Love & Friendship
Lecture 7: Knowledge and Likeness as Causes of Love

Transcript
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And my desire is like hell and cruel hounds there are sins pursue me, huh? Now, in a Midsummer Night's Dream, you have the fairies and you have this magic, right? Where there's a potion, right? That Oberon has. And if he anoints your eyes with this potion, right? The first person you see, after you wake up, right? The fallen mother, okay? This is magic, falling in love, right? But despite it being magic, you have to anoint the eyes, right? Which in a way is saying that it has to go through the knowing power, right? Having once this juice, Oberon is the king of the earth. Having once this juice, 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 a bedding monkey, or a busy ape, she shall pursue it with the soul of love. 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. That's the fight about the page. Okay? But even with 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? See? You have to put it through. 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, part or boar with bristled hair. In thy eye that shall appear, and thou wakest, it is thy dear. Wake when some vile thing is near. And, of course, Puck, of course, you know, who is knowing the wrong people, the wrong, you know, with the, you know, okay. And, of course, you know, Hermione, right, and Demetrius, they want to get them fixed up, you see. And Prince of Fares 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 says all kinds of humorous things that take place in the play, right? 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. Flower of this purple dye, hit with Cupid's archery, sink an apple of his eye. When his love be doth a spy, 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 Hermione? Yes, she's in love with Hermione. No, I do repent the tedious minutes I with her have spent. Not Hermione, but Helena I love, right? See, 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, huh? Although this guy is obviously rationalizing in a sense, huh? Doesn't realize the power of the potion. Not Hermione, but Helena I love. Who will not change a raven for a, what? Dove, huh? I know this 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, huh? It's a loving animal, see? So it helps you to understand the Holy Spirit descending in the form of a dove, right? Because he proceeds as love, huh? But what's interesting in English is that love and dove happen to, what? Rhyme, huh? It shows the impossibility of translating, huh? A poet, because you try to translate this into French, the French words for love and dove would not rhyme, right? As I tell the students, you know, you have alliteration Shakespeare, full fathom five, thy father lies, huh? All these letters came with the same letter. But the French words, saint and father, they wouldn't alliterate, right? So there's no way to translate it. That's why Samuel Johnson says, you know, the poets preserve the languages because it's only in the languages 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. The will of man is by his reason swayed. That's the difference between the will and the emotions, right? The emotions fall upon the senses or the imagination. And the reason, the will falls upon the reason act. 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 made. 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. Why, or a book loves stories written in love's richest book. Notice Shakespeare is touching there upon, what? Reason, which is a knowing power. Moving the will, right? Now maybe this guy's will is not to be 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. It's put in the mouth of, what? That tedious old fool, Polonius, right? 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, right? That makes the point doubly. 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, huh? And reason says you are the worthier made. And reason becomes a marshal to my will. Beating the will, right? But again, you're talking about knowledge, moving, the will to love somebody, right? Again, when Hamlet chose Horatio as his, what, friend, right? Since my dear soul was Mr. Server's choice. Now, when was his dear soul Mr. Server's choice? Well, when you had the age of reason, you could have been, what, distinguished, right? Then your election has sealed before itself. I think he's on to tell the reasons why he chose Horatio as a friend, huh? But his reason saw that, right? He saw the difference between Horatio and other men. Horatio is not passion slave, right? And therefore, he's going to wear him as heart of hearts, right? Okay? Now, we want to take a little break, or, okay, before we start, the first two causes of love, because Thomas would tie them together very much. The good is 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? 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, although it's hard to separate them anyway. But here, you can see, especially the two boy together, right? Thank you. The 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? Which can be stated more simply to say, the good as known in some way, right? The good as sensed, right? Or imagined, or what? Understood, right? 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-appareled April on the heel of limping winter treads. E'en such delight among fresh fennel buds shall you this night inherit at my house. There's always going to be 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? 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. Okay. Now, in the reading from Romeo and Juliet, the next one, this is back now before Romeo's met Juliet and so on. And Benvolio is trying to get him to, what? Get over Rosalind by, takes a nail to grab on a nail, right? Takes a poison to grab on a poison. Romeo says, she hath forsworn to love, and in that vow do I live dead that live to tell it now. So he's like dead because he's not being, his love is not being returned, right? Benvolio. Notice the name, Benvolio, means what? Yeah, yeah. So Benvolio's his friend. Friend is one who has goodwill towards you, right? There's another character in Twelfth Night. It's called Melvolio. They say a prank on him, Melvolio. Be ruled by me. Forget to think of her, right? 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? Examine other beauties. Farewell, thou canst not teach me to forget, he says. I'll pay that doctrine or else die in debt, he says. Okay? Benvolio, huh? Tutman! Same thought. One fire burns out, another is 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. Thomas, I have an article, you know, where love, when you get to the effects of love, right? Whether 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 eye. It's obviously not anything you better, it's an infection. And the rank poison of the old will die. At this same ancient feast of Capulets, 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. And Romeo, of course, is still a boy, right? When the devout religion of mine eye maintained such falsehood, then turned 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 began. And Romeo says, You saw her fairer, none else being by, herself poised with herself in either eye. But in that crystal scale, he's comparing the eyes to two scales, right? You see Rosalind, and you see Julia, or somebody else, right? And one might outweigh the other, right? But in that crystal scale, let there be weighed your lady's love against some other... made, that I will show you shining at this feast, and she shall scant show well that now seems best, right? 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 a beautiful thing. That's in Scripture, the idea of weighing your judgment, right? You know, weighing things. 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. Now, again, the scene that we quoted before, but to give it 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' face, and find the light writ there with beauty's pen. Examine every married liniment, 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' love? I'll look to like if looking like you move, huh? But no more will I endart mine eye, and your consent gives strength to make it fly. Of course, she runs off with Romeo without, looking for consent, but anyway. 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? 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, and things seem beautiful again, right? I know it's in the fall, you know, you have a beautiful fall foliage, but when you have a nice bright day, the foliage is so much more beautiful than it is on a dark day, you know, when it's raining or something, huh? It seems she hangs upon the cheek of night as a rich Jew on an Ethiop seer, huh? From opposites comes the most beautiful harmony. Beauty too rich for use, for earth too dear, so shows a snowy dove trooping with crows, huh? 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. Did my heart love till now forswear its sight, huh? For I ne'er saw true beauty till this night, huh? So it's a beauty of seeing, right? That rouses the love. That's what Thomas will say, right? Now, Olivia, another example of love at first sight. How now? Even so quickly may one catch the plague? It's infection of the eyes again, huh? Methinks I feel this use perfections. That's the, what? Good, right? Perfection is something good, right? Methinks I feel this use perfections with an invisible and subtle stealth to creep it in mine eyes, right? So it's the perfections of him as known, right? That's moving her to love at first sight. Well, let it be, huh? What can you do? It's his fate, huh? I do not, I do, I know not what, in fear to find mine eye to great a flatter for my mind. Fates show they force, ourselves we do not owe. What is decreed must be and be the soul. 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? The Jew's daughter with this Christian, right? But he's speaking about her love for her. Bishw 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 in 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 if i can judge of her if that might be true as she has proved herself right right you see that so it's a 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 the soul right 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 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 valentinus'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 valentinus's praise of her made known her perfection to some extent too right valentinus'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 thought which like a wax an image against a fire bears no impression of the thing it was notice what we said about love right that the the good is what pressing itself upon the heart right and now that's why you speak of woman's wax and hearts right because they receive the image better than men do but now it's being thought right melting on losing that ting on sylvia on still julia's which like a wax an 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 reasons light but when i look on her perfections there is no reason but i shall be blind now taming of the shrew here um um lucencio love it for a sight again all the famous examples in fiction right okay okay because i often heard men say this about their wife you know and the first time i saw her you know i i thought there was something you know one of our friends he said when i met my wife well it was one of those our eyes just locked and so trainio is marveling at this i pray sir tell me is it possible that love should have a sudden take such hold all at once huh oh trainio till i found it to be true i never thought it possible or likely but see while idly i stood looking on i found the effect of love in idleness and now in plainness do confess to thee that art to me is secret and as dear as anna to the queen of carthage was trainio i burn i pine i perish trainio 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 ajanor had that made great jove on jupiter himself to humble himself to her hand when with his knees he kissed the cretin strong and trainio said saw you no more mocked 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 trainio i saw her coral lips to move and with her breath she didn't perfume the air sacred and sweet was all i saw in her right so you can see how the two causes are together there right sacred and sweet was always 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 science is right for since in these it is the same to have them as to know them as augustine says in the book of the 83 questions if they are known they are had not sought you know not sought Therefore, knowledge is not a cause of love. But you've got to go back to the fact that it's got to be known in some way, right? Not in a way you're going to know what you possess the science, right? But 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, huh? Because if you say that 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 through himself. 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 the 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? So you know God as he is, as St. Paul says in the Epistle. But we love him as he is. We don't know him as he is. So love has gone beyond what the knowledge is, right? Okay? And the washerwoman might love God more than the theologian, right? So that's kind of the stock objection, right? 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 the coffee more loved. 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 at all. Like I was saying about the nursery there, they'll say this plant loves a lot of light, you know? It likes a lot of water, you know? Or this plant doesn't like a lot of it, you know? So we speak of things you don't know as liking something, right? But against this is what Augustine proves in the Tenth Book of the Trinity, that no one is able to love something unknown, huh? I think St. Augustine and St. Thomas are the greatest minds of the Church, huh? You can compare with those guys, you know? Just look at the catechism there, right, huh? You know, all the quotes from Augustine, you know, and Thomas, huh? You 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? But by the way, the first page is always, there's a Latin quote there, you know? I must say St. Thomas. Yeah, Thomas. From his commentary on the Gospel of St. John, right? But, you know, you'll find a lot of these documents, huh? We'll be quoting Augustine or Thomas. But Thomas, he's used Augustine here, it's authority, and he 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 of her is not an object of desire, except insofar as it is grasped, or known in some way. 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? Love at first sight, but bodily sight, right? And likewise, contemplation of spiritual beauty, or goodness, is the beginning of what? Spiritual love, huh? So that's why faith has to precede, what? Charity, right? In the order of generation, right? So notice what he's doing. He's manifesting here, not by socialism, but by kind of a what? He's manifesting here, not by socialism, but by socialism, but by socialism, he's manifesting here, not by socialism, but by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism, and by socialism. 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? Of the other kind of love, right? Manifesting it by division, in a way. So as a child, I loved candy. Why? Because I tasted it and it tasted good, right? Now as a man, I love wisdom. I still love candy, too. But I love wisdom, right? Because my reason grasped what wisdom was. Once you grasp what wisdom is, you like it, want it, huh? But notice the last sentence, and this is why I put those two together, it differs to cause 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, okay? It's candy as tasted by me, right? It 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 I like Mozart because I heard him, right? You might have to hear him, you know, before you really hear him, but the more I hear him, the more I like him, okay? 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 on 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 until a little later. Now, what are you so anxious to meet Protagoras for? Well, he wants to hear Protagoras, right? What does Protagoras have? The young man immediately has no idea what Protagoras, but he's just so excited, right? See? He's the fashionable thinker of the day, right? And Socrates, you know, kind of cautions him, you know, what do you know about this guy, right? And he's all willing to submit, you know, to Protagoras as a teacher, right? He's got the much better guy, Socrates there, right? Well, the rest of the dialogue is taken. They go to the house, and Socrates has a conversation with Protagoras, huh? It's a beautiful dialogue, though, really about whom to believe, right? Do you believe Protagoras or Socrates, huh? And Plato teaches us the criterion, or by your judge, huh? You see? I mean, the first criterion you have for believing somebody is his fame or his position, right? You know? But the second criterion, which is better, is does he know how to proceed? 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 he's the professor, right, rather than the student, right? But then he asks the student, how did you arrive at the idea of 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 seemed to have just three parts, right? Then he goes to the professor and says, now how did you arrive at the idea of the frog had a four-chambered heart? Well, I had a deck of cards and I put the frog in the deck of cards and now 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 learn that in the dialogue, right? That Socrates wants a man to give short answers, right, and then examine it, you know, so on. And Protagoras wants to give a speech, you know, a beautiful speech, you know, and 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. 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, prays, as Augustine says in the Tenth Book of the Trinity, right? To know it thusover is not to have it, but to know it, what? Perfectly is to have it, right? Okay? So it's a distinction I was making before for you, right? Between what is so simply, right? And 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? 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 courthouse and persuade them that the guy is guilty or not guilty, whichever you want to do. Oh, boy! I'd 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? 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 me knowing exactly what wisdom consists in and what it's in, you know? You know something about it, right? Okay? Now, the second, much longer reply to the second right here, huh? And Thomas is not going to deny that you can love something more than you know it, right? Okay? But you've 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. 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? I've been talking this week here about the four kinds of distinction that are made everywhere. And we've just 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, huh? And the distinction that I was talking about was the distinction of the senses of a word, right? And, of course, buying 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, huh? Roger Marris said 61 homens are the bat. The bat is a flying rodent. Therefore, Roger Marris said 61 homens are the flying rodent, right? And then you have some days of speech is more than one sense. When Aristotle says that wisdom is the most divine knowledge, if you said wisdom is the knowledge of God, that has two meanings. It can mean it's the knowledge about God, or it can mean the knowledge that God has. In both senses, wisdom is the knowledge of God. It's the knowledge which God alone has, or God only fully has, right? And it's the knowledge about God. And then you have the distinction between the Parasea and the Parachidens, and the distinction between sympathy and some respect here, right? So we're always trying to, what, make distinctions and divide things and take them apart, right? Okay, analysis, right? Taking apart. In order to know something perfect, you have to take it apart, right? Divide it up. But in order to love somebody, you've 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 the thing, and to put together in some way those which are there. first by comparing one to the other. To really know yourself, you have to divide yourself into your soul and your body, right? 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? But to know them fully, what they are, you have to do that, right? 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. Whence it suffices for the perfection of love that the thing be loved insofar as it is grasped in itself, as a whole one. 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? And they love this in rhetoric. And we ought 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? He doesn't have all the theologians now, that's right. I was waiting to be able to distinction there, Thomas, in the sentences. Yesterday, you know, Thomas says, he's talking about the names in divinis, he says. He says, some names, he says, are names of the divine nature, the divine essence. Like the word essencia, right? Some are names of persons, like Father, Son, Holy Spirit, right? And that might seem to exhaust the names, right? Is he named the divine nature, right? Or names of the Trinity, right? De Deo Uno Trino, right? And he says, and some are names of both. And he's thinking of what? You speak of the potencia generandi, the power of generating, right? A son, okay? Well, the Father generates the Son by his very nature, right? Some may say, well, yeah, but they have the same nature of the Father and the Son. Same nature numerically, right? Ah, yeah. But the divine nature, insofar as it's the same as the Father, right, is the potencia generandi. Very subtle distinctions, right? But someone who doesn't know those subtle distinctions, which are necessary to know, to talk about these things, right? I would still love God more than I do, right? Okay? It's kind of interesting there with men and women. I think the greatest theologians are men, right? But I don't say 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 making, you know, women doctors of the Church, right? And we made Teresa of Avala a doctor of the Church. 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 modus disputativus and all that stuff, right? See? But then he quotes St. Francis de Sales about, what, a woman having a greater capacity to love, right? Than men, huh? So it's kind of, there's a certain complementarity there in the male and the female saints there, huh? It's beautiful, you know, when you read Teresa of Avala, if you get the complete edition there, with the E. Allison Pierce translation, which I think is pretty good. But it essentially will 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 demonical or something, you know? It's so illogical, you know, when she proceeds, you know, huh? The contrast between Banez and Teresa is marvelous, right? You know, but she has this fruiting love, you know? The priestess talking this morning at the Mass there about St. Catherine 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 is amazing, you know? And you read the treatise of Divine Love, or the doctor of Divine Love there, St. Francis de Sales, you know? It takes his examples from people like Catherine Siena. or Teresa of Avila, St. Curtin, and so on. It gets more clear, right? The intensity of love there. 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, huh? Sometimes when people love some knowledge and they found what you have to do is know something, they start to hesitate, right? In fact, there's a time when Euclid, I guess, was instructing a king, you know, and the king says, don't you have some faster way, you know? He's supposed to have made the famous statement, there's no royal road to knowledge, right? You've got to take the knowledge that even the commoner takes to know geometry. There's no shortcut for the great king, you know? He's got to take, you know, step by step, you know, and go with all those, you know? It's like if someone comes to me and he's read the Pythagorean theorem, he says, can you prove that purpose? And I say, yeah. Oh, will you show it to me? I say, yeah. But it's number 47 in book one, you've got to go through 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? To 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, this has been set above. Okay, now, let me pass you off the second argument. It came four articles all together, so I'm going to pass you, pass you. How many copies do you need here? I've got two, four, six, eight. You can't even, you want 10 to 12? What? I've got plenty of them. Whatever we have here, plus one, eight. Yeah, I'm just about to plan 12 or whatever it is. The cause of love is likeness. Okay, that's from that point, all right? So, I don't know, we'll put this longer here. Now, 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 speaking of how likeness is a cause of love. But I also have one here where, kind of interesting, from Emily Bronte, Wuthering Heights. Because what's interesting about that is that 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 Shrewsbury, huh? And they had some books there, among other things. 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, a gift edition of Wuthering Heights, right? So I had read before, but I said, this, you know, I'll also buy this. And so I reread the thing, you know, and I was kind of struck by it, because... is 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? But here, they're separated, right? One is attracted to because he's good but not like herself, and the other guy because he's like her, right? But it also raises the question, which is stronger, right? And these two come into competition, right? 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? You can see the way she represents it in the novel. It's kind of interesting, I think, huh? But if you talk about, say, loving God, say, huh? 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 you are 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? You see? Which he most of all sees himself as he is, right? You 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, isn't it? And the goodness of God will be even more, what? Known by you, right? When you see him as he is, huh? 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? Because the good is known, right? And 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? When Sr. Diyan, you used to speak sometimes about that in regard to a student, right? Sometimes there's a likeness between the student and the teacher. There may be a likeness 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. It's a little bit like my mother used to say about medical doctors, you know. Sometimes doctors have a good personality and they're consoling or they talk to you, you know. But maybe a doctor who's a little more standoffish might be 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, huh? 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, you know, he's just married. And then he gets news that, what, his best friend, The Merchant of Venice, is in danger of losing his life, right? Because of Sherlock, 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, you know? And Lorenzo, who's there, right, 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 God-like amity, eh? Shakespeare calls friendship amity. He calls it God-like, right? It's interesting, eh? which appears most strongly in bearing thus the absence of your lord, your husband. So he's praising her for having this great appreciation of friendship, right? So you can see how affected Bassani receives a letter from the merchant, right? And he's so upset, he can tell, you know. There's such a bond of love between him and Bassani, 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? You know Antonio. How to 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, huh? Okay? And of course, the Greek word for friend comes from a Greek word to love, philene, huh? Not from eros, but another word, philene, right? And the Latin word for friend comes from amor, amari, right? Okay? So Shakespeare here means, what, a dearie lover, meaning a friend, right? Of my lord, your husband. If you knew Antonio, you would be very, what, proud of this. I know you would be prouder of the work. Then customary bounty can enforce you to, right, huh? Now, Portia has never met the, what, friend, the dear friend of her husband, right? But she loves dearly Bassanio, right? 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? 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, of lineaments of manners and of spirit. So if they love each other that much, they must be like each other. You see? She's like Shark Holmes would say, right? Shark Holmes says to Watson, we have to reason backwards. And 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? She's reasoning from the effect, the strong love, back to the cause. They must be like each other. They must be like my husband. And she dearly loves Bassanio, right? And if he's that much like Bassanio, I would like him too, I'm sure. Which makes me think, you see, that this Antonio, being the bosom lover of my friend, the intimate friend of my Lord, must needs be like my Lord. Okay, you see where your mind's working? It's like Shark Holmes, the effect back to the cause. I know my own wife, you know. She came out to St. Paul. I said, I'm from St. Paul, Minnesota. And she met two of my three closest friends, male friends. And Frisch was kind of struck by the differences between us, right? It kind of surprised, right? Because Jim was an ex-Golden Gloves boxer, you know, and so on. 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 was between us, right? You see? But she saw the differences, right? Between me and these two men I was close to, right? And she was kind of, you know, puzzled by it. She was like, you know, at first, you know? But you see what she's doing, right? 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? If it be so, how little is the cost I have bestowed, right? And 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, right? He's in danger of losing his life because of the Jew. Now she calls, what's she calling the semblance of my soul? Yeah, Antonio, yeah. My soul would be what? Yeah, yeah, for better half, right? You know, okay? Like their soul and body, right? So, the semblance means what the likeness of my soul, my husband, my better half, right? You're good at what he said, huh? You know? That's a beautiful text to see, isn't it? Like this is a cause of love, right? By your reasoning for the effect back to the cause. Now, Richard, when he's killing King Henry, okay? Then he's stockaged about nothing. If any spark of life yet be bending, 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 Yorkshire? The midwife wondered, and the woman cried, Oh, Jesus, bless us! He is born with teeth! That's the legend of Otorita. 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 so, the ugly body, right? Let hell make crooked my mind to answer it. That's interesting from, you know, the psychology of that, right? But then, the reason why I have it here, I have no brother, see? I am like no brother. And this word love, which greybeards call divine, greybeard is a 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. So I have no brother. There's no kind of love between me and other men. This word love will be resident in men like one another, huh? And not in me. I am myself alone. Right? It's rich and against the whole world, right? See? Interesting, huh? Very interesting the way he portrays him. But that's the opposite now, see? And we'll stop there, because I can go home and teach you the class. In the name of the Father, and the Son, and the Holy Spirit, amen. God, our enlightenment, guardian angel, strengthen the lights of our minds, order and illumine our images, and arouse us to consider more correctly. St. Thomas Aquinas, Angelic Doctor. Very close. Help us to understand how it's written. The Father, and the Son, and the Holy Spirit, amen. So we looked at the first two preliminary readings there on likeness, huh? The one was from the Merchant of Venice, if you recall, right? And like Jacques Holmes, Portia was reasoning backwards, right? If they're that good friends, they must be like each other, right? Her husband and the man she'd ever met, right? And so she would like the semblance of her soul, right? The semblance of her husband, huh? But now in the second reading from Richard, Richard thinks love is impossible between him and others, right? Because he's so, what? Unlike them, right? Okay. Now, in this passage from Washington Irving, in the life of Oliver Goldsmith, what you'll see in Thomas' objections, sometimes those who are most alike are not friends if they come into, what? Competition, right? So if you and I are two lawyers in the same town, there's not enough business for both of us, then the fact that you're likely a lawyer is going to grab us apart, right? That's kind of accidental, right? We met at, you know, a convention somewhere else, we'd be friends, right? Because he has similar interests and so on. But because we're competing, right? And so Irving has noticed that thing, right? And so the famous thing, like in England, the two famous novelists, Thackeray and Charles Dickens, right? They're not in speaking terms, right? Because each guy was trying to get the best novel out, right? And taught the other guy, right? I guess they were reconciled at the end of their life, you know, they passed each other, you know, one day, and one of the guys stood around and offered his hand finally, And they were reconciled at the end of their life, right? And they were reconciled at the end of their life, right? And they were reconciled at the end of their life, right? And they were reconciled at the end of their life, right?