Love & Friendship
1. Loving as Giving and as Undergoing: Shakespeare, Teresa and Thérèse on the Wound of Love
https://berquistcourse.com/course/philosophy/6-love-friendship/001-loving-as-giving-and-as-undergoing-shakespeare-teresa-and/

[0:00] In the Name of the Father and the Son and the Holy Spirit. Amen. God our enlightenment. Guardian angels strengthen the lights of our minds, in order to illumine our images and arouse us to consider more correctly. Saint Thomas Aquinas, angelic doctor. Right. Pray for us. Help us to understand all that you've written. Father, Son, Holy Spirit. Amen.

[0:26] If you look at the title I've given to these quotes on the first two pages, you'd see it says "loving and giving." Okay. But then the title on the third page, right after that, into the last quote there, is "love is a passion or an undergoing." Okay.

[0:54] And there's a paradox there, right? Because giving seems to be the opposite of undergoing. Undergoing is a receiving, right? So if the carpenter comes to the wood, he's the active one, right? And the wood undergoes. The wood is acted upon, and so the active one, you could say the carpenter in this case, he gives to the wood, right? A shape it didn't have before, right? And vice versa, the wood receives a shape it didn't have.

[1:35] But what is loving? Is it like the carpenter, a giving, right? Or is it like the the wood there, a receiving? Okay. And these quotes indicate there's an element of truth on both sides, right? But how can it be both, right?

[2:00] When they study the soul in philosophy, they say some powers act upon their object, like the ability to digest your food. Huh? I crunch my food. I chew it. I have. They tell me chemicals in there to break it down and so on, right? While with my ear and my senses in general, I'm acted upon by the object. Huh? Would does love act upon its object, like the ability to digest acts upon food?

[2:30] Or is the heart acted upon by what it loves, like my ears are acted upon by sound? Well, it seems a bit of both. I mean, but how could you say both? Right. Okay.

[2:46] So let's look at the bit of truth that there is on both sides. Apparently, opposite sides, right? And then later on, tried to say, how do you reconcile these two things, right? Okay. But let's see the truth on both sides.

[3:03] Now. All your knowledge of love begins with your experience of love, right? Whether it was your mother's love or whatever love you've experienced in your life, right? And we're going to go from your experience of love, which is individual and kind of unique to you, right, to Thomas Aquinas's consideration of love, which is completely universal. And one way you can go that great distance is to go to some extent through the poets, huh?

[3:42] Because the poet, in a way, represents the universal singularized, huh? Or the singular universalized, huh? Like Sophocles' great play, there, Oedipus, huh? When Oedipus falls, the Greek chorus comes in like kind of like commentary almost on it. Instead of saying "Oh, Oedipus," no, it says "Oh, you generations of men, you miserable race," in other words, huh? But you see something universal of the human situation in the downfall of what this great man, Oedipus, huh?

[4:22] Likewise, when you see, say, Romeo and Juliet, you don't think of a historical pair of lovers in 14th century Verona, but you say this is young lovers, huh? And so you see something universal in the representation of the poet. That's where Aristotle says in the book about the poetic art that good fiction is more philosophic than history is, because history is about the singular, the individual. Philosophy is about the universal, but the poet is more interested in the universal than just in the what. Singular.

[5:01] He wants to see something universal in this man, right, or in this situation. So this is the famous garden scene. You know the story of Romeo and Juliet, huh? And he's met her at the party at the father's house, and then he climbs back over the garden wall, right? And he's in the garden, there, but she doesn't know he's there. And she comes out on the balcony and speaks her thoughts to the moon or to the to the night, and he realizes that she loves him, and then finally comes forward, right?

[5:35] And there's a mutual declaration of love and so on. And Juliet says to him in part of the conversation, "What satisfaction canst thou have tonight, huh? " And Romeo says, "The exchange of thy love's faithful vow for mine. "

[5:58] And Juliet said, "I gave thee mine before thou didst request it. " She already confessed her love, he might say, to the thing. And yet I would, it were to give again. I wish you could give it again. It's so delightful to give that love to him. Romeo says, kind of playfully, "Wouldst thou withdraw it? For what purpose, love? " And she says, "But to be frank.

[6:22] " Now, frank meant originally what? To be free. Okay. Now you know if you take a stone and you throw the stone, you were free to begin with before you threw it, right? But once you've thrown it, you've lost what? Control, right? Okay. So when she's given her love away, she no longer has it, right? And she seems to have lost her what? Freedom, right? Okay. And incidentally, there's a connection between the word what?

[6:54] Free and the word friend, huh? And friend goes back to an old Anglo-Saxon word that means to love, frēogan, huh? There's a connection between freedom and love. Is you see also in charity too, huh? So so the word Franklin, like in Benjamin Franklin, that's originally meant what? A freeman. Like you certainly see it in the name last name Freeman, huh? Governor Freeman in our state, right? Or Franklin means a freeman.

[7:24] So she wants her love back. She says at first, "To be free, so I could what? Give it again, right? Okay. And give it thee again, right?

[7:38] And yet I wish, but for the thing I have, my bounty is as boundless as the sea. My love is deep. " She's saying there's something infinite or unlimited about my capacity to love. I can always love what? You more, right, huh? So even though I've given you my love, I can still what? Give it again. Without taking it back, because I have what infinite ability to give love.

[8:09] So she compares it to the sea, right? Which seems boundless to us. The more I give to thee, the more I have, for both are infinite. Okay, that's only emphasizes that love is a giving, isn't it? Right?

[8:26] Okay, But you can always give? especially God, more love, right? Okay, so love is a giving, right? Now, and as you like it, one of the love and friendship plays of Shakespeare, Rosalind, who's fallen in love with Orlando, huh? She's talking to her cousin, right? Oh, cuz, cuz, cuz, my pretty little cuz, that thou didst know how many fathom deep I am in love. Again, the ocean, right?

[9:00] Did you read that description in Saint Therese of Lisieux when she first sees the ocean? It reminds her of God in some way, right? Saint Thérèse speaks, you know, of the pelagus, the infinite extent of God, kind of metaphorical, right? And of course, there's the famous what scene of Augustine there, trying to put the ocean, a little boy trying to put the ocean into that hole, right?

[9:27] But it cannot be sounded, huh? My affection hath an unknown bottom, like the Bay of Portugal. Must have been famous for the deep thing, huh? Used to go on vacation to a lake in northern Minnesota. They could never find the bottom of it. They always get longer and longer things to find the bottom. Never find the bottom of it. I don't know how to put the word, but okay.

[9:50] So this was a famous bay, I suppose, huh? But again, she's talking about how much love she can what? Yeah, forgive. Now, in the famous scene from Antony and Cleopatra, more decadent form of love, right? You can still see the same point.

[10:11] She's kind of being playful there. If it be love indeed, tell me how much. How much do you love me? And Antony says there is beggary in the love that can be reckoned if you can say how much it is. And Cleopatra, playfully, says, "I'll set a bourn a limit, right? How far to be beloved? " And he says, "Thou must needs find out new heaven, new earth, right?

[10:36] All love I have for you, huh? " Now, I don't know if you know the play, all is well that ends well. But Helena has fallen in love with the count, the only son there of Bertram is his name, right? And the countess, the mother, suspects that Helena loves what her son, right? But Helena's the son of a medical doctor. She's a kind of a might say commoner, right?

[11:15] She's not nobility, right? So how can she possibly marry a count? It's a hopeless thing, right? And in this particular scene, the countess kind of confronts her. Although the countess really likes Helena very much, but she confronts her and kind of forces a confession from her that she, in fact, does love her son, right? And these are the words of Helena, right? But she confesses her love.

[11:47] Then I confess here on my knee, before high heaven in you, that before you and next unto high heaven, I love your son. Shakespeare can't help but pun on what? The first and the fourth senses of before. Remember that passage from Shakespeare. He says the agitation to use reason, right? Where he defines reason as the ability for large discourse, looking before and after. And we usually give you that passage from Aristotle, where he explains that the first meaning of before is before in in time or before in place, and then the second sense of before is in being.

[12:32] The third sense is before in the discourse of reason or in our knowledge, and the fourth sense is what better, what you love more, right? He's punning on the first and the fourth senses here, because she's kneeling before the countess, and that's the first sense of before. But now she's saying more than you before you, and right after high heaven, right? Meaning God, I love your son, right?

[13:01] Okay. Now, my friends were poor but honest. So is my love. Be not offended, for it hurts not him that he is loved of me.

[13:23] Now, does that show that love is a giving? It doesn't does it? Now, if anything, you'd say, she could love him without him knowing that she loves him, right? And then does her love affect him at all?

[13:39] No. If anything, she's affected by him, right? But that's the thing we're going to be emphasizing in the later quotes here. Okay. But she'll talk about giving in a moment, though. I follow him not by any token or presumptuous suit. Now, it would be presumptuous for her, a commoner to court the what count himself, right? He's going to marry nobility, huh? Okay. Nor would I have him till I do deserve him, huh?

[14:13] Yet never know how that desert should be, huh? I'll never pursue your son, huh? I know I'm not worthy of him, and I'll never do so until I'm worthy of him, and I don't say I could ever be worthy of him.

[14:27] I know I love in vain. Now, why does she say that? Well, when you love somebody, she loves Bertram. You naturally want this person to what? Return your love, right? Okay. And it seems that in this case, it's impossible for the count to return the love of this commoner. You see the idea, and therefore she seems to what? Love in vain, right? I strive against hope, right? How can I ever hope to marry this man?

[15:03] You still do that in the society, right? You gotta realize, you know, the situation, right? Yet in this capacious and intenable sea, the sea you're pouring water into a sea, right? I still pour in the waters of my love,

[15:22] and lack not to lose still, right? So she's pouring out all this love for this man that apparently in that society would never what return her love, right?

[15:38] Then she says to the mother again, "Let not your hate encounter with my love, for loving where you do. But if yourself, whose aged honor cites a virtuous youth, did ever in so true a flame of liking wish chastely and love dearly, that your Dian was both herself and love. Now love there is what this is being said in terms of gods and goddesses, right? So love here would be Venus, right?

[16:15] So Venus is known for the what, or Aphrodite, known for intensity, you know, the vigor of her love, right? While Dian or Diana, right, is known for her what, chastity, right? And so she's saying she combines both of those, right? She has the chastity of Diana with the intensity of the love of what Venus, whom she calls love here, right? Goddess of love.

[16:48] So she's going to continue to love Bertram intensely, but she's never going to do anything unchaste, right? She's going to be modest, right? She's ensuring the compass of that. But there's something pitiful now about this woman pouring out this love, right? That apparently this man will never return, right? Oh, then give pity to her, right? Whose state is such that cannot choose but lend and give. There's the word give again, right?

[17:20] Where she is sure to lose. That's very interesting the way Shakespeare couples those to lend and give, right? Because sometimes giving in the strict sense, where the giving is a gift, right? You don't expect anything to return, right? But when you give something to somebody and expect that or its equivalent or something in return, then you are what lending it, huh? My father-in-law would lend me a tool.

[17:51] He'd say, "Now you see what it says right there," and I said, "What? I wasn't there." He'd give me his name, right? Like he wants this tool back, right? He's not giving it to me. But he's what lending it, right? Okay. I think it's beautiful the way Shakespeare says it, right? Because when you give love to somebody, hoping that they will return the love you give them, you might be said to be what lending your love, huh?

[18:20] And it's kind of interesting the way we speak, because we we say, "I return your love," right? What does that mean? It doesn't mean you're giving back the person's love, you're keeping their love, right? But you're giving your love in return for that, right? But we don't say it, do we? We say like, "I'm returning your love." So it's like you lent me in your love, and what, you know, you give me the love I gave you back again.

[18:54] But it really is not the same love, is it? If I love you and you love me, right? But I think the way we speak is very interesting, right? And and Shakespeare's use of the word "lend" there lends itself to that, right? Okay.

[19:10] Oh, then give pity to her whose state is such that cannot choose but lend and give, where she is sure to lose. She's bound to lose, right? If he never returns love that seeks not to find, their search implies.

[19:32] You can actually give this love to somebody seeking to get the love in return? But there's probably no hope for that, right? But riddle like, lives sweetly where she dies. Now, if you ever read the play, you'll see what happens, right? It's a very interesting play, huh? Interesting.

[19:54] But again, I'm taking it to the idea of giving, now, right? Now, in this passage. From Thomas, from the Summa Theologiae. This is the treatise there on the Trinity, right? It's in the treatise on the Trinity, the Prima Pars. It's not part of the treatise on love, but he's talking about the Father and then the Son, the Holy Spirit, and he's talking about the names of them, right?

[20:21] So he talked about the Son being called the Word, or being called the Imago Dei, and so on, right? Well, one of the names of the Holy Spirit is Donum Dei, Gift of God. Now, why is the Holy Spirit given the name Gift of God?

[20:39] Well, Thomas is going to make point out the reason for that. That the Holy Spirit proceeds by way of love, and there's this connection between loving and giving. But he's going to point out a very important connection between the two, and that is that what every good thing I give you, I give you because I love you. Okay, every good the parents give the children, right, is because they love the children, right?

[21:09] And so the first gift that they really give to the child is what their love the child is what their love, right? So love has the aspect of being the very first gift of all, and since the Holy Spirit proceeds by way of love, then he's said to be the gift of what God, right? That really emphasizes very much for us Christians the connection between love and giving, right?

[21:38] Gift, as it is understood to refer to a person in God, is a proper name of the Holy Spirit. It's one of his names. In evidence of which, it should be known that a gift is properly a giving not to be returned or given back, right? Okay.

[22:00] We had it someone in daily life. The expression, right? I'm giving you this, right? I don't expect anything returned, right? Give it to you. Serious. A giving not to be returned, a given back, according to the philosopher, that Aristotle. That is which is not given with the intention of being returned, and thus it implies a gratuitous giving, huh?

[22:28] But love is the reason for a gratuitous gift, for we give something gratis to someone because we wish good to him. The first thing then we give to him is the love by which we wish good to him.

[22:48] Whence it is clear that love has the aspect of the very first gift, with the emphasis there upon first, right? The adjective there, to which all gratuitous gifts are given. Whence, since the Holy Spirit proceeds as love, as has been said, he proceeds as the very first gift of all. Whence Augustine, right? The greatest of the church fathers here on the Trinity. Whence Augustine says in the fifteenth book on the Trinity that through the gift which is the Holy Spirit, many private goods are distributed to the members of what Christ.

[23:26] Yeah. Of course, the word grace has got the idea of being gratis too, right? And we always attribute appropriate to the Holy Spirit giving grace. while the whole Trinity gives grace but, the whole Trinity gives grace, but we appropriate to the Holy Spirit that.

[23:44] Now, one interesting thing about this, if you look at the two accounts we have in the Gospels of the Our Father, the Our Father is taught in the Gospel of Saint Matthew, and the Our Father is taught in the Gospel of Saint Luke. And the one in Matthew is a little more complete. There are seven petitions, and in Luke, it's only five petitions, but it's basically the same prayer.

[24:11] And in the discourses Christ has about this prayer, right? He wants to emphasize the Father's love for us, right? And he uses kind of an ad foriori argument, you know, that you know if your son asks for a loaf of bread, you give him a snake, or you know, and so on. He asks for a fish; do you give him a stone. Well, he says, "If you bad as you are, know how to give good things to your children.

[24:41] How much more so will your heavenly Father, right? Okay. So he had that same kind of a teaching in both Gospels, huh? But in Matthew, it says, "If you bad as you are, know how to give good things to children. How much more will your heavenly Father know how to give you good things, right? But in Luke, it doesn't say that. It says, "Give the good what? Spirit.

[25:06] Yeah, yeah. But you see how this kind of explains that, right? Because the first thing he gives us, you might say, is is his love, huh? First, he gives that sense is like the Holy Spirit, how we appropriate love to him, and then the other good things he gives us because of this love, right? Okay.

[25:30] Or was it the other gospel where it says, "God so loved the world that he gave his only begotten Son, right? " But it begins saying, "God so loved the world that he what? Gave us his only begotten Son, did a die for us, and He talked about eternal life, and so on. The same passage. You see that? Okay. So you're all convinced now that loving is a giving, right?

[25:53] Huh? Okay. And therefore, it's more like the carpenter, right, than the wood, right? Okay. But now we're going to see the opposite of that, right? Love is a passion or undergoing, huh? Yeah.

[26:14] Now, passion is the Latin word for suffering, right? Okay. And the first meaning of passion in Latin is suffering, as we understand the word suffering, right? And then in Latin, and the same thing with the Greek word pathe, it's carried over from that reception that is harmful to you that we call suffering, right, to a reception that changes you, right, and finally to just any kind of what reception, right?

[26:52] Okay. Now the English word suffering seems to be somewhat stuck on the first meaning of the word, right? And so sometimes I use the English word undergoing,

[27:10] which is more moved beyond the first meaning, huh? But probably the first meaning of undergo is something bad, right? So if we say about somebody, he's undergone a lot in life, he means he's been acted upon by a lot of things in life in a way that's painful or saddening or harmful to your, right? Okay. But then anything that receives to be said to undergo, huh? Okay.

[27:39] So even the wood undergoes something from the carpenter, right? And even my senses undergo something from the sound that acts upon my ear, or the eyes undergo from the color that acts upon them, right? Even the undergoing in that sense maybe is kind of perfecting of the eye because it sees as a result of being acted upon by color, right? And the ear here is by being acted upon.

[28:05] or as a result of being acted upon by this, right? So these passages now are ones taken from the poet, maybe elsewhere too, to indicate that what?

[28:20] When you love, your heart isn't giving something to what you love. When you love, what you love is acting upon your heart. Your heart is undergoing. Your heart is being transformed, right, by the object, huh? That seems to be the opposite of giving, right?

[28:46] So here's a go-between for the king and the lady. And gracious, madam, in our king's behalf, I am commanded with your leave and favor, humbly to kiss your hand and with my tongue to tell the passion of my sovereign's heart, right? He suffers for you. He's undergone something, right? Where fame, entering at his heedful ears, hath placed thy beauty's image and thy virtue, right? So they've made an impression upon the king.

[29:16] He's telling her, right? Because we use the expression that word "impression" a lot in talking about love, right? So you go to the party and you say, "You made a big impression upon her," or "She made a big impression upon him," right? It's like he or she has acted upon the other's heart, right? So isn't loving and undergoing, a receiving, a being acted upon, huh?

[29:43] To Two Gentlemen of Verona, Proteus is the great what? Lover, but somewhat changeable in the play. If you read this great play, he's written some love messages to Julia, his betrothed. Lo. Here in one line is his name twice writ. Poor, forlorn Proteus, passionate Proteus, right? Undergoing suffering Proteus, right?

[30:14] Now much ado about nothing. You have Beatrice and Benedict who are always kidding each other, and the other characters are arranged for them to really kind of what? Get closer by telling each of them that the other one is hopelessly in love with them, and it's going to die if they don't. So anyway, from this thing here, Beatrice says, "But for which of my good parts, for which of my good qualities, did you first suffer love for me, right?

[30:46] " And Benedict, except for the words "suffer love," a good epithet, a good saying. I do indeed suffer love, right? For I love thee against my will. Okay, so you don't seem to be giving. which would be like Juliet said, "Free," right? This is the opposite of freedom, right? I suffer love, like.

[31:10] You see what I mean? So isn't the heart being acted upon? Okay. Now, and as you like it, huh? Orlando is kind of down and out in life, and in fact, his brother wants to get rid of him, and so on. And so he decides to try his hand at the court against the king's wrestler. The king's wrestler, you know, has broken the bones and left people crippled, carried off the field, you know.

[31:42] And now Orlando is going to challenge him, right? And of course, when Rosalind sees this, she's the exiled duke's daughter, right? She's concerned about this young man, right? And of course, he throws Charles the wrestler, right? Okay, and so Shakespeare has the characters kind of pick up in this language of being wrestled and overthrown, right? So Rosalind says to Orlando after he's overthrown Charles, "Sir, you have wrestled well and overthrown more than your enemies.

[32:20] " That's a woman's subtlety, you know, not saying exactly what the effect has been upon her, right? But you what? Overthrown my heart, right? You overcome my heart. She's hinting that to him, right? Okay. And of course, at that time in the play, Orlando is too, you know, tongue-tied to say anything to her, right? And so a little bit afterwards, huh? After she she moves on, but she gave an opening, but he didn't take it.

[32:50] He was just too tongue-tied. What passion hangs these weights upon my tongue? What's the passion of what? Love, right? I cannot speak to her yet. She urged conference. O poor Orlando, thou art overthrown, thou art overthrown. So his heart has been overthrown too, right? Or Charles, that's the the guy he wrestled with, or something weaker, masters thee, right? It's an anti-grammatical Shakespeare. Instead of saying either or, they say or or.

[33:27] Instead of neither nor, they'll say nor nor. You see that a lot. So this is an example, right? But we probably say now either Charles or something weaker, meaning the weaker sex, masters thee, right? Huh? Okay. So now it doesn't seem like his heart has been acted upon by her, and vice versa. The object loved, Orlando, has acted upon her heart, overturned it, right? turned it? Huh?

[34:00] Now, Cecilia is the good friend of Rosalind. Cecilia is the daughter of the duke who usurped the throne, and Rosalind is the daughter of the exiled duke. Huh? But they're very good friends, and Cecilia says when she sees that Rosalind has fallen in love with this commoner and so on. Come, come, wrestle with thy affections, right? Again, you had that same metaphor carried on, huh? Oh, they take the part of a better wrestler than myself, right?

[34:29] In case you can't. it's even overcoming them right? Now in Midsummer Night's Dream, Helena is pursuing Demetrius, who won't give her the time of day, right? And this is not very ladylike to do, right? To chase after the man. And Demetrius is, you know, saying get lost. I mean, more or less, but you know, he's blaming her. She says, "Well, no, you're responsible for it. You draw."Me, you hard-hearted adamant, but yet you draw not iron, for my heart is true as steel.

[35:08] Well, he's like the magnet, and she's like the what? Steel is being drawn, right? So he's responsible for her running after him. See, she didn't have any choice except to run after him. Doesn't that show that that the lover is what? When their love has been acted upon and moved by the beloved, so isn't love then not a giving but a receiving?

[35:37] Leave your power to draw, and I shall have no power to follow you. It's all a part of the magnet, right? It's not the iron's fault.

[35:48] Now, Antony and Cleopatra during the famous sea battle. There, Anthony and Cleopatra are fighting what? Octavius, right? And in the middle of the battle, Cleopatra loses her what? Confidence, and she turns around and flees the battle, right? And this jerk, Anthony, he turns around and pursues Cleopatra, right? And loses the battle, right?

[36:15] He calls her Egypt because she's the queen of Egypt. Egypt, thou knewest too well. My heart was to thy rudder tied by the strings, and thou couldst tow me after, or my spirit, thy full supremacy thou knewest, and that thy beck might, from the bidding of the gods, command me. Huh? Okay. So he's excusing himself in the same way that Helena is excusing herself, right? Okay. They both can't help it, right?

[36:43] Okay, I had to go with that. I was tied to you. You pulled me after, right? Okay. A little different metaphor, but it's the same same thought, right? Okay.

[36:57] In Henry VI, someone has chosen the right woman for the king, and he's really built her up in words. You know, she's quite a woman. Your wondrous, rare description, noble earl of Beauteous Margaret hath astonished me. Fellow wonder, her virtues, graced with external gifts, do breed love's settled passions in my heart. Okay, so it's the beauty and virtues and external gifts of Margaret that have what? Bred, given birth to love in his heart, right?

[37:36] Wasn't the love then the result of being acted upon, of being moved by the object? Huh? Let's just talk about giving. Let's. You see, you see the paradox there, The apparent contrariety. In. Midsummer Night's Dream. Huh? There's this magic potion, and you put it in somebody's eyes, and when they wake up, the first thing they person they see, they fall in love with. So Oberon, the king of the fairies, has dropped this fluid into Titania's eyes, the queen of the fairies, and she falls in love with this commoner bottom right.

[38:16] It was quite disgusting, in his present condition. I pray thee, gentle mortal, sing again. Mine ear is much enamoured of thy notes. So is mine eye enthralled to thy shape, and thy fair virtues' force perforce doth move me on the first view to say to swear I love thee. Right? So she being moved by his good qualities, huh? To her eyes that have been influenced by the magic potion.

[38:51] Okay, now those scenes from Wuthering Heights here, famous novel by Brontë The two men who are interested in the same man, right? And a little bit of competition, here, right? No, no, Isabella, you shan't run off. She continued, arresting with feigned playfulness the confounded girl who had risen indignantly. We were quarrelling like cats about you, Heathcliff, and I was fairly beaten in protestations of devotion and admiration.

[39:25] Moreover, I was informed that if I would but have the man as to stand aside, my rival, as she will have herself to be, would shoot a shaft into your soul. But then you're really being active, upon, aren't you? Right? By this woman, that would fix you forever, and send my image into eternal oblivion. Now that introduces the next idea now, which is continuation of this, but an even stronger word than what passion, and that is the wound of love.

[39:54] Right? If the lover is said to be wounded by the one he loves, right? then he's Very much being acted upon, right? You don't give a wound, you what? Receive a wound, right? Right? You receive a wound. That's a very strong way of pointing out that loving is what? An undergoing, not a giving, but undergoing. And both in the secular poet and in Christian love, you see this image of the wound.

[40:27] Now, Romeo and Juliet, you might know that Romeo at this time hasn't met Juliet yet. He's in love with what? Rosalind, right? Okay. And Mercutio is making fun of him, and it's very funny, right? And making fun of the fact that he loves Rosalind, but Rosalind doesn't give him the time of day; doesn't return his love at all, right? And finally, Romeo escapes from all the joking and jesting of Mercutio, and he says, "He jests at scars that never felt the wound That's a beautiful set right You know He jests at scars that never felt a wound."

[41:06] That's a beautiful set right? He jests at scars that never felt a wound. But he's been wounded, right? By Rosalind, right? And the heart is especially said to be wounded when it's been moved to love someone who doesn't what? Return the love, right? Okay. But even apart from that, it's often spoken as being a wound.

[41:27] Now, Romeo goes to the party at Juliet's house not to see Juliet, but to see what? Rosalind, right? But then he sees Juliet, and he forgets entirely. Much of the chagrin of Friar Lawrence, right? When you're moaning about Rosalind, all of a sudden you're moaning about Juliet, right?

[41:48] And he says to Friar Lawrence, "I have been feasting with my enemy, huh? Because the Capulets and the Montagues are enemies, as you know in the play. Where on a sudden one hath wounded me? That's Juliet, right? That's by me wounded, huh? We wounded each other, right? But not with swords, but what? We loved each other, right? Love at first sight, huh? Both our remedies within thy help and holy physic lies.

[42:19] He wants him to marry them, right? Okay. But there's the idea that is what the lover has been wounded, huh? To fall in love or to begin to love someone is to be have been wounded, huh? Okay. And this great lover Proteus, the two gentlemen of Rona, is one of the two gentlemen of Rona. The other guy is Valentine, right? Valentine is a man who is what?

[42:46] Honest in love, or might say faithful in love, I should say. Proteus is he's named after the what? God who's always changing his shape, right? So read the play and see what happens. But here is writ. Love wounded Proteus on his love messages to what Julia his betrothed right? Love wounded Proteus right?

[43:11] Poor wounded name. She she pretends you know with a maid there that her friend that she has no interest in Proteus and she cuts up his letters like that. And then after her friend or maid goes away, she goes downstairs and goes trying to pick up the pieces you know so she can read them again right? So she she has these ripped up pages you know of his love note.

[43:35] She's trying to pretend she had any interest in him so they you know. Poor wounded name. My my bosom as a bed shall lodge thee till thy wound be thoroughly healed right? She's putting inside her bosom there this scraps of his love things from the love wounded Proteus. Now the taming of the shoe, Lucentio. It's another example of what love at first sight. In one place Shakespeare quotes

[44:13] here in Leander there. Whoever loved that loved not at first sight. I think I have to quote it around and get that. Knowing is a cause of love right? But all these famous love stories love at first sight.

[44:29] Okay. Now Tranio is the servant of Lucentio, huh? Trenio be so, he's just seen this young lady. Trenio be so because Lucentio loves and let me be a slave to achieve that maid whose sudden sight hath thrall'd my wounded eye right. So again he's been wounded by this woman that he's suddenly seen right. She seems to perfume the air he says right. Purify the air. Okay. Now, in midsummer night's dream,

[45:07] I swear to thee by Cupid's strongest bow, by his best arrow with the golden head. Well, this is the one that you get struck by your fall in love, right? Now, this of course is in the

[45:24] myths, so we'd have called the literature, but why do we speak of Cupid as what? Shooting an arrow and get struck by the arrow, and then you what? Begin to love somebody, right? It's spoken on the likeness of receiving a wound, right? Okay.

[45:52] And Oberon out when they discovered the famous potion you put on eyes. Yet marked I where the bolt of Cupid fell, right? It fell upon a little western flower, before milk white, now purple with love's wounds, and maidens call it love and idleness. Now purple with love's wound, right? To love is to be wounded, right?

[46:23] It's receiving, therefore, isn't it, right? It's an undergoing, it's not a giving. Okay. Now, Sylvius is is in, as you like it, he's in love. He's the country bumpkin. He's in love with Phoebe, right? And Phoebe doesn't give him any return. She just makes fun of him, right? So he's trying to get some pity out of her, at least. Oh dear, Phoebe, if ever, as it ever may be near, you meet in some fresh cheek the power of fancy.

[46:53] Now, fancy is what? It's in the word for imagination, right? But then fancy comes to mean what? Love, right? Because of the connection between romantic love, anyway, and the imagination. Okay, lovers and madmen have such shaping fantasies, right? And apprehend more than cool reason ever comprehends. So the connection between them. So it's kind of a connection between the imagination, right? That's what the lovers said to be blind, right?

[47:23] But Shakespeare said in the love sonnet, So be what eyes hath love put in my head that have no correspondence with true sight." So those eyes that have no correspondence with true sight, is imagination, right? And so, because of the connection between imagination and love, the word fancy, phantasm for the Greek word, right, came to mean what? Love, right? Yeah, it's interesting, huh? You have another one that was transferred in English with the word fond, f-o-n-d, right?

[47:54] See, if you say he is fond of this girl, you mean he kind of likes her, right? But the original meaning of fond is to be what? Foolish.

[48:06] And so you see it, you know, in context. Then you do it, love, where someone is said to be fond, which is being foolish, stupid, right? So if you love the girl, you act foolishly about it, right? And so he's said to be fond, right? But then it came to mean eventually what? Did you really like her, right? So it's something we learn, right, about the connection between love and folly, from the word fond and between imagination and romantic love, in the word fancy.

[48:43] You see, the Mother Goose rhyme saying do fancy her, fancy dar or whatever, you know, like her, right? Does she strike your fancy? Oh dear, Phoebe, if ever, as it ever may be near, you meet in some fresh cheek the power of fancy, the power of love, then shall you know the wounds invisible that love's keen arrows make. So you can't see the wound like you can the soldier's wound, right?

[49:18] After there, right? So love makes wounds, one, huh? Now I jump, but with the same thought in mind, to two beautiful examples here from these two female saints here in the Carmel. The first one is from Saint Teresa of Avila in her autobiography, chapter twenty-nine. And this is where Teresa of Avila receives a great increase in not romantic love, but in the love that is what charity, right?

[49:50] The theological virtue of love, right? But she receives it under the likeness of being what? Being wounded by one of the what? Seraphim, huh? Whose name means burning, burning with love. for. God It pleased the Lord that I should see this angel in the following way. He was not tall, but short and very beautiful. His face so aflame that he appeared to be one of the highest types of angel, who seemed to be all afire.

[50:21] That's the way Dionysius explains the seraphim, the highest of the angels. They're burning with love of God, huh? In his hands I saw a long golden spear, and at the end of the iron tip I seemed to see a point of what, fire, huh? With this he seemed to pierce my heart several times, so that it penetrated to my entrails. When he drew it out, I thought he was drawing them out with it.

[50:51] You draw me, right? Like we saw in the hermetic one, right? And he left me completely afire with the great love of God, huh?

[51:02] The pain was so sharp that it made me utter several moans, and so excessive was the sweetness caused me by this intense pain that one can never wish to lose it, nor will one's soul be content with anything less than God, huh?

[51:20] That's very significant, huh? That she receives this great increase of love under the likeness of being wounded by a spear with a fiery point, huh? And it seems to draw her love right out, of her, right? You see, just like the others being drawn by the hermetic love by the by Demetrius, huh? It's very striking, huh?

[51:50] Now in the autobiography of St. Therese of Lisieux. Was it Pius X? Was it the greatest saint of modern times. Was it Pius the Tenth? I think it was. It's one of the popes. Pius the Tenth, huh? So, um, another occasion she related the following incident. A few days after the offering the oblation of myself to God's merciful love, I was in the choir beginning the way of the cross.

[52:20] When suddenly I felt myself wounded by a dart of fire, so ardent that I thought I should die. I cannot transcribe the transport, and no comparison would convey an idea of the intensity of the flame. It seemed as though an invisible force had plunged me wholly into fire, but what fire but sweetness, huh?

[52:48] Um, Saint Alphonsus de Liguori right? and his meditations there in the passions. Have you ever seen those? Some of the best ones I've seen. But in the beginning there he he quotes some. Luke, there, the Gospel of Luke, where Christ says, "I've come to cast fire upon the earth. What do I will but that be kindled, Right? He's talking there about the love of God, right? But there he uses the metaphor of what fire, right?

[53:14] So he had that in both of these ones, huh? But if your heart is set on flame, your heart is being acted upon, isn't it? Right? Okay. Fire acts upon the paper. Your heart is being consumed, huh? Okay.

[53:36] Now the next section here is again similar to the idea that the heart is undergoing, but being more explicit, the love is a forming over, right? A transformation, to use the Latin word, metamorphosis, which is the what Greek word, right? Etymologically, it's the same as transformation. Morphosis is what formation, right? That's we get in biology the term morphology, where you're studying the forms of the animals, right?

[54:07] So he's saying that love is a transformation of your heart, a metamorphosis of the heart. Now, in the beginning of the Two Gentlemen of Verona, the friend of Proteus, Valentine, is going off to court. He's in love with no woman at this point, but Proteus is what very much in love with Julia, and he's betrothed to her, and so on, right?

[54:34] But Valentine's going off to court, you know, to get some finishing. He after honor hunts. That's Valentine. I after love. He leaves his friends to dignify them more, right? I leave myself, my friends, and all everything for love.

[54:57] Thou, Julia, thou hast metamorphosed me. So if the heart of Proteus has been transformed by Julia, right, then love is very much a what? Undergoing, isn't it? There's a beautiful line there. I don't know if I got in here or not, from Goethe, you know, the great German poet, that we are shaped and fashioned by what we love.

[55:30] That's well said, huh? We're shaped and fashioned by what you love, huh? If you love beautiful things, you're already a bit beautiful yourself, right? If you love disgusting things, you are disgusting already yourself. You know, you're transformed by what you love, right? Thou, Julia, that's the one he loves. thou hast metamorphosed me, transformed me, made me neglect my studies, lose my time, huh? Okay. let's see what I have when he gets to the effects of love.

[56:05] One article is, "whether love is a is an ennobling thing or a what? Makes you worse, huh? " There's some evidence on both sides, huh? Made me neglect my studies, lose my time, put me at war with good counsel, right? Good advice. Set the world at naught, made wit my mind, my wisdom, with musing weak, my heart sick with thought, right?

[56:32] Okay. Now Valentine goes to the court, right? And he sees the daughter of the Duke, right? Sylvia, and she's really something, Sylvia, right? And when Shakespeare says, "Who is Sylvia that our swains do commend her? Heaven lent her such graces that she might admire it be. " It's beautiful, Shakespeare says it, huh? Heaven lent her such graces that she might admire it be, huh?

[57:07] And of course, now he's completely transformed, right? And Speed is one of the servants there, right? And now you are metamorphosed with the mistress. You have been transformed, huh? Then when I look in you, I can hardly think you my master. You're not the same man anymore, yeah? You see? So love is your actual transformation.

[57:32] Now, what happens in the play is that a Proteus, who's at home, moping about Julia, his father says, "Hey, it's a good idea that they send Valentine to court. I think they'll send Proteus to the court, right? " So there's a tearful parting scene between Proteus and Julia, right? And Proteus goes off to the court, and when he gets there, Valentine, his other gentleman of Verona, confides in him his plan to elope with Sylvia.

[58:03] Because he's you know not the one that the duke is picked out for his daughters right and when Proteus sees Sylvia wow that's why his name is all taken he doesn't keep his shape right Proteus is always changing his shape in in the Odyssey of Homer huh and so he goes through Shakespeare's soliloquies where he's he's debating right whether he should pursue Sylvia because to pursue Sylvia he's got to be unfaithful to Julia and and he's got to betray his friend Valentine right okay she's fair and so is Julia that I love that I did love for now my love is thawed which like a waxen image against a fire bears no impression of the thing it was huh it's like it's lost the form

[58:58] that that Julia had given his heart right and it's melting and taking on now the form of what Sylvia right huh now what Proteus does is to reveal to the duke Valentine's plan to elope with the daughter and he does it like you know very reluctantly you know like you know it's only his duty to the duke that makes him do this huh and of course the duke gets heard about Proteus is you know being betrothed to Julia so he thinks that you know Proteus is quite safe with his daughter right and so then he finds this out of course he you know exiles Valentine from the court right under pain of death and so on and now Proteus can what pursue Sylvia without Valentine

[59:51] around right and so on and the duke you know is hoping you know that Sylvia will forget Valentine once he's out of the court and so on so again that image. You know, of losing the form, right? This weak impress of love is as a figure trenched in ice, which with an hour's heat dissolves to water and doth lose his form. A little time will melt her frozen thoughts, and worthless Valentine shall be

[1:00:29] forgot. Twelve night here. How easy is it for the proper false? The proper false means what? A handsome villain, right? Handsome guy. How easy is it for the proper false in woman's waxen hearts to set their forms? Isn't that a beautiful metaphor, right? Because the wax was always being stamped with what the form of my seal and my letters, right? If you actually buy, sometimes I see them in some of these gift shops, and we get the wax and melt it and stamp your letters that way, you know.

[1:01:18] Ah, never been had much application to do that, right? But it was a very common thing. It was a very common image all the time in those days. I were always sealing letters with your thing. So, but you know, women have more capacity to love than a man, and so metaphorically he speaks of the woman's heart as being what waxen, as it's easily what formed by the proper false, right?

[1:01:49] His heart like an agate with your print impressed. Was a common thing in Shakespeare. They had the agates, I guess it was, with the person's portrait on it. We I seen pictures of them in books and so on. His heart like an agate with your print impressed. Proud with his form, right? In his eye, pride expressed. Okay, again, you get the word "impressed," right? Okay, so I say you hear that in daily conversation sometimes.

[1:02:18] You know, the two roommates go to the party and so on, and one notes that you made a big impression upon somebody, right? Okay, you made an impression upon this other person's what heart, right? Then the heart has been acted upon by you and your good qualities, right? And that impression you made upon their heart is they're beginning to what to like you, okay? Maybe like you a lot, okay?

[1:02:45] But that shows that loving isn't undergoing, right? So what Thomas is going to say, basically in the articles, it is. But then we have to explain why why is this other word used, giving too, though? Say why, if it's really of being wounded, of being transformed by the the loved, huh?

[1:03:09] It is certain I am loved of all ladies, only you excepted. And I would, I could find in my heart that I had not a hard heart. For truly, I love none. That's a common metaphor, too, right? A heart that is not apt to love is a what? A hard heart. Sometimes you see a stony heart, right? Like Olivia, you know, saying to this person who doesn't that she loves doesn't love in return.

[1:03:35] I have said too much into a heart of stone, right? So a hard heart or a stone heart is a heart that is not apt to love, right? Why soft heart, right? Or waxen heart is apt to what? To love, right? But the soft is what receives, right? The hard is what gives, right? So when I soften the wax there, you know, and dribble around the letter there, you know, and then I take the hard seal of the proposed coat of arms, right?

[1:04:09] So the hard acts upon the soft, right? So if the heart that is acted upon by the beloved is got to be a soft heart, then loving is a what? Being acted upon, it's an undergoing, it's a suffering, it's a being wounded. All the different words they use to bring that out.

[1:04:37] Now these forms that act upon your heart they come through your eyes. It's a danger in the eyes, as Friar Lawrence says. His love is full of unbefitting strains, formed by the eye, and therefore, like the eye, full of strange shapes of habits and of forms, varying in subject as the eye doth roll, to every varied object in his glance. Of course, when Romeo goes to the house. of. Juliet, right?

[1:05:03] His friends say, you know, I'm going to point you out some really good-looking girls, and you'll forget all about Rosalind. because he's other girls. Of course, he himself, his own, right, sees Juliet, right, and does forget all about Rosalinda. So another form comes into the eyes. It's even more impressive, right? Impressive, right? And his heart loses the form it had, right? And now it is Juliet, beauty impressed upon it.

[1:05:37] This next one talks about the imagination, right? as well as the eyes. O spirit of love? Now, so Shakespeare, what ties up spirit with love, right? That's partly the reason why the Holy Spirit is called spirit. O spirit of love? How quick and fresh art thou? That notwithstanding thy capacity receiveth as the sea. So it's the idea of receiving, not enters there of what validity and pitch so err, but falls into abatement and low price, even in a minute.

[1:06:14] So full of shapes is fancy that alone is high fantastical.