Wisdom (Metaphysics 2016)
6. Metaphysics Proemium II: The Natural Road of Knowledge — Sensing, Memory, Experience, Art, and the Chief Artist Who Knows the Cause
Class of 2016-09-15
https://berquistcourse.com/course/philosophy/7c-wisdom-2016/006-metaphysics-proemium-ii-the-natural-road-of-knowledge-sensing/

[0:00] Now, what does he start to do here in the second paragraph? Right? He's going to start to talk about the order, right? Here's how it looks before and after, right? And the order in our knowledge, huh? And the order in which you might call the the first road in our knowledge, huh? The natural road in our knowledge, right?

[0:28] He's going to talk about the order in which different kinds of knowledge come along this road, right? He says a lot of things besides that, but basically he's going to say that sensing comes first, right? And then, in man and in some of the other animals too, there comes about what memory of what you sensed, right? And then out of many memories gathered together of the same sort of thing, there comes about what experience.

[1:02] So experience is further along the road, right? Sensing, memory, experience, right? And then experiencing is very much like science, but out of experience comes a knowledge of the what universal, and that's the beginning of what knowledge of reason that the senses don't attain to, right? So when I talk about the natural road in human knowledge, I go back to the nature of man, right? And what is man by nature?

[1:41] An animal. An animal that has what reason? Again, to bring my mother into this, as you should do. I'd say man is an animal. She didn't like that me saying that. I'm lucky to say that to him. And I said, well, he's not just an animal. He's an animal that has reason. Well, that's better, she said.

[2:07] Yeah, yeah. But because man is an animal, he has what senses, right? But he's not just an animal. He has reason, right? Now, what is generic in a thing? The genus of man is animal, right? The difference is reason. He's a reasonable animal, but the sense that he has, he's not that uses it well. But

[2:32] the natural road is from the senses into what reason. Yeah. Now, when you want to study this road, you want to see the order in the road from the senses into reason. And one order to see is the order in which different kinds of knowledge, right? Come along this road, and this is the reason. And yeah, and it begins with sensing, and then memory, right? You remember some of the things you sensed, and then there arises from bringing together many memories of the same thing, experience.

[3:14] Have experience, there arises what Knowledge of the universal, right? And this knowledge of the universal, in part, that Shakespeare is talking about when he says that reason is the ability for large discourse, right? Reason can discourse about the universal, and that's a large discourse because the universal is said of many things. In fact, of an infinity of things in many cases, right? So I can talk about odd numbers and even numbers, and I'm pretty smart, and I know no odd numbers and even numbers.

[3:51] And how many numbers am I talking about there? Yeah, yeah, infinity of them, right? In some ways, and from reason knowing the universal, Aristotle is able to reason out that reason must not be the brain; it must not be a body, right? Because when something is received in the continuous, it's received here or there in the continuous, and therefore it's received always is what singular or individual, right?

[4:29] So if the thing is received in the reason, not as a singular, but universal, it's not being received in a what body, right? And therefore, reason that knows the universal, right, is not a what body, right? And this leads on to the understanding of the human soul as what having an existence that is not completely immersed in the body, right? Because it has an operation understanding universal that is not in the what body.

[5:09] It's kind of an amazing thing to see that, huh? Now, there's other orders to be seen, right? The order I'm talking about here is the order in which different kinds of knowledge, like sensing, memory, experience, knowledge universal, come along this road, right? Another order to be seen is the order in which different things are known along this road, right? And there you begin by saying, you know, the most obvious thing is that sensible things are known before things that cannot be sensed.

[5:48] That's why I brought this guy in today, right? Because you might neglect your guardian angel, or neglect the angels that. Surround you at mass and so on, huh? That's a magnificent thing. Make yourself familiar with the angels

[6:10] and behold them frequently in spirit, because they're material. For without being seen, they are present with you. And the author, Saint Francis de Sales, magnificent, magnificent man. Magnificent thing about the angels, huh? So sensible things are known before things that cannot be sensed, right? And you could also say that therefore that material things are known before what immaterial things, right?

[6:51] This is reflected in the naming of The act of reason itself, right? Because sometimes you name the act of reason from the act of the eye, seeing, right? Sometimes we name it from the act of the hand, grasping. Some people say I can't get my mind around that. Can't grasp it, right? Huh? You know, Thomas says the first act of reason is simplex apprehensio, simple grasping, right?

[7:22] Okay. Like I grasp this glass, right? And why do we name it from something that can be sensed, like grasping or seeing, yeah? Or in Shakespeare's definition, and the Latin word there, discourse, it goes back to what? The act of the legs. My God, what a what a materialistic mind we've got that we have to go back to the legs to to name the act of reason, right?

[7:57] Reason runs from this thing to that thing, right? Reason runs from effects to causes, or from causes to effects, sometimes in geometry. Yeah. Go to back to Romeo and Juliet now. Friar Lawrence, huh? Gives a little bit of advice to a young man in a hurry, known as Romeo, right? What does he say? Wisely and slow, they stumble they run fast.

[8:39] Now, I can take that whole sentence, right? Because what are you talking about, first of all, in those words? Well, running up the stairs and being in such a hurry, and you you feel it, right? You're very much aware of the fact. And running up the legs, running up the the steps too fast, right? You what could stumble, right? Especially old folks, you know. Never an old folk into your young.

[9:12] You know that I see the thing. You know, old folks, you know, fall once. I don't know what the averages are, but doesn't look too good for us.

[9:24] You probably know some old folk that have stumbled, maybe gone down the steps. So, wisely and slow, they stumble and run fast. The first sense is the legs, right? Huh? What's the second meaning of that, though?

[9:43] It's human action, right? You know. You know, when it says in the Declaration of Independence, "Within the course of human events, right?". Okay, and this is probably what Friar Lawrence is not so much concerned with Romeo stumbling with his legs, right? But acting in what haste, right? I used to hear this proverb, you know, "Act in haste, repent at leisure."

[10:11] So that is what the act, action. But then the third meaning, stumbling, would be what the reason itself, right? And we have a nice saying in English: "Don't jump to conclusions," right? You're jumping to conclusions, huh? And you're talking about the mind, right? The reason, right? The jumping is taken from the legs too, right? So wise being slow, they stumble; they run fast. And my chief witness there is the dumb ox, right?

[10:47] How did the greatest mind, perhaps of the church, greatest mind, history almost, I think, maybe, huh? How could he get the name the dumb ox?

[11:00] He didn't answer too quickly. Yeah, Wise didn't slow, They stumble; and run fast. My father, when he was a young manager, right, huh? The big boss would call him in another young manager, right? And they had some plan for the company, you know. What do you think, you know, his desk here? The other guy, he'd fly right away, but he thought, father says, let me think about it.

[11:27] I'll tell him what I think. Whose advice do you think he followed? My father's, right, huh? So eventually, my father, you know, was getting promotion. You know, he's always been promoted some office, you know. So my mother, mother, they came when they were first married. They were moving around here and there because they, they could, you know, manager here, manager there, and so on. So, but notice the idea of wise being slow, right?

[11:54] They stumble, they run fast. But notice this is because the natural road, right? First means the legs, right? It's very sensible, right? And then action is more sensible than thinking, right? And finally, it's applied there, right?

[12:17] So we know we know sensible things before things that cannot be sensed, right? And we know things, material things, before immaterial things, huh? Now you can also talk about the order in which even the same thing is known, right? Along this road, huh? So there's a lot to be said about the order. Let's look at Aristotle's development of this, right? Now animals are born, and incidentally, the word nature comes from what?

[13:06] Yeah, birth, right. So you don't see that maybe with the word nature today in English because it comes from the Latin, right? But with words like prenatal, right, postnatal, right, nativity, nativity, parish, nativity of our Lord means the birthday of our Lord, right. But prenatal means before birth, postnatal after, right? So it goes back to the idea of what birth, right? And Aristotle talks about the word nature there in the fifth book of wisdom, right?

[13:37] The first meaning is birth, then the source of the baby within the mother, right? Then the source of not just birth but of any motion from within is nature, and so on. Now the animals are born having sensation by nature.

[14:01] From this memory does not arise in some of them, while it does arise in others. And this is the very lowest kinds of life, huh?

[14:11] And because of this, these are more prudent, the ones who have what? Memory. Now that's what Cicero says, right? That you have memory of the past, right, to anticipate the future, right?

[14:32] Now we had a cat in the house there, and something was cooking on the stove. I remember one time, and the cat would try to jump up there, and her paws came down on the burner. She fell to the floor. She wasn't really hit, but she got a lot. I never knew her to do that again. Never tried to jump on the stove again. She she was more prudent, right?

[15:01] But if you had no memory, you'd be no better off after having your your fingers be burned, right? Yeah, you little kid, you probably made some mistake like that, you know? Maybe not quite as gross as, but you didn't do that again, right? Okay.

[15:24] Remember my friend Jim going to the hospital for something, and he was feeling pretty bad. He says, "Don't worry, but you know enough to go to the hospital." He says, "If you had this decision, you'd want to go there."

[15:40] So memory is something required, as Cicero says, for prudence, right? Incidentally, what's the English word for prudence? Foresight. Yeah, yeah. If you look at Thomas's discussion of prudence, right. People object to the word, saying, "Well, prudence is foresight, and that's only one part of prudence. So why do? Well, that's the chief part," he says, right? Now, my good friend Warren Murray says some things of that. Burke was, he says, you know, you don't criticize, you don't criticize Douglas MacArthur,

[16:19] you don't criticize Winston Churchill. Well, Winston Churchill, like Burke, uses the word what foresight for prudence, right? But it actually comes from the Latin word for foresight. Yeah, yeah. Providentia right? Providentia is one of the parts, integral parts of prudence, but of its prima it gets named for the whole, right?

[16:44] Okay, and because of this, these are more what prudent, huh? That's practical knowledge, all right, huh? And more easily taught than those unable to what remember. You ever try to teach a dog or something, you know, or some dog or member than another. Yeah. The cat, you put them down in the box there, so they'll go to their bathroom, right? I told you how great this cat we had was.

[17:17] Huh? We had a box downstairs, and one time the door had been closed, and the cat couldn't get to its box. You know where she went for her wee wee. She jumped in the in the bathtub there and went over the drain. I said that was very. That was very prudent. That was a great cat, you know, I told you on the stairs, you you gotta you gotta admire that cat.

[17:42] Yeah, she was smart, you know. Yeah. Now those unable to hear sounds, huh, are more prudent without learning, right? Now you know it's he's touching upon the fact that the sense of hearing is in a way the sense of what learning, right? And words are originally what sounds, not written like this, right? Okay. Um. And I guess when you train a dog, you respond to certain sounds, right?

[18:24] They talk about how many sounds a dog can remember or something, you know. There's all kinds of studies like that. But the bees don't apparently react to sounds. I've observed them enough to know that, but whatever other kind of animal such, whatever had this sense in addition to memory is able to learn. That means to learn from somebody else, right? I always hear Thomas quoting, you know, Saint Paul's, "Fides ex auditu," right?

[18:52] Faith is from hearing, right? Okay. So it's very important. How do they believe unless someone taught? Has to hear, right? Was I reading about Bernardino there at Siena? Apparently he could talk to without a microscope, a microscopephone. He could talk to thirty thousand people, crowd, and they could hear him, right? Wow. And he apparently his voice was so developed, right? Who was this Bernardino? Yeah, Bernardino. Yeah, yeah.

[19:26] He was quite a talker. I mean, a preacher, yeah. yeah. And I know when I was in Quebec, there, you know, one of the students there had been taught, you know, to sing. you know, you could sing opera, you could sing a Mozart aria, right? And but his voice had been trained, you know, by so he understood the voice, and he had tremendous power. He could get it without using these things.

[19:49] And I guess the Dominicans were having trouble with their. Monks coming back from giving these retreats or giving these missions, I should say, in the in the parish, and they've lost their voice, and so they're trying to, you know, get these guys to really understand the voice. They're very few, you know, to instruct them. Apparently, their their muscles we use that you can use in your tongue, we don't use them normally, but you can be taught to to do them, and then you can get tremendous what power, right?

[20:17] They said that Padre Pio never preached because he had asthma, so he had no voice to preach. He had a very deep, powerful voice, but he didn't have power. Yeah, yeah, yeah. You know, they used to see the Greek orators that, you know, put stones in their mouths and go down and talk at the ocean there, you know, until they developed these things, right? But you had to have, you know, you have to to extend your voice, right?

[20:45] Without screeching like Hillary, you know. It's awful. Awful voice to hear that. I used to say the most horrible voice I heard of a woman is is a landlady in Quebec, you know, yelling down the stairwell, you know, and they had through these things, and it sounds awful.

[21:17] Now says the other animals live by images and what memories, right? But they share little in experience because experience involves a bringing together of many memories of the same thing, and that's already kind of a partaking of reason, right? To bring together individuals rather than universals, but still to bring things together, we sometimes call that practical. I mean, you know, the first reason or something, you know, not the universal reason.

[21:52] But the race of men live by art and reasonings, right? And the art now, of course, is where you have definite what steps that you what follow, right? And reasoning you may not have this to begin with, right? Until you have the art of logic a bit, right? Okay, But the human race lives by art and reasonings.

[22:16] And then kind of transition to what is more private to man, right? Than the other animals, but again, you see another step here, right? Sensing memory—that's the first two steps, right? Experience comes to be from memory in men. That's the third step now. Experience. So

[22:38] I said to the students, you know, if you've had one date with one girl in your life, are you a man of experience with a woman? No, no. You probably remember it, right? Because it was a big deal, but. Landlord. Yeah.

[22:56] If you had many dates and many women, you're a man of experience, right? So experience comes to be from memory and men. For many memories of the same thing, right, the same kind of thing, like a woman, perfect the power of one what experience.

[23:20] And experience seems to be very much like science and art, huh? It's a very interesting thing Aristotle is saying here. For science and art come to men through experience. Now, science and art here understood as involving some knowledge of the universal, right?

[23:42] And he quotes now from a character in one of Plato's dialogues. For experience makes art, as Polus says, right? Speaking rightly, but in experience chance. That's beginner's luck, right?

[24:08] Art comes to be whenever one universal understanding about like things comes to be from the many things kept in mind by experience. Now this is like the fourth step, right? Sense, memory, experience, and now the beginning of knowledge that the senses don't really share it, knowledge of the universal, right? Large discourse, as Shakespeare says, right? A discourse about the universal.

[24:36] Now Aristotle was the son of a what medical doctor, right? And his father was highly regarded. He was in the court of Macedon, right? And that's where Aristotle later on got to be known I guess, to the court, right? And he became the teacher of what Alexander the Great. In addition to Aristotle's work on the poetic art, what they call the poetics in English, he wrote a book on Homer for Alexander, right?

[25:12] And so when Alexander conquered the world, so to speak, he kept a copy of Homer by him, right? Inspiring, right? So Aristotle's dialogue too has been lost on what poetry, huh? And

[25:34] you know we have a kind of wrong idea, you know, of Aristotle and Plato. I mean, Plato's what's come down to us are his dialogues, but not his what lectures. Aristotle, we have his lectures, but not his dialogues. The dialogues have been lost, but there are fragments of them, right? So most famous fragment is is from his lost dialogue the Protrepticus, kind of the introduction of philosophy, right?

[26:02] And the dialogue goes something like this: Either you ought to philosophize or you ought not to philosophize. What do you say? Well, if you say you ought to philosophize, then you better do so, right? If you say you ought not to philosophize, you're going to have to philosophize to show why not. So in either case, you must philosophize, right? That must be a very, very clever thing, right?

[26:29] And so I sometimes try to imitate the master there, right? My own little way, and I say, "Is it necessary, huh, to understand the word necessary?"

[26:44] Well, if you say it is necessary to understand the word necessary, you better understand that word. If you say it's not necessary, you have to understand the word to show why. It's not necessary, so you must understand the word necessary, right?

[27:01] And Aristotle, is beautiful. Book five, yeah, unnecessary, right? And I was mentioning to, I think just you or somebody, um, just looking at it recently, and at the end of the thing in there, he talks about the first cause

[27:24] as being most necessary, right? And then concluding, he therefore must be most simple. I was kind of struck, you know, because my teacher Thomas Aquinas, there in theology, when he shows that God exists, right, one of the arguments is from necessity, right? But then the first thing he takes up about God that he's entirely what simple. If God was not simple but put together, he wouldn't be necessary to be, at least not necessary to be through himself, right?

[27:57] He needs somebody to put them together. Yeah. So if he's the beginning, then, he must be right, altogether simple. I said, what a marvelous mind this guy had. You know, I always think one passage of Thomas in his comment on Aristotle, and some of the Aristotle seems kind of strange. He's staying there, you know. Thomas cries, "Why does he say so great a philosopher and so great a subject would not say anything?

[28:27] " So we have to try to understand it. You know, it's kind of amazing thing. So Aristotle, saying, was the son of a medical doctor, right? So he often uses things from medical art, right? And like in the ethics there, I think I mentioned this to people. He says that some people ethics is not studied for its own sake, right? It's to tell you what to do, right?

[28:58] To learn what to do. So a man who doesn't want to live by reason, he says, is a useless hearer of ethics, right? Because the end or purpose is to do, right? To do what is reasonable, right? He's like a man, he says, who listens to medical advice but doesn't act upon it, right? I always take my example there. Jim, there, Jim was a smoker, you know, and his lung collapsed, right?

[29:24] And they they inflated the lung again, right? The doctor said stop smoking, and Jim would not do it. stop. So I think, yeah, I think you know, they had a heart, have, my lungs collapsed, and you know, I mean, it's like it's like a heart attack, I shouldn't be feeling or something like that, and he was a useless hearer of medical advice then, right? You know, you know.

[29:48] So Aristotle, you know, makes a comparison, right? Somebody says they're useless here of ethics because they don't have the experience necessary to understand these things. You know, if you're too young, right? They can't understand it. But others are useless here because the purpose is not to know but to do, right? And

[30:08] so here he takes example from medicine there, right? Okay. For to have in mind that this benefited Calius, that's an individual, singular, right? When suffering this particular disease, whatever it might be, and it helped Socrates, and he was this, right? And in each case, thus to many, that belongs to experience, right? It's a collection of many memories, right? I remember, you know, it helped Calius, you know, and it helped Socrates, and he had this, and you know, helped so and so, so and so, right?

[30:39] That's experience. But then it benefits all such as are marked by one condition that this is something now universal, right? And suffering this disease, such as the phlegmatic or choleric suffering, right? The burning fever that belongs to art, right? So are we now a knowledge of the universal, right?

[31:02] So my son Paul was very little. He's sitting in a little high chair. I'd often make popcorn around noontime, right? I'd show him the kernels and so on, you know, and then they'd walk pop pop pop pop. I said, I always wonder who was the first guy to discover another way of making popcorn, right? You know, it might have been almost by chance, right? But you know, let's try that again and see.

[31:23] You know, it was interesting what happened yesterday. Just throw some more in there, you know, pop pop pop pop. You know, my goodness, you know, now you've got a, you know, something about the art of making popcorn, right?

[31:35] Yeah. Now I see my my brother Marcus being my one of my older brothers there. We had an apartment in California. He says, "No, I'm going to do the meat and make the salad. " No, excuse me. Yeah, the salad. Yeah, you are going to do the vegetables and make the French fries. So I got to be really a great French fry maker, right? You know, my mother came out to visit us.

[31:58] You know, like, "Dwayne, these are really good. " You know, so I'm I'm the best French fry maker in the thing. But it took me a while to just do not, right?

[32:07] And you know, most most French fries you get in a restaurant are not worth eating, you know. The after famous chef who makes the best French fries is McDonald's. Well, they are they are McDonald's are the best French fries. They're better ones I get in an expensive restaurant, you know. So,

[32:25] but this is a question of what experience, right? Okay. Now he's going to compare in this next paragraph at the bottom of page one. He's going to experience compare experience and art, right? Okay. And as regards two things, right? One is as far as what doing is concerned. The other is as far as what knowing, right? He's going to say the man of experience is not necessarily inferior to the man of art in doing something.

[33:05] In fact, he might actually do better, right? Okay. As far as doing is concerned, experience does not seem to differ at all from art.

[33:21] But we even see that the experience succeeding more than those having reason without what experience. And what's the reason for this? Huh? He says the cause is that experience is a knowledge of singulars, while art is of what universals. But everything done and made is something what singular, right? For the doctor does not cure man in general, except accidentally, right? Someone who happens to be a man.

[33:56] But he cures Callias or Socrates or some other individual of those who happens to be a man, right? Okay. I used to take, you know, I said suppose you get a guy who's been down in the U. S. Senate, like LBJ was down the U. S. Senate, and and you take a professor of political philosophy or political science, right? Who knows the different kinds of government, you know, knows the difference between the American government and and the British government, you know, and so on, so on, so on.

[34:31] Who's going to be better at getting a bill through the Senate? The man's been down there, you know, ten, twenty years in the U. S. Senate, you know. I know I know what to promise this guy and what to promise this guy, you know, and what finger to put on him, you know, and to put it in with him and so on, you know. And so if you want to get it through the U.

[34:53] S. Senate, you know, which is individual Senate, right, with its own peculiarities and and people, he's going to succeed better, right? Okay. One example, I used to use right. Another example I used to use was

[35:13] take a psychologist, right, who might know the different kinds of mental disease and so on, that sort of stuff, right. And now, but if you know somebody, right,

[35:32] in some individual, right, like maybe one of your children, let's say, right, or your spouse or or one of your friends, right, if your friend or your spouse or your your child is depressed, let's say, right, huh?

[35:50] Who might get him or her out of their depression better, you or the psychologist? Yeah, because you know your individual what friend, right? Then, and you're not curing man or a woman of depression, but your son or your daughter or your friend or your spouse or what, right? I think that's a good example, right? To see that.

[36:24] If I was depressed, you say, well, give him a bottle of wine and put some Mozart on. But you know what to suggest, right? Some something that would distract them, you know, from their from the depression, right? So the man of experience, as far as doing, might even succeed better than the man of art or science, huh? But as far as knowing is the way that the man of art excels the man of experience,

[37:05] not so much in knowing universal, though maybe something there, right? But Aristotle can go on and says the man of art or science asks why is something so, right? Okay.

[37:22] So bottom of page one, if someone has reason without experience and knows universal, but not does not know the singular in this, he many times makes a mistake in medical treatment, right? For it's more the singular that is what treated, huh? And that probably came from his experience with his father, right? Huh? No, his father would have mentioned this, huh? Now in the next paragraph, he's talking about what the man of art or science has.

[37:53] Nevertheless, we think that knowing and understanding belong more to art than experience, and we hold that the artists are wiser than experience, so that wisdom follows knowledge and all, as if wisdom is more concerned with what knowing than doing. Okay. Because dividing men into the the thinker, the doer, and the and the maker. The wise man is the thinker, right? Okay. So that wisdom follows knowledge and all.

[38:26] Now he gives the reason why this is so, right? This is because they know the cause, while the others what do not. The experienced know that it is so, but do not know why it is so, right? But these know why it is so and the cause, right? Okay. You seem to be saying that you can have art without experience, though. We're not saying you do that.

[38:59] You got to have some experience, right? Huh? You have to have some experience. Yeah, yeah. But as far as doing something and just to help some individual, right? Huh? The man who has more experience of this individual, right? Huh? Is more able maybe to help him, right? Then the man who just knows what universals from seeing men in general, right? But the man of art tries to know why something is so, right?

[39:25] Huh? Why the man is what sick, right? Huh? This is like father's experience in woodworking. It's one thing to draw a picture of what you're going to build. Yeah. Another thing to work the wood. It just doesn't work the way lines do on paper. Yeah, yeah. So he seems to be distinguishing a man of experience from a man of art, as if you can have a man of art who doesn't have experience.

[39:52] No, he doesn't have experience, but he's saying the man of experience of some individual, right? Like my example there right now, of the man who's got you know twenty years experience in U. S. Senate, right? He knows more how to get a bill through the Senate than a political scientist does, right? But the political scientist might know more why governments change and why you know we fail and so on, right?

[40:17] And maybe the opposite of what you're saying is that you presume that art includes experience, but experience doesn't necessarily include art. I guess experience in some degree. So I mean, the man of art with little experience. Yeah. But but the man of art is trying to see why the universal is so right now. Okay. It's like the geometer wants to know why triangle in general, right? We're going to have its interior angles to the right angles, right?

[40:46] And he's going to do this from from in in doing this and discovering why it is so. He's going to be wiser than the man who might know this from what the Egyptians knows this. Like the the the Greeks, yeah. The Greeks seem to be wiser than the Egyptians, right? The Egyptians might know some of these theorems of geometry from what experience, but they don't know why they are so, right?

[41:14] Let's take the example in class there. I'm a tea drinker, which you may probably know. And you leave the the tea leaves and contact the water, say roughly around four minutes, right? Now they get you know very very precise there if you get the Upton tea you know, things, you know, three minutes and forty seconds for this. But I just you know set the thing for four minutes and you know okay.

[41:41] But now I know that if you leave it in for ten minutes or like that, you get a a bad tasting tea, right? Okay. I know that by experience, right, from many cups, right, because you get you know distracted and you don't pour it when you should, right? And but why does it get bad tasting, right? See, well, some dummy like me might say, you know, it gets too strong.

[42:06] I guess I know why it's so lousy tasting. You know, well, chemist explained, you know, that different chemicals are released at different times. Right, it takes them to be released into the water. And so the chemicals that are released say at ten or fifteen minutes are different than the ones that were released in the first four minutes. Oh, because it was just stronger. You could dilute it, you know, and be no problem, right?

[42:36] You know, but it's a different chemistry. Oh my gosh! How much wiser is the knight? You know. I can testify. See, That Dr. Berquist has learned how to make a cup of tea. He served me cup of tea over the summer, and I must admit I've never had such a good cup of tea.

[42:54] Thank you, sir. I know where to go. I can't even say that. I know. I know where to go to get a good cup of tea. He's got to have the right knees though, you know. Oh yeah, yes. Gotta, gotta get that chemo and whatever it is. Mm-hmm. Mm-hmm. A chemo man, yes. Okay.

[43:17] Now see, he's he's hitting now. You see, if if the that the wise man is going to be what coming at the end of our knowledge, right? Huh. But not an end of our doing, right? Huh. Okay. And so he's approaching this, right? Huh. Wisdom is going to be a knowledge universal, but a knowledge of what? Why these things are so, right? Huh. And the fact that the man of art is superior to the man of experience as far as knowing is kind of going to lead them to understanding what wisdom is, right?

[43:50] It's going to be a knowledge of causes, but ultimately of the what? Very first cause, right? Huh. Okay. Now he's going to develop this as he goes on.

[44:04] Experience know that it is so, but do not know why it is so, right? But these know why it is so, which is know the what? Cause, right? Huh. Okay.

[44:19] Now he develops this a little bit more, right? Whence also we think that the chief artists about each thing are more honorable and know more and are wiser than the handicraftsmen because they know the causes of the things made, right?

[44:43] Now I'll take an example. The chief, the general, this chief chief, right? Okay. Now you guys are subordinate guys, huh? I say now peel those potatoes, okay? And I want them cut this way. I want the potato tonight. I want the potato cut this way, okay? You say we want to cut that way. Just cut them that way, huh? In my father's factory there, huh? In the summer, my brothers and I would work there in the factory, right?

[45:10] Huh. And I was the youngest brother, so I'd be under my brother Mark, you know. And he'd tell me to do something, and I'd say, "Why, Mark?" And he said, just do what he says."

[45:23] He would explain why. But he's the chief artist, right? Huh. He knows why I should do it this way, you know. And I just do like a dumb animal, you know. Do it the way he tells me to do it, right? Huh. Well, he's talking about the the difference in the chief artist and the other one, right? Okay. And like like in the military, right? Huh. You know, we got Douglas MacArthur, right?

[45:45] He knows why it should be done this way rather than that way, right? Huh. And the guy below might not even realize why it should be done, right? Huh. But now is the time to what? Attack, right? Huh. And he knows why it should be done now, right? Okay. So you can go to the chief artist, right?

[46:05] He knows why they should be there, right? But the the lower worker, right, just he's got to put it there, right? So this is kind of an expansion upon the fact that the man of art is wiser than the man of experience, right? But among the artists, the chief artist, right, more than the

[46:30] whence also we think that the chief artists about each thing are more honorable and know more and are wiser than the handicraftsmen, right? Because they know the causes of the things made.

[46:45] That's the word architect comes from the idea of the chief artist, right? For the latter, are Like inanimate things, they make, but they do not know what they make. As fire burns, inanimate things make each of these by a certain nature, while the candy craftsmen do custom. Hence, the chief artists are wiser not by doing, but by having a reason and knowing the what causes.

[47:20] Remember down my father's factory there, there is a man who was the man to have there when they start a new procedure, and he'd come over and he'd start the new procedure and show the guys what to do, and then they start doing it right, and then they can continue doing it right. Then he goes on to the next thing's got to be started. Father said, I get paid that guy much more than the other guys, because he was he's like the chief artist, right?

[47:50] You see, the other guys they just they can't figure out how to do it, right? But he shows them how to do it and what to do it, and then okay, but then they're kind of like inanimate things, you know? They just

[48:03] repetition. Yeah, yeah, yeah. That makes sense, right? I had a beautiful example from one of the sisters there at the parish. There, you know, we had more sisters, and I was my kids were in the school there, and this sister was teaching the first grade, right?

[48:26] And I guess sometimes you get mothers or women who are of some leisure to come in and help, right? Okay. Now, the example she gave, I know, was kind of interesting because even I could understand it. You learn how to print before you learn how to write. Okay. Now, how do you make a C?

[48:51] Well, you could make it like this, or you could make it like this. You follow me? Okay. Now, to the average person, right, doesn't make any difference which you do, right? Okay.

[49:09] But she would have the assistant make sure that they make the C from the top and not like this. Just make sure that they do it from the top, right? Okay. Now, why is the reason for that? See? Yeah, you're going to go on to write eventually, so when you're writing a cat, you know,

[49:34] but if you do like this, then you got to come down. Yeah, it's all fun. You see, it's all fun. Yeah, yeah. You see me? Yeah. Okay. I had a beautiful example, you know, and and she was like, she goes, you know, I know myself. I said, you know, I don't think I have enough patience, you know, to to teach kid how to write.

[49:58] I mean that that's a good example. She's the chief artist, and the other one is the subordinate artist, right? And she doesn't know why she's supposed to make sure they do that. Just make sure they do that, right? You need somebody there to make sure that everybody's doing it right, you know. And you can't, you know, every time you do it, make sure they're doing it right.

[50:16] But she doesn't know why, right? The chief one, who's wiser? This this great this kindergarten, she was wiser. Isn't that right? Now, if you look at Thomas's proemium to the my favorite book, the Summa Contra Gentiles, right, you see how he uses Aristotle. Says right here, interesting. What is wisdom, right? What is the office? The wise man, so on. He's imitating his master here, Aristotle, right? Okay.

[50:56] On the whole, he says the sign of knowing is the ability to what teach, and because of this, we think that art is more reasoned-out knowledge than what experience. That's the way I translate sometimes episteme, reasoned-out knowledge. For the artists are able to teach, while the others are what not able, right? So you might know from experience that something is so, but if someone asks you why is it so, I don't know, but just do it that way, right?

[51:35] You know, and so I'm not really able to what Explain. to teach, right? You know, if you can't answer why this should be done this way, you're not really fully able to teach, right?

[51:50] Well, people get an easy job teaching English as a second language because they know how to speak, yeah, but they don't really know the language, yeah. Maybe

[52:03] taking a little bit of French course, you know, and and how the French speak this way, you know. Just take it. That that's all they do. Because we don't see any reason for why these are, you know, this way, huh? Yeah. I mean, you know, in Latin there, you know, you can put the what the noun before the verb. I mean, the adjective, right? We have put the adjective before, right?

[52:29] So we may say, you know, a a white man makes a man white. I don't know any reason for that, but anyway, thank God we're in English language, right? I told you the linguist we know, at Laval, there, you know, he maintained that English language is the greatest invention of human mind. That's pretty pretty good saying for the English language, yeah.

[53:02] Monsignor Dionne and Father Boulay always said the English language was better than French for philosophy and for poetry, thinking, and the Greek is better than Latin. And so one sign of the excellence of Thomas was he could think so well in Latin.

[53:22] He had an inferior language, right? He worked in, right? Yeah. So Aristotle had the Greek language. to work in. So on the whole, the sign of knowing is ability to teach, and because of this, we think that art is more reasoned out knowledge and experience. For the artist is able to teach what others are not able, he can explain why this should be so.

[53:52] And the sign here. Further, we think that no one of the senses is wisdom, although they are the chief ways of knowing what singulars, right? But they do not say the why it is so about anything, right?

[54:07] Such as why fire is hot, but only that it is hot, right? This tastes good. Why does it taste better now than last night? Why cooked it too much last night? You cook out the flavor of the steak if you cook it too much.

[54:29] Okay.