De Anima (On the Soul)
Lecture 97: The Five Genera of Powers of the Soul

Transcript
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There will be music because of that thing that Augustine points out, you know, that Paul VI in his famous sermon there, his speech on the Peace of St. Cecilia. I mentioned that before, I think, to you, huh? It's one of the best things I've ever seen, you know. It's kind of a paraphrase, a little golden shame that Paul VI has taken from Augustine, right? About the connection between music and love. Oh, yeah. And Shakespeare's always bringing that out. Music be the food of love, play on, huh? The connection between music and love, huh? That you want to sing about the person we love. And Paul VI is talking there for the liturgy, which is a service of charity, should have music, huh? But you can also cry at the heaven, right? But also music is the most perfect way of honoring somebody. You know, when the soldiers come back, the march will play, right, huh? When the president of the United States comes in, they play, what? Hail to the chief, right? Yeah. Before you get off the phone, you just made it before about tragedy and comedy. Tragedy is pretty basic. It's something that you want to avoid, and there's nothing good about it. But comedy, you know, laughter, that kind of thing, there's kind of a mixed bag to that, you know? Yeah. You know, it's like, in heaven, I hope that there's laughter, but I hope it's, you know? Yeah, yeah, yeah. But, I mean, the foibles, you know, Aristotle says that the object of comedy is something ugly that's not, what, painful, right? And so, you know, Falstaff, you know, he's kind of ridiculous, right? And, you know, if you read the Mary Wise of Windsor, where Falstaff is making these proposals to the Mary Wise of Windsor, and they play tricks on him, right? And, of course, one of the tricks there were, you know, the husband is coming up, and they say, well, we've got to conceal you, so they have him put in this big basket of filthy clothes, you know? And the servants carry out the basket and dump it into the water, you know? And he steams coming up, and I was like, this fat guy, see? I mean, he looks like, you know, something you would laugh at, right? Because he's so fat, huh? You see? And sometimes even, you know, a little child will ask, one day, see, the person who's, you know, gross and in size, huh? And so there's all kinds of, you know, but uglyness won't have any place in heaven. But, you know, so much of comedy depends upon, what, mistakes, huh? Shakespeare's first comedy is based on what? On Plautus, right? Whose comedies are based on the Greek comedies. But the name of it is the Comedy of Errors, huh? And in the Comedy of Errors there, some twins have been separated in the course of time, right? And then they end up, by chance, in the same city, and one is confused by the other, right? For the other, and all these humorous things that happen because of that. So you have to be kind of mistaken, huh? And there are all kinds of mistakes that don't really, you see, tragedy is about mistakes, too, but a mistake that leads to tragic results, huh? You see? But the comedy are just, what, mistakes that don't lead to these terrible consequences, but they make us laugh, right? There won't be any mistakes in heaven, huh? It'll be perfectly eliminated, huh? I remember one time after, you know, a literary performance or, you know, stage plays like that, and I went up to one of the girls who had been in the play. I thought she'd been in the play, but it was her sister who had been in the play, so I'm congratulating her, right, on her performance. What do you do? I mean, there's no big harm done by this, right? You just gotta laugh about the thing, see? And sometimes somebody takes you to be somebody more than you are, or, you know, somebody who's, you know, very important, you know, and so on. And, you know, there's some people who use them both famous people, too, and they get on an airplane or a bus, and that's so-and-so, the famous actor, or so-and-so, the famous politician. And I was coming down one of the main streets there downtown in Worcester there, you know, a month or two ago, and I thought it was one of my colleagues who had a car next to me, you know, and so they kind of pulled up, you know, coming to the stop sign, you know, the red light, or it was, and, you know, I wrote down the window, I just had a six-lane time, you know, and the guy sent me around down the window, so he knew I wanted his attention. I wrote down, you know, Dan? Oh, no, it wasn't Dan. No, not Dan. I mean, those things are funny, you see, but it's all kinds of little things like that that happen, you know? It's like all kinds of little mistakes, you know? This one guy I knew in Quebec used to tell this story, I guess. He was quite active in the parish and so on, and one time he was going by the parish house, and he really had to visit the men's room, right? Okay? So he kind of knew the, you know, the housekeeper, you know, stuff, and I use it. Well, yeah, that's just the situation, right? Well, when he flushed the toilet, it wouldn't stop coming in the water, so it's overflowing. You imagine being in the water. I don't even describe this stuff, you see. I mean, it's very embarrassing, but you laugh about it in retrospect, you know, the things that went wrong, you see. And, uh, but you won't make those mistakes. There won't be any bathrooms that bad in heaven, so. Like, all those little things, though, that happen that are, that are, uh, laughable, huh? We were really, well, pretty sick, uh, brothers, and my father had inculcated me when I was a little boy, you know, that when you play the national anthem, you stand at attention, see? Well, I shared in bed with my brother Mark, and we had some big beds in there, right? So, I jump in a bed at nighttime, and my brother Mark starts humming the national anthem. Five days on eight, and jump out of bed for attention, right? I don't know how many nights this went on. I sleep. You know, that was very funny, right? You see, even my father, who'd been, you know, in the U.S. Army in the First World War, and, you know, they took this seriously, right? I mean, you show honor to the country, the flag, and when the national anthem was played, you stand at attention, right? And I knew that you did that, right? I mean, you won't be able to fool me that way the next life. How old were you? Okay. How old were you then? Not old enough to know better. I remember one time I got in a fight with Marcus, you know, and we were really kind of mad at each other. So, my brother Richard, you know, being noticed, you know, I don't know how to handle this thing, and he said, well, let's really have a definitive fight here, you know? Mm-hmm. Whatever the way you do it, you see, you know? You know, rather have a fight then and there, you know, let's delay it, let's really have a definitive decision, you know? Yeah, I know I have everybody here to watch this. All right. Well, anyway. Now, the first objection was taken from that book on the spirit and the soul, and Thomas says, like he often says when there's an objection to that book, that that book does not have authority, right? It's not really by Augustine, because Augustine is someone, you don't likely neglect what Augustine says, huh? Now, whence what is written there can be, what, rejected with the same facility by which it is said, huh? Okay. He used to have a phrase like that, you know, what is gratuitously asserted can be gratuitously denied. Mm-hmm. Nevertheless, one could say, right, that the soul does draw of itself these powers, not in act, but in what? In ability or in power, right, huh? Okay. So just as the fire, right, doesn't burn the, what, paper, and it should bring the paper to the fire, right? So from the soul, it doesn't follow those powers that are in the body unless the body's there, right? But the power, right, to produce those powers, right, remains in the soul, huh? Okay. Okay. That's why you want your body back again, too, to be a complete man. Now, the second objection was taken from the fact that the powers of the soul are to the soul as properties are to the, what, species, huh? Okay, so don't they always accompany it, right? But Thomas, again, in the reply, we'll see an objection, right? Because some are properties of the soul by itself, right? And others of the soul when it's informing the, what, body, right? So he says, those powers which we say do not remain, enact in the separated soul, are not properties of the soul alone, but of the, what, conjunction of soul and body, huh? Okay, so there's a difference in the way in which they are properties of the soul, right? One is a property of the soul by itself, and the other of the soul in the body, huh? Now, and the third objection is taken from this remark of Aristotle about the old man, huh? Okay, and the eye of a young man, right? Again, he attributes that to the, what, the root way in which the power remains in the soul, huh? He says, these powers are not debilitated, and the body is debilitated, because the soul remains unchangeable, which is the, what, virtual beginning or source of these powers, huh? Now, the fourth objection and the fifth objection are based upon the equivocation, the words that I was saying about my students there with the word before, right? That the memory which remains in the separated soul is the memory that is really in reason itself, huh? And this distinction will be made more explicitly later on when we take up reason, huh? Okay? Not the memory which is a part of the sensing soul. So the word memory is, what, equivocal there, right? And that's important later on when we talk about memory in the image of the Trinity in, in, uh, it's in the intellectual part of the soul that the image of the Trinity is found, in the spirit, right? Not in the soul insofar as it's the form of the body. The same with the fifth objection, that sadness and joy are not in the separated soul, are in the separated soul, not according to, what, the sense desire, which would be the emotions, but according to the, what, intellectual desire, which is the will, has also, is found in the case of the angels, huh? Now, the sixth one is actually taken from Augustine, but as you know, Augustine changed his opinion about some things, right? And it's a marvelous sign, you know. I think every intellectual should be required to write at the end of his life a book like Augustine did. It's called the Book of Retractions. You've seen that book, huh? Mm-hmm. For Augustine goes back over all the works he's read, he gets hands on anyway, right? And says, now, if I was to say this again, I think I might not say exactly this way, or, you know. And sometimes he rejects, actually, what he said before. Mm-hmm. That's kind of a marvelous, uh, uh, thing, you know. Uh, this should be required of all these, uh, over-busy intellectuals. Ha, ha, ha, ha, ha. Augustine speaks there, he says, inquiring, not, what? Assertive, right, huh? Whence something said there, he, what, retracts, huh? Mm-hmm. And they give the reference down here to the Book of Retractions, huh? There's a couple places where Thomas changes his opinion, too, you know. Oh, yes. Yeah, yeah, you know, and though I said, otherwise, elsewhere, right? Oh, huh. Yeah, but it's, it's much more rare than, uh-huh. Augustine has, you know, a little bigger book. Yeah. Retractions, uh. Notice Thomas had the benefit of both Augustine. Sure. And Boethius, and, and, and Aristotle. And everyone else, I want to perform. Augustine is kind of, you know, somewhat on his own. Oh, yeah, yeah, yeah. Now, um, coming back a bit to, to music a bit, uh, um, in music in the Baroque period, in the Classical period, uh, the Mage and the Minor Key were seen as suitable to different, what, emotions, okay? So, if you go through the, uh, pieces, say, of Mozart, it's very, Mozart is very sensitive to the use of the key and the change of the key, he's going to represent joy, the emotion of joy, uh, by a major key, huh? Okay? It might be G major, it might be B flat, it might be C major, right? There's some difference among us, huh? But, you represent sadness in a, what, minor key, right? Okay? So you have the two so-called heavenly twins, these two quintets that Mozart wrote in. Mm-hmm. And one is in, what, C major. Mm-hmm. Now, when you say it's in C major, it doesn't mean that every single movement is in C major, right? And, uh, that you may not go into, you know, from time to time, but it's dominated by C major. And then you have the, uh, quintet. And then you have the G minor, huh? Quintet. But here you're representing joy, and here you're representing, what, sadness, huh? Some people think that the G minor quintet has something to do with the death of Mozart's father, right? Mm-hmm. But the point is, you wrote these two at the same time, right? Mm-hmm. And as Pedro said, huh, to the tragic and the comic poet, if you guys know what you're doing, you can write, you, who wrote a good tragedy, you can write a good comedy, too. Yeah. And you can write good comedies, you can write a good tragedy. But Mozart writes both, right? Yeah. See? At the same time, huh? One is, uh, crucial 515, that is 516, right? And then you can write at the same time. Mm-hmm. Um, now, he's also going to represent, He'll tend to represent hope by a major key, huh? And he's going to represent, um, boldness by the major key, huh? By sadness and despair, fear and anger. He'll tend to represent by a, what? The minor key, huh? Mm-hmm. Okay. I was talking to my old professor one time, the suric, you know, and he didn't particularly like Mozart's rape, the young, or what else did he like? And Giovanni's going down to hell, and so on. But Moses was representing fear and all these words he didn't like, huh? Okay. And he was using, you know, D minor, huh? Mm-hmm. So the D minor, the 20th piano channel, you have the representation of anger there in the D minor part. Okay? Okay. But, you know, towards the end, it changes to major key, huh? Okay. It's a beautiful piece, the D minor, you know, for the piano, it's a really, you know, kind of a moderate sadness, right? Oh. And gradually, at the end, it changes to kind of a tranquil joy, right? It's a beautiful way to change it. But things are going to the major, what, key, right? Mm-hmm. And if you study, you know, some of these things, I'm not a, you know, musically educated person, but, you know, like, if you study a little bit the structure of the opera, of the, say, the piano concertos, there's, like, kind of a beginning, middle, and end, like, say, in the first movement. And in the development there, there's a turn to the back, right? Oh. And the melodies that came before were in the major key, they come back in the minor key, right? Yeah. Yeah. Yeah. Yeah. But now there's a tendency, not only, you know, to use the major key for those emotions. Yeah. And the minor key for these emotions, there's also tendency in Mozart to use certain keys more for his concupisable joy, right? And other ones for boldness, hope, right? So a march is going to be likely in D major, right? Or C major, right? What's a certain feeling for these keys, huh? But a love aria might be in G major or V flat major, right? And E flat is sort of in between, huh? So there's kind of a sensitivity in Mozart for the keys, right? But you're representing in those, what, pieces, the emotions, huh? Kind of the best, one of the best little essays, if you have ever a chance to see it there, by John Osterly, huh? He taught art college and he taught Notre Dame. Logician. Until his death. He wrote the logic book that became kind of a bestseller, right? Logic, the art of defining reasoning. He's also gifted musically, right? And he had left the College of St. Thomas before I got there. He had some conversations with him. But my brother Richard and my cousin Donald, they had his chorus on the poetics and so on. Oh, wow. And I used to sit down at the piano and show them how Mozart's piece was put together. Oh, wow. That the whole pieces would be getting middle and end, that each part would be getting middle and end. Yeah. And most people can't, you know, follow some tarot. Yeah. I remember seeing a book on the Nozzi di Figaro, which is the name of Mozart's, one of his five great operas, The Marriage of Figaro. And it's probably the head of the graduate school there in Chicago, their music, you know? But the whole opera, like the Nozzi di Figaro and Don Giovanni, the whole opera is within one of these keys. It doesn't mean you stay at just that key, but you start at that key and you come back to it at the end. The whole thing has harmonically a beginning, middle, and end as a whole, the whole opera. And then each part has a beginning, middle, and end as a whole. It's perfectly worked out. It's absolutely amazing. You know, but you have a sense of what he's doing when you listen to the thing. So Mozart, but anyway, Asst. As I mentioned, Asst. Asst. Asst. Asst. Asst. Asst. Asst. Asst. And it's about how the music of the 18th century, the Baroque and then Mozart and Haydn and so on, is superior, right, to the music of the Romantic period. Because in the Baroque period and Mozart, you represent the emotions in a way that's in harmony with reason. And you rule the emotions the way a father rules a son, not the way a tyrant rules a slave, right? Um, so the emotions get their play, but they're moderated by reason. But the one thing the Romantic would not allow is what? Um, the subordination of emotions to reason. Um, and you can kind of see that in the, in, you know, the kind of something, you know, romantic, you know, like, you know, Tchaikovsky would be out trying to drop himself, you know, because some woman and so on. And we had the letters of Tchaikovsky, you know, he would go to listen to Mozart because he was trying to escape from all the turmoil of the 19th century, right, in his own, his own life. So, um, I also had some articles, too, during the Bicentennial back, the original, first Bicentennial back in 56, right? That's right. Yeah, the birth of Mozart, you know, some of the nationalizing. But, uh, that was kind of a thing that influenced me a lot, to listen more to Mozart and Romantic and so on. Let's call it Towards an Evaluation of Music, and it talks a little bit about, uh, what music is and, uh, how some music is better than others. And, uh, I don't have it, but Leigh made a collection of texts of the ancients as to the importance of music. And I noticed, you know, Thomas himself in the commentary on the Gospel of Matthew, you know, where Christ is saying, you played this and you didn't dance, you know, and he says to me, he writes about music, and he says, nothing so changes the soul of man as music. And he reads, you know, how Hitler, you know, used music, you know, it's kind of frightening to see how powerful, huh, music is. And, of course, the great poets like Homer represents that with the sirens on it. Mm-hmm. Mm-hmm. You know, the music of the sirens is so persuasive, you know, that you want to go hear it, and then before you know it, your ship crashing on the rock, and that's into you, right? Mm-hmm. And Odysseus knows, you know, the danger of this, right? So he has everybody, what, put a wax in their ears so they can't hear it. Mm-hmm. But he decides he wants to hear it, right? But they have the mast of the ship, so what he has them do before they get to the, before they can hear it, they have, they have them tied into the mast like this, right? Mm-hmm. You know, release me, or, you know, let's, you know, don't do it, but get more rope and time to eat a tiger. Mm-hmm. He doesn't have to do that, right? Right? You know, Homer's representing there how powerful music is, right? That despite all the wisdom and the, you know how Odysseus outsmarts a lot of people and things and monsters on the way back, you know? You know, but even a man as wise and crafty and, and as the great Odysseus, huh, he would be done in by, what, music, huh? And Shakespeare talks about, you know, how music can provoke good to bad or bad to good, huh? Um, Dryden, you know, has a poem there, The Ode on the Feast of St. Cecilia, that's the patroness of music. And it's about Alexander the Great, huh? Mm-hmm. And he's at the big feast there, and they're playing one kind of music, kind of martial music, you know, and he's back, he's in battle, almost, you know, and that kind of, you know, presence he must have had as a soldier, right, you know? And then all of a sudden the music changes to wear amorous, and he's putting his arm around the girl, and he's, you know, and stuff. But he's like just putty in the hands of the, what? Musician. Musician, yeah. And, you know, during the American War of Independence, he used to go around, you know, and play some of these, you know, and build martial things, you know, and the young boy in the village, you know, wants to join up, you know, and, you know, this sounds like the thing to do, huh? I remember, you know, I used to play, you know, when the kids were little, I'd play some marches, you know, some nice real English marches and so on, and, you know, and march around the house, you know, and so on, you know, and I want to be a hero too someday, you know, and so on. So, and, and sometimes I listen to marching myself, and I was a little boy, I used to try to find marches on the radio all the time, and even now I like to hear marching once in a while, and I say it feeds my delusions of grandeur. You use John Landon. And sometimes I'm tired of worrying, or we're just willing to put the marches on, you know, and my wife comes over, or something like that, and says, oh, you're one of those moves, she said. So, even though, you know, I kind of laugh at myself doing this, you can see how this music is very good, you know, it really, really influenced you a lot, and you hear some of the, the music, the marching music with the Nazis' heads, you know, it really is, it really gets you into the mood, you know, and it doesn't make a Nazi idea for a while. I mean, it's really, it's got something to it, yeah. And even, you know, Mozart's music, you know, Masonic music, you know, which, that's really kind of, you know, they really get kind of, you know, carry away with that music, you know, so you see, you realize how powerful a thing music is. And, uh, but Cindy, I used to say that persuasion, which literally means through the suite, huh, but persuasion is found first in music, he says, and then in fiction. And last in rhetoric, yes. And one thing you notice about music, you know, this common observation that if somebody's humming a melody, you know, for a while, and stops, someone else starts humming it. Sure. And, you know, or if you hear, you may have a melody you particularly like at all, you see, but just, you know, someone else's been humming it, you notice that? Mm-hmm. And you'll find that, uh, we're taken over, in a sense, by that music. What, did you know enough about music to explain what the difference is between a major and a minor? No, I wouldn't try to get a reason why, you know, but I say that this is so, right? Yeah. That is around, I don't know, sometimes they broke it, that they really saw that the minor key is more suitable for certain emotions, huh? Uh, and the major key is suitable for the other emotions, huh? Mm-hmm. So joy, hope, and boldness, huh? Confidence, boldness, uh, is more suitable represented in the major key. Now, it doesn't depend just upon the key, it depends upon the rhythm and so on, right? But other things being equal, the major key is more suitable for that. And for sadness, or for anger, or for fear, or despair, right, huh? The minor key. And then, as they say, there may be... Especially in Mozart, who's kind of amazing if they compare Mozart, say, you know, Haydn is very close to him in some ways, but Haydn will go from one key, modulate from one key to another, kind of like an exercise almost, you know, style. But Mozart's always more significant when he goes from one key to the key. He wants to say something, right, huh? He wants to represent things a certain way, huh? The same way when Mozart uses, you know, counterpoint and things of this sort, huh? It's not just a style like it is for the Baroque period, you know, but he wants to represent a certain intensity of emotion, right? A certain depth, and he does it. So Mozart is much more moderate in his use of keys than Haydn is, huh? But it's always much more significant when he does it. It's like, you know, Shakespeare there, you know, where just in a few words he gets a whole mood or a whole scene set, huh? And Mozart is just in a few things, you know, huh? You know, he does things that you could miss if you don't hear it carefully, huh? Carefully. It's absolutely amazing what Mozart does with music. But in general, I'd say the 18th century is superior to the 19th century, maybe the 19th century is superior to the 20th century in terms of, you know, some fine music and the rest of it, huh? Of course, you see the composers of the 19th century looking back to Mozart and seeing that they, you know, what they lost, you know? Mm-hmm. And you see, you know, you know, it's his name, Tchaikovsky, you know, reading the Mozartian you know, in honor of Mozart, you know, they'll take it, or Chopin would take, like, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky, Tchaikovsky. He says, you know, he didn't even do this, you know, he's just, he's just overwhelmed, huh? And when the French composer says, when he hears Mozart, all my ambition turns to dust, you know? Oh, yeah, yeah, yeah. That sort of a thing, you know? Mm-hmm. You know? Mm-hmm. Wow. Of course, Haydn, you know, is the first, you know, man to make your, you know, definitive judgment, right? He, when he heard, uh, Mozart's quartets, he later on dedicated to Haydn, he says to his father, you know, you know, as an honest man, I say to you before God, right, to your son, he's the greatest composer known to me, right? Mm-hmm. You know? He saw how great Mozart was. Mm-hmm. It's kind of marvelous to see that, huh? Sure. I actually give the, there's a few examples, you know, of the older man from what the younger man learned, but he's going to surpass the ever man. Sure. You know, Albert the Great recognizing that Thomas is going to surpass him. Sure. You know? And he arranged the debate between himself and Thomas, which Thomas won in front of everybody. Oh, wow. He says, this guy you call the dumb ox, his belt will be heard around the world. See? And Plato's supposed to have come into the school one day and Aristotle was there and not anybody else. He says, well, the mind of the school is here. You see? And I like to think that that's, you know, that that's an anecdote, but I mean, you know, that this is the way Plato was, you know? It was none of that envy that you have in the academic world, you know? You know, the proud are always disputing among themselves, you know? But you see the same thing with Haydn and Mozart, huh? You know, Mozart originally was, what, learning from Haydn, and then he surpassed Haydn, and Haydn knew he had surpassed him, right? At the end of his life, Haydn is imitating Mozart. It's like Albert the Great, you know, who lived, you know, into his 80s, and Thomas had died at 49, so at the end of his life, Albert the Great is going down to Paris to defend the teaching of Thomas Aquinas. You see? I think that's really marvelous to see that, huh? To see. Yeah, yeah. You don't have that much, you know? It's kind of funny, you read some of the modern philosophers, you know, where this guy was going to be the great pupil so-and-so, and then they're fixing it all, and he's got their own system, and it's just pathetic, really, huh? It's kind of interesting because in Scripture, you know, that Jesus says that a pupil never surpasses his teacher, yet these great minds were humble enough to say, no, that's not true. There are pupils that surpass me. Yeah, yeah, yeah. But it's good to see that, you see? Mm-hmm. That's what I like about Washington Irving, who I think is a very good writer, you know? Washington Irving, you know, replaced Addison as the master of English prose, huh? And he became the world figure, you know, even Japan. If you want to learn correct English, you study Washington Irving. But the end of his life there, you know, Washington Irving said to his nephew, who was helping him, you know, gather his papers and so on, you know, it's really idle for us to boast of anything with Shakespeare in mind. So, you know, Shakespeare said it all, right, huh? You know, Shakespeare said one or two others, that's it. You know, the rest of us, they'd like to really brag about it, you know. And I think that's Marx, right? And he's famous enough that he's the first American author really to get acknowledged around the world. And they still call that the age of Washington Irving, huh? That first period in our literature. But he just recognized, you know, nothing compared to Shakespeare, right? You know. Kind of marvelous to see that, huh? But a good humility, I think, you know, just recognition of that. But the Baroque, which is very good, too, go listen to Correlli, huh? You know, you ever been to the Pantheon in Rome? And they buried Correlli in there, right? That's quite an honor, huh? Buried the Pantheon, you know. When I hear the music of Correlli, you know, I always say to somebody, you know, how right they were to bury him in the Pantheon, right? You know. He released these, you know, pieces only when they were perfected, right? And really, really, really just perfected. And I figure I've been a little disordered in my life, you know, I put a little bit of Correlli on and I rectify it just by listening to Correlli. No, but I mean, it's terrible the correction of music nowadays, what it's doing to kids, huh? Well, rap doesn't even have a rhythm to it. Same, Holy Spirit, didn't you? So we're beginning question 78, huh? Let me read Thomas' little premium there, huh? Then he says we're not to consider about the powers of the soul in particular or in special. Now he says to the consideration of the theologian, huh? It belongs to the consideration of the theologian to inquire in particular only about the, what? Intellectual powers, huh? And the appetitive powers in which the virtues are, what? Found, huh? Okay? But because the knowledge of these powers in some way depends upon others, right? Therefore, our consideration of the powers of the soul in particular will be three parts, huh? Into three parts. For first, we will consider about those things which are, what? Preambles, huh? You heard that word before, right? Preambles to the faith. Things that, what? Walk before. Yeah, literally, yeah. That are preambles to the understanding. Secondly, he's going to talk about the intellectual powers themselves. And third, about the, what? Repetitive powers, huh? The desiring powers, huh? But, about the first, four things are sought. And first, about the genera of powers of the soul. Now, you know what a genus is, don't you? It's a general kind of thing, right? So, these five genera of powers are going to distinguish under each, what? There will be a number of particular kinds of powers, right? Okay? And he will be distinguishing them eventually. Now, this is what Aristotle did, if you recall, in the second book about the soul. After he had defined the soul, right? Then he took up and distinguished the five genera of powers. Okay? And then he took up the powers of the living soul, or the feeding soul, or the vegetative soul, if you want to put it that way, right? And Thomas will, in the second article, talk about the three species of the plant part, right? Okay? And then he'll talk about the exterior or outward senses, seeing, hearing, smelling, tasting, touching, in the third article. And the fourth one, he'll talk about the, what? Interior senses. And he'll be more complete talking about the interior senses than Aristotle is in the, what, third book about the soul. Although Aristotle talks about them some more in the book on memory and reminiscence and so on. Okay? Now, of course, in Aristotle, the consideration of the, what, of these three in particular, they'll be in the second, third, and fourth article, is more lengthy, right? Now, okay, then Thomas will be here. But there is the exception there that with. The interior powers, Thomas goes a little bit more into it, with the help of the Arab philosophers too. Now the first article, whether the five genera of powers of the soul should be distinguished. To the first one proceeds thus, it seems that there are not five genera of powers of the soul to be distinguished. Namely the feeding parts, right? The sensing part, the desiring part, the part that is motive according to place, and the intellectual part. Now you notice the order in which those five are enumerated? Yeah, in a way, yeah. And in particular you could say the vegetative powers are found in the plants and the animals, right? And in man himself, but they are all that the plant has. And the sensitive one is something that the beasts have, as well as man, but the plants don't have that, right? And the appetitive powers, well there are some falling upon having sense, others will be falling upon having understanding. But he puts it here at third because there's going to be some kind of desiring power falling upon the existence of sense. And then if you have the higher powers, the higher senses, the senses are no exterior things like seeing and hearing, and you desire things that are a distance from you, then you have this next power coming up, which is to move from one place to another. And not all animals have that, because there's some low kinds of animals that seem to be almost like plants in the ground and the ocean there, right? And they don't move from place to place, and their food comes to them with the movement of the water. But man has all of those plus the intellectual powers, huh? Now, of course, if you recall, in logic, we had the rule of two or three, right? And this, of course, would seem to be an exception to the rule of two or three, right? Okay? But nevertheless, two or three does sometimes come up in talking about the powers of the soul, like in the first objection, right? For he says, the powers of the soul are said to be its parts, huh? Sometimes they call it potential parts, huh? Parts of its power. But there are three parts of the soul commonly assigned by all. Namely, the, what, living soul, you could call that the vegetabilis soul, because life is first found, what, in those powers. Yeah. The sensing soul, right? And the reasonable soul, right? The rational soul. So, Aristotle, and others following him, distinguish just three souls, huh? The plant soul, and the animal soul, and the human soul, huh? So, should we divide the powers into three, according to these three, huh? Therefore, there are only three genera of powers of the soul, and not five, huh? Okay? There is somebody trying to get back to three, right? Now, sometimes they divide the powers of the soul into two. And the distinction that they make there is between whether the power acts upon the object, or the object acts upon the power. Uh-huh. Okay. So, among those five genera of powers, in the sensing, and intellectual, and the desiring powers, those three, they are, originally at least, right, acted upon by their objects. Oh, yeah. But the living powers, the vegetative powers there, and the one that is motive according to place, they seem to be powers that act upon their, what? Object, right? Like the power of digestion acts upon food, and so on. And you're active there, and moving from one place to another. So, here's one way to divide the powers into two, and sometimes Aristotle or Thomas do touch upon that, but at the place where they're formally distinguishing the powers of the soul, they usually divide it right away into these, what, five, huh? Okay? Now, the second objection. The powers of the soul are the sources of the operations of life, but in four ways something is said to live. And these are sometimes called the four grades of life, huh? For the philosopher says in the second book about the soul, huh? In many ways, huh? To live being said, although one of these exists in something alone, we say that it lives, if it's just one of these. It has intellect, and sense, and motion, and rest according to place, and motion according to food, and then growth and, or decrease in growth, right? Yeah. Okay? Sometimes they distinguish four grades of life. See, they'll have the plant life, and then those animals, right, that don't move from place to place, that kind of resemble plants, but aren't really plants because they have sensation, and they'll feel pain if you stick them with a needle or something. Yeah. And then you have the animals that move from place to place, and then finally you have the human life, right? Yeah. Okay? Well, there's a reason why there's only four grades of life, even though there are five powers, and that's because at least one of the genre of powers, the desiring powers, always follow upon the knowing powers. So the sense, desire, falls upon sense, and the will falls upon reason and understanding. So since it always accompanies that power, it doesn't give you a separate grade of life, though. You don't have some animal, in other words, that has sensation but not desire. Sense, desire, right? Desire for what is pleasing to the senses. You don't have someone who has an understanding but no will. See? So the appetitive powers go with the sensing or the understanding powers. They accompany them, so you don't really have a separate, what, level of life, corresponding to them. Do you see that? See? You can have the plant powers all by themselves, without sensing powers like you have in the plants, right? You can have the, what, plant powers and the sensing powers without motion from one place to another, as in these little forms of animal life that seem to be affixed to the floor of the ocean and so on. And you can have the plant powers and the sensing powers and the power to move one place to another without having understanding or reason. And then finally, you have man who has all of these that we've mentioned, plus the ability to understand that. So I was touching upon those four there. Therefore, there are only four general powers of the soul, the desiring power being excluded by this. But it's not really excluded, it goes along with or follows upon the acting of this one. Moreover, to that which is common to all powers, one ought not to make a special genus of the soul. But to desire belongs to every power of the soul. For sight desires what is suitably visible. Hence, it's said in the book of Ecclesiastes, chapter 40, verse 22, the eye desires what? What is gracious and beautiful, right? And so on. And it's for the same reason, every power desires an object, what? Suitable to itself. Therefore, not to lay down the desiring power as one special genus of powers of the soul. And notice, we even speak of plants as liking something, right? Oh, yeah, yeah. You go to the nursery there, you know, and you're getting a plant, and they say, well, this plant likes a lot of sun. Right, yeah. Or this plant likes the shade, you see? So we do speak of what? And seeking something suitable to them, right? Sure. And there's some, you know, trees that really want water, you know, and they'll get around your pipes and everything, you know, it'd be a problem, I guess, some of these southern trees. Thank you. Of course, Aristotle, if you recall, even speaks of matter desiring form. But all he means is that matter is order to form, it's perfection, it's completion. Moreover, the moving principle in animals is sense or understanding or desire, as said in the third book about the soul. We saw that, those of you who were with me, when we did the third book on the soul. So the animal sees something and he desires it, and this is behind his moving towards it, right? And therefore, this wants to exclude the power to move the body from one place to another as a separate genus to desire and sensation. But now against all this stuff is what the philosopher says in the second book about the soul. The powers of the soul we call the what? Living powers, the sensing powers, the desiring powers, the motive according to place, and the intellectual powers. It's the same word you had at the beginning of the article. Notice that, right? Now, Thomas here, in the very first paragraph here of the response, he distinguishes a five, a four, and a what? Three, huh? Oh, yeah. See? And I playfully, huh? He points to the fact that you're a doctor, right? Oh, yeah. A three, four, and five, with regular numbers, huh? Is the first sides of a, what, right-angle triangle, right? So if you had, say, three and four, and this is a right angle, what would the last one be? Five. Five, yeah. So it's kind of a little mnemonic device that I have, right? So nine and sixteen are twenty-five, right? Okay. And this is one place where it's three, four, and five come up. It's kind of nice to remember them because it's very important, like that. But they're related geometrically, huh? In this way. But you have something like that when you study the Trinity, huh? Because they have five notions, four relations, three persons. And you have to understand, well, why is there only three persons when there are four relations, huh? And why, if there's only four relations, are there five notions to make known of these things, huh? You're not going to talk about the Trinity today. If I just mention that three, four, or five, we'll come back there, right? Okay. And here, the question is, why do you have three souls, four grades of life, but five genera of powers? Okay. Well, the distinction is a little bit different, right? The reason why you say there are three souls, and the reason why you say there are four genera of powers, and the reason why you say, excuse me, four grades of life, and the reason why you say there are five genera of powers, right, is what? Different somewhat, right? But there's a connection, right? Okay. Okay. But why do you, why does the five genera of powers, after all, the five genera of powers is the way you know the souls, eventually, right? Because as Aristotle taught us, and Thomas has reputed in the earlier articles, we know the soul to its powers, the powers through their acts, and the acts through their objects, right? Okay. So the question is, how do you get from five down to what? Three, right? I see. Mm-hmm. Or why from five do you get down to four? Mm-hmm. Say genera, the four grades of life, but only down to three souls. Mm-hmm. And that would be an analogy to asking about the Trinity. If there are five notions, they call them, thoughts making known the Trinity in some way, right? If there are five thoughts making known the Trinity, why are there only four relations? If there's four relations, why are there only three persons? Why that five, four, three, right? Why not put an experiment today? But here we want to see why five kinds of powers gives you only four grades of life, and four grades of life, unless there's only three, what, souls, okay? Well, it's probably easier to see why five general powers gives you four grades of life. And the reason for that is that one kind of power, the appetitive or desiring powers, always accompany the knowing powers, okay? So if you have sensation, you're going to have one kind of desiring power, what they call the sense desire, you know? And if you have understanding, you're going to have another kind of desiring power, which is called the will, right? So it's not going to constitute a separate, what, grade as you go up a level, right? So you can have the living powers, the power of feeding yourself, the power of growing, reproducing, right? Without having the sense powers, right? But nothing has the sense powers without having, what, the living powers, okay? But you can have the sense powers without having the power to move from one place to another, at least the lower senses, like touch, right? Okay? But you don't have the power to move from one place to another without having sensation, see? So that's a little higher stage. But you can have the power to move from place to place without having understanding, right? But the living bodies that have understanding, right? They have all the little ones, huh? But the desiring powers don't give you a separate, what, level, because they're going to follow upon or accompany the knowing powers, right? You see that? Okay? So sensation, huh? If you can sense, huh? Then you can have pleasure or pain, huh? It's like this one is either in agreement, right? Or not, huh? So they stick a pin in one of those kind of plant-like animals there, right? They will retract as if in pain, huh? And if something, you know, if the water comes into contact with them, they will, so we're surrounded, right? Grab it, so to speak, huh? Okay? So if they have sensation, they're going to have some pleasure or pain, and therefore something like desire, right? Okay? And Afortziori, if you have reason, you're going to have some kind of desire that's tied to reason, the ability to choose the will itself, see? But having sensation, at least a sense of touch, isn't automatically followed by the ability to move from one place to another, see? That's going to give you a constant separate grade of life, yeah. Some may not think Afortziori means that you just used. Yeah. Can you explain briefly what that means? Even more so, right? Yeah. You know, if someone says, if fornication is bad, then even more so is what? Indulatory. Yeah. It's stealing, you know, your book is bad, right? Afortziori, stealing your what? Taking your life. Right? Okay? There's these places that you have in dialectic, you know, where if something belongs where it's less apt to belong, it'll belong where it's more apt to belong, right? Oh, yeah. I see. In other words, if fornication is bad, then you can argue with that adultery must be bad, right? If stealing is bad, then murder must be bad, right? Yeah. You see? But you couldn't argue the other way around, right? Because murder is more apt to be something bad than stealing, right? Right. Or adultery is more apt to be something bad than fornication, right? Mm-hmm. Okay? So if you say adultery is bad, you're not forced to say that fornication is bad. But if you admit that fornication is bad, then even more so when you say that adultery is going to be something bad, huh? Do you see that? Mm-hmm. Okay? So it's not too hard to see. Do you see why five genera powers give you only four levels of life or four grades of life, huh? Do you see why that's so? Huh? Because one of the five genera always accompanies one.