Love & Friendship
Lecture 1: Love as Giving and Undergoing: The Paradox Reconciled

Transcript
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In the name of the Father, and the Son, and the Holy Spirit, Amen. God, our enlightenment, guardian angels, strengthen the lights of our minds, order to illumine our images, and arouse us to consider more correctly. St. Thomas Aquinas, Angelic Doctor, help us to understand what you have written. In the name of the Father, and the Son, and the Holy Spirit, Amen. If you look at the title I've given to these quotes on the first two pages, you'll see it says, Loving and Giving. But then the title on the third page, right after that, into the last quote there, is Love is a Passion or an Undergoing. And there's a paradox there, right? Because giving seems to be the opposite of undergoing. Undergoing is a receiving, right? So if the carpenter comes to the wood, he's the active one, right? And the wood undergoes, huh? The wood is acted upon. And so, the active one, you could say the carpenter in this case, he gives to the wood, right? A shape it didn't have before, right? And vice versa, the wood receives a shape it didn't have. Well, what is loving? Is it like the carpenter, a giving, right? Or is it like the wood there, a receiving, okay? And these quotes will indicate there's an element of truth on both sides, right? But how can it be both, right? When they study the soul and philosophy, they say some powers act upon their object, like the ability to digest your food, huh? I crunch my food, I chew it, I have, they tell me chemicals in the air to break it down and so on, right? Well, if my ear, and my senses in general, I'm acted upon by the object, huh? Well, does love act upon its object, like the ability to digest acts upon food? Or is the heart acted upon by what it loves, like my ears are acted upon by sound? Well, it seems a bit of both, I mean, but how could you say both, right? Okay? So let's look at the bit of truth that there is on both sides, apparently, opposite sides, right? And then later on, try to say, how do you reconcile these two things, right? Okay? But let's see the truth on both sides. Now, all your knowledge of love begins with your experience of love, right? Whether it's your mother's love or whatever love you've experienced in your life, right? And we're going to go from your experience of love, which is individual and kind of unique to you, right? To Thomas Aquinas' consideration of love, which is completely universal. And one way you can go that great distance is to go, to some extent, through the poets, huh? Because the poet, in a way, represents the universal, singularized, huh? Or the singular, universalized, huh? Like in Sophocles' great play there, Oedipus, huh? When Oedipus falls, the Greek chorus comes in like kind of a commentary almost on it. Instead of saying, O Oedipus! No, it says, O you generations of men! You miserable race, in other words, huh? But you see something universal, the human situation, in the downfall of what? This great man, Oedipus, huh? Likewise, when you see, say, Roman and Juliet, you don't think of a historical pair of lovers in 14th century Verona, but you say, this is young lovers, huh? And so you see something universal in the representation of the poet. That's why Aristotle says in the book about the poetic art that good fiction is more philosophic than history is. Because history is about the singular, the individual. Philosophy is about the universal. But the poet is more interested in the universal than just in the, what? so, so, so, He wants to see something universal in this man, right, or in this situation. So this is the famous garden scene, you know the story of Romeo and Juliet, huh? And he's met her at the party, at the father's house, and then he climbs back over the garden wall, right? And he's in the garden there, but she doesn't know he's there. And she comes out on the balcony and speaks her thoughts to the moon or to the night, and he realizes that she loves him, and then finally he comes forward, right? And there's a mutual declaration of love and so on. And Juliet says to him, in part of the conversation, What satisfaction canst thou have tonight? And Romeo says, The exchange of thy love's faithful vow for mine. And Juliet said, I gave thee mine before thou didst request it. She already confessed her love, he might say to the thing. And yet I would it were to give again. I wish you could give it again. It's so delightful to give that love to him. Romeo says, kind of playfully, Wouldst thou withdraw it? For what purpose, love? And she says, But to be frank. Now frank meant originally what? To be free. Okay? Now you know if you take a stone and you throw the stone, you were free to begin with before you threw it, right? But once you've thrown it, you've lost what? Control of it, right? Okay? So when she's given her love away, she no longer has it, right? And she seems to have lost her what? Freedom, right? Okay? And incidentally, there's a connection between the word what? Free and the word friend, huh? And friend goes back to an old Anglo-Saxon word that means to love, freeogin, huh? There's a connection between freedom and love that you see also in charity, too, huh? So the word franklin, like in Benjamin Franklin, that originally meant, what, a free man? Like you said, you see it in the name, last name, Freeman, huh? Governor Freeman in our state, right? Or franklin means a free man. So she wants her love back, she says at first, to be free so I could what? Give it again, right? Right? Okay? And give it thee again, right? And yet I wish but for the thing I have. My bounty is as boundless as the sea. My love is deep. She's saying there's something infinite or unlimited about my capacity to love. I can always love what? You more, right, huh? So even though I've given you my love, I can still what? Give it again without taking it back because I have, what, an infinite ability to give love, huh? So she compares it to the sea, right? Which seems boundless to us, huh? The more I give to thee, the more I have, for both are infinite. Okay? That's what he emphasizes that love is a giving, isn't it, right? Okay? But you can always give, especially God, more love, right, huh? Okay? So love is a giving, right? Now, and as you like it, one of the love and friendship plays of Shakespeare, Rosalind, who's fallen in love with Orlando, huh? She's talking to her cousin, right? Oh, cuz, cuz, cuz, my pretty little cuz, that thou didst know how many fathomed deep I am in love. Again, the ocean, right? Did you read that description in St. Therese of Lisieux when she first sees the ocean and reminds her of God in some way, right? The way St. John Christian speaks, you know, of the Pelagusa, the infinite extent of God, kind of metaphorical, right? And of course there's the famous, what, scene of Augustine there trying to put the ocean, that little boy trying to put the ocean into that hole, right? But it cannot be sounded, huh? My affection hath an unknown bottom like the Bay of Portugal. Must have been famous for the deep thing, huh? Used to go on vacation to a lake in northern Minnesota. They can never find the bottom of it. They always get longer and longer things to find the bottom than you ever find the bottom of it. I don't know how to give it a word, though, but... Okay. So this is the famous Bay, I suppose, huh? But again, she's talking about how much love she can, what? Yeah, forgive. Yeah. Yeah. Yeah. Now, in the famous scene from Anthony and Cleopatra, a more decadent form of love, right? You can still see the same point. She's kind of being playful there. If it be love indeed, tell me how much? How much do you love me? And Anthony says, there is beggary in the love that can be reckoned, if you can see how much it is. And Cleopatra playfully says, I'll set a bourne, a limit, right? How far to be beloved. And he says, thou must needs find out new heaven, new earth, right? All love I have for you, huh? Now, I don't know if you know the play, All is Well That Ends Well. But Helena has fallen in love with the count, the only son there of Bertrand's name, right? And the countess, the mother, suspects that Helena loves what? Her son, right? But Helena is the son of a medical doctor. She's a kind of a, you might say a commoner, right? She's not nobility, right? So how can she possibly marry a count? It's a hopeless thing, right? And in this particular scene, the countess kind of confronts her, although the countess really likes Helena very much. But she confronts her and kind of forces a confession from her that she, in fact, does love her son, right? And these are the words of Helena, right? But she confesses her love. Then I confess here on my knee before high heaven in you that before you in an extent to high heaven I love your son. Shakespeare can't help but pun on what? The first and the fourth senses of before. Remember that passage from Shakespeare? He says, the agitation to use reason, right? Where he defines reason as the ability for large discourse looking before and after. And we usually give you that passage from Aristotle where he explains that the first meaning of before is before in time or before in place. And then the second sense of before is in being. The third sense is before in the discourse of reason or in our knowledge. And the fourth sense is what? Better, what you love more, right? He's punting on the first and the fourth senses here. Because she's kneeling before the countess and that's the first sense of before. But now she's saying, more than you, before you. And right after high heaven, right? Meaning God. I love your son, right? Okay? Now, my friends were poor but honest. So is my love. Be not offended, for it hurts not him that he is loved of me. Now, does that show that love is a giving? It doesn't, does it? Now, if anything, you'd say, she could love him without him knowing that she loves him, right? And then does her love affect him at all? If anything, she's affected by him, right? But that's the thing we're going to be emphasizing in the later quotes here. But she'll talk about giving in a moment, though. I follow him not by any token or presumptuous suit. Now, it would be presumptuous for her, a commoner to court the count himself, right? He's going to marry nobility, huh? Nor would I have him, till I do deserve him, huh? Yet never know how that desert should be, huh? I'll never pursue your son, huh? I know I'm not worthy of him, and I'll never do so, until I'm worthy of him, and I don't say I could ever be worthy of him. I know I love in vain. Now, why does she say that? Well, when you love somebody and she loves Bertram, you naturally want this person to, what? Return your love, right? Okay? And it seems, in this case, it's impossible for the count to return the love of this commoner. You see the idea? And therefore, she seems to, what? Love in vain, right? I strive against hope, right? How can I ever hope to marry this man? You still do that in the society, right? You've got to realize, you know, the situation, right? Yet in this captious and untenable sea, the sea you're pouring water into a sea, right? I still pour in the waters of my love and lack not to lose still, right? So she's pouring out all this love for this man that apparently in that society would never, what? Return her love, right? Okay, then she says to the mother again, Let not your hate encounter with my love for loving what you do. But if yourself, whose aged honor cites a virtuous youth, did ever in so true a flame of liking wish chastely and love dearly, that your dian was both yourself and love. Now love there is what? This is being said in terms of the gods and goddesses, right? So love here would be Venus, right? So Venus is known for the, what? Her Aphrodite, known for intensity, you know, the vigor of her love, right? While Diane, or Diana, right, is known for her, what? Chastity, right? Okay? And so she's saying she combines both of those, right? She has the chastity of Diana, but the intensity of the love of what? Venus, whom she calls love here, right? Goddess of love. So she's going to continue to love Brutum intensely, but she's never going to do anything unchaste, right? She's going to be modest, right? She's assuring the compass of that. But there's something pitiful now about this woman pouring out this love, right? That apparently this man will never return, right? Oh, then give pity to her, right? Whose state is such that cannot choose, but lend and give. There's the word give again, right? Where she is sure to lose, huh? That's very interesting the way Shakespeare couples, those, to lend and give, right? Because sometimes giving in the strict sense, where the giving is a gift, right? You don't expect anything to return, right? But when you give something to somebody and expect that or it's equivalent or something in return, then you are, what? Lending it, huh? My father-in-law would lend me a tool. He'd say, man, you see what it says right there? And I'd say, what else in there? He'd give me his name, right? Like he wants this tool back, right? He's not giving it to me, but he's, what? Lending it, right, huh? Okay? I think it's beautiful the way Shakespeare says it, right? Because when you give love to somebody, hoping that they will return the love you give them, you might be said to be, what? Lending your love, huh? And it's kind of interesting the way we speak, because we say, I return your love, right? What does that mean? It doesn't mean you're giving back the person's love, you're keeping their love, right? But you're giving your love in return for that, right? But we don't say it, do we? We say it like, I'm returning your love. So it's like you lent me in your love, and I'm like, you know, you're giving me the love I gave you back again. But it really is not the same love, is it? I love you and you love me, right? I think the way we speak is very interesting, right? And Shakespeare's use of the word lend there lends itself to that, right? Oh, then give pity to her whose state is such that cannot choose but lend, and give where she is sure to lose. She's bound to lose, right? If he never overturned his love. That seeks not to find, their search implies. You can actually give this love to somebody seeking to get to love in return, but apparently no hope, right? But riddle-like lives sweetly where she dies. Now, if you ever read the play, you'll see what happens, right? It's a very interesting play, huh? Very interesting play. But again, I'm taking it to the idea of giving now, right? Now, in this passage, from thomas from the summa theologiae this is the treatise there on the trinity right it's in the treatise in the trinity of the prima paris it's not for the trees on love but he's talking about the father and then the son the holy spirit and he's talking about the names of them right so he talked about the son being called the word being called the imago dei and so on right well one of the names of the holy spirit is donum dei gift of god now why is the holy spirit given the name gift of god well thomas is going to make uh point out the reason for that that the holy spirit proceeds by way of love and there's this connection between loving and giving but he's going to point out a very important connection between the two and that is that what every good thing i give you i give you because i love you okay every good the parents give the child right uh is because they love the children right and so the first gift that they really give in the child is what their love right so love has the aspect of being the very first gift of all and since the holy spirit proceeds by way of love then he's said to be the gift of what god right that really emphasizes very much for us christians the um connection between love and giving right gift as it is understood to refer to a person in god is a proper name of the holy spirit it's one of his names an evidence of which it should be known that a gift is properly a giving not to be returned or given back right okay we had someone in daily life the expression i'm giving you this right i don't expect any return right give it to you serious a giving not to be returned or given back according to the philosopher that's aristotle that is which is not given with the intention of being returned and thus it implies a gratuitous giving but love is the reason for a gratuitous gift for we give something gratis to someone because we wish good to him the first thing then we give to him is the love by which we wish good to him whence it is clear that love has the aspect of the very first gift with the emphasis there upon first right the adjective there to which all gratuitous gifts are given when since the holy spirit proceeds as love as has been said he proceeds as the very first gift of all whence augustine right the great grace of the church fathers here on the trinity whence augustine says in the fifteenth book on the trinity that through the gift which is the holy spirit many private goods are distributed to the members of what christ yeah of course the word grace has got the idea of being gratis too right and we always attribute appropriate to the holy spirit giving your grace of all the whole trinity gives grace but be appropriate huh to the holy spirit that huh now one interesting thing about this if you look at the two accounts we have in the gospels of the our father the our father um is taught in the gospel of saint matthew and the our father is taught in the gospel of saint luke and the one in in matthew is a little more complete there are seven petitions and luke and it's only five petitions but it's basically the same prayer and in the discourse that christ has about this prayer right um he wants to emphasize the father's love for us right and he'll use this kind of an a fortiori argument you know that you know if your son asks for a loaf of bread to give him a snake or you know and so on he asks for a fish to give him a stone but he says if you bad as you are know how to give good things to your children how much more so will your heavenly father right okay so he had that same kind of a teaching in both gospels huh but in matthew it says uh if you bad as you are know how to give good things to children how much more where your heavenly father uh know how to give you good things right right But in Luke, it doesn't say that. It says, give the good, what? Spirit. Yeah, yeah. But you see, this kind of explains that, right? The first thing he gives us, you might say, is his love. The first thing he gives, in that sense, is like the Holy Spirit. How big for we had love to. And then the other good things he gives us because of this love, right? Or what does it say in the other gospel where it says, God so loved the world that he gave his only begotten son, right? It begins saying, God so loved the world that he gave us his only begotten son, did a die for us, and he talked about eternal life and so on in the same passage. You see that? Okay. So you're all convinced now that loving is a giving, right? Okay. And therefore, it's more like the carpenter, right, than the wood, right? Right? But now, we're going to see the opposite of that, right? Love is a passion or undergoing, eh? Yeah? Now, passion is the Latin word for suffering, right? Okay? And the first meaning of passion in Latin is suffering, as we understand the word suffering, right? And then, in Latin, and the same thing with the Greek word, paphe, it's carried over from that reception that is harmful to you, that we call suffering, right, to a reception that changes you, right, and finally to just any kind of, what, reception, right? Okay? Now, the English word suffering seems to be somewhat stuck on the first meaning of the word, right? And so sometimes, I use the English word undergoing, which is more move beyond the first meaning, eh? But probably the first meaning of undergo is something bad, right? So if we say about somebody, he's undergone a lot in life, you know, he's been acted upon by a lot of things in life in a way that's painful or saddening or harmful to your right, eh? But then, anything they receive to be said to undergo, eh? Okay? So even the word undergoes something from the carpenter, right? And even my senses undergoes something from the sounds that act upon my ear, or the eyes undergo from the color that acts upon them, right? Even though undergoing in that sense maybe is kind of perfecting of the eye, because it sees as a result of being acted upon by color, right? And the ear here is by being acted upon, or as a result of being acted upon by this, right? So these passages now are ones taken from the poet, maybe elsewhere, too, to indicate that what? When you love, your heart isn't giving something to what you love. When you love, what you love is acting upon your heart. Your heart is undergoing, your heart is being transformed, right? By the object, eh? That seems to be the opposite of giving, right? There's a go-between for the king and the lady. And gracious madam, in our king's behalf, I am commanded with your leave in favor, humbly to kiss your hand and with my tongue, to tell the passion of my sovereign's heart, right? He suffers for you. He's undergone something, right? Where fame, entering at his heedful ears, hath placed thy beauty's image in thy virtue, right? So they've made an impression upon the king, he's telling you, right? Because we use that expression, that word impression, a lot in talking about love, right? So you go to the party and you say, you made a big impression upon her, or she made a big impression upon him, right? It's like he or she has acted upon him with the other's heart, right? So isn't loving and undergoing, receiving, being acted upon, huh? To Genome of Rona, huh? Now, Proteus is the great, what? Lover, but somewhat changeable in the play, if you read this great play. He's written some love messages to Julia, his betrothed. Loan! Here in one line is his name twice writ. Poor, forlorn Poetius. Passionate Poetius, right? Undergoing, suffering Poetius, right? Now, in Much Ado About Nothing, you have Beatrice and Benedict who are always kidding each other. And the other characters arrange for them to really kind of get closer by telling each of them that the other one is hopelessly in love with them and is going to die if they don't. So anyway, find this thing here. Poetius says, But for which of my good parts, for which of my good qualities, did you first suffer love for me, right? And Benedict picks up in the words, suffer love, a good epithet, a good saying. I do indeed suffer love, right? For I love thee against my will. Okay? So you don't seem to be giving, which would be like Julia said, free, right? This is the opposite of freedom, right? I suffer love. See what I mean? So isn't the heart being acted upon? Okay. Now, and as you like it, huh? Orlando is kind of down and out in life. In fact, his brother wants to get rid of him. And so on. And he decides to try his hand at the court against the king's wrestler. The king's wrestler, you know, has broken the bones and let people crippled, carried off the field, you know. And now, Orlando is going to challenge him, right? And of course, when Rosalind sees this, she's the exiled duke's daughter, right? She's concerned about this young man, right? And of course, he throws Charles, the wrestler, right? And so Shakespeare has the character to kind of pick up in this language of being wrestled and overthrown, right? So Rosalind says to Orlando after he's overthrown Charles, Sir, you have wrestled well and overthrown more than your enemies. That's a woman's subtlety, you know, not saying exactly what the effect has been upon her, right? But you've what? Overthrown my heart, right? You've overcome my heart. Actually, she's hinting that to him, right? Okay? And of course, at that time in the play, Orlando is too, you know, tongue-tied to say anything to her, right? And so a little bit afterwards, after she moves on, but she gave an opening, but didn't take it. It was just too tongue-tied. What passion hangs these weights upon my tongue was the passion of what? Love, right? I cannot speak to her, yet she urged conference, right? O poor Orlando, thou art overthrown. Thou art overthrown. So his heart has been overthrown too, right? Or Charles, that's the guy he wrestled with, or something weaker, masterously, right? It's an anti-grammatic thing, Shakespeare, instead of saying, either, or, they say, or, or. Instead of neither, nor, they'll say, nor, nor. You see that a lot, so this is an example, right? But we probably say, now, either Charles, or something weaker, meaning the weaker sex, masters thee, right, huh? Okay? So now it doesn't seem like his heart has been acted upon by her, and vice versa. The object loved, Orlando, has acted upon her heart and overturned it, right? Torned it, huh? Now, Cecilia is a good friend of Rosalind. Cecilia is the daughter of the duke who has usurped the throne, and Rosalind is the daughter of the exiled duke, huh? But they're very good friends. And Cecilia says when she sees that Rosalind has fallen in love with this commoner, and so on. Come, come, wrestle with thy affections, right? Again, you had that same metaphor carried on, huh? Oh, they take the part of a better wrestler than myself, right? In case you can't, it's even overcoming them, right? Now, in Midsummer Night's Dream, Helena is pursuing Demetrius, who won't give her the time of day, right? Now, this is not very ladylike to do, right? To chase after the man. And Demetrius is, you know, saying, get lost, I mean, more or less, but, you know, he's blaming her. She says, well, no, you're responsible for it. You draw... You draw... Me, you hard-hearted adamant, but yet you draw not iron, for my heart is true as steel. Well, he's like the magnet, and she's like the what? Steel is being drawn, right? So he's responsible for her running after him. See? She doesn't have any choice except to run after him. Doesn't that show that the lover is what? When the love has been acted upon, and moved by the beloved. So isn't love then not a giving, but a receiving? Leave your power to draw, and I shall have no power to follow you. It's all a part of the magnet, right? It's not the iron's fault. And Anthony and Cleopatra, during the famous sea battle there, Anthony and Cleopatra are fighting what? Octavius, right? And in the middle of the battle, Cleopatra loses her what? Confidence, and she turns around and flees the battle, right? And this jerk, Anthony, he turns around and pursues Cleopatra, right? And loses the battle, right? He calls her Egypt, because she's the queen of Egypt. Egypt, thou knewest too well my heart was to thy rudder tied by the strings, and thou couldst tow me after, or my spirit, thy full supremacy, thou knewest, and that thy beck might from the bidding of the gods command me, huh? Okay? So he's excusing himself in the same way that Helena is excusing herself, right? Okay? They both can't help it, right? Okay, I had to go over there, and I was tied to you, right? You pulled me after, right? Okay? A little different metaphor, but it's the same thought, right? Okay? In Henry VI, someone has chosen the right woman for the king, and he's really told her up in words, you know? She's quite a woman, huh? Your wondrous, rare description, noble earl, of beauteous Margaret hath astonished me. I felt it wonder. Her virtues, graced with external gifts, do breed love's settled passions in my heart, huh? Okay? So it's the beauty and virtues and external gifts of Margaret that have, what? Breed, given birth to, what? Love in his heart, right? It was in the love, then, the result of being acted upon, huh? Of being moved by the object, huh? Let's just talk about giving, right? Do you see the paradox there? The apparent contrariety. In Midsummer Night's Dream, huh, there's this magic potion, and you put it in somebody's eyes, and when they wake up, the first person they see, they fall in love with it. So Oberon, the king of the fairies, has dropped this fluid into Titania's eyes, the queen of the fairies, and she falls in love with this commoner bottom, right? It was quite disgusting in his present condition. I pray thee, gentle mortal, sing again, mine ears much enamored of thy notes. So is mine eye enthralled to thy shape, and thy fair virtue's force, perforth doth move me on the first view to say to swear I love thee, right? So she'd be moved by his good qualities, huh? To her eyes that have been influenced by the magic potion. Okay, now those scenes from Wuthering Heights here, the famous novel, Everly Pronto. Two men who are interested in the same man, right? There's a little bit of competition here, right? No, no, Isabella, you shan't run off, she continued, arresting with feigned playfulness the confounded girl who had risen indignantly. We were quarreling like cats about you, Heathcliff, and I was fairly beaten in protestations of devotion and admiration. Moreover, I was informed that if I would but have the man as to stand aside, my rival, as she will have herself to be, would shoot a shaft into your soul. But then you're really being active upon, aren't you, right? By this woman. That would fix you forever and send my image into eternal oblivion, huh? That introduces the next idea now, which is a continuation of this, but an even stronger word than what passion, and that is the wound of love, right? If the lover is said to be wounded by the one he loves, right, then he's very... very much being acted upon, right? You don't give a wound, you what? Receive a wound, right? Right? You receive a wound, eh? That's a very strong way of pointing out that loving is what? An undergoing, eh? Not a giving, but an undergoing. And both in the secular poet and in Christian love, you see this image of the wound, eh? Now, in Romeo and Juliet, you might know that Romeo at this time hasn't met Juliet, he's in love with what? Rosalind, right? And Mercutio is making fun of him, and it's very funny, right? He's making fun of the fact that he loves Rosalind, but Rosalind doesn't give him the time of day, doesn't return his love at all, right? And finally, Romeo escapes from all the joking and jesting of Mercutio, eh? And he says, he just set scars that never felt a wound. That's a beautiful set, right? He just set scars that never felt a wound. He's been wounded, right? By Rosalind, right? And the heart is especially said to be wounded, but it's been moved to love someone who doesn't, what? Return your love, right? Okay? But even part of that, it's often spoken of as being a wound. Now, Romeo goes to the party at Juliet's house, not to see Juliet, but to see, what? Rosalind, right? But then he sees Juliet, and he forgets entirely, much of the chagrin of Friar Lawrence, right? And you're moaning about Rosalind, and all of a sudden you're moaning about Juliet, right? And he says to Friar Lawrence, I have been feasting with mine enemy, eh? Because the Capulets and the Montagues are enemies, as you know in the play. Where on a sudden one hath wounded me. That's Juliet, right? That's by me wounded, eh? We wounded each other, right? But not with swords, but what? We love each other, right? Love at first sight, eh? Both are remedies within thy help and holy physical eyes. He wants him to marry them, right? Okay? But they're the idea that it's, what? The lover has been wounded, eh? To fall in love or to begin to love someone is to be, have been wounded, eh? Okay? And this great lover, Proteus, on the two gentlemen of Rona, he's one of the two gentlemen of Rona. The other guy is Valentine, right? Valentine is a man who's, what? Honest in love, or you might say faithful in love, I should say. Proteus is, he's named after the, what? God who's always changing his shape, right? So read the play and see what happens. But here is writ, love wounded Proteus, on his love messages to what? Julia, his betrothed, right? Love wounded Proteus, right? Poor wounded name. She, she pretends, you know, a maid there that, or friend that she is interested in Proteus, and she covers up his letters like that. And then after her, um, friend or maid, uh, goes away, she goes down trying to come up the pieces, you know, so she can read them again, right? So, uh, she, she has these, uh, uh, ripped up pages, you know, of this love note, huh? She's just trying to pretend she didn't interest in him, so they, you know, period. Poor wounded name, my boot, my bosom, as a bed shall lodge thee till thy wound be thoroughly healed, right? She's putting inside her bosom there, this, uh, uh, scraps of his, uh, love things, huh? From the love wounded Proteus, huh? Now the taming of the shoe, huh? Lucentio, huh? It's another example of what love at first sight, huh? Okay. In one place Shakespeare quotes, uh, um, here in Leander there, uh, whoever loved that loved not at first sight. I think I have to quote it around and get that. Knowing is a cause of love, right? But all these famous love stories of love at first sight, huh? Now look, Trenio is the servant of Lucentio, huh? Trenio be so, he's just seen this young lady. Trenio be so because Lucentio loves, and let me be a slave to achieve that maid whose sudden sight hath thrall'd my wounded eye, right? So again, he's been wounded by this woman that he's suddenly seen, right? She seems to perfume the air, he says, right? Purify the air, yeah. Okay. Now, in the midst of a night's dream, I swear to thee by Cupid's strongest bow, by his best arrow with the golden head. Well, this is the one that if you get struck by, you fall in love, right? Now, this, of course, is in the Mists, or what I call it, the literature, but why do we speak of Cupid as what? Shooting an arrow, and you get struck by the arrow, and then you, what, begin to love somebody, right? You know, it's spoken out of the likeness, so we save your wound, right? Okay? And Oberon, now, when they discovered the famous potion you put on eyes, yet marked I where the bolt of Cupid fell, right? It fell upon a little western flower. Before milk white, now purple with love's wounds. And maidens call it love and idleness. Now purple with love's wound, right? To love is to be wounded, right? So he's saving therefore, isn't it, right? He's undergoing, he's not giving. Now Silvius is in, as you like it, he's in love, he's the country bumpkin, he's in love with Phoebe, right? And Phoebe doesn't give him any return, she just makes fun of him, right? So he's trying to get some pity out of her, at least. Oh dear Phoebe, if ever, as it ever may be near, you meet in some fresh cheek the power of fancy. Now fancy is what? It's in the word for imagination, right? But then fancy comes to mean what? Love, right? Because of the connection between romantic love, anyway, and the imagination, huh? Okay? Lovers and madmen have such shaping fantasies, right? They apprehend more than who reason ever comprehends. So the connection between them. So it's kind of a connection between the imagination, right? That's what the lovers said to be blind, right? But Shakespeare said in the love sonnet, so be what eyes hath love put in my head that have no correspondence with true sight. So those eyes that have no correspondence with true sight is the imagination, right? And so because of the connection between imagination and love, the word fancy, phantasm for the Greek word, right, came to mean what? Love, right? Yeah, it's interesting, huh? You have another one that transfers in English with the word fond, F-O-N-D, right? So if you say, he is fond of this girl, you mean he kind of likes her, right? But the original meaning of fond is to be what? Foolish. And so you'll see it, you know, in context of what you do with love, where someone is said to be fond and he's being foolish, stupid, right? So, if you love the girl, you act foolishly about her, right? And so he's said to be fond, right? But then it came to mean eventually, well, that she's really liked her, right? So he's said to be learned, right, about the connection between love and folly, from the word fond, and between the imagination and romantic love, and the word fancy. You see them by the goose rams, saying, do you fancy her, huh? Fancy doll or whatever, you know? She's like her, right? Does she strike your fancy? Okay. O dear Phoebe, if ever as it ever may be near, you meet in some fresh cheek the power of fancy, the power of love, then shall you know the wounds invisible that love's keen arrows make, huh? So you can't see the wound like you can the soldier's wound, right? They're there, right? So love makes wounds, huh? Now I jump with the same thought in mind to two beautiful examples here from these two female saints here in the Hermione. The first one is from St. Teresa of Avila in her autobiography, chapter 29. And this is where Teresa of Avila receives a great increase in not romantic love, but in the love that is, what, charity, right? The theological virtue of love, right? But she receives it under the likeness of being what? Being wounded by one of the, what? Seraphim, huh? Whose name means burning, burning at love, for example.