Love & Friendship
6. Knowledge as Cause of Love (q.27 a.2) and Likeness as the Third Cause of Love
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[0:00] Now in this song from The Merchant of Venice, fancy originally means the imagination, right? But because the imagination is so important, especially romantic love, fancy got to mean you like somebody, just like the word fond came to mean you like them, right? See. But fond comes from what? Originally meaning foolish, right? So if I'm fond of the girl, it means I'm acting foolishly over her. If I fancy her, right?

[0:31] See, originally it meant you know she strikes my imagination, right? But now fancy took on the sense of what I like her, right? So you have that in the Mother Goose rhymes. Do you fancy Nancy Doll? What it is, right? You know, you like her, huh? You fancy her, huh? So it has taken on that meaning. So he's talking about. Tell me, where is fancy bred? Where is What love, right?

[0:57] Given birth, right? Okay, or in the heart, or in the head, right? It'll be like Friar Lawrence is saying, right? Now, in Shakespeare, they didn't say either or; they said or or. They didn't say neither nor; they'd say nor nor. Okay, in the heart or in the head. How begot? How nourished? Reply, reply. It is engendered in the eyes. That's how it's engendered, with gazing fed, right?

[1:26] Huh? Okay. So you speak in Latin, you know? Custodia oculorum, right? Custody of the eyes, huh? Okay. Now, Twelfth Night, which is the the last of Shakespeare's what six love and friendship plays, huh? Masterpiece, right? Twelfth Night.

[1:52] Curio says to the Duke, "Will you go hunt, my lord?" What Curio? The heart. Now they're kind of playing on the two meanings of heart. Why, so I do. The noblest that I have, O, when my eyes did see Olivia first, his eyes, right? Methought she purged the air of pestilence, and I beautifully said, "That instant was I turned into a heart, and my desires like fell and cruel hounds e'er since pursue me."

[2:26] That's an allusion to what you have in mythology, right? For somebody took a peek at the goddess Diana, you know, and what she do? She had the hounds on her, right? Huh? Okay. But something it's a little bit what happens to the guy, right? When you fall in love with somebody who doesn't return your interest, right? You're pursued by the hounds, right? Okay, But beautifully said, right? And my desire is like fell and cruel hounds their sense pursue me huh Okay.

[2:56] Now, in a Midsummer Night's Dream, you have the fairies and you have this magic, right? Where there's a potion, right, that the that Oberon has, and if he anoints your eyes with this potion, right, the first person you see after you wake up, right, they fall in love. Okay. This is magic falling in love, right? But despite it being magic, you have to anoint the eyes, right?

[3:26] Which, in a way, is saying that you know has to go through the anointing power, right? Having once this juice, Oberon is the king of the fairies. Having once this juice, I'll watch Titania when she is asleep. He's in a fight with his wife Titania, right? And drop the liquor of it in her eyes. The next thing, then, she waking looks upon, be it on lion, bear, or wolf, or bull, or meddling monkey, or a busy ape, she shall pursue it with the soul of love.

[3:58] And ere I take this charm off from her sight, as I can take it with another herb, I'll make her render up her page to me. So the fight is about the page. Okay. But even that magic to make people fall in love and you know like that, you know, in and out of love, you have to anoint the eyes, right? You have to put it through.

[4:19] Okay. And then they have anointed the eyes of Titania. What thou seest when thou dost awake, do it for thy true love. Take love and languish for his sake. Be it ounce or cat or bear, pard or boar with bristled hair. In thy eye that shall appear when thou wakest, it is thy dear. Wake when some vile thing is near. And, of course, Puck of course, you know, who you know is anointing the wrong people, the wrong, you know, with the you know, okay.

[4:53] And of course, you know Hermione, right, and Demetrius, and they want to get them fixed up, you see. And Prince of Fairies has sent him to do this, but through the forest have I gone, but Athenian found I none, on whose eyes I might approve the flower's force in stirring love, right? And so he anoints the wrong person, and so all kinds of humorous things that take place in the play, right?

[5:20] People falling out of love and falling in love with the wrong person, and so on. And so Oberon says to Puck, "What hast thou done? Thou hast mistaken quite, and laid the love juice on some true love's sight. of thy misprision, thy misjudgment, must perforce ensue some true love turned, and not a false turn true. Okay.

[5:48] Flower of this purple dye, hit with Cupid's archery, sink an apple of his eye. When his love he doth espy, let her shine as gloriously as the Venus of the sky. When thou wakest, as she be by? Beg of her for a minute. Now, Lysand is one of those guys, but wrongly anointed, right? Content with Hermia? Yeah, she's in love with Hermia. No, I do repent the tedious minutes I with her have spent.

[6:19] Not Hermia, but Helena I love, right? So he fell asleep and he got anointed and he? fell down with the other girl, right? And stopped loving the first one. But now he kind of tries to what? Justify his what? New love by reason, right? It's beautiful what Shakespeare says here about what reason and will are. Although this guy is obviously rationalizing in a sense, doesn't realize the power of the potion.

[6:46] Not Hermia, but Helena I love. Who will not change a raven for a what? Dove, huh? I notice is rhyming these lines. I repent and spent, love and dove, right? Because the dove is always a symbol of love, right? And even in Greek mythology, the dove is a symbol of love. It's a loving animal, see. So it helps you to understand the Holy Spirit descending in the form of a dove, right?

[7:12] Because he proceeds as love, huh? But what's interesting in English is that love and dove happen to what rhyme, huh? But shows the impossibility of translating a poet because you try to translate this into French. The French words for love and dove would not rhyme, right? Or as I tell the students, you know, you have alliteration. Shakespeare, full fathom five, thy father lies. All these letters came with the same letter, but the French words saint and father, they wouldn't alliterate, right?

[7:47] So there's no way to translate a. Poet. That's why Samuel Johnson says, you know, the poets preserve the languages because it's only in the language in which they've been written that you can really appreciate the poet. Remember, one of the assumptionists there—he learned Italian just so he could read Dante in Italian, right? There's no way to translate this.

[8:13] The will of man is by his reason swayed. You see, that's the difference between the will and emotions, right? Emotions follow upon the senses or the imagination, and the reason—the will—follows upon the reason, right? So we have the will in common with the angels, and we have the emotions to some extent in common with the beasts that have souls. The will of man is by his reason swayed, and reason says you are the worthier maid.

[8:44] Things growing are not ripe until their season. So I, being young till now, ripe not to reason, and touching now the high point here of human skill, reason becomes a marshal to my will, and leads me to your eyes, where I overlook love's stories written in love's richest book.

[9:09] Notice Shakespeare's touching there upon what reason, which is a knowing power, moving the will, right? Now maybe this guy's will is not being moved by his reason, and Shakespeare often puts things that are very true in the mouth of someone who doesn't mean to exemplify them. The famous words of Shakespeare, "Brevity is the soul of wit, huh? brevity is the soul of wisdom is put in the mouth of what that tedious old fool, Polonius, right?

[9:40] So people often, you know, to avoid sounding preachy or, you know, they'll put it kind of in the mouth of a man who doesn't exemplify it, right? That makes the point doubly.

[9:53] So in that way, he's probably living not much by his reason. He says, "Oh, this is happening because of the love potion, right? " In his eyes, but it's quite true what he's saying. The will of man is by his reason swayed, and reason says you are the worthier maid, and reason becomes a marshal to my will, leading the will, right? Again, you're talking about knowledge moving things, right?

[10:21] Will to love somebody, right? Again, when Hamlet chose Horatio as his what friend, right? Since my dear soul was mistress of her choice. Now, when was his dear soul mistress of her choice? Well, when you had the age of reason, you could have been what? Distinguished it. Then her election has sealed before herself. He goes on to tell the reasons why he chose Horatio as a friend, huh?

[10:53] But his reason saw that, right? He saw the difference between Horatio and other men. That. Horatio is not passion slave, right? And therefore he's going to wear him as heart of hearts, right? Yeah. Okay.

[11:09] Now, we want to take a little break, or, okay? Before we start the first two causes of love, because Thomas will tie them together very much. The good as known, right? The good is knowledge is a cause of love. For the same reason that the good is, it's in a way on the side of the object of love, right? That the object of love is the good as known, right?

[11:32] So not only the good, but in some way knowledge is a cause of love. Okay. And that's why I put it together the first two causes of love. You know, it's hard to separate them anyway. But here you can see especially the two going together, right? Second group of texts here, which are titled the first two causes of love, ones that perhaps are a little bit more bring out the coming together of those two causes, right?

[12:07] Okay, which is to be stated most simply to say the good as known in some way, right? The good is sensed, right, or imagined, or what? Understood, right? Okay. Capulet is talking to Paris. At my poor house, look to behold this night, earth-treading stars that make dark heaven light. Such comfort as do lusty young men feel when well apparelled April on the heel of limping winter treads.

[12:40] Even such delight among fresh fennel buds shall you this night inherit at my house. There's all this color, all this beauty at the house, right? But hear all, see all, right? And then like her most, whose merit most shall be. See how the two causes are coming together there, right?

[13:03] Hear all, see all, all see, and like her most, whose merit most shall be. Which, on more view of many mine, being one, may stand in number though in reckoning none. One is not a number.

[13:21] Okay. Now, in the reading from Romeo and Juliet, the next one, this is back now before Romeo has met Juliet and so on, and Benvolio is trying to get him to what? Get over Rosalind by takes a nail to drive out a nail, right? Takes a poison to drive out a poison. Romeo says, "She hath forsworn to love, and in that vow do I live dead that live to tell it now."

[13:47] So he's like dead because his love is not being returned, right? Benvolio. Notice the name? Benvolio means what? Yeah, yeah. So Benvolio is his friend. Friend is one who is good will towards you, right? There's another character in Twelfth Night. It's called Malvolio. They say a prank on him, Malvolio.

[14:11] Be ruled by me. Forget to think of her, right? If you don't, if you can't forget her, you're going to be plagued continually by wanting her, right? Loving her. Oh, teach me how I should forget to think, he says. By giving liberty unto thine eyes, examine other beauties, right? There's the two causes there together, right? Now, examine other beauties. Farewell, thou canst not teach me to forget, he says.

[14:42] I'll pay that doctrine or else die in debt, he says. Okay. Benvolio, huh? Tut, man. Same same thought. One fire burns out; another's burning, right? One pain is lessened by another's anguish. Turn giddy and be helped by backward turning. One desperate grief cures with another's languish. Take thou some new infection to thy eye.

[15:16] Thomas had an article, you know, where their love when you get to the effects of love, right? Where their love makes you better or worse, right? And there's a reason why people, you know, will say this: take thou some new infection to thy eyes. Obviously, not making you better; it's an infection. And the rank poison of the old will die at this same ancient feast of Capulets.

[15:40] Sups the fair Rosalind, whom thou so loves, with all the admired beauties of Verona. Go thither, and with unattainted eye, compare her face with some that I shall show, and I will make thee think thy swan a crow. Okay,

[16:01] and Romeo, of course, is still wounded, right? When the devout religion of mine eye maintains such falsehood, then turn tears to fires. And these who often drowned, could never die. Transparent heretics be burnt for liars. One fairer than my love, the all-seeing sun ne'er saw her match since first the world begun.

[16:29] And Romeo says, "You saw her fair, none else being by. herself poised with herself in either eye. But in that crystal scales, right? He's comparing the eyes to two scales, right? You see Rosalind, you see Juliet, or somebody else, right? And one might outweigh the other, right? But in that crystal scales, let there be weighed your lady's love against some other. maid that I will show you shining at this feast, and she shall scant show well that now seems best, right?

[17:01] So you're kind of like weighing what the worth of her with some other girl, with your two eyes like two scales. That's beautiful. That's in scripture the idea of the idea of weighing your judgment, right? You know, weighing things.

[17:16] Well, he says, "I'll go along." He says, "No such sight to be shown, but to rejoice in splendor of my own once you get a glimpse of Rosalind. Okay.

[17:30] Now, again, the scene that we quoted before, but to give a little more complete here, the mother says, "What say you? Can you love this gentleman, Paris? This night you shall behold him at our feast. Read o'er the volume of young Paris' face. " Now, read o'er, of course he refers to his annoying powers, right? It beautifully said, "Read o'er the volume of young Paris's face and find delight writ there with beauty's pen.

[17:59] Examine every married lineament and see how one another lends content. And what obscured in this fair volume lies, find written in the margin of his eyes. Speak briefly, can you like of Paris's love? I'll look to like if looking liking move, huh? But no more why in dark mine eye than your consent gives strength to make it fly. " Of course, she runs off with Romeo without looking for consent, but anyway.

[18:33] Now, when Romeo first sees Juliet, "Oh, she doth teach the torches to burn bright. " huh? But as St. Ambrose says? Without light, all things are ugly, huh? And of course, Dionysius will speak of light as being part of what? The beautiful, right? And of course, you know people get depressed when you have these rainy days, you know, and it's dark, you know, and then the sun comes out, you know, things seem beautiful again, right?

[19:04] And also in the fall, you know, you have beautiful fall foliage, but when you have a nice bright day, the foliage is so much more beautiful than a dark day, you know, when it's raining or something.

[19:15] It seems she hangs upon the cheek of night, as a rich jewel in an Ethiop's ear. From opposites comes the most beautiful harmony. Beauty too rich for use, for earth too dear, so shows a snowy dove trooping with crows, as yonder lady or her fellows shows. The measure done, the dance done. I'll watch her place of stand and touching her, make blessed my rude hand. But I want to emphasize the last lines here for our purposes.

[19:52] Did my heart love till now? Forswear its sight, huh? For I ne'er saw true beauty till this night. So it's the beauty is seen, right? That rises to love. It's a Thomas's say, right?

[20:13] Now Olivia, another example of love at first sight. How now? Even so quickly may one catch the plague. It's infection the eyes again. Methinks I feel this youth's perfections. That's the what? Good, right? Perfection is something good, right? Methinks I feel this youth's perfections with an invisible and subtle stealth to creep into mine eyes, right? So it's the perfections of him as known, right? That's moving her to love at first sight.

[20:48] Well, let it be. What can you do? Fate fate. I do not. I do. I know not what, and fear to find mine eye too great a flutter for my mind. Fate show they force ourselves. We do not owe what is decreed must be and be the soul.

[21:10] Now Lorenzo is the guy who runs off with Jessica, you know, Shylock's daughter there in the Merchant of Venice. You know that story. The elope, right? You know, the the Jew's daughter with this Christian, right? Okay.

[21:27] But he's speaking about her love for her. Beshrew me, but I love her heartily. For she is wise, if I can judge of her, and fair she is, if that mine eyes be true, and true she is, as she hath proved herself. Notice those three lines, right? The first part is the good, right? She's wise, she's fair, she's true, right? And the second part is what? Reference. To the knowing of that, right?

[21:55] If I can judge of her, if that mine eyes be true, as she hath proved herself, right? Right. You see that? So it's the good as known that makes him love her heartily, right? Huh? You see that? And therefore, like herself, wise, fair, and true, shall she be placed in my constant what? Soul, right?

[22:25] Now Proteus, right? Proteus is named from that character who always changing his shape. Okay, and he's betrothed to what? Julia, right? And then he sees Sylvia, right?

[22:40] Even as one heat another heat expels, or as one nail by strength dries out another, so the remembrance of my former love is by a newer object quite forgotten. Is it mine eye, or Valentine's praise, right? Her true perfection, or my false transgression, right? But notice mine eye and her true perfection, right? The good as known, right? And Valentine's praise of her made known her perfection to some extent too, right?

[23:13] Valentine's friend, or my false transgression that makes me reasonless to reason thus. 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 gainst a fire, bears no impression of the thing it was. Notice what we said about love, right? That you know, the the good is what pressing itself upon the heart, right? And now, that's why we speak of women's waxen hearts, right?

[23:46] Because they receive the image better than men do. Um, but now it's being thawed, right? Melting on, losing that tinging on Sylvia instead of Julia's. Which, like a waxen image against a fire, bears no impression of the thing it was. Tis but her picture I've yet beheld, and that hath dazzled my reason's light. But when I look on her perfections, there is no reason but I shall be blind.

[24:17] Now taming of the shrew here. Lucentio love at first sight again. All the famous examples in fiction, right? Okay. Because I often hear men say this about their wives. Now, the first time I saw her, you know, I felt there was something, you know.

[24:41] One of our friends, he said, when I met my wife, well, it was one of those our eyes just locked. And so Tranio is marveling at. I pray, sir, tell me: is it possible that love should of a sudden take such hold, all at once, sir? O Tranio, till I found it to be true, I never thought it possible or likely. But see, while I the eye stood looking on, I found the effect of love in idleness.

[25:13] And now, in plainest, do confess to thee that art to me as secret and as dear as Anna to the Queen of Carthage was. Tranio, I burn, I pine, I perish, Tranio, if I achieve not this young modest girl. Master, you look so longly on the maid. Perhaps you mark not what's the pith of it all. Oh yes, I saw true beauty in her face. Such as the daughter of Agenor had, that made great Jove, Jupiter himself, to humble himself to her hand, when with his knees he kissed the Cretan strand.

[25:52] And Tranio says, saw you no more? Marked you not how her sister began to scold and raise up such a storm? That's the the shrew right? that mortal ears might hardly endure the din. Tranio, I saw her coral lips to move, and with their breath she did perfume the air. Sacred and sweet was all I saw in her, right? You can see how the two causes are together there, right?

[26:18] Sacred and sweet was all I saw. Now, Thomas here, whether knowledge is a cause of love? It seems that knowledge is not a cause of love. It results from love that something he says is sought. But some things are sought that are unknown, as the sciences right? For since in these it is the same to have them as to know them, as Augustine says in the Book of the Eighty Three Questions.

[26:51] If they are known, they are had and are not sought. Therefore, knowledge is not a cause of love. But you got to go back to the fact; it's got to be known in some way, right? Not only are you going to know, but you possess science, right? What you're going to have to know in some way to love it, huh? You'll be pointing out. Now, the second objection is very interesting, because if you say that

[27:14] knowledge is a cause of love, then the more you know something, the more you should what love it, right? And therefore, the degree of love should be proportional to the degree of knowledge. But his objection says that's not true. Okay. It seems to amount to the same thing, to saying that something unknown is loved, and that something is loved more than it is known. For some things are loved more than they are known, as God was able in this life to be loved through Himself, but not to be known to Himself.

[27:50] Therefore, knowledge is not the cause of love, huh? Okay. So we love God more than we what know them, right? We know Him, huh? So how can you say knowledge is the cause of love? If you love Him more, you know. So charity is not only the greatest, but it remains the next life, right? But faith and hope are replaced, right, by the beatific vision, right? Okay.

[28:20] So you know God as He is, as Saint Paul says in the Epistle. But we love Him as He is. We don't know Him as He is. So love is gone beyond what the knowledge is, right?

[28:37] Okay. And the washerwoman might might love God more than the theologian, right? You know. So that's that's kind of the stock objection, right? Huh? So how can you say knowledge is the cause of love? I mean, sugar is the cause of my coffee being sweet. Then more sugar should make the coffee sweeter, right? So if knowledge is the cause of love, then more knowledge should make more love.

[29:00] Further, if knowledge were the cause of love, love could not be found where there is no knowledge. But love is found in all things, as Dionysius says in the fourth chapter in the Divine Names. Knowledge, however, is not found found at all. Like I was saying about the nursery, there they'll say this this plant loves a lot of light, you know, likes a lot of water, you know, or this plant doesn't like a lot, you know.

[29:25] So we speak of things you don't know as liking something, right? But against this is what Augustine proves in the tenth book on the Trinity, that no one is able to love something unknown, huh? I think Saint Augustine and Saint Thomas are the greatest minds of the Church, huh? You know.

[29:52] You can compare with those guys, you know. Just look at the, you know, the catechism there, right? Huh? You know, all the quotes from Augustine, you know, and Thomas, huh? Just got the recent, the, last issue of the Pope speaks, you know. Of course, you know, you're back several months, right? And this is always devoted to the document on the bishops, right? From the Synod on the bishops, you know.

[30:15] But, by the way, the first page, so there's a Latin quote there, you know. That must be Saint Thomas, yeah, from Thomas, from his commentary on the Gospel of Saint John, right? But you know, you find on a lot of these documents, huh? We'll be quoting Augustine or Thomas.

[30:34] But Thomas, he's used Augustine here as authority in the said contra in both of these articles, right? Okay. Now, I answer that it ought to be said, as has been said, that the good is a cause of love by way of an object, huh? But now he's going to go on. He says the good, however, is not an object of desire except in so far as it is grasped or known in some way.

[31:05] And therefore, love requires some grasping of the good that is loved. Now, how is he going to manifest this? And because of this, the philosopher says in the ninth book of the Ethics that bodily sight is the beginning of sense love, huh? Like we saw in all those examples of romantic love, right? You know, love at first sight, but bodily sight, right? And likewise, contemplation of spiritual beauty or goodness is the beginning of what?

[31:37] Spiritual love, huh? So that's why why faith has to precede what charity, right? In the order of generation, right? So, what he's doing, he's manifesting here not by syllogism but by kind of a what? There's two kinds of love, right? The sense love and the love that's in the will, right? And bodily sight is the origin of the sense love, and the sight of reason, right? The other kind, of love, right.

[32:10] Okay, manifesting it by division, in a way. So, as a child, I love candy. Why? Because I tasted it and tasted good, right? Now, as a man, I love wisdom. I still love candy too, but but I love wisdom, right? But it's because my reason grasped what wisdom was. Once you grasp what wisdom is, you're apt to like it, want it, huh?

[32:43] But notice the last sentence, and this is why I put those two together: two causes of love. Thus, therefore, knowledge is a cause of love for the same reason as the good. Now, why does he say for the same reason? Well, the good is a cause of love because it's the object of love, right? Well, knowledge pertains to the object of love because it's the good as known that is the mover of your heart.

[33:09] Okay, it's candy as tasted by me, right? That moved me to like candy, right? It's wisdom as understood by me that moved me to like wisdom, right? Okay, it's Shakespeare as known to me that made me what like Shakespeare, right? If Shakespeare had not been read by me, known by me, I wouldn't like Shakespeare. I wouldn't dislike him? but I wouldn't like him, right? You see? And.

[33:37] I like Mozart because I heard him, right? I might have to hear him, you know, before you really hear him, but the more I hear him, the more I like him. okay.

[33:51] Okay. and. The first objection was that how can you desire knowledge that you don't what have, right? There's a little dialogue of Plato's called the Protagoras, right? Where the young man comes knocking at Socrates' door, you know. Socrates, Socrates, Protagoras is in town. Will you introduce me? You know. And Socrates says, "Well, it's awfully early, you know. I'll have to wait till a little later. " Uh why what is so anxious to meet Protagoras for?

[34:15] Well, wants to hear Protagoras, right? What does Protagoras have? The young man really has no idea what Protagoras, but he's so excited, right? See, he's the fashionable thinker of the day, right? And Socrates, you know, kind of cautions him. You know, I didn't know about this guy, right? And but he's all willing to to submit, you know, to Protagoras as a teacher, right? But he's got the much better guy, Socrates, there, right?

[34:44] Well, the rest of the dialogue is taken. They go to the house, and Socrates has a conversation with Protagoras, and it's a beautiful dialogue, though, really about whom to believe, right? Would you believe Protagoras or Socrates? And Plato teaches us the criterion whereby you judge. You see, I mean the first criterion you have for believing somebody is is his fame or his position, right? You know, but the second criterion, which is better, is does he know how to proceed?

[35:21] You see, so I say to the students, you know, I say if you come to college, and the student says the frog is a three-chambered heart, right? And the biology professor says the frog is a four-chambered heart, you probably believe the professor, right, rather than the student, right? But then if you ask the student, how did you arrive at the idea the frog is a three-chambered heart, and he says, well, I cut open, you know, a number of frogs in the lab there and examined their heart, and they seem to have just three parts, right?

[35:53] Then you go to the professor and say, now how did you arrive at the idea the frog had a four-chambered heart? Well, I had a deck of cards and I put the frog on the deck of cards and I gave him the four hearts. Well, that's a very obvious example, but now who would you believe, the student or the, you know, you see? And you'll you'll learn that in the dialogue, right?

[36:17] Socrates wants a man to give short answers, right, and then examine, you know, so on. And Protagoras wants to give a speech, you know, beautiful speech, you know. Wow, those are the words, right? But when Socrates, said, I can't follow you. You have such a long, so many words, you know. You have to get short answers, you know. And once he starts getting short answers, then he starts to get into contradicting himself and so on, and then he gets angry with Socrates.

[36:46] Anyway, to the first. thing,Therefore, it ought to be said that he who seeks a science is not entirely ignorant of it, but he foreknows it in some way, right? Either in general, right, or in some effect of it, or through this that he hears it praised, as Augustine says in the tenth book on the Trinity, right? To know it thus, however, is not to have it, but to know it what?

[37:20] Perfectly is to have it, right? Okay. So it's the distinction I was making before for you, right? Between what is so simply, right, fully, right, completely, and what is so not simply, but in some limited, qualified, and perfect way, right? You know how crazy people like Augustine were and Jerome to acquire, you know, the art of rhetoric, you know, and they might only know at first that the art of rhetoric is the art of persuasion, right?

[37:48] If you possess that art, you can get up in the political assembly and persuade them to whatever you want to persuade them to. You can go into the court house and persuade them that the guy is guilty or not guilty, whatever you want to do. Oh boy, I like to have that art, wouldn't you? You know, see? Or you hear that the art of medicine, you know, is where you can make sick men healthy, right?

[38:10] Hey, I'd like to have that art, wouldn't you? You see what I mean? Do you possess the art of medicine? No, but you know something about it, right? And that moves you to it, right? Wisdom is the knowledge of God. It is. Yeah, well, I'd like to have some wisdom, right? You see, without really knowing exactly what wisdom consists in or what it's a, you know, you know something about it, right?

[38:38] Okay. Now the second, much longer reply to the second, right here. And Thomas is not going to deny that you can love something more than you know it, right?

[39:02] Okay. But you got to know it in some way to love it, huh? Okay. But why can you love it more than you know it, huh? Well, he's going to go into some differences now again between knowing and loving. It's very interesting what he says here. To the second, it ought to be said that something is required for the perfection of knowledge that is not required for the perfection of love.

[39:27] For knowledge belongs to reason, of which it is proper to distinguish between those that are joined in the thing, and to put together in some way those which are diverse by comparing one to the other. So when you study logic, you learn about what definition, division, distinction, right?

[39:54] I've been talking this week here about the four kinds of distinction that are made everywhere, and we've been talking about one of those kinds, right? And there's four kinds of distinction that are made everywhere, and they correspond to four kinds of what mistake, right? That arise from mixing up these things. And the distinctions I was talking about was the distinction of the senses of a word, right?

[40:23] And corresponding to that is the mistake that arises from mixing up different senses of a word. Chianti is dry. What is dry is not wet. Therefore, Chianti is not wet. Roger Maris hit sixty-one homers on the bat. The bat is a flying rodent. Therefore, Roger Maris hit sixty-one homers on the flying rodent, right? Okay. And then you have some days, of speech is more than one sense.

[40:47] When Aristotle says that wisdom is is the most divine knowledge, if he said wisdom is the knowledge of God, that has two meanings. It could mean it's the knowledge about God, or it could mean the knowledge that God has.

[41:06] In both sense, wisdom is knowledge of God. It's the knowledge which God alone has, or God only fully has, right? And it's the knowledge about God. Okay. And then you have the distinction between the per se and the per accidens, and the distinction between simply and some respect. So we're always trying to what make distinctions and divide things and take them apart, right? Okay, analysis, right? Taking apart.

[41:34] In order to know something perfect, you have to take it apart, okay? Divide it up. But in order to love somebody, you got to take them apart. No, you can't love the whole person, right? For knowledge belongs to reason, of which it is proper to distinguish between those that are joined in a thing, and to put together in some way those which are diverse. by comparing one to the other, to really know yourself, you have to divide yourself into your soul and your body, right?

[42:00] And then compare the two, and you know, right? See. But to love some person, do I have to divide their soul and their body? And but to know them fully, what they are, you have to do that, right?

[42:15] And thus, for the perfection of knowledge, it is required that man know one by one, right, whatever is in the thing, right, as the parts and the powers and the properties of it. But love is in the desiring ability, which regards the thing as it is in itself.

[42:34] Whence it suffices for the perfection of love that the thing be loved in so far as it is grasped in itself as a whole. And an account of this, therefore, it happens that something is loved more than it is known, because it is able to be perfectly loved, even if it is not perfectly known. As is most clear in the sciences, which some love because of some slight knowledge which they have about them, as if they know rhetoric to be the science which a man is able to what persuade, right?

[43:08] And they love this in rhetoric, and we're not to speak likewise about the love of God, right? Okay. So you can love God, right? More than you know him, right? And someone might love God more, who knows God less, right? They don't have all the theologian's knowledge, right? I was reading a beautiful distinction there, Thomas, in the sentences yesterday. You know, Thomas says he's talking about the names in divinis.

[43:44] he says, He, says some names, he says, are names of the divine nature, the divine essence, like like the word essentia, right? Some are names of persons, like Father, Son, Holy Spirit, right? Now that might seem to exhaust the names, right? Is it named the divine nature, right? Or names of the Trinity, right? De Deo uno et trino, right? And he says, and some are names of both.

[44:15] And he's thinking of what? You speak of the potencia generandi, the power of generating, right? The Son. Okay. Well, the Father generates the Son by his very nature, right? Some might say, well, yeah, but have the same nature, the Father and the Son, same nature numerically, right? Ah, yeah, but the divine nature, in so far as it's the same as as the Father, right, is the potencia generandi.

[44:46] Very subtle distinctions, right? See. But someone who doesn't know those subtle distinctions, which are necessary to know to talk about these things, right? Who still loves God more than I do, right? Okay.

[45:08] It's kind of interesting there with men and women. I think the greatest theologians are men, right? I don't say that that the male saints love God more than the female saints. Maybe it's the reverse, right? You know? Let's go back to Paul VI, You know, when he started, you know, making you know women doctors of the church, right? And we made Teresa of Avila a doctor of the church.

[45:33] He's very clear in the document that she's not a doctor of the church in the way Augustine is, huh? See, and Augustine is defining and dividing and arguing and reasoning, right, and so on, and just modus disputativus and all that stuff, right? See, but then he quotes Saint Francis de Sales about what women having a greater capacity to love, right, than men, huh? So it's kind of some complementarity there in in the male and the female saints there, huh?

[46:02] It's beautiful, you know. You read Teresa of Avila if you get the complete edition there with the E. Allison Peers translation, which I think is pretty good. But essentially, give you you know, in some of the sections there was it Banez, I think the Dominican who was in charge of you know seeing whether her visions were true or diabolical or something. You know, it's so illogical, you know, when she proceeds.

[46:22] You know, huh? The contrast between Banez and Teresa is marvelous, right? You know, but she has this fruiting love, you know. And the priest was talking this morning at the mass there about Saint Catherine of Siena. I guess she couldn't write; she had to really, you know, kind of dictate her letters, you know, and somebody had to write them down for her, you know. But you know, the love of Catherine's amazing, you know.

[46:45] And you read the treatise of divine love, the Doctor Divine Love, there, Saint Francis de Sales. You know, he takes his examples from people like Catherine Sienna. Or Teresa of Avila, or you know Saint

[46:57] Certu and so on, It gets more clear, right? The intensity of love there. Um. Okay. So to really get a subject into my mind, I've got to define and divide and distinguish and syllogize, right? I think we're syllogizing about love here. A little bit, ago, right, and back up, you know, the premises of another syllogism, and so on, right? None of that's required for loss. So in some sense, much more is required for knowing than for what loving something.

[47:32] Okay. Sometimes when people love some knowledge, and they found what you have to do is know something, they they start to hesitate, right? Okay.

[47:51] In fact, there's a time when Euclid, I guess, was instructing a king, you know, and the king said, "Don't you have some faster way, you know?" He's supposed to make the famous statement: "There's no royal road to knowledge, right? You got to take the knowledge the commoner takes to know geometry. There's no shortcut for for for the great king, you know. He's got to take, you know, step by step, you know, and goes all those, you know.

[48:12] It's like if someone comes to me and he's heard the Pythagorean theorem, says, "Can you prove that purpose?" I said, "Yeah." Oh, you show it to me? I said, "Yeah." But it's number 47 in book one. you gotta go to the 46 proofs to get there. Well, I'm not so sure. Now, the third objection was from the natural love, right? You know, the tree liking water or sun, right?

[48:40] To the third, it ought to be said that the natural love, which is in all things, is also caused from some knowledge, right? Not from knowledge existing in the natural things themselves, but in the one who instituted the nature, right? Okay. Has been set up.

[49:05] Now let me pass you out the second part here. Four articles altogether. So, pass these out. How many copies do you need here? At two, four, six, plus one, eight. Give me. You want you want ten to twelve, or what? I get plenty of them. What do we have here? Plus one, eight, eight. Yeah, I would do twelve. The third cause of love is is likeness, huh?

[50:05] Okay. So I don't know what book this is from here. No, knowledge was fairly close to the good because it was the good as known as a cause of love, right? But likeness does not mean something quite different, right? And I have a lot of texts in here which are

[50:50] speaking of how likeness is a cause of love. But I also have one here where kind of interesting. Um, from Emily Bronte, Wuthering Heights, huh? Because what's interesting about that is that

[51:11] this woman is attracted to men. One man because of the good quality she sees in him, right? The other man because he's like her. And what's kind of interesting about that, as a fictional example, I was teaching love and friendship one fall, you know, and they had a kind of a sale there at the Passionist monastery there in in Shrewsbury, huh? And they had some books there, among other things.

[51:40] You know, people bring things that they were just selling and making no money to the place. And I picked up a nice copy, you know, gift edition of Wuthering Heights, right? So I had read before, but I said, "Just you know, want to buy this?" And so I reread the thing, you know, and I was kind of struck by it because. it's really one thing I want to talk about, but you can be attracted to the same person because they're good and because they're like you, right?

[52:03] But here they're separate, right? One is attracted to because he's good, but not like herself, and the other guy because he's like her, right? And but it also raises the question: which is stronger, right? When these two come into competition, right? See, that's a very interesting question, huh? It's not necessary to say which is stronger. I mean to realize they're separate causes, you know. But that's another thing to have in mind, right?

[52:33] You can see what the way she represents it in the in the novel. It's kind of interesting, I think, huh? But if you talk about say loving God, I'm gonna say say, huh, you know,

[52:48] is it because you're loving God knowing how good He is, right? Or is it because you're made in His image and likeness? Or is it both of these, right? You see. And then if you have grace, you're even more like Him than than you are by by nature, right? You see. And when you get the beatific vision, you'll be even more like Him. You see, you see Him as He is, right?

[53:18] You see. Which he most of all sees himself as He is, right? See. So if likeness is a cause of love, right? Then you'll be more like God. huh? That's exactly what St. John, says in the epistle there, right? When He appears, we shall be like Him, right? For we shall see Him as He is, right? But likewise, the good as known will be even more true in that case too, won't it?

[53:47] The goodness of God will be even more what known by you, right? When you see Him as He is. So how could your love of God in this world be as great as your love of God when you see Him as He is?

[54:02] Because the good as known, right, the good will be much more known when you see Him as He is. And likeness, if likeness is a cause of love, as we'll see when you go through this, and you're much more like God when you see Him as He is than you were before, right? That's kind of interesting to see that, huh? Monsignor Dionne used to speak sometimes about that in regard to a student, right?

[54:31] Sometimes there's a likeness between the student and the teacher, and maybe a likeness in in personality, whatever it is, right? And the student might be drawn to a professor because he's like himself, right? Or he might be drawn to a professor because he's what? Very knowing, right? Very knowledgeable, right? And there's a certain danger of being attracted to the teacher who's more like you than the one who's wiser.

[55:02] It's a little bit like my mother used to say about medical doctors. You know, sometimes doctors have a good personality and they consoling or they talk to you, know. But maybe a doctor who's a little more standoffish might be what more able to analyze what's wrong with you, right? And that you shouldn't, you know, choose a doctor because you think he's what like you, huh? But because you think he knows the human body and knows the diseases and so on, right?

[55:34] Huh? You know. But it's kind of interesting those two things, right? Okay. You'll see if I have the case. I'll look at the first reading here a little bit. here. Now, you know you've read The Merchant of Venice? Some of you, or never have. Well, Bassanio has just what got engaged, you might say, to Portia. Now, just married. And then he gets news that what his best friend, the Merchant of Venice, is in danger of losing his life, right?

[56:07] Because of Shylock, the Jew, right? Okay. And Portia immediately sends him off, you know, to go to the help of him, right? No honeymoon, nothing, right? Just no. And Lorenzo, who's who's there, right?

[56:26] Respects her respect for his friendship, right? Okay. So he says, "Madam, although I speak it, you know, in your presence, say it to your face. You have a noble, right, and a true conceit, a true understanding, right? Conceit means thought, right? Understanding. Of godlike amity, Shakespeare calls friendship amity. He calls it godlike, right? It's Interesting, huh? Which appears most strongly in bearing thus the absence of your lord, your husband.

[57:04] So he's praising her for having this great appreciation of friendship, right? So you can see how affected Bassanio receives a letter from, from the merchant, right? And he's so upset he can tell, you know, there's such a bond of love between him and Bassanio, right? He's just, you know, overcome. But Lorenzo says, you know, but if you knew to whom you show this honor, if you knew the merchant, right?

[57:31] You knew Antonio, how true a gentleman you send relief, how dear a lover, Now lover here doesn't mean what homosexual, right? Like people would understand it now. It means what, a friend, okay? And of course the the Greek word for friend comes from a Greek word to love, philein, huh? Not from eros, but another word, philein, right? And the Latin word for friend comes from amor, amari, right?

[58:02] Okay. So Shakespeare here means what, how dear a lover, meaning a friend, right? Of my lord, your husband. If you knew if you knew Antonio, you would you would be very what proud of this. I know you would be prouder of the work than customary bounty can enforce you to, right? Okay. Now Portia has never met, the what friend, the dear friend, of her husband, right? But she loves dearly Bassanio, right?

[58:33] And she guesses right that she would love Antonio very much too, right? Right. But why? Because likeness is a cause of love, right? You see, you see. And Portia says, "I never did repent for doing good," she said, huh? Nor shall not now, for in companions, right, that do converse, right, and waste the time together, whose souls do bear an equal yoke of love, right? There must be needs a like proportion, right?

[59:09] Of lineaments of manners and of spirit. So if they love each other that much, they must be like each other. See? She's like Sherlock Holmes would say, right? Sherlock Holmes says to Watson, "We have to reason backwards." Watson says, "What do you mean?" From the effect back to the cause. You see? So seeing the love which is strong between her husband and Antonio, whom she never met, right?

[59:38] She's reasoning from the effect, the strong love, back to the cause. They must be like each other. He must be like my husband. And she dearly loves Bassanio, right? If he's that much like Bassanio, I would like him too, I'm sure, right?

[59:55] Which makes me think. You see that this Antonio, being the bosom lover of my friend, the intimate friend of my of my lord, must needs be like my lord.

[1:00:09] Okay, you see where your mind's working? It's like Sherlock Holmes the effect back to the cause I know my own wife, you know, she came out to St. Paul, I said, from St. Paul, Minnesota, and she met two of my three closest friends, male friends, huh? And first was kind of struck by the differences between us, right? And kind of surprised, right? Because because Jim was a ex Golden Gloves boxer, you know, and so on.

[1:00:41] And and Roy Monroe is a cigar smoking, you know, politician, right? And but she just kind of, you know, she didn't see the likeness that there is between us, right? I say, but she saw the differences, right, between me and these two men I was close to, right? And she just kind of, you know, puzzled by it, She was like, you know, at first, you know, but you see what she's doing, right?

[1:01:03] She's expecting my friends to be like me, and when she sees a difference at first, rather than a likeness, right, then she's kind of, you know, puzzled, you know, You know, they were friends, huh? Okay.

[1:01:22] If it be so, how little is the cost I have bestowed? Right, letting her husband, you know, take off right For the marriage. In purchasing the semblance of my soul from out the state of hellish cruelty, he's in danger losing his life because of the Jew. Now, she calls. What's she calling the semblance of my soul?

[1:01:50] Yeah, Antonio. Yeah, my soul would be what. Yeah, yeah, her better half, right? You know, okay, like the soul and body, right? So, the semblance means what the likeness of my soul, my husband, my better half, right? Beautifully said, huh? You know, that's a beautiful text to see that likeness is the cause of love, right? By reasoning from the effect back to the cause.

[1:02:27] Now, Richard, when he's killing King Henry, okay, Then he's stockaged about nothing. If any spark of life be yet remaining, stabs again with the sword, down, down to hell, and say, "I sent thee thither, I that have neither pity, love, nor fear." Indeed, 'tis true that Henry told me of, for I have often heard my mother say I came into the world with my legs forward. Had I not reason, think ye to make haste and seek their room to usurp our right, the right of the House of York?

[1:03:06] The midwife wondered, and the woman cried, "Oh Jesus, bless us! He is born with teeth." That's the that's the legend of Arthur, yeah. And so I was, which plainly signified that I should snarl and bite and play the dog. Then, since the heavens have shaped my body, soul, the ugly body, right? Let hell make crooked my mind to answer it. That's that's interesting from from you know the psychology of that, right?

[1:03:39] But then, the reason I have it here, I have no brother. See, I am like no brother. And this word love, which Greybeards call divine, now Greybeard is a what metonym for the wise, right? Comes with age, huh? And this word love, which Greybeards call divine, be resident in men like one another. See that it's the opposite now, right? Huh? There's no likeness between me and other men, right?

[1:04:12] So I have no brother. There's no kind of love between me and other men. This word love be resident in men like one another, and not in me. I am myself alone,