Love & Friendship
3. Love as an Undergoing: Conformity of the Heart, and Sense Love in Shakespeare
https://berquistcourse.com/course/philosophy/6-love-friendship/003-love-as-an-undergoing-conformity-of-the-heart-and-sense-love/

[0:03] Of course, even the presentation of sadness in Mozart is pleasing to the ears. Didn't you hear it? Huh? Interesting. Okay, maybe we should stop here because it's about almost four thirty. So, next time we'll begin. Father, Son, Holy Spirit, Amen. God our enlightenment. Guardian angels, strengthen the lights of our minds, order and illumine our images and arouse us to consider more correctly. Saint Thomas Aquinas, Angelic Doctor, May we pray for us.

[0:36] and help us to understand all that you've written. Father, Son, Holy Spirit, Amen. Incidentally, I was reading Thomas there in the commentary on Matthew. You know the people that rose from the dead after the resurrection came down in the city and appeared. And Thomas, you know, touched upon the question: Now, did they die again? And then, you know, and Thomas said they didn't die. They went with Christ to heaven.

[1:01] He said Lazarus died again, but the ones who rose from the dead were witnesses to his what? Resurrection, For you rise to die no more, right? No. And be, you know, no benefit to them to rise and have to die again, right? Better not to have to die once. Have to die twice. And I was kind of surprised at that, you know. And so, you mean body and soul?

[1:25] Yeah, yeah, yeah, yeah. I don't think the church has ever, you know, decided that. It's a pleasant version, of your body, you know. But I was kind of surprised at him saying that, you know. Kind of forgotten he had said that. Yeah. I know what the different church fathers. you know what Augustus is. I don't know what Augustus is or the other church fathers, but it would be kind of an interesting.

[1:50] point. I think it's a kind of man, because how long is on Matthew? Yeah. yeah. Okay, look on page eleven now. You're presently reading. Everybody's got the text here. I have another one here. These are copies. All set. We we had a lot of texts on love being and undergoing right and being wounded right and we tried to explain why love is still said to be a giving rather than a taking.

[2:20] What is the reason for saying that? It it didn't mean that in what one. In contrast to knowing. Yeah, you said no knowing is is a taking, right? A grasping, and you know, understanding it's a grasping, and knowing, loving is a giving, right? But why should love be said to be a giving, at least for us, if when you start to love somebody or something, your heart is being moved by the the goodness of that object, because that's receiving, right?

[2:59] Okay, so why do we say that? Because that's commonly said, right? And we speak that. We speak of giving your love to someone or something, right?

[3:13] My heart's not in it, or I left my heart in San Francisco, right? So the heart is where where your treasure is. there your heart is says it excuse me where your treasure is yeah where your treasure is there your heart should be, right?

[3:30] Why why do we say that? It's an effect, did you say? It's an effect of our love that we want to give back. Well, other things that we give, good things we give to someone, it's because we love them, right? But why is the loving itself said to be a giving? Have to do with the desire pursuing it. No. I thought I thought initially I thought it was just the contrast.

[3:59] What's a contrast that Aristotle has in the sixth book of wisdom between the good and the true, right? That the true is primarily in the mind. Oh yeah. And so learning, as you know, is a business of trying to get things into your head. Okay. And that's why that little image of Augustine, you know, trying to understand the Trinity, right? It's like trying to put the ocean into that little hole, trying to get this thing into your mind, your little cramped mind there.

[4:28] But love the good rather is in things, and we're pointing out how there's the same knowledge of contraries, right? And even the knowledge of the bad is good. Okay. But there's not the same love of the good and the bad, and the love of the bad makes you bad, because you're going out to the thing as it is in itself. So that's why the love is said to be a giving, huh?

[5:01] Because its object is in things rather than the reverse, okay. But nevertheless, our love originally is an undergoing. It's result, and especially the emotions, but even the will, it's being what moved by the object in some way, right? It's undergoing something, right? That's why we had all those texts, and then the texts for the wound of love, right? It's very much you're being wounded, you're being acted upon, right?

[5:32] You're undergoing, and we speak of the wound of love, both in romantic love and in the love charity, right, with the saints. So these all point to the fact that love is acted upon. The heart is acted upon by its object, and in general, you could say that's true about all the emotions.

[5:56] The act there, the object acts upon the power. Originally, you may do something afterwards because of that actively, but because you've been acted on already, that's what's true about God, right? God's love is the cause of the good in creatures, but our love is aroused by the good in creatures or the good in God Himself. Second objection: Moreover, love is a certain union or binding, according to Augustine, the book about the Trinity.

[6:30] So they even speak sometimes of the Holy Spirit being kind of bond between the two persons of the Father and the what Son, right? But union or binding is not an undergoing, but more a what relation, right? Therefore, love is not an undergoing.

[6:51] Further, Damascene Saint John Damascene says in the second book, the Fide Orthodoxa orthodox, I guess, that undergoing is a what motion, huh? Love, however, does. Not imply the movement of the desiring power which is desire, but the origin of this motion. As he said before, right? Love gives rise to desire or wanting when the object you love is not had, right? Love gives rise to joy or pleasure when the object you love is possessed by you or had by you or gotten by you.

[7:29] So pleasure seems to be kind of resting in the object, say, but desire seems to be a pursuit of the object. And that's why the the the in Latin, you know, where I translate desiring power, the Latin word is appetitus, right? In appetitus we get our word appetite. It could name first of all the desire itself, right? But then also name is used in Latin to name the ability to desire, the power to desire, right?

[7:58] But that power, which we might call popularly the heart, if you want to go on to a better name, it's named from desire, right? The act which is most like what? Motion. You remember the famous words of Shakespeare there in *Troilus and Cressida*: "Things in motion sooner catch the eye than what not stirs," right? So if you want somebody's attention your way, right? At the train station or something, you know.

[8:26] Here we are. If you don't want people to notice you, you don't move, huh? Maybe they'll pass you by, huh? So the act that is most like motion gives its name to the power.

[8:43] And something like that was reason, huh? Because reason is like the motion of the reason, huh? Okay. Therefore, love is not an undergoing. But against this is what the philosopher says, huh? In the eighth book of the Nicomachean Ethics, that love is an undergoing, huh? Okay.

[9:11] Now it's interesting the words we use in English. Undergoing and the correlative of that is what act upon. And etymologically, these words have got the idea of above and below, right?

[9:33] And if we pick a fight with the guy sitting next to you in the bar, right? You both stand up. You look death at him. Not even thinking twice, I thought this is a good idea, right? Okay. I've taken. I gave an example there. My little nephew one time, this big boy like that, he's married, got children, baby. He's a little guy, huh? He would. I built something up in the family room there.

[9:59] Playroom, and he was taller than me. He'd go, oh, oh, oh, oh. If it was lower than him, he'd knock him over and laugh. So it's sad that you act upon something, right? You know how much easier it is to hammer something like this than to ever hammer things into the ceiling, you know? Okay. We have another word in English too, you know, like as Mark Antony said, you know, to see.

[10:25] This is what he wore. What Caesar wore the day he overcame the Nervii, right? Notice that word "overcome," right? You are above, okay? Okay. So these are relatives, right? Interesting words, huh? In Latin, they have "actio and "passio and one has that above and below etymology that our words have, and neither in Greek did they have "poiein and "paschein," you know.

[11:02] I answer that it should be said that undergoing is the effect of the agent in what is acted upon. A natural agent, however, brings about a twofold effect in what is acted upon. For first, it gives the form, and second, gives the motion that follows upon the form. He takes an example here from the ancient physics. As the generator gives weight to the body, which is like the form, and then the motion following it, where it falls to the ground, right?

[11:40] Okay. And the weight itself, which is the source of the motion, to a natural place, a place that fits it, On account of the weight is able, in some way, to be called natural love, huh? And notice there's a certain likeness that Thomas sees there, right? Because of its weight. The body will what fall to a lower place, right? And because of its weight, it will rest once it gets to that place, huh?

[12:17] The same way, by reason of the love in my heart, right? I will what move towards the good. I don't have it, and I will rest in the good, right? Thou hast made us for thyself, and thy hearts are restless until they rest in thee, right? Okay.

[12:39] Yeah, use a word, use a comparison of weight too, yeah. Thus also he says the desirable itself gives to the desiring power first a certain adaptation or fitting with it, huh? Which is the agreeableness of the desire, desirable. So since what the what the the good is doing, the desirable is doing, is conforming your heart to itself, right?

[13:13] And from that conformity of the heart with its object, there follows movement to the desirable, right? And so there's a kind of circularity, right, in this, huh? That the desirable acts upon my heart, conforming to it, then I go out seeking that desirable thing, right? And so what was the beginning, we're coming back to again, huh? That's like a circle, right? Okay. There's a circle of knowing too, huh?

[13:44] Like Aristotle said and Einstein both said, huh? You know, knowledge begins in the senses, and you come back to the senses in the end to judge what you're thinking. So it's the beginning and the end is a kind of circle. There's something like that in love, right? It starts with the desirable acting upon my heart, and my heart goes out after it.

[14:11] For the desirable moves the desiring power, putting itself in the other's aim, and the desiring power tends towards really achieving the desirable, so that there is the end of the motion where was its beginning. So we compare it to a circle because in a circle the beginning is also the end. Why in a straight line the beginning of the line is not the end, huh? So this is often used as comparison to the circle.

[14:44] You find that in Anaximander, the second thinker, we have among the natural philosophers, what is the beginning of things? He says is also their end. And of course, the early Greek thinkers are materialists, right? But they're thinking of what we say, "Dust thou art. And to dust thou shalt return, right? Okay, so he came from dust and we'll turn back to dust, right? Okay, but then later on, you realize that God is the beginning of things, although not the sense of matter, but the sense of the maker, right?

[15:19] He's also the end, but in the sense of the good, the purpose, right? So I'm the alpha and the omega, right? So reality is basically what circular, because the beginning is also the what end. It's better to have a beginning and end in the sense of God than in the sense of what matter, because then your end means your destruction, right? Rather than your your purpose.

[15:49] The first change, therefore, of the desiring power by the desirable is called love, and which is nothing other than the what agreement with it of the desirable. It's a conformity, right? Of the heart with its object. That's what it is. That's what love is.

[16:15] And from this agreement, this conformity, or agreement of the heart with the subject, there follows movement to the desirable. If you don't have it, which is desire or wanting to use the English word, right? And then last, rest, which is what joy, huh? Okay. You notice how we sometimes speak there, going back to that natural love we talked about, huh? Sometimes you try to put something into a hole or screw something in, and it's not doesn't fit, you know.

[16:51] If you're trying to put like say a squ a square peg into a round hole, right? We might very well say, even the practical man, it doesn't want to go, right? You've heard you said it probably yourself at some time, right? Why doesn't it want To go, well, because it it doesn't fit that hole, right? It's not conformed to that hole, right?

[17:14] So the while you're putting the square peg in a square hole, right? It's conformed to that, and it wants to go, right? Okay. Um. So when your heart is conformed to the object, then it wants that object, and when it gets it, then it it rejoices, huh? Okay. So that's what love basically is conformity of the heart with its object.

[17:44] Therefore, since love consists in a certain change of the desiring power by the desirable. Now a lot of times, as I say, I substitute the word heart for desiring power a little more colloquial, right? But desiring power there is kind of attempt to put the Latin word of pity to us, right? Not to name the desire like it sometimes does, but more to name the what desiring power that's that Latin word.

[18:13] Therefore, since love consists in a certain change of the desiring power by the desirable, it is manifest that love is an undergoing, most properly as it is in the concupiscible, right? The emotions, right? But in a more general sense and by an extended name, as it is in even the what will, right? So when I begin to what love wisdom, my heart is conformed in some way to what wisdom.

[18:43] And I've quoted, I think, the words of a German poet, the Goethe. We are shaped and fashioned by what we love. Very well said.

[18:54] The conformity means you've been shaped in some way by the thing. Now the first objection was taken from the text of Dionysius, where he speaks of love as being a virtue, which seems to be what excellence of power, right? And power seems to be a thing that acts upon things, you know, a mover, right? He says to the first objection, it should be said that because virtue signifies the origin of motion or action, therefore love, in so far as it is the source of the desiring power's movement, is called virtue by Dionysius, right?

[19:38] Okay. In other words, after my heart has already been what formed, conformed to the object, right? Then it's the source of my movement towards that object, right? Okay. But that comes thereon, right? Do you think that comes as an effect of the fact that my heart has already been acted upon by the object, right? So this use would be an attribution. Yeah, an effect that comes to it.

[20:09] Yeah, yeah. But first, that object impressed my heart. It impressed me. It pressed upon me, right? And and something presses upon it. It tends to conform your heart to it. See, if the object made no impression upon your heart, then your heart has not been what conformed, right? When making cookies, you know, Christmas cookies, you know, it presses upon this, right? Okay. And that's why they use a very concrete image of the what, the wax, right?

[20:42] Was very common those days in letters, right? And you stamp the wax, right? So you press upon the wax your form, or the form of your seal, right? And that's what the good does upon the heart, right? Okay. If the heart, it all begins to like that thing, right? Okay. But if you've got a hard heart, you can't make any impression upon the object. Can't make any impression upon your heart.

[21:08] Your heart is is slow to be impressed, and therefore slow to what love. Now the same thing in the second objection is that the union, that relation, is something that follows again upon the what love, right? To the second, it should be said that union pertains to love, in so far as the lover, through the agreement of his heart, right, to the agreement of his desiring power, has himself to what is loved, as to himself or to something of himself, it pertains to him now.

[21:53] And thus it is clear that love is not the relation itself of union, but that union follows upon what love, huh? Whence also Dionysius says that love is a power that unites, huh? Because we're united because we love each other, right? Okay. But I'm in some sense united with even wisdom, which doesn't love me, but but because I love it, right? I'm attached to it, right? Okay.

[22:26] Whence also Dionysius says that love is a power that unites, and the philosopher says in the second book of the Politics that union is the work of love, was that an effect of love? Thomas would have a lot more to say about union when he talks about the first effect of love, where the union is the effect of love, right? I make a lot of more distinctions, but.

[23:05] Now the third objection was talking about what? Isn't desire the motion of the heart? Okay. To the third, it should be said that love, although it does not name the motion of the desiring power tending towards the desirable, it names nevertheless the motion of the desiring power by which it is changed by the what? Desirable, right? So that the desirable is agreeable with it. Okay. I know it's just a little bit like if I was to say, you know,

[23:41] is my glass here the mover or the moved? Yeah, it's causing the paper to move across the table, right? But it's originally being moved by my hand, right? So it's a moved mover, right? But it may not be in time necessarily, but in causality, the moved mover is moved before it moves another thing. It's able to move another only because it's being moved itself, right? So my love would be giving rise to a desire for candy, whatever it is, because the candy had already impressed itself upon my heart.

[24:26] See? And so I like candy, right? And then I move to get some candy. We all have our weaknesses. Okay. So you all convinced that love is an undergoing now?

[24:50] I know it's the first two articles here, and especially the second article here is really bringing out the nature of love, right? Okay. Now in the next two articles.

[25:06] He's going to be dividing love in two ways, right? And the first division is we distinction between the love which is an emotion and the love which is a what act of the will, right? Okay. And then he's going to give another division of love into what's called in Latin the amor concupiscentia and the amor amicitiae yeah, but the love of wishing well and the love of wanting.

[25:39] They sometimes translate those as, okay. And he might give the division into sense love and chosen love, or the emotion and the act of the will first, because the second division pertains more to the will thing.

[26:06] And once you understand really what the emotions are and how the emotions follow upon the senses, and that's why the other animals even have emotions, right?

[26:21] Ah, you begin to realize that the senses have a very contracted knowledge of the good. The only way my senses know good and bad is by what is agreeable to my senses, pleasing to my senses, or disagreeable to my senses, painful to my senses, right? See, that's as far as the senses go to know good and bad. See.

[26:54] Um, and going back to the good now, right? If all my senses know the good as is what is agreeable to my senses, then you're really talking. about my pleasure,

[27:08] and so if I am pursuing my pleasure, am I loving you, in the sense of wishing well to you? No. At best, you might be the good I want to please me. In which case, you wouldn't have that love of wishing well, really, in emotions as such. So it may be that he gives this distinction first, right? Because the second distinction, right,

[27:43] It's really almost like a subdivision of the love which can be in the new will. You could have maybe something of the love of wanting, you know, in the sense love, but you wouldn't be dividing the sense love, but the second division because it doesn't really have that love of wishing well.

[28:02] Okay, kind of a subtle thing, right? So maybe a reason why he gives these two divisions in the order that he does. Okay, you see what I'm saying? Because the first is a distinction between the love which falls upon the senses, the sense love, what you could call the emotions, or in Latin they call them the passions, right? And the love which is an act of the will, and the love which is an act of the will can be either of two kinds, but maybe that love which is an emotion is only one of those two kinds, huh?

[28:42] So that second division is more like a what subdivision of the love which is the will, huh? Although that some application one maybe one of them to the love that is the emotions, huh? Okay.

[28:59] So let's look a little bit at the readings here from the great poet here. You should know these are by Shakespeare, right? Don't bother to write the name Shakespeare, right? Yeah.

[29:14] To say the truth, huh? Reason and love keep little company together nowadays, huh? Okay, that's in one of the love and friendship romances of A Midsummer Night's Dream*, huh? What kind of love are you talking about there? Do you think? Want, desire, yeah, yeah, not the love that follows upon reason, right? Okay. But the love that follows upon the what, the senses or maybe the imagination, right?

[29:45] Huh? Okay. So the beauty of a woman, say, appeals to our eyes, right? But maybe her charm appeals to our imagination, right? Huh? But the imagination is kind of like a sense of power, but internal sense, right? Okay. So this romantic love that you're talking about here is partly what result of of your eyes being pleased with this woman, right? And your imagination being charmed by her, right?

[30:18] Huh? Okay. But in this kind of love called romantic, it's a matter of experience. They say reason and love keep little company together nowadays, right? Okay. See, hitting upon a love there that is not primarily following upon reason, but following upon the emotion. I mean, the senses or the imagination, right? You see that?

[30:47] But that's the love that is more known to us because it's closer to our senses, and that's where our knowledge begins, right? I think I mentioned how it was a little boy being in church and hearing the priest talk about the love of God, and when I heard the word love, I thought of girls, and so what does he mean? You know, I mean, I don't have that towards God, right?

[31:09] I don't feel about God the way I feel about this girl, right? And so sometimes you're stuck on that first meaning of love, which is the what emotion, right? And I know when you know at marriages when they often have that text of St. Paul there, you know about love. Well, he's talking about not the love which is an emotion. You wonder how they understand sometimes, you know, when they have that passage with them, you know, how great a thing love is, and he's talking about love which is in the will there, and probably you know in Greek probably agape or something, right?

[31:49] They have more distinct words in in Latin, huh? And in Greek too, for in this case Greek for those things, huh? Now, what? What kind of love is being talked here in this other passage, in Midsummer Night's Dream Lovers and madmen huh They've been put together, right? They have such seething brains, hot brains, such shaping fantasies. Now, fantasies means what? Imagination. It's a Greek word for the imagination.

[32:27] And romantic love, if it's something you know a little different from just sexual attraction, romantic love is very much tied up with the what? Imagination. Okay. So Shakespeare's hitting the nail on the head when he says such shaping fantasies, huh? That apprehend more than cool reason ever comprehends. So reason is cool, right? Notice how we say when somebody is apt to get emotionally involved, you know, we say keep your cool, right?

[32:58] What does that mean? That's your imagination. That's seething, right? Or your emotions, but it means reason itself, right? So here, the imagination is apprehending something more than cool reason ever comprehends. And I mentioned how how the word charm, right, when applied to a woman, it's a quality in a woman that is appealing to our imagination, right? As opposed, the beauty might be appealing to our eyes, right?

[33:30] Okay. And it's interesting how how the poet tries to be charming in his own way, right? But the charming way in which the poet writes means that he's writing in a way that appeals to our imagination, more than to our senses or more than to our what? Reason, right? And I think I quoted in here before Keats, son, the romantic poet, huh? Where Keats said, you know, when the philosopher gets a hold of something, all the charm goes out of it.

[34:05] But the philosopher getting a hold of it with what? Cool reason, right? Huh? But the poet is getting at something that appeals to imagination that what is more than reason comprehends, huh? You see. And if you try to say what charm is, you find it a very hard thing to say, right? But sometimes, you know, we see it, you know, even like in a little girl, you know, some little girls are very charming, right?

[34:31] Really, really very charming. And you kind of recognize when you see it, but you can't really define it very well, right? It's a very elusive thing. Okay. In the same way, you know, when you read a really good author, you know, like Washington Irving, you know, or a poet, how very charming is the way they speak?

[34:58] You know, all these nice young boys and girls are going to get old, you know, and die, you know. But there's no charm of what I'm saying, right? But Shakespeare says what? Golden lads and girls. All must, as chimney sweepers, come to dust. This is a charm. What he says, yeah. What he says, huh? Thou art thy, mother's glass, and she mother's glass and she calls back the lovely April of her prime There's something charming about the way the poet writes, huh?

[35:29] Now, the lunatic, the lover. Now, lunatic is another word for the madman, right? The lunatic, the lover, and now he puts the poet in there, right? This is Shakespeare speaking now, huh? The lunatic, the lover, and the poet are of imagination all compact.

[35:51] So, in the sentence, he says, "O me, what eyes hath love put in my head that have no correspondence with to sight?" Of course, when Aristotle talks about the poet in the book on the poetic art, he says no one, or Plato said before Aristotle, no one can be a poet until he's been what moved by love, right? Okay. And Shakespeare says no one can be a poet until he's dipped his pen in love's sigh, right?

[36:26] And Kierkegaard says, you know, men become poets the woman they didn't get. So this famous example of Beatrice, right there in Dante's Divine Comedy, right?

[36:40] But Aristotle also compares the poet a little bit to the what madman, right? Because when he's writing and entering into the characters he's writing about, he seems to be what not himself anymore, right? And I tell you that story of Charles Dickens. You know, his daughter, when she was little, she was sick one time, and they let her, you know, kind of. a Favor, you know, to kind of rest on the sofa in the room where Dickens was working on one of his novels, and of course he can't forget that she's there, right?

[37:13] He's working, you know, and he'd get up from the desk and go to the mirror, and all of a sudden his face, you know, take on one of these fake, fake one of these characters, you know, they go back and break again, you know, but he's temporarily what? Not himself anymore, right? And he's like a madman, thinks he's Napoleon or somebody else for the moment, right? You know, I remember a Catholic who was playing Shylock in The Merchant of Venice, right?

[37:40] You know, and you know, but on the stage he really hates the Christians, you know. He was a Catholic, you know, but he's so much into the role of Shylock. huh So Aristotle says to be, you know, a poet, you have to either be mad or else be euplastos you know, easily moldable, right? You can take on, and

[38:02] that's what they say, you know, as Keats himself said, that the poet should have no personality at all, right? He can take on all personalities, huh? They say Alec Guinness, the only great actor, you know, he would walk down the streets of London, you know, and imitate the person in front of him, you know, whoever it happened to be, you know. He just

[38:27] so in these first two readings from Shakespeare, he's talking about a love that is kind of contrasted with what reason, right? A love that doesn't seem to be falling upon the imagination, but more upon the senses or actually the imagination, right? Okay.

[38:46] Now in this scene here in Hamlet, you may know how Hamlet has seen the ghost of his father, right? And his father told him how he had been killed by his uncle, right? He poured what poison in his ear. You know the story. Now do you believe a ghost? You see? or is the devil impersonating your father? What do you do? See? well the actors show up at the Elsinore the castle, of Elsinore, right?

[39:18] And Hamlet has a thought, it, strikes right. I'll have the actors put on a scene where a man kills somebody by pouring this, you know, and so on. You know, it's a very crime described by the ghost, right? I'll put that, and we'll watch how the king reacts to that, right? Because if he's really done it and done it that way, and doesn't know anybody knows it, and all of a sudden it's presented on the stage, he might give himself away.

[39:49] And Hamlet doesn't want to just trust himself to observe the king, but he wants for Horatio, because Horatio is an extremely close friend of Hamlet. It's a one-to-one, you know. And in these particular words, Hamlet is speaking about why. He chose Hamlet as his what friend, right? Okay. I know this this term I have here, sense love and chosen love, right? And the Latin word dilectio, sometimes used to name the love which is an act of the will.

[40:24] Etymologically, it comes from the word "electio," which is choice, right? And you see Shakespeare using the word choice here, election, which is another synonym for for choice, huh?

[40:39] So Hamlet says, "Since my dear soul was mistress of her choice." Now, is the soul of a little boy or girl, a little tiny one, mistress of her choice? No, because the reason is not developed, right? When I was little, they used to say seven is the age of reason, but maybe it's later now these days. I mean, you know, the little child doesn't really have the what use of reason that makes them entirely responsible for what they do or don't do, right?

[41:10] Okay. So he says, "Since my dear soul was mistress of her choice, and when was that? When it could have been distinguished, right? See the differences among men, and consequently to see which man was better to have as a friend, right? Okay.

[41:31] Since my dear soul was mistress of her choice and could have been distinguished, her election, huh? Her choice has sealed thee for herself, right? Firm thing, huh? Now, what was that he saw in this man, huh? For thou hast been as one in suffering all that suffers nothing, right? A man that can stand up in adversity, right? huh? Most men go to pieces, right, under adversity? Okay.

[42:01] Here's a man in suffering all that suffers nothing, right. A man that fortunes buffets and rewards has tane with equal thanks. Some people, you know, when they win the lottery, they go crazy, right? They made a study, you know, of people who won the lottery in Canada, and they're all, almost all of them, less happy than they were before they won it. They got, they went crazy, right?

[42:25] They got divorces and all kinds of crazy things, you know. Now they're more miserable than they were before they won, right? So men cannot what be reasonable when bad things happen, or when even good things happen to them, they go crazy, huh? You see? But here's a man that fortune's buffets, huh? And rewards, right? The good things, right? Has tane with equal thanks, huh? And blessed are those whose blood and judgment.

[42:59] Now, blood can refer back to emotions, right? But judgment to the reason, right? Whose blood and judgment are so well commingled, in other words, that they have what? Their blood is moderated by their reason, right? And they are partaking of reason in these emotions, that they are not a pipe for fortune's finger to sound, what stop she please huh? So the man that good or bad fortune greatly changes, right?

[43:30] And and for the bad usually is a man who is what ruled by his emotions, huh? And the buffet, the rewards of fortune, they go crazy in different ways, but crazy in either case.

[43:49] Now, give me that man that is not passion's slave. Now that's almost a negative way there of speaking of a man who has what virtue? Because some men are a passion of their desire to eat, huh? Some are a passion of desire to drink, right? Some are a slave of sexual desire, right? Some are a slave of what their fear, like the coward, right? Some are a slave of their anger, like the irascible man, and so on.

[44:19] Um. So a man who is not the slave of his hunger, his thirst, his sexual desire, his fear, his anger, right, huh? Yeah, even his sadness, right? Not slave to these passions. That's almost a negative way of describing a man who's virtuous, right? Who has the virtues of temperance and mildness and courage and the best of right. Okay.

[44:46] And I will wear him in my heart's core. A in my heart of heart, right? Okay. So as I do thee. And he says something too much of this, huh? Because usually we don't like to talk too much about our love, right? You're gonna be their friend, right? Okay. As you'll see, you know that people want to show their love more by what they do than by what they say, right?

[45:12] Okay. But Hamlet is going to ask Horatio, you know, to watch a king, and this is a very important thing, right? It's a question of whether Hamlet's going to act or something. Well, here you have an example of what? A chosen love, right?

[45:30] Now, the word philosopher means what? Love knowledge. Love of wisdom. Yeah, yeah. And what kind of a love is that, say? Is that a chosen love or a sense love?

[45:53] Yeah, because the senses don't know what wisdom is, do they? Right. And when your soul is able to see the difference between wisdom and other kinds of knowledge, right,

[46:12] and you start to love wisdom, seeing its excellence, right, that's a love that's following upon what reason, right? So you might call that a dilectio in Latin, but to make one word into two words in English, a chosen love, right? Okay.

[46:33] As opposed to what they might call in Latin, amor, right, the sense love, or eros in Greek or something, right? But a love that falls upon the senses, so I translate that sense love, huh? Because the English word love is kind of ambiguous, right? I mean, or not definitely one or the other, but usually in daily life, it's used for the emotional love, right? Huh? Sometimes for sexual love too, you know.

[47:04] Um. So this is the distinction Thomas is going to make now in the body of the article between these two kinds of what love, and I got in the I left the Latin in there in the article. Whether amor, which I translate as love, and properly use the word right, or sense love, right, is the same as dilectio, chosen love, right? Huh? It's not really one word to translate dilectio by, but as they say, it comes from the word electio It's we get the word election in English, right?

[47:38] Election is where they they choose your representative or your president or whoever it is, right? And Shakespeare uses it up there too, right? Her election, right? Now

[47:53] there's this play in the use of these words, and we'll see that perhaps in the text here. For Dionysius says in the fourth chapter about the divine names that amor, which probably in his text as Greek would be what eros, right? And dilectio, right, which might be what philia or it might be even agape if he's talking about charity, right? But dilectio, in Thomas's text here, chosen love, are to each other just as four and twice two.

[48:33] Or rectilineal and having straight lines, huh? That's what Dionysius says. But these signify the same thing, right? Therefore, amor and dilectio signify the same.

[48:54] Moreover, the motions of the desiring power differ by their objects, but there is the same object of dilectio and amor, namely the good, right? Therefore, they are the same.

[49:12] Moreover, if dilectio and amor differ in something, they would seem most of all to differ in this: that dilectio should be taken in the good, but amor in the what bad, right? That's interesting, huh? Because if you take amor in the sense of eros, especially, right? Huh? It's such a strong emotion that men are usually led astray by them. But it's interesting how the other emotion is very strong, anger, right?

[49:54] Usually takes some kind of a bad sense, right? And when they give the capital vices, right, sometimes anger is given as one of the capital vices, and you can say, well, you know, anger doesn't. Mean something necessarily bad? I mean, our Lord is angry when He what chases the money, changes on the temple, right? And there's a passage in one of the Gospels where He's angry with the Pharisees and so on, how stubborn they are, right?

[50:24] How hard hearted they are, and so on, huh? And you know, He works a miracle, you know, and He does it by spittle, you know. I mean, so there can be a reasonable anger, right? And Christ is a witness to that fact, right? But you could say, for the most part, human beings, anger, what, is excessive or leading them to do things that are not quite reasonable, right?

[50:49] Even get a little angry at somebody, you know, irritated somebody, we tend to say something kind of stupid and uncalled for, right? And it doesn't make life more pleasant, you know, and and

[51:01] so anger very often takes on the sense of something what bad, right? It's a strong emotion, of course. You're always reading a newspaper about somebody hitting his wife or in a fight at the bar or whatever it is, but they got angry and they shot somebody with a gun, some stupid thing, right? But because of the anger, right, they just being led astray by it. It's a strong emotion, so a lot of times, eros or anger, right, because they're both strong ones, right,

[51:38] take on the connotation of being something bad. It's like something else in when Aristotle talks in the ninth book of Nicomachean Ethics about self-love.

[51:53] Usually, in daily speech, even in Greek times too, self-love took on a kind of bad sense, right? Oh, he loves himself. If we say that, right? People take that as being something bad, right? But as you know, there can be a good self-love, right? And in fact, the second commandment of love says, "Love your neighbor as yourself," right? So it must be a good love of oneself if one is commanded to love your neighbor as yourself, right?

[52:30] But why is it that self-love has taken on kind of a bad connotation? Well, because people in loving themselves tend to love themselves too much in the wrong way, right? And therefore, in practice, right, the self-love is often bad in some way, right? And their self-love is often selfish, huh? At least, huh? So self-love, like eros, like anger, right? Because it often is disordered or excessive, huh?

[53:07] Has the tendency to do something bad, right? But you have to think careful about simply saying self-love is bad, right? Okay. Did you follow me?

[53:23] As some say, as Augustine narrates, huh? In the fourteenth book of the City of God, huh? But they do not differ in this way because, as Augustine also says in the same place, each and second scripture is taken in good and in a bad way, right? There's a good and a bad self-love, right? There's a good and a bad anger, right? There's a good and a bad amor, right?

[53:47] Okay. Therefore, amor and dilectio do not differ, just as Augustine himself, in the same place, concludes that it is not different to say amor and to say dilectio.

[54:02] Now, but against this is what Dionysius says in the fourth chapter about the divine names, that to some of the saints, the name amor in in in the Greek of Dionysius, the eros, right, seems more divine than the name dilectio. Okay. And I think I talk about that text sometimes, you know. It's because the word amor eros has got the idea of an intensity of love that dilectio doesn't have, right?

[54:33] So it all sounds kind of, you know, kind of bland, right? Not firm, right? Okay. And it's interesting how you know the love, even of the saints for God, right, or the Church for God, is compared to the love of the husband and the wife, right? Huh? Okay. And so you want to bring out the intensity of that love, right? You compare it to the eros, right?

[55:04] But also the fact that the eros is more, in, the love that is emotion. And that's even more of being moved, right? And that one can love God more through God moving you to love Him, right, than your own what power to love Him, right? So we have to always pray that He would, you know, inflame our hearts, right? Because we depend more upon Him moving us to love Him, right, than we have the ability to love him.

[55:34] as he should be loved, huh? And therefore, it's more like eros, huh? It kind of seems like, you know, people always say they fall in love, right? And when they fall in love, it's like they have no control, right? They suffer this, right? Well,

[55:51] the person they're loving is responsible for this situation. They don't have any control of it, but in sense, that's what's true about the love of God, right? That God's responsible for our loving Him, right, more than we are. We could be responsible for hating Him or, you know, rejecting Him or turning away from Him, but for loving Him, it's He's more responsible for our loving Him than vice versa, right?

[56:17] You know, but there always been the Latin there, the charity of Christ, urget nos, you know, yeah, moving us, huh?