all things, but without what sin. Now the temptation which is from the enemy can be without what sin, because it comes about only through exterior what suggestion.

[25:04] But the temptation which is from the flesh is not able to be without sin, without at least what venial sin, right? Because this temptation comes about through pleasure and desire, and as Augustine says,

[25:23] there is some sin when the flesh what lusts against the spirit, huh? And therefore Christ willed to be tempted by the enemy, but not by the what flesh, huh?

[25:39] Now. The place and the time, right? Of course, the fourth article will be the most important about the way and the order of the temptations, right? Thomas, you know, takes up each detail, right? Even the place and the time.

[26:15] I was thinking of imitating the blessed virgin, you know, on the way up a little bit, now saying, kind of a humorous way, you know, that don't let the wine run out. If you get the blessed virgin, you'll make sure the wine doesn't run out. Always a wine to your feast. Always make sure you got a wine.

[26:46] It's an example I can follow. Well, we know that when you're in purgatory that there's just gonna be no wine. there. Yep. The second one goes forward. Thus, it seems that Christ ought not to be tempted in the desert, right? Huh? For Christ's will to be tempted for our example, right? But an example ought to be proposed, manifestly to those who are to be informed by the example.

[27:28] Therefore, ought not to have been tempted in the desert. It may be in the temple or some place like that where people could see him being tempted, right? It's kind of an interesting objection, huh? Okay.

[27:42] Moreover, Chrysostom says upon Matthew that then most of all the devil is insistent upon tempting when he sees us to be what? Yeah. Whence in the beginning, he tempted the woman without the man, or finding her without the man, right? That's quite interesting, huh? That he points that out there, that she was more susceptible to the tempt, you know, to succumbing to the temptation, being by herself, right?

[28:14] And thus it seems to this that he went into the desert that he might be tempted, that exposed himself to what temptation. Since therefore his temptation is our example, it seems that others ought also to what? Go into receiving these. Yeah, to cast themselves into undergoing these temptations, right?

[28:41] Which nevertheless seems to be what? Dangerous. Yeah, because we act more to avoid occasions of what temptations, huh? So you shouldn't go to the body house or something like that, right? Okay. This is kind of interesting thing that I I I've seen sometimes. Remember our conversation between my my cousin Don and my mother one time, right? They're talking about some saint you know and all these horrible things that he underwent, right?

[29:13] And my mother felt that could undergo these things, right? And when you think about what these saints suffered and all these Isaac Jogues here at the Indians and so on, and I say, yeah, which he was, you know. Well, all my cousin Don says, well, if you get in that situation, he says, God will give you the grace, right? And but the point is, me one shouldn't dwell too much upon those horrible things, right?

[29:42] Because that's like a temptation to what? Despair. Yeah, yeah, yeah. And it's a little more different than the temptation you have, you know, to be unchaste or something like that, right? That was more obvious, you know. But here it's something like you know, well, I hope I don't have to undergo this, but if I do, I'll rely upon God's grace and not upon my own. But I'm not going to dwell upon and say, gee, who's who is, you know, you know what, what do I do, you know?

[30:06] It seems to be the most in the final Sisic one. Yeah, he endured discipline himself. Yeah. He's gonna he's gonna take on the whole communist party himself. Yeah. Yeah. And then he found out that they kind of they physically they're broken. Yeah. They're emotionally mentally broken. Yeah. But then he sort of recovered from that by the grace of God. That wasn't the right. Another one too is the North American martyrs.

[30:29] I think it's that I don't know if it's Father Manuel. There was one of the ones he was actually he was actually weaker than I think he was a companion of Father Manuel. He was actually weaker than another one. He ended up enduring a work even worse than the stronger ones. Yeah. That is kind of interesting. You know, reading the story, it's evident that it was a special divine grace

[31:03] that was showing something. Okay, moreover, Matthew four five, the second temptation of Christ by which the devil took Christ to the holy city, right, and put him upon the pinnacle of the temple, which was not in the desert, right. Therefore, he was not tempted only in the what? Desert, huh? But against this is what is said in Mark chapter one that when Christ was in the desert for forty days and forty nights and he was tempted by what?

[31:38] Yeah. So he shouldn't spend forty days there. Fasting during lunch, you might be tempted exposing yourself to. So, my answer, it should be said, this has been said, that Christ, by his own will, exhibited himself to the devil to be tempted, just as by his own will exhibited to the devil's members, right? To be killed, right?

[32:17] Now, the devil more pays attention to someone when he is what? When he's solitary, right? Yeah. Okay, he's more attentive. Because, as is said in Ecclesiastes, chapter four, is someone prevails against one, two can what resist him?

[32:45] And it's like like uh Alcoholics Anonymous or something, right? Yeah. I see. Okay. Yeah. Okay. And hence it is that Christ went out into the what desert, as it were, to the field of struggle, right? Huh. Battle, and there he might be tempted by the what devil, right? Huh. Whence Ambrose says upon Luke that Christ went into the desert by counsel, right? Huh. That he might provoke the what devil.

[33:20] Um. For unless he had fought against the devil, right? Um. Christ could not have what conquered, right? He adds, however, also other reasons, saying that Christ what did this in mystery, right? Huh. That he might liberate Adam from exile, right? Who from paradise was ejected into the desert. By example, that he might show us.

[33:55] Um. That the devil envies us, right? When we tend to greater things. Okay. So envy is sometimes spoken of as a second sin of the devil, right? The first sin is pride, but then there is envy towards us is still being capable of the attitude.

[34:21] So envy is a devilish thing, right? Now, what about this first objection? Why didn't he do so in an open way, right? The first, therefore, should be said that Christ is proposed for us as an example by faith, according to that of Hebrews chapter twelve, looking upon the author and the consummator, the finisher of faith, right, namely Jesus. But faith, as is said in Romans ten, is ex auditu.

[35:02] Thomas never forgets that, right? Not over ex visu. Moreover, it is said in John twenty, blessed are those who have not seen and believed, right? That he says to Thomas there. And therefore, in order that the temptation of Christ might be for us an example, it was not necessary that it be seen by men, but it was enough that it be what narrated to men. So it be through your ear that you would know about Christ, huh?

[35:37] But Thomas has a great respect for that ear, right? Yeah. It's like the Eucharist, that's what he says What? Yeah, yeah, yeah, the Thomas is rhythmus yeah. Yeah. Yeah. Widows yeah Yeah

[36:01] Which is the greater sense, sight or hearing? Well, he'd probably say, I think he'd be inclined to say seeing. Yeah. It's a great sense. Yeah. But it may be more useful for us hearing than just having to think, because we don't see it yet. Yeah. But to see it will be greater than just to hear it. Yeah. But if, you know, I used to say to students, if you had to choose between being blind or deaf, which would you choose?

[36:30] I would be deaf. Yeah, most students would choose to be deaf rather than blind to sign if they've got to say this higher, right? But one student who was very much love our music and played the organ song. She'd rather be deaf than not. I mean blind than deaf, but yeah, you got some students.

[36:50] Give you trouble. Uh. You see, I always maintain, you know, I have to argue with people, which is a greater art, music or or painting, huh?

[37:22] I don't know how it goes on. Probably people... Well, I would think, I would think music is. Yeah, I think so. It's kind of obvious to me, but, you know, I had... But most people would think of it in terms of the impact it has on their senses rather than Yeah. what's required of the artist. Yeah.

[37:45] But if music is higher than painting, then this would be argued to say, say that the ear is better. Yeah. This dude was using this against me, you know? And, uh, because I admit that music is better, greater, greater than... But maybe in terms of the art, it might be harder to imitate something through music than it is. Yeah, yeah. I don't know.

[38:07] Art is more imitative. Music. You really don't have something to imitate, really. You don't have a... Well, you do. You know, Miroslav talks about that in the 8th book of the Politics, right? That you imitate the emotions, and you imitate also the virtues, huh? So, uh, in Mozart's last 5 symphonies, you know, I think I mentioned this before, but he has that same symmetry that you have in the Mass, that you have in Shakespeare's, uh, um,

[38:45] uh, Midsummer Night's Dream, right? That you have in the dialogues around the death of Socrates. I've spoken about that symmetry of the five. I think so. You know, where, just to put it in letters, you know, you'd say

[39:10] A, B, C, B, A. That's symmetrical, isn't it? So, like in the mass, you have five things that are sung: Kyrie Eleison, the Gloria, the Creed, the Sanctus and Benedictus, and then the Agnus Dei. Well, the Kyrie Eleison and Agnus Dei are both asking for God's mercy, so they're both prayers. The Gloria and the Sanctus are more praise of God, and the Credo is the odd guy, right?

[39:49] That's the confession of the faith. So it's A, B, C, B, A, right? As I say, you have this Midsummer Night's Dream, where it begins in the court of Athens, then it goes to the house of the, what, peasants, right? And then you have all these mix up in the forest, right? Then it goes back to the house of the peasants and back to the court. So you have that same symmetry in Shakespeare.

[40:14] Well, you have this in the dialogues around Plato, right? The death of Socrates, where you have the Meno and the, uh, uh, Euthyphro, and then the apology, right? And the Crito, and then the what? The Phaedo, yeah, yeah. And of course, the odd bird is the, uh, apology, which is not really a dialogue, it's more the defense of Socrates in the courtroom, right? Well, the Crito and the Euthyphro are much shorter, right, huh?

[40:53] And then the Meno and the... yeah, Phaedo are much longer, right? But in the Meno, you get introduction to logic, right, huh? And then in the Phaedo, you get the what? We get an argument about arguments, right? First the Manic and the history. And then, um, in the Meno, you get an argument for the immortality of the soul, right? Which is recalled in the Phaedo and then improved upon in the Phaedo, right?

[41:24] So it's kind of a, you know, like that. In the Euthyphro, you have this long discussion about piety and so on. And then the Crito, you have the example of Socrates' piety to the city of Athens, but he's not going to escape, you know? And so there's a certain parallel there, right? Well, you take the last five symphonies of Mozart, right?

[41:48] Which are the 36th, there's no 37th, you know, but Mozart. The 38th, the what, 39th, the 40th, and the 41st. Now, these are the last five, huh? So what about 37? Well, there's no 37 symphony for Mozart. Well, what happened was that his friend, the brother of Joseph Haydn, Michael Haydn Wright, wrote a symphony, and he asked Mozart to write an introduction to it. So Mozart wrote some kind of introduction to the symphony, and they thought the whole symphony was by Mozart, it's actually by Michael Haydn.

[42:29] Mm. And so it was numbered 37, so. Oh. They kept the numbers, right, huh? Thank you. See? So, the five last symphonies then are 36, 38, 39, 40, and 41. Huh. Okay.

[42:45] Now, sometimes when they find some early symphony of Mozart that they think might be by him, they'll give another 42, but don't, don't pay attention to that. This is the chronological, right? Now,

[42:59] as Thomas explains, when he talks about the emotions, and going back to Plato and Aristotle, you have two groups of emotions, the concupiscible emotions and the what? Irascible. Irascible emotions. And concupiscible emotions are the ones concerned with what is pleasing or displeasing to the senses, huh? So you have love and hate and desire and aversion and pleasure and pain, right? Or joy and sadness, right? And then the irascible ones are the ones where you're pursuing something for the sake of something else, right?

[43:37] Like you fight in order to keep your food or keep your woman or something, and you have hope, you know, to overcome the difficulties to get to something. Well, as Thomas points out, the irascible is more what? Closer to reason, right? Okay. So,

[44:00] in these two symphonies, in these two symphonies, you represent the irascible. In the case of 36 and 41, what you're representing is magnanimity, huh? And the greatest of the virtues, the virtue that does great things at all the virtues, huh? And this is in D major, and this is in C major, right? Appropriate keys for those purposes, huh? Of course, the 36 symphony's got its own introduction, you know?

[44:29] I always remember reading someone saying, if all that had survived of Mozart was the introduction to the 36th Symphony, it would be enough to establish his greatness. The first time I heard the 36th Symphony was at the St. Paul Public Library, in a room they had you listen to there. And it was a beautiful day with these, you had these huge windows go up like two stories, you know, and there's a beautiful blue sky with these puffy distant clouds, hearing this 36th Symphony the first time.

[44:56] So the 41st Symphony is a representation, it's called the Jupiter Symphony, right? Okay, yeah. It's a representation of magnanimity right? But what Shakespeare, I mean, what, uh, Mozart does in the last movement there, right? Remember first when Warren Murray was pointing this out to me, he says, you know what he does at the end there? I says, well, not kind of. Yeah. Well, he's got about 4 or 5 melodies, and he combines them all together, right?

[45:23] You see? He gives an impression of just tremendous, you know, you know, uh, magnanimity there. He actually kind of tones it down, you know. It just, he just adds it easy, you know. You know, just peak confidence there, right? So magnanimity is... Is what perfecting the virtue? I mean, hope. Okay, that's very much. You know, Thomas talks about, okay, the theological virtue called hope, and

[45:53] represents very much the the movement of the soul towards the good, right? Why 38 and 40 deal more with what fortitude, huh? But 38 deals with the what? There's two acts of fortitude. One is to approach the what terrible, right? You know, and the other is to what have patience in suffering, right? So the forty is more patience and suffering, but 38 is what? Yeah, yeah. And you listen to 38 simply to get a good performance, you know, like Beethoven's like that, huh?

[46:29] You know, Beethoven just looks feeble compared to it. I mean, the power, you know, that you know, just amazing, you know. And then 40th has this representation of suffering, right? So it's it's striking what Shakespeare's done. I mean, what Mozart has done, right? The 39th, of course, is a little what kind of the relaxation of the great man, right? A little bit more like the musical, right?

[46:55] You know, but but it's still on a very high level, right? So it's got that same beautiful symmetry, right? So you well, what you do in Mozart and you do the music there, you what use the keys to represent the emotions and also to represent the virtues, as Aristotle said.

[47:17] Yeah, how do you how do how do the imitation doesn't come through the senses? Well, see what what some people say is that it's especially tied up with the

[47:36] representation of the emotions in the tone of the human voice, and this has been noted, you know, especially you know, Corelli's music and so on, Mozart's music. Ah,

[47:52] see, Mozart will use a major key, you know, to represent joy, to represent hope, to represent audacity, right? Generally speaking, right? He'll use a minor key to represent sadness, right? To represent despair, to represent fear, to represent what anger, right? You know, Don Giovanni goes down to hell, right? This D minor, right?

[48:26] So, but then then I'd say C major or or D major and and then will be more irascible, right? And B flat or G, you know, be more like. the concupiscible, right, And uh, so there's a real feeling for the keys in Mozart, huh? And they compare Mozart with Haydn. Haydn will, for variety's sake, variety's sake, you know, change for the sake of variety from one key to another.

[48:54] But when when Mozart goes from one key to another, there's always a reason for it, huh? And uh, uh, in in Mozart's uh piano concertos, you know, there's actually kind of a a plot in emotions, huh? Which you can see very clearly in like the 20th and the 23rd concerto and so on. Actually put into words almost the plot.

[49:24] This beautiful quintet of Mozart's you know, clarinet quintet. It's almost like Mozart's speaking, you know. I used to kid the children, you know, you can hear Mozart speaking in this movement, you know, and they always seem to hear his voice, you know. But it's really it's amazing, you know, what he does. Be good children be good Yeah yeah yeah.

[49:52] We've talked before about the marriage of Figaro is like the Merry Wives of Windsor, right? And it's a moral effect huh Yeah. Amazing what Mozart does and what Shakespeare does, because it belongs to the to the poet to lead us to something virtuous, right? To a pseudo representation, but he shouldn't preach at us, right? That's not his role, right, as a musician, huh? Or as a dramatist, but he knows how to do it, right, huh?

[50:19] Pope Paul VI said the artist has a certain advantage over the preacher because the preacher is almost kind of like always an adversary, yeah, sort of scolding the people, whereas the artist makes people sympathetic with, wherever the hero is in his virtue, He makes it easier to imitate. Yeah Perhaps a preacher should preach with a guitar Okay, fine. we'll get you a guitar. to start taking lessons But it's interesting in this biography.

[50:53] I was reading of Delzon. You know, you know, when he first began, he was you know kind of aristocratic and didn't know how to give sermons. too much, you know, and then eventually he started becoming very good, you know, giver of sermons, huh? And he knew how to get the audience and teach them and so on. But interesting.

[51:17] You see, the first mistake of a preacher is to try to say everything he knows about the subject. Yeah, yeah. Yeah, Brother Mark used to think kind of highly of Cardinal Newman's sermons, you know, because there's some simplicity and directness to them, but it's not. You know, like a lecture, you know, or something like that. huh? Not a lecture.

[51:45] You don't weary of it, even though some of them can be kind of long. you don't weary. of it. Yeah. He speaks well. Yeah, yeah. But you find this, I think, of the church fathers, huh? These sermons that the Dominicans brought together, you know, for the older liturgical calendar, you have, you know, five or six speeches. You know, Leo. I always like the Leo the Great talking about the Incarnation and so on, just.

[52:11] magnificent things. Okay, so so we we just looked at the second objection here, right? Yeah, we're in the middle of that. I guess. To the second, it should be said that two-fold is the occasion of what temptation, right? Huh. One from the side of man, right? Huh. When someone makes himself what near to the sin, right? Not avoiding the what occasions of sinning, right? Huh. And such an occasion of temptation should be what should be avoided, right?

[53:21] Huh. Okay. Just as it is said to Lot, right? Genesis nineteen. Do not stand in any region around what Sodom, right? Huh. Yeah. Yeah. Was was the book by yeah. Yeah, yeah. What we're doing? Yeah, it's just incredible what goes on nowadays. Another occasion of temptation is on the side the devil, right? Huh. Who always envies, right? Those tending to what better things, as Ambrose says. That was quoted already, right?

[54:03] The text, I guess. Um. And such an occasion of temptation should not be what. Yeah. Whence Chrysostom says upon Matthew, huh, that not only was Christ led into the desert by the Spirit, but all the sons of God having the what Holy Spirit, huh. For they are not content to sit idly, right? Huh. But the Holy Spirit urges them to what. To take up a great work.

[54:42] Yeah, some great work, right? Which is to be in the what desert as regards the devil, right? Huh. In which, because there is not their injustice, in which the devil what. Yeah.

[55:01] For every good work is a desert as regards the flesh of the world, because it is not according to the will of the flesh and of the world, huh. Now, to give such an occasion of temptation to the devil is not periculous, right? Because more is the aid of the Holy Spirit, who is the author of what? periculous. Than the attack of the devil. and being, huh?

[55:32] You read about the Curia of Ars, right, or some other saints, you know, The way the devil. It's almost like they're almost mocking the devil, right?

[55:43] So, yeah. Hope, hope. Yeah. Transitoria, please, Wendy. Yeah. To the third, it should be said that some say that all the temptations were made in the desert, right.

[56:17] Some of, whom some say that Christ was led into the holy city, not really, but according to an imaginary what vision. Some, however, say that what the holy city itself, Jerusalem, is called a desert because it was abandoned by what by God.

[56:43] But this is not necessary because Mark said that in the desert he was tempted by the devil. Not, however, that he was only in the desert, right?

[56:54] I don't. I never thought of him as being imaginary, being taken up to the temple and so on, right in the mountain. Yeah. But that it's a real vision, right? A real.

[57:12] Now, how about the time when the temptation?