Prima Secundae
Lecture 70: Dialectic, Quotations, and the Learning of Philosophy

Transcript
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It's kind of amazing the way you see Thomas in these arguments, you know, how often I'll take a quote from some great, like, St. Jerome or St. Augustine or Chrysostom or somebody else, right? And you can look upon these quotes as partly pertaining to dialectic, right? Because dialectic is reasoning from probable opinions. And Aristotle defines probable opinions as the opinions of all men, or of most men, or of the men who are learned in some art or science when speaking of the matters of that art or science, or most of them think it, or the most famous illustrious, right? So you can say, hey, why do you have all these wonderful quotes, you know? And you see, he says going back to, you know, Peter Lombard and before, right? All these wonderful quotes coming from Augustine, right, and others. Well, part of it is, to make sense of a dialectical point of view, right, you've got to be quoting these great people, right? You know, when I talk about opera, you know, I disagree with the composer, right? The oddener, you know, that the plot is the male element, you know, the dominant element, the music should be so ordinate like the woman. No, no. But now, Mozart, a man who we know wrote the greatest operas, right? In music, in opera, he says, the words must be altogether the obedient servant of the music. See? So, in Mozart opera, everything is turned into music, right? Well, that's highly probable that the greatest of opera composers, right? And Giovanni, for example, is the opera of operas, right? If he says this is the way it is, it's highly probable, right? Or Albert Einstein, right, you know, in 1905, he proposed, what, published three papers, all three of which were the Nobel Prize. He actually got the Nobel Prize, not for the special theory of relativity, because it's too hard to understand. But he got it for the photoelectric effect, right? And so, here's a man who, what, in one year has three ideas of where the Nobel Prize goes, but no one has one such idea in their whole lifetime. So Einstein says a scientific theory is freely imagined. It's not reasonable. It's freely imagined. Well, if Einstein says so, that's highly, what, probable, right? Okay. But then there's another aspect of it, too, which is what we might call, what, belief, right? Human belief, at least, right? Okay. So, before you really know these things, you tend to believe a mind that you think is, what, better than your own, right? And it's in a mind that has a reputation of Augustine or Thomas or something like that, right? So, I mean, it appeals to you both from the point of view of, what, the necessity of human belief, right? I mean, even the greatest scientists kind of realize that, right? Everything I've read by Heisenberg, and he always comes back to his first conversations with Bohr, right? Bohr, you know, was known at that time when Heisenberg was just, I guess, still a young student, right? Bohr was known as the man who understood the atom better than anybody in the world. And he came to Germany, now, and gave a series of lectures with the, called the Bohr Festival. They were so enthusiastic. But in one lectures that Heisenberg attended, Heisenberg posed a sort of objection, right? And something Bohr was saying, and Bohr gave some kind of an answer, you know, like I intended to give in those times. But he kept on looking back over at Heisenberg, okay, now? Who is it? Yeah, yeah. And so when he got through, he says, let's go for a walk. And they walked back and forth talking about atomic theory, you know. Heisenberg, you know, always refers to this conversation again and again. How much influenced him, right? And some people think, you know, Heisenberg was the greatest mind after Einstein, you know? And I'm saying one of the greatest minds. But how much they, you know, learned from the, what? Great men, you know? Wolfgang, Pali, the same way. And you kind of almost, you know, Bohr is another father, you know. Someone was blind, huh? You see? And so these great minds are not, what? Afraid to learn from another, right? Second great minds are trying to be original, right? So you see something excellent here about these quotes that they have from, you know, was it damn seen there in the previous one? And now you have the quotes here from, it makes you stop and think, right? If you don't, maybe just say you entirely agree with it or what it's said, maybe. It makes you stop and think, right? So from a dialectical point of view, right? You want to proceed in something probable, right? You've got to know these guys, right? Because most men don't have any opinion about these things. But those who, you know, are in these areas and are famous might have an opinion. And that's going to be probable because of their fame and respect people have for them, right? And also for us, Damesha, now Thomas says when you first learn, you see, you see what the teacher says as his thoughts, not your thoughts, right? But then the more you think about it, the more you start to understand it, and then it kind of becomes what? Your thought, yeah, yeah. It's like what Aristides says about food, right? You know, he says, is food like the fed or unlike the fed? Because some of the Greeks before him said, food is unlike the fed. That's why the feeder changes it, right? Others say, well, how can you grow when somebody isn't like yourself? And Aristotle solves the problem by saying, well, in the beginning it's unlike you, but when you get through what? Digesting it. It's like you, right? So I eat carrots, you know, they're first not like human flesh. When I finally digested the carrots and so on, broken them down, and there's some of them, something resembling flesh, right? And not something resembling a carrot, right? That's the way learning is too, right? So when you first, it's not, it's like a foreign thing, right? And like a carrot is foreign to human flesh in a sense, right? And what even the great mind says, right? It's kind of foreign to your mind, but when you digest it, right? And I got to digest what the master says, right? Then it becomes yours, right? And you would hold this even if you, what? Without the, you know, yeah. I hold the Thangren theorem now, right? Because I assimilated it. Proposition 47 there. More of our passions and acts differ in, what? Species, according to their objects. But the passions, but there are the same objects as the passions of the erasible and kissable. To wit, the good and the bad. Therefore, there are the same passions for the erasible and the kissable, right? But again, says some, of diverse powers, the acts are different in species, right? Just as to see and to hear. But the erasible and kissable are two powers dividing the sense, what? Desiring power, as has been said in the first part. Therefore, since the passions are emotions of the sense, desiring power. Therefore, the passions, which are in the erasible, are other than in species or kind from the passions, which are in the, what? Incubisable, right? Well, let's see what Thomas says. It's saying that it's immediate to this here now. I'll go back to the female powers, right? I answer it should be said, Thomas says, that the passions, which are in the erasible and incubisable, differ in, what? Species, right? He's giving the conclusion first, right? That's kind of a big print, a black print, right? Does it have to be the rest of it? Yes, no, yes, no. For sense, diverse powers, huh? Have diverse, what? Objects, huh? This is the principle of Aristotle, right? Should we study the powers or their acts first, right? Should we study the acts? first or their objects right yeah so the sense power is going to be known through the act of sensing right and sensing the sense of seeing and sensing the sense of hearing is going to depend upon the difference between color and sound kind of shorting that whole thing there but shows you the way that the human mind is what discursive right reasons from the objects to the acts and the acts to the powers right so he says since diverse powers have diverse objects this has been said in the first part is necessary that the passions of diverse powers refer to diverse what objects right whence much more do what passions of diverse powers differ in what species then for a greater difference of object is required for diversifying the what species of power then for diversifying the species of passions or acts that might belong to the same power right so i'm talking to the students there what is philosophy is thinking about things philosophy is yeah that's kind of the beginning right or is it thinking out things right you first think about motion and place and time and then you what gradually think out what motion is think out what time is think out what place is as earth hollow does and last you have a thought out knowledge right which i sometimes call reasoned out knowledge from the last kind of thinking out right so we think out definitions and deviations and distinctions and then finally we think out what conclusions right okay so it's a thought out knowledge you know but these are all in the same what order beginning middle and what in there but just as in natural things huh the diversity of genus genus follows a diversity in the what potency of the matter because the famous thing that wakis says or porphyry says huh first hollow says that the difference is taken from the form and the genus from the what matter right and the diversity of species follows the what diversity of form in the same what matter right so when their style is distinguishing the imitative arts he says they differ by what they imitate and in what they imitate and how they imitate right but what is the first distinction among imitative arts by what they imitate or in what they imitate yeah yeah yeah yeah that's just like the matter right okay okay so if you take something like say sadness right huh well since you can imitate that in music with a sad melody right you can imitate that in what painting with a sad expression right now you can imitate that in the words of the character in the play right expressing sadness right but those are quite different arts right but the one imitates in in what harmony rhythm and so another imitates in words and imitates in line and color right so the more fundamental distinction is by what yeah and what they imitate right and maybe a carpenter might make this table and make this chair right but someone else in metal makes a metal chair and a metal table right would you distinguish the arts first by what they make a chair or a table if there's one art to make chairs another art to make tables or is there one art in a sense for making things out of wood another art for making things out of plastic yeah another one for making a steel or metal or something right then the diversity of species right the distinction between sad music and joyful music right or between tragedy and comedy right that's more specific difference right so also in the acts of the what soul right yeah these the acts pertaining to diverse powers are not only in what species but also in what genius diverse but the acts or passions respecting special diverse objects comprehended under one common object of one power right distinguish the species of that what genius right so he says therefore and this is all we suppose now right to knowing therefore which passions are in irascible and which ones are the incubusable is necessary to take up the object of what each power right now has been said in the first that the object of the incubusable power is the good or bad the sensible good or bad simply what taken right that is either delectable delightful or doloroso or doloroso so the object of the what the incubusable appetite is what is uh simply pleasing or displeasing to the what the senses right okay and so if it's pleasing to the senses you like it or love it right and it's displeasing to the senses you what hate it i dislike it i don't know that that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it that's it right that at some time right these so what difficulty or some fight in obtaining i guess some good of this sort right that is to say something that's pleasing to the senses right i told you about the you hear about the uh the blackout there in boston there there's a generator or something that blew up or melted or what yeah yeah and so in in one section of boston there was no it's dark yeah and so there's one restaurant didn't want to serve their meat right even though they put it in a refrigerator truck so they gave it to the zoo and so the picture picture there you know there went the big cats are getting these you know steaks you know you see you know you wouldn't try take that piece of steak away from that cat which you know you know you'd be torn right okay so if there's one bone and two dogs or one piece of steak and two cats or something right right then there would be a fight because the difficulty they can't both have it right so aristotle says the animals they fight over food and sex right okay so because it's necessary sometimes that the soul undergoes some difficulty or fight in obtaining some good of this sort right or in fleeing some bad of this sort right in so far as this is to some extent elevated above the easy power again right so we're sitting here with a ball you Candidates to you. No problem. That's what you tend to hear without even thinking, right? There's no, what? You just can kill a slap at that, right? You see? There's no difficulty in getting that, right? You see sometimes, you know, even the professional athletes, right? They get into, what? Fist cuts, you know? There's some difficulty in winning. Especially on the other team, cheese. Yeah, yeah. Injuries people, you know? They're trying to injure the quarterback. You realize how we do one of these good quarterbacks in. He's knocked out of the game. That's the game, right? That's it. Where he was knocked out for a whole year, right? Of course, he's an accident. But it's amazing, you know, if one picture hits the guy, even if it's accidental, they'll get, you know, they'll be coming back. You know, it's kind of quid broke. Yeah. Yeah, when it happens twice to the same guy, the dugout comes out and beats up the picture. That's what happens. Yeah, yeah, yeah. Because then you know he's aiming at it. Therefore, the good or the bad, according as it has the, what, ratio of something arduous or difficult, right, is the object of the, what, irascible, right? I notice the theological virtue of hope is named by carrying over a name from, what, the passion of hope, which is concerned with the, what, the difficult, right? You know, that's going to tell you something about hope, right, even as a virtue in the will, right? Whatever passions there are for, whatever emotions, that's the word we use sometimes in English, right? Probably a better word than passion, because passion is new to particular, right, for access, right, or something. We use the term emotions, right? Whatever passions, then, or emotions, and emotions, and emotions, take the word for motion, right? In that sense, you wouldn't speak of an act of the will as an emotion, huh? By motion, I mean, you're an emotion you've been moved, pretty much like the word you're undergoing, right? Whatever passions, therefore, that regard absolute, he says, right? Good or bad pertain to the, what? Conchubispo, right, huh? Conchubispo, right, as joy, and what sadness, huh? Now, Gaudium, joy, regards the good, right? Tristitia, the bad, right? Amor, the good, odium, hate? Yeah. And the ones of the sort. There'll be two other ones, desire and aversion, if I want to have a better name. Turning away from. But whatever passions regard the good or the bad, under the ratio of difficult, insofar as something is, what, obtainable or able to be avoided with some difficulty, right? They pertain to the, what, irascible. As audacity or boldness, as it's called sometimes, huh? And Timor, right? Now, Daxia and Timor are getting with a fugibile, right? There's something bad that's difficult to avoid, right? And if you think you might not avoid it, then you have, what, fear, right, huh? So, if you get up from your seat there in the bar and have a little pipsqueak, you know, you might have a little bit of, what, boldness, you know, about being, you know? My wife's, you know, about, you know, 10 years older than her other sister, and her brother was younger, right? But her brother was just a big guy, right? So, I guess, you know, the sister was at some bar or what it was, and some guy's kind of bothered her, you know? So, he comes over, you know, and he says, just two words, beat it. The guy, beat it. Yeah, beat it. It's great she's a better part of now to get the honor. That was a friend of ours who was in the Lebanese war, St. Gazi. They used to fight the war in the day, and they'd be in the bars at night with the guys, some of the guys that were fighting, maybe. But anyway, they'd go down to the bar. Of course, these guys didn't know they were weapons when they go to the bar. Yeah. And so, some guy was trying to impress a guy with his martial arts, and he's doing all this stuff, and these guys were just looking at him. He was from out of town. They didn't know who he was. They didn't like him. And so, this guy, they said, all they did, they just started laughing at him doing his martial arts, and they just opened their coats, and they go, all these weapons. And the guy goes, ha! And he ran. Ran out the door. At the end of him. I like this guy being in the bar with the guy who really worked out, really, really, really knew the virus, you know. And there were three Marines, I guess, you know, and he got into altercation, you know, and he got up and three Marines on the floor. Tough guy, you know, huh? Yeah. But, you know, in the Bible there, right, huh? Was it Goliath, was it? Yeah. And he was approaching David, was it? Mm-hmm. With Odatia, right, huh? I don't know. I assume David had a little bit of Timur, right? Mm-hmm. You know? But, no, that's something, what? To be avoided, but it's difficult to avoid it, right, huh? Okay. But then, spares with regard to a, what? Good, right, huh? So, if the good is difficult to obtain, but you think you can obtain it, right, then you have hope, right, huh? But if not, then you have, what? Despair, right? Mm-hmm. So, that's the difference, then, between those two, right, huh? Okay. Now, in Mozart's music, right, huh? One of the big differences that came in is the major key and the, what? Minor key, right, huh? Now, other things may go, because rhythm and things can affect these things, right, huh? But is the major key and the minor key equally suitable for our emotions? So, if you want to represent sadness, what key do you use? And when Mozart is going from hope to despair, the signs have the same melody and turn it into the minor key, because despair is going to be represented by the minor key, but hope by the, what, major key, right, huh? Joy is going to be by the, what, major key, right? And love, right, huh? But hate or sadness, right? So, anger and despair, right? And fear would be represented by a minor key, and hope and, what, boldness by a, what? Yeah. Now, there are much more, you know, subtle differences, right, in the keys, right, huh? So, if Mozart wants to represent, let's say, hope or boldness, right, huh? He's going to probably use C major or what? D major, right? C major is a little bit more for hope. D major is a little bit more for courage or for boldness, right, huh? Okay. So, D major is the key of the march, right, you know? And then E flat is a little more in between, you know, but if he's going to represent, say, concubiscible joy, it might be in G major or B flat, right? So, he tends to use keys in a very, very determined way by Mozart, right? When they compare Mozart with his great contemporary there, hiding, right, huh? Hiding will modulate from one key to another, you know, kind of, you know, variety is the spice of life, you know, and some stuff. But Mozart, when he changed the key, there's a reason why he's doing it, right? He wants to represent something, right? So we had the aria there and the Mozart writing a letter to his father about representation of anger there, right? The husband there and the abduction for the surrounding of it, right? When they get the girls out of it. But I mean, he's very much aware of what he's doing, right? Which is closer to reason. The concubisable or irascible emotions. Yeah, Mozart's five last symphonies, right? The C Major symphonies, the 36th and the 41st, the Jupiter and the Linn symphony, there in C Major represent what? Magnanimity, right? Magnanimity is the virtue that does what's great in all the virtues, right? So there's the hope, right? Okay, but then the, so it's kind of a representation of magnanimity, that virtue. But then the 38th and the 40th represents what? More courage, right? Okay. And of course there's two acts of courage. One is to what? Approach the dangers, right? The other is to put up with it when it's forced on you, right? The 40th is more of that symphony, the 38th is more, you know, approaching the thing, right? So, you can see Mozart, huh? How he's, I remember first saying to the historic, you know, I've seen Mozart's concertos where he had this kind of irascible there, you know, the confidence of something, you know, showing that if great did all the piano concerto by Mozart, right? That's one of the greatest accomplishments of Mozart, and that's good. Don't add some reason there, Mozart, huh? I was listening to one of the early operas of Mozart yesterday, you know, and I said, isn't that very good? I said, you know, I got to listen to these things a while before I really hear them, and I said, there's some real nice things in those early works, you know. I know Warren Murray was down one time, and I had got it, and Zaid, most of you have not even heard Zaid, right? I said, gorgeous, aren't you? Warren almost falls in his chair as he says, you know, there's something so beautiful by Mozart, they'd never heard, you know. So you wonder what, you know, there are some things hidden in these early works, you know, they're really beautiful. They give us it, so. Anyway. So you see the difference now between the irascible, right? So you've got to learn that there's going to be six emotions in the concubiscible, three with respect to the good, accidentally, and three with respect to the, what? The bad, right, huh? In regard to the good, there's like or loving, right? And then when you don't have the good, there's desire or wanting, right? And that's the beautiful English word, want, right? Which means both lacking and desiring, right, huh? So it's a beautiful one, right? So wanting arises from love or liking when you don't have what you like or love, right, huh? So I like wine, don't have any, now I want some wine, right? Or I like steak, don't have any steak. Give it all to me. Yeah. So I want some steak, see? Okay. But then if you get what you like or love, you get the steak or you get the wine, then there's joy, right? And you have the same thing exactly like that in the bag, right? You have dislike or hate, right? And that can be in the presence or the absence of the thing, right? So I hate or dislike salmon, okay? So I try to avoid it if I can, right? But if I'm invited to your house for dinner and you're serving the salmon, now I'm sad. I'm trying to show my sadness. Why are you so depressed? Okay. You see how those six are, right, huh? Okay. So Mozart presents all those, right? But then in the irascible, there's going to be what? Five emotions, huh? And when two of them arise from desire, right? When you desire a good, but it's difficult to obtain that good, right? Then there arises either hope of overcoming the difficulties or despair of overcoming the what? Difficulties, right? And if you hope, you probably, what, persist, right? But when you start to lose hope and despair of weighing the girl or getting in the position you want or whoever it is, then you have despair and you kind of, what? Give up, right, huh? Okay. Um, but now, uh, when you're trying to avoid something bad, right, huh? Um, you shut the door and you're like, that's it. But if it's something difficult to avoid, right, huh? And then if you think you might not be able to avoid it, you start to feel fear, right? It's kind of above your powers. If you think you'd overcome it, you know, you need a certain boldness, I can take care of this, right, huh? Young men are bold, right, but don't realize. Yeah. But you see, there's a, there's a, one more emotion in the irascible, which is anger, right, huh? Okay. Well, how does that arise from, right? That tends to arise when something bad has been, what, kind of forced upon you, right? So if you're stepping on my foot and causing me some pain, and I say to you, uh, you're on my foot, did you know? And you say, so what? Well, now there's a little difficulty in avoiding this pain, right? And what emotion tends to arise? Anger. Anger, right, huh? And it'll help me to get you off my foot, right, huh? Um, but if I'm getting, if I'm enjoying what I like, right, then there's no difficulty there enjoying what you like, right? And having what you like, right? So nothing arises from that, from joy in the, what, concubisable, right, no? As far as the irascible is concerned. But sometimes from sadness there arises this anger, right? When you, uh, you know, get rid of this. So you have altogether 11 emotions, right? Six in the concubisable, and five in the, what, irascible, right? Interesting number, 11, right, huh? It's a symbol of, what, transgressing the decalogue, right? It's a symbol of, what, sin, right? You know? I mentioned how, that's the other day, when Peter says, you know, how many times do I forgive my, you know? And, and seven times, and Christ says, I guess, 70 times 70, but, or, seven times 70, or something like that. But, you know, I guess Augustine gets a text that it means 77, right? So he's got to explain the number 77. Well, it's seven times 11, right? Well, 11 is, is, what, transgressing the decalogue, right? That's, that's, that's, and seven is the number of days in the week, being that, in all time, throughout all time, you should be forgiving the, yeah, so. But the other place where that, that's come down to 11 is a symbol of that, right? I was making a joke, you know, when I was in high school there, me and my buddies had a table 11 there in the show. So, and then each day I realized that 11 is a symbol of integration of the decalogue. What's interesting is there are 11 emotions, right, huh? And there can be, you know, particular differences, like there can be, what, sadness about different things, right? So, envy is sadness over the, what, good fortune of another, right, huh? Pity is sadness over the misfortune of another, right, huh? Okay. So there are what? Particular differences. Those are more individual differences, right? Thomas talked about them sometimes. So is that something sad and something like a genius then? Well, I don't know if Thomas calls them species, but there certainly are something like that, yeah. You have to talk about tragedy. Tragedy moves us to pity and fear, right? Pity is like a kind of sadness, right? It's sad and sort of a misfortune of another, right? And a man seems to suffer more than he deserves, right? He doesn't deserve it at all. Kindly or even Othello, you know? It's interesting to worry, you know, pity has been carried over to God, right? I mean, kiri eleison, right? The eleison is the same way you have in Aristotle, right? For pity, right? It doesn't name any emotion, of course, in God. It's in similarity, right? God's will to relieve our misery, right? It's called, let's see. Now, let's go back to the way you apply subjection. It's so interesting to see that. You had a quote from Aristotle, right? The passions are what joy and sadness. To the first therefore it should be said, that it has been said in the Prima Pars, For this, the irascible power was given to animals, right? That might be taken away at the impediments, right? By which the concubisable is prevented, right? From tending towards its what? Yeah. Either on account of the difficulty of obtaining the good, right? Or on account of the difficulty of what? Overcoming. Yeah, yeah. What's the original story about solid grapes? We get the expression, solid grapes. Yeah. The products. Yeah. But he wanted the grapes, right? Mm-hmm. And he hoped to get them by jumping up, right? Yeah, couldn't help. And every time he jumped, he fell short, right? Mm-hmm. And finally he, what? He despared. Yeah, yeah. He despared. That's kind of frustrating, right? And then try to, as a consolation, he probably weren't going to be solid or something. It wouldn't be any good, right? Because you tell the students this story, you know, and say, you want the girl, right? You tried, and so on, but you keep on failing, and so on. Although I should be spoiled anyway, you know. It's just too many people after her, you know. She's afraid that she has it. Who wants her, you know? She takes her in one of the plays there, right? And so on. So, the irascible is given to animals that the impediments might be taken away, right? By which the concubiscible is prevented and tended towards its object, right? Either in account of difficulty obtaining the good or in account of difficulty of overcoming the, what? Bad. Bad, right, huh? And therefore the passions of the irascible, all of them, what? Terminator. At the passions of the concubiscible, right, huh? So, they're, what? Both the beginning and the, what? End, right? And according to this, also the passions, which are in the irascible, are followed upon them. Joy and sadness, which are in the, what? Concubiscible, right? So, original emotions are in the concubiscible, and the final emotions are in them, right? And the irascible come in between, right? And I can see that in a sense, huh? That likeness, liking, is before wanting, and wanting, you know, gives rise to hope or despair, and there's either joy or sadness, right? You see that often in the music. Mm-hmm. Because the middle part is usually, either the minor or something, there's some difference in it. I mean, not all music, I suppose, but at least that's right. And Mozart's very perfect concerto, it's like the 23rd piano concerto, right? It's an A major, right? But there seems to be an underlying sadness somewhere, you know, there's a hint at it, you know? And one of the famous writers on the, in Charles Mozart said, it's like a spring day, you know, it seems to be uncertain there, April day, you know, it's going to, maybe it'll turn to rain, something like that, you know? And then in the second movement, this minor movement, all this sadness that's underlying, comes out, right? But towards the end of the second movement, it's kind of being resolved there, you know, you see that, once you're hitting the key there of C a little bit, you know, at the end there, you know, and so on. And then the third movement begins with this kind of rushing, joyful melodies, right? It seems like almost escapism, right? And so he'll recall a bit of the sadness there in the middle movement, right? But then, you know, this conference will come here, you know, that this is not something he's not facing up to, you know? And then when he brings the melodies back at the end, he plays them, you know, and it makes it seem absolutely inevitable, you know, it goes with them, you know, it's just perfect, you know? That's my brother Mark's favorite concerto. I probably want Mary's favorite concerto, my wife's favorite concerto. I pretty, it was just about my favorite too, but it's only one of the very best. Very subtle, which it does, you know? I mean, if you ever, you know, a concerto like that's got three movements, why is it one piece of music and not three pieces of music, right? Because you have three movements, right? Well, in a sense, to be one piece of music, you'd have to have a beginning, a middle, an end, right? You can kind of see that very perfectly in the 23rd piano concerto. Now, Mozart's last concerto, the beautiful one, the 27th, right? And it was performed at the Gate of Heaven, though. That was the name of the tavern, you know? It played the place, what is it called? The Gate of Heaven, right? But the first movement, it's absolutely beautiful, you know, but there's a kind of that world weariness, you know? It is towards the end of Mozart's life, but anyway, and then the second one comes out, it's a very resilient thing, you know? And then the third movement, it's very childlike, you know? Basically. So it's a beginning to end, too, you know? It's just absolutely beautiful. Incredible. Incredible. It's a friend of mine, Leo Alvarez said, he told me that I have to listen to that one. And he said, this is just a commentator, like the way I was confused. He said, oh, he said, first time I heard that, he says, it brought tears to my eyes. And I said, why? How come? What's the matter with him? That middle, that middle hole, I like that very much. I guess, they say a better day, the 16th, the Mozart's very composer, but a little more detail, you know, I've seen his comments and the performance of the, you know, the right thing there before, you know, but I see him play a little Mozart and I'm going to talk a little more about it. I don't think I've ever had a chance to have that intimate conversation with him, you know. Teta, teta. It'd be interesting, you know, to see that, the whole, like, Talmud, he and his brother, I guess, are very, very much in the music. Now, to the second one, it should be said, that the hatred of vices is attributed by Jerome to the irascible, not by reason of the hate, which properly belongs to the concubisable, right, but an account of the impugnation, right, the fighting, right, which pertains to the, what, irascible, right, see the way he handles from there, right, that's good. I was thinking about abortion this morning, you know, and I was thinking, there's real hatred of the human race, it seems to me, in abortion, right, hatred of babies and women in particular, but in the human race, you know. It makes me think it's kind of diabolic, you know, because who really hates human race as much as the devil? What is Moloch and Baal, what do they have in common? That's the joke. Yeah. Third injection, right, that they have the same objects, the good and the bad, right, huh? Well, he says, the good, insofar as it is delectabile, right, delightful, moves the concubis for, right, huh? But if the good has some difficulty to being obtained, from this very fact, it has something that's repugnant to the, what? Incubisable, right, huh? And therefore, it's necessary to be some other power which would tend towards it, right? You can see some of the reason there, right, huh? In order for the other, right? Yeah. And the same reason is about bad things. And this other power is the irascible. Whence ex-consequente, huh? The passions of the concubis and the irascible differ in species that are what? Kind. And we're not going to have two wills, right? One that has love in it, and the other one that has hope in it, right, huh? Things are more unified there. A little break here?