De Anima (On the Soul)
59. Music, the Psalms, and the Mass: Prayer and Praise Set to Music
https://berquistcourse.com/course/philosophy/4-de-anima/059-music-the-psalms-and-the-mass-prayer-and-praise-set-to-music/

[0:00] You know, Thomas says some very strong things about music. I have a few things here from Thomas and Shakespeare, the people you know, talking about the the power of music. But a good understanding this is you find in Homer, because in the in the Odyssey, right? You know the Odyssey at all? So,

[0:33] but the Odyssey, Odysseus has been warned about the sirens, and the sirens attract you by their music, right? Yeah. But then you crash upon the what rocks, right? Okay. And what Circe advises him to do is he has every member of the ship. He plugs their ears up, right, so they can't hear the music. Okay. Now he's curious; he wants to hear it, right? But what he commands has them do, right?

[1:08] Is to tie him to the mast of the ship, right? Okay. So no one else can hear the music, right? He says, "Now, as you go by, he says, keep me tied to the mast, and if I ask to be released, bring more rope and tie me even tighter." You see, so even though his reason, you know, has been forewarned, the effect of music is going to be so great, right?

[1:30] Even the great Odysseus is is in danger of being what seduced by this music, huh? And led astray, huh? And of course, you know, he is struggling in all to get free, and of course they bring more rope in the time, you see? But if the whole ship was was. If the rest of the ship was not all plugged to their ears, they would have been what?

[1:53] Led astray, right? I've seen articles, you know, on the use of the Nazis made of music, right? Oh, yeah. And and you know, in some ways, Hegel—I mean, not Hegel, but Wagner, you know. Oh yeah. You know that's why that's why Wagner was prohibited from being played in Israel. You know they're trying to do it now again. You know. Oh wow. Because it was so much associated with the Nazis, huh?

[2:17] But even you hear some of the Nazi music, you know, some of the military music, you really kind of catching, you know, and and get you caught up in the the spirit of this thing, you know. And you realize the the power of music, huh? That's why I used to get you know, even the American Revolutionary War. You know, they come in, you know, playing the thing, and the kid sells quite pretty good.

[2:46] Did he go marching off? Also, he's in the in the army. So that's important to see, you know. Yeah, I may have to bring in some of those little quotes sometime, you know, just from from uh Shakespeare and others. but I mean it's something that people get attached to certain kind of music that they become accustomed to, and if the wrong kind of music, it's very hard to change them, and and it acts as I say in that kind of I wouldn't say subliminal, but below reason in a sense, right?

[3:24] You're dealing with what what can partake of reason, but doesn't always, and it has such a natural attraction for us, son. When I asked you about the thing with nature, and then he said maybe it tells us something more about the nature of music than the nature of nature. Um, what would that be? The sense of that rational basis of music, or the well, it's like saying you know what's what's closer to to thinking on nature or words.

[3:58] What would you say? Words. Yeah, because words they're signifying something within, right? They signify things through thoughts, right? Yeah. So in some sense, words are closer to thoughts than what than things, right? Okay. Monsignor, do you have a text there from Thomas? There is one of the one of the just good question, I think it is, but talking about the

[4:31] things, thoughts, and words, huh? Okay. Well, in the great mind, what comes first is things, right? And then the great mind has thoughts about those things, right? And then the great mind puts those thoughts into words, right? Okay. But now with the student, what comes first? Words. Yeah, he hears the words of Aristotle, the words of Thomas, or somebody, and from the words he comes in a way to the what?

[5:10] Thoughts, right? Of the teacher, and then through that to the things, right? Okay. So, music in a way, what is a bit like that? It's not representing thoughts, but representing what? Emotions and also what the virtues concerned with the emotions. And if it's good music, it's representing the virtues that are what as opposed to. vices right, It's representing the emotions, partaking of reason, okay.

[5:58] And uh, you see, it's most of all in the music of Mozart, right? That he represents the emotions partaking of reason. So there's something rational there, right? Huh?

[6:12] So it's closer to reason, just like words are closer to the thought and sense than what things are, right? Okay. Because words are signifying the thoughts.

[6:26] So the music is signifying something, or can be signifying something that partakes of reason. Now you once mentioned too in another class about poetry and psalmody, making the distinction that psalms aren't really poetry in the sense of appealing to emotions more. But see, the psalms are really what prayers, right? Right. And you got to be careful. I see. You could put a prayer into into meter if you want to, right?

[7:06] And rhythm and so on, and rhyme and so on. And you know this prayer of Thomas the Adorote Devote, huh? Sure. They sometimes call in Latin they're the rhythmus est homi, right? Because there's a kind of a rhythm there, huh? And there's there's a rhyming, right? Adoro te devote, latens deitas quae sub his figuris vere latitas right So it rhymes right Huh See And it seems to me in some of those Latitas, right?

[7:29] So it rhymes, right? Huh? See. And it seems to me in some of those, suddenly they're using trochaic meter, right? Visus tactus, gustus, in te fallitur Right? Hmm. So there's a meter there, right? Hmm. But that's not really in the same category, though, as Shakespearean sonnet, right? Huh? Hmm. See. Because the Shakespearean sonnet, if I was going to define a Shakespearean sonnet, I would define it as it's a likeness, right, of thought and feeling, right, in 14 lines of iambic pentameter, divided into three quatrains with alternate rhyming, and completed by rhyming couplet, right.

[8:18] But the Adorote Devote is not a likeness of thought or feeling. See. It's really a what a prayer, right? Huh. And it's a prayer in in in verse and rhyme, right? And some people say that the Our Father, they think the original Our Father in the Aramaic or whatever it was, was in a certain what? Sure. A certain rhythm, you know, maybe in meter, right? Sure. Okay.

[8:45] And the psalms apparently being the original Hebrew, right, had a certain what meter, which we've maybe lost in our what translations, right? Hmm. See.

[8:55] But as Aristotle mentions when he's talking about Epedocles, Empedocles wrote his philosophy in verse, the way Lucretus did later on, right? You see, but still not a poem; it's really like philosophy.

[9:08] And so your definition of poem is likeness of thought or feeling, sort of the generic poem. Yeah, yeah. Likeness of thought. I mean, yeah. I mean, if you say that if you if I call poem anything in meter, well, I mean there could be a mnemonic device, you know, for remember which days of the month—month of thirty days. I didn't learn that, so I won't be able to follow me days as well.

[9:34] But maybe you know it, huh? Say. Thirty days has September, April, June, and November. All the rest have thirty-one, except for poor February. Yeah, yeah. That that's merely put into meter there so that you will what remember it, right? Huh? Okay. But in the case of of a Shakespearean sonnet, there he's making sort of likeness of thought and feeling, and nobody knows whether it's his own thought and feeling or just that a something, right?

[10:01] But what you try to do is something universal there, right? So, Shakespeare has a sonnet there about a mistress, right? I love to hear my mistress's voice, although I know that music hath a far more pleasant sound. Well, I often quote those lines to to show the what accidental, right? See, because is he enjoying the sound of her voice for its own sake? No. No. See, because then he would enjoy the music more, right?

[10:34] Better, yeah. See, okay. So, but like I say to students, you know, if you pick up the phone and you recognize the voice of your friend, right? Ah. You sort of enjoy because of that, right? Not because his voice is like you know, Pavarotti or somebody, right? Is a beautiful voice necessarily, but because you recognize your friend, you see. Um. So you're not rejoicing in the voice or the sound of the voice as such.

[11:00] See. Hmm. But in so far as it what happens to someone that you love, right? Huh? Okay. Um. You know, sometimes too, you know, we hear a melody or something like that, right? And we associate that melody with somebody or some place. Sure. It might have been somebody or some place that we enjoyed, you know. And so, back to it, you can say that melody is what associated with that place, huh?

[11:34] That person, right? Hmm. We'll see. Um. Uh. Okay, but that's accidental, huh? So, in in a way, it's accidental to a prayer that'd be put into verse, right? It's more essential to a poem that you put into verse. Hmm. See. Because he's trying to please us.

[12:05] So I don't think what you call the Psalms poems, that gets you off kind of the wrong thinking, right? But you should call this the Psalms what? Prayers, right? They are. Yeah. So all is not lost then by having to rely on a translation. Yeah, wherein you lose much of the yeah, your favorite poems. In a certain sense, all might be lost. I was thinking, you know, the other day though, you know,

[12:38] you know how they they say the Rosary, you know, there being 150, fifteen tens, right? Was because of the the Psalm, right, the Psalter, if you wish. And when you read Thomas's commentary, you know, on the Psalms, which you know is incomplete, he died before he finished it, right? But it goes to the 53rd Psalm or so, something like that, 51. But following Augustine, right, he divides the Psalm into three fifties, huh?

[13:12] According to the principle that Augustine gives in his in his lecture or sermon on the 150th Psalm, right? Or at the old numbering I think it, gives the old numbering. where the 50th Psalm is a Psalm of penance and repentance, and the 100th Psalm is a Psalm of good deeds, and the 150th Psalm was a Psalm of praising and thanking God and so on, right? And Augustine sees that the that's symbolic of what each of the three fifties are.

[13:45] That the emphasis in the first fifty is on the beginning stage, huh? Where you're repenting of your sins, huh? And the second fifty is where the emphasis is upon progressing in the virtues by good deeds, and the third fifty is resting in God. See? And the three stages of charity, right? The three stages of the spiritual life, huh? And in the beginning, you know, you're primarily fighting against your sins and your evil tendencies.

[14:16] Now you never get over that entirely, right? But in the second stage, the emphasis moves more to what progressing from virtue to virtue, and the thing. The third one, you're resting now in God, right? Huh? Yeah. You know, like Saint Teresa, Saint Teresa of Avila, there, you know, at the end of her life, there, you know, she didn't say, "I know what I could have in heaven; I don't have now," because already my union with God is complete, right?

[14:40] You know, you see that, you know. So she's resting in God, right? But then when he subdivides the first fifty, he divides it into what five decades, right? And each decade has a different is doing a different thing, right? It's really kind of beautiful the way he does it, huh? It would be interesting what he would have done in the in the second fifth. You know, we don't have that.

[15:00] You know, Only Thomas could have done that, I think. Huh? But anyway, so there's there's that symbolism there, right? In the 150, 15 decades, right, of the rosary, the 15 decades of the psalms, huh? You know, I was thinking the other day that there's another connection between the Hail Mary and the what psalms, huh? Because when when Thomas talks about how the books of Scripture proceed, right?

[15:29] He says, well, some he talks about in Latin the modus, the way, right? And he says, in some you have the modus narrativus, huh? And that's the so-called historical books, right? Okay. In others you have what? In the book of Job you have the modus disputativus, and in other books you have the what? Uh The commanding mode, right, in the books that are laying down the law, right, in exhortation.

[15:58] But when it comes to the Psalms, right, there he says everything is the modum laudis per modum orationis, right? it proceeds in a prayerful and a praising way, right? It's kind of interesting, you know, because sometimes you know we use the word prayer in a broader sense to include praise, right? But here he distinguishes between prayer in the sense of what asking God for something, right, and what praise, right?

[16:28] Okay. Now you know when when the apostles ask our Lord, you know, teach us how to pray. John taught his disciples how to pray. We want to know how to pray too, so teach us how to pray. And he says, well, when you pray, this is what you do: Our Father who art in heaven, right? And then he teaches them seven things to ask for, right? And so, in Augustine and Thomas Aquinas, explain the Our Father.

[16:54] they explain the order of those seven petitions, right? Okay, but that's prayer in the strict sense, right? As you know, it's asking God for suitable things, right? Okay, and then prayer is distinguished against praise, right? See? so this is the way the Psalms proceed: prayerful and praising, right? Okay, now,

[17:19] and that's always for the most part, right? Okay, because there can be some history in the Psalms too, and some prophecy, right? But as a whole, it's characterized by this. What's interesting about the Hail Mary, as we have it, right? The first part of the Hail Mary is really laudativus, you know, Hail Mary, full of grace, the Lord is with thee. Not asking for anything, you're praising her, right?

[17:45] In the same way that the angel praised her, right? Huh? Full of grace, the Lord is with thee, right? When Thomas explains in the context of the Annunciation, he says the angel wants to get her attention. Now, how do you get the attention of someone who's humble? Because they don't they don't have these high thoughts about themselves, right? Well, he praises her because that's she never thought of that, right?

[18:12] So it's got to get her attention, right? So you're praising Mary, right? And then you say, Blessed art thou, amongst women and blessed is the fruit of thy womb. That's more the praise of what Elizabeth, right, when she comes in the visitation, right? So you take the words of praise of Mary from the Annunciation and from the Visitation, right? And you make this this whole praise of Mary, huh?

[18:35] But then the second half, the one that the Church added, right? Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. This is a prayer in in the narrow sense now. Asking Mary something or something, right?

[18:52] So the two parts of the Hail Mary correspond to the two ways of proceeding of the Psalms, where Thomas says it's always per modum orationis vel laudis, right? Laudis, see, orativus and laudativus huh? You know, that's another kind of example, you know, of why it's appropriate that the 150 Psalms, right, be represented by 150 Hail Marys. Not only because of the 150, but because the Hail Mary involves the two modes or ways of proceeding of the Psalms, orativus and laudativus, huh?

[19:29] And what you have a lot of times in the decades is, you know, you'll have the the the Psalms that are asking for something, right, before the Psalms that are praising God and thanking God for what you have what received, you see, you know. So, like Thomas will explain, I mean, in this Psalm you're asking for this, right? And then in this later Psalm you're thanking God for receiving what you've asked for, right?

[19:56] So you're praising God, see? Um, that's interesting, right? Interesting. And of course, now in in heaven, you want we have to be asking for much, right? You have everything you you want, right? Huh? You see, but there will be what praising and thanking God, right? Huh? You see. And of course,

[20:28] music is very important in what both in love and in what praising God, right? See. And so, when we honor somebody, we tend to use music, don't we? Right? See, when we honor the country, we play the national anthem, right? Huh? Or when the president comes in, we play Hail to the Chief, right? You know. And when we honor the the soldiers, you know, we have the the military music, right?

[20:59] You know. But nothing is more appropriate, in a sense, than music to honor somebody, huh? And so it's appropriate in honoring or praising God, huh? Though we have music, huh? We won't be eating or drinking, though, you said? yeah, yeah. Only metaphorically speaking, right? Really? You know, you know. No pizza. Yeah, I I was for the I was just for relaxation reading reading um Shakespeare's history plays there, you know, and you know I was saying to my friend, I said, what what lines best describe the saints, you know?

[21:45] After um. They win victory over the world, the flesh, and the devil, right? Well, at the end of one of these scenes in Shakespeare, he says, "Let us go in to banquet royalty." Right after this golden day of victory, well, Christ speaks that way, right? In Luke, there, you know, you eat and drink at my father's table, right? But that's referring to what? The beatific vision, right?

[22:13] And the way the metaphor goes is that food is the object of what? The vegetative soul, right? The feeding soul, right? Okay, so then we speak of the object of the other one sometimes as being food, right? So he says, "Food for thought," right? Okay, and Socrates was speaking of a feast for reason. So to eat at my father's table, right, is to have the same what object he has, and his object is himself.

[22:46] He knows and loves himself, and by knowing and loving himself, he knows and loves other things. So we will see God as He is, right? So that's metaphorically described as sitting at His table, right? So the things that refer to eating and so on are said metaphorically in Scripture. The things that refer to praise can be said non-metaphorically, properly, right?

[23:16] So that there will be vocal praise of God, right, in heaven. So, so in some sense, you know, those those songs of praise are very close to what heaven will be like, right? You know, this beautiful thing in the life of Saint Teresa of Avila, you know, when she appeared to one of her actually she died, right? She appeared to one of her her sisters, right? She says, you know, we're not really too different, she says, because you are praising God not seeing Him, and I am praising God now seeing Him.

[24:00] That's why I like that one Psalm there, you know, where it says, "I used to use it the children; they're young. There is Psalm ninety-nine, the old numbering. Sing joyfully to the Lord, all you lands. Serve the Lord with gladness, right? Do the will of God, huh? Then come before Him with joyful song. Know that the Lord is God; He made us as we are." As I was saying to Father Kramer, there, I was saying that's to me like an exhortation to read the Summa Contra Gentiles because that's the way it's divided, right?

[24:31] Know that the Lord is God; He made us he is, we are, he's people of the flock he tends. God in Himself, God as a Maker, God as the End, right? But then it goes on and says, "Enter His gates with thanksgiving, huh?" His courts with praise, give thanks to him, bless his name for he is good. the Lord his kindness endures forever, in his faithfulness to all generations.

[24:51] But you know, at least in the English translation, the one that I memorized in the earlier years. Enter his gates with thanksgiving, his courts with praise. As if when you start when you ask God for things, right, you're thinking kind of of what you need, right? Right. And it's not selfish in the bad sense, but I mean, you're thinking of yourself, right? When you thank God, you're starting to move away from yourself, right?

[25:18] Right. Because in thanking God, you're not asking him for something, right? You're kind of thinking what you already received, right? So it's less it's less selfish, right? Even in a good sense. But you say enter his gates with thanksgiving, his courts with praise, and you start to praise him, right? Then you're not even looking back at yourself at all, right? You're just thinking of God in Himself, and you're saying holy, holy, holy, you know, like the angels sing, right?

[25:49] Yeah. Um Now it's interesting, huh? That the Psalms is named, I guess, for musical instrument, huh? You know that David had, huh? And so you you pluck his string and then you would pray, you know, okay. Like sometimes nowadays, sometimes they they'll sing the Our Father in church, right? You know. Sure thing. But if if you take the the parts of the Mass which are most of all put to music, right?

[26:17] Mm-hmm. Well, the the the five that you find over and over again, and the is the what? Put the Kyrie eleison to to music, then the Gloria, and then the Creed, and then the what? Sanctus Benedictus, and then the Agnus Dei, right? Huh? Well, the the first and the last are what? Really prayers, huh? Mm-hmm. You're saying Kyrie eleison Kyrie eleison Christe eleison Lord have mercy, Lord have mercy.

[26:50] That's a prayer, right? You're asking God to have mercy on you, right? Mm-hmm. Okay. And then the last one, Lamb of God, you know, you're asking Him to what? Mercy. Agnus Dei, qui tollis peccata mundi, miserere nobis, right? And dona nobis pacem, give us peace, right? So you're you're asking Him to have mercy again, and but the Gloria and the Sanctus are more what? Praise, right? Huh?

[27:16] There's a little bit of prayer in the Gloria, you know, but for the most part, it's praise, right? Mm-hmm. And that, huh? So you have the two things, praise and prayer Prayer in the sense of asking, right? Huh? Mm-hmm. Say. Now the the Creed, of course, is something different, huh? That's confession of faith, right? Say. But you know, I talked to you before. I think about about the the symmetry of the Mass there, right?

[27:42] Huh? Mm-hmm. Because the way the symmetry, you know, they express it there would be what? Um. Uh. A B C B A, right? Mm-hmm. That that's symmetrical, right? Huh? Right. So this thing here is different from all the rest. This is is the Creed, confession of faith. B here the Gloria and then the Sanctus, right? Before and after the Creed, they are what? Mainly praise, right? But the Lamb of God, I mean the Kyrie eleison and the Agnus Dei are both prayers, asking for mercy.

[28:29] So it's pretty symmetrical, right? Beautiful the way it was, huh? Um. Uh. And I was comparing that, you know, to you know someone's explaining, you know, the symmetry of of Midsummer Night's Dream of Shakespeare. Oh. This is the same symmetry that you have in Mass. You know, the symmetry there in. Midsummer Night's Dream is it begins what in the court right and then it goes to the house of the peasants right then ends up in the forest and you're back in the house of the peasants and finally back in the court right okay and that's a symmetry of of of those five works that I use in the introduction to philosophy where you start with the Meno and then you go to the Euthyphro then

[29:19] to the Apology then to the Crito, and then to the what Phaedo right the Apology is the odd work right it's really his defense in the courtroom right The Crito the Crito and the Euthyphro are both pithier right and these two works correspond to much larger and they correspond in number of ways right it's it's something that same symmetry but the more you study the works the more you see that huh sure you see the piety of Socrates and here we discuss what piety is here you have the introduction to logic here you have the statement of the need for logic, huh?

[29:57] here you have the argument for immortality from recollection here you recall that argument and you add to it right so in many ways it's symmetrical right what's the one with Phaedo what's the opposite one what's the word Meno Meno yeah would you say those are his most important works well no they're kind of written together yeah they're kind of around the trial Socrates right here you see what Socrates would would normally do right examine men and so on and you have uh, Anytus leaving in a huff you know you know angry at Socrates and then here we hear that he's already been charged by Anytus and people like that That's Euthyphro Yeah Euthyphro, yeah.

[30:44] and Socrates has gone down to the the courthouse right To see what the charges against him are that's where he meets Euthyphro has gone down there to charge his father with impiety Then here you have the actual trial right and Socrates is found guilty and sentenced to death Here Crito comes to him with a plot to spring him from prison and Socrates decides that is not the thing to do and here is where he he dies in prison right yeah right so they're all arranged around the trial Socrates huh which is the most famous work of Plato and the most commonly read work in introductions to philosophy Yeah It has the most famous quote from Plato the unexamined life is not worth living Yeah but

[31:29] then you see that you know, these works are much smaller these are much bigger even the size of them kind of shows the symmetry right but then you see subtle connections between these two and between these two right huh so you see kind of that symmetry that he has. At first kind of kind of thought of symmetry because someone pointed out that the Midsummer Night's Dream of Shakespeare has a symmetry right it begins and ends in the court and Here it goes to peasants' dwellings, and there the peasant dwelling.

[32:00] Here you have the central scenes that take place in the forest, right? So it's kind of beautiful the way it's arranged. It's kind of a symmetry there. But then I started noticing, you know, listening to Mozart masses and so on, that those are the five parts that you, you know, put to music. Oh yeah. You put the Kyrie, the Gloria, the Creed, the Sanctus, and Benedictus. Yeah.

[32:24] And then the. Agnus Dei yeah, yeah. And. I noticed in in in Mozart's music for the Blessed Sacrament, you know, the Venerable Sacrament of the Altar, the Litany, you know, he has several litanies set to music, right? But you know, in those litanies, they'll begin with the Kyrie, like you do sometimes, and end up with the Agnus Dei. Oh. Well, in in one of those litanies for the Venerable Sacrament, it's extremely beautiful the the music he has for the Kyrie, right?

[32:59] Oh. And so beautiful that he casts out to the end, he brings back something of that. Oh. You know, but it's so striking, you know, because those are both asking for what? Mercy. Mercy. Yeah. Yeah. But the

[33:18] the the in the Kyrie, it's kind of the Trinity you're asking for mercy. Oh yeah. Here it's the incarnate word, the Agnus Dei, right? Yeah. You can't say God the Father is Agnus Dei. Sure. I mean, Saint Saint John says, "Behold the Lamb of God," right? And the same way here, you have that same thing here, because in the Gloria, it's divided according to the Trinity. Mm-hmm.

[33:46] To the Father and then to the Son and then to the what? Holy Spirit at the end, right? Mm-hmm. Well, here you go to the divine and human nature, right? Yeah. The Sanctus is the Trinity, yeah, the divine nature, and then the Benedictus is the human nature. Right. Of course, that's why in Mozart, you know, you have the music will change when you go from the Sanctus to the Benedictus, right?

[34:13] The same way when he does the Creed, when you go from the divine nature to the incarnation, then the music starts, you know, start to be very what? more gentle and sweet, and so on, because it's God's condescending to become man for our salvation, right? Right. So it's kind of beautiful the way the music changes. I, it's very noticeable if you listen to the music carefully. And so that's just kind of beautiful that.

[34:45] Yeah. But the reason why I mentioned this again in- in the Psalms, that the Psalms are musical as the name implies. Um. It's appropriate that you have what praise. I mean, prayer and praise, praise and prayer, set to what music, right? As I

[35:14] say, Thomas is explicit about that. Sometimes I tell it. You're not going to be eating or drinking in the next world, right? It's kind of strange to think that, but you won't, you won't have any great desire to eat either, unless you're Muslim. Yeah, yeah, yeah. But there will be, says laus vocalis vocal praise, huh? So Mozart and Palestrina up there and so on. They're going to be assuming they both made it.

[35:41] They'll be up there, you know. You know, you know. You think you know that. What did Christ say? there You know, he's talking to Martha and Mary, and he says to Martha, "You know, Mary has chosen the better part, and it will not be taken away from her, because the busy life here, you know, of fixing meals and so on, all this practical life will disappear at the next world, right?

[36:09] Yeah. But the the life of of humanity. hearing God or listening to God, of contemplating these divine things, will continue the next world and be perfected, right? So Mary has chosen the better part, not the more necessary part, but the better part, right? Yeah. And it will not be taken away from her, meaning it will be continued the next world, huh? Say. Well, one can see a little bit about the cook and Mozart, right?

[36:36] Huh? The Mozart has chosen the better part. The cook is more necessary than Mozart, right? We gotta eat. Say, it's necessary to eat, but the eating will stop with this world, right? When this world stops, but Mozart has chosen the better part, or Palestrina has chosen the better part, right? And that's going to continue to some extent in the next world, right? Mm-hmm. There will be vocal praise of God, huh?

[37:07] Mm-hmm. Now that we we don't know what the music will be like, it but it'd be more beautiful than than the music, right? Yeah. You know, but you know, you know, some of the the sayings of Mozart, you know, about La Clemenza di Tito, you know, one of the famous remarks was, you know, the music is so beautiful as to entice the angels now and listen to it.

[37:34] Oh. I mean, if you want to hear the music in heaven, bro, will be such as, you know, the. But that's kind of interesting, huh? When you get back, our our bodies up there, right? Huh. Mm. So. And what's kind of interesting is, in that sense, the music will remain, but I don't think fiction will say. Fiction, you know, especially as we know it, fiction is is tied to

[38:02] fallen man. Mm. Tragedy and comedy are both the result of the of the of the fall.