The Thomist 71 (2007): 505-28 AQUINAS ON ORAL TEACHING KEVIN WHITE The Catholic University of America Washington, D.C. I N QUESTION 42, article 4 of the Tertia Pars, Aquinas asks whether Christ should have handed on his teaching in writing. He argues that it was fitting he did not, for three reasons: because of his dignity, because of the excellence of his teaching, and so that his teaching might go forth from him to everyone else in an order. I propose to consider this article more closely. 1 By way of a prologue, I will begin with a look at its most important written philosophical antecedent, even though Aquinas does not seem to have known it, namely, the argument in Plato's Phaedrus that no serious teaching can be transmitted in writing. To contextualize the issue in Aquinas's work I will then briefly mention some passages on writing in his commentary on Boethius's De Trinitate and his Summa Theologiae. Finally, with respect to the article on Christ's not having written, I will discuss its Augustinian source, its sed contra, and its three arguments. 1 For a thoughtful earlier consideration of Aquinas's article see Domenico Farias, "Utrum Christus debuerit doctrinam suam scripto tradere," Divus Thomas (Piacenza) 59 (1956): 2037. The present discussion differs in emphasis from that of Farias, who, for instance, draws some useful connections with texts of Aquinas on the nature of teaching. See also Jean-Pierre Torrell, Le Christ en ses mysteres: La vie et !'oeuvre de Jesus selon saint Thomas d'Aquin (Paris: Desclee, 1999), 2:250-54. For the general context of STh III, q. 42, see the discussion of the structure of the Tertia Pars in John F. Boyle, "The Two-fold Division of Thomas's Christology in the Tertia pars," The Thomist 60 (1996): 439-47. 505 506 KEVIN WHITE I. THE PHAEDRUS ON TEACHING AND WRITING The Phaedrus consists of a conversation between Socrates and Phaedrus that treats the question of how to compose a speech addressed to a beloved, then goes on to discuss written composition in general and the difference between good and bad writing. Towards the end Socrates offers a critique of the art of writing in three parts. 2 First he presents a myth about the invention of writing (274c275d). Someone who had invented writing and many other arts showed them to a king, praising the art of writing in particular as a drug for improving memory and wisdom. The king disagreed. He said that writing would instill forgetfulness rather than memory, because men would come to rely on written marks instead of exercising their memories; it is a drug for being reminded rather than for improving memory, and it would instill an appearance of wisdom rather than the reality, because its users would lack instruction, although they would be "hearers" of many things who as a result would seem to know a lot. Socrates comments that anyone who believes he can put knowledge into writing, and anyone who accepts writing as if anything clear and steady could come from it, are foolish to think that written words can do more than serve as a reminder to someone who already knows what the writing is about. Socrates next compares writing to painting (275d-276a). The products of the art of painting stand there as if they were alive, he says, but if you ask them something they are very silent and solemn. It is the same with written words: they speak as if they had understanding, or so you would think, but if you want to learn something and ask them about it, they just keep signifying the same one thing. Once a speech is written, it rolls around promiscuously in all directions, among those who understand it and those for whom it is unsuitable, and it does not know the difference between those to whom it should and those to whom it should not speak. If it is attacked and unfairly accused it always 2 Cf. Plato, Seventh Letter 341a-342a. AQUINAS ON ORAL TEACHING 507 needs the help of its "father" or author, since it is unable to defend itself. By contrast, the living speech of one who knows, which is the "legitimate brother" of the written word and of which the latter is a mere image, is "written" with knowledge on the soul of the learner, is capable of defending itself, and knows to whom it should speak and before whom it should be silent. Finally Socrates compares teaching with farming (276b-277a). An intelligent farmer might, for amusement, plant seeds that flower in eight days, but when he is being serious and applies his art, he is happy if his seeds reach perfection in eight months. Likewise, anyone who has knowledge about what is just, beautiful, and good will be intelligent about the "seeds" he plants. When he is not serious he will sow them in black ink with a pen, using words that can neither defend themselves with a word nor teach the truth adequately. He will sow gardens of letters for amusement, writing for himself and others, and saving up reminders as protection against the forgetfulness of old age. While others are amusing themselves with pleasure, he will write. This is noble, but much nobler still is serious talk about the just, the beautiful, and the good, in the application of dialectic to the "planting" of words in a suitable soul, words that are accompanied by knowledge and are capable of defending both themselves and their "planter." These words bear fruit from which seeds grow in others, in a process of transmission that can go on forever, and they make the one who has them as happy as it is humanly possible to be. II. AQUINAS ON TEACHING AND WRITING What might Aquinas have made of this passage? An answer to this question would have to begin by saying that no Christian, and no Jew or Muslim, could speak quite so lightly about the written word in general. The importance of sacred writing for Christians is recalled in the first sed contra of Aquinas's Summa Theologiae, which quotes 2 Timothy 3:16 on the divinely inspired scriptura that is useful for teaching, arguing, correcting, and instructing in 508 KEVIN WHITE justice. 3 Aquinas clearly regarded his own writings as serious and potentially useful, although towards the end of his life he is reported to have disdained them as "straw" "in comparison with what I have seen," and on his deathbed he submitted them for correction to the holy Roman Church. 4 On the other hand, in question 2, article 4 of his commentary on Boethius's De Trinitate, Aquinas does reflect on the written word's incapacity to discriminate between those to whom it should and those to whom it should not speak. The question is whether in theology what is divine should be veiled by verbal obscurity. The response begins by saying that a teacher's words should be adjusted so as to help, not harm, the hearer. Some things, namely, the things that everyone is bound to know, harm no one if they are heard and these should not be hidden but clearly presented to all. But some things do cause harm to the hearers if they are clearly presented, and this in one of two ways. If the arcana, the secrets, of the faith are exposed to unbelievers who detest the faith, the latter will mock them. For confirmation of the point Aquinas quotes Matthew 7:6, "Do not give what is holy to the dogs," which, incidentally, are the first words of Christ quoted in the Summa Theologiae (STh I, q. 1, a. 9, ad 2), and he also quotes Dionysius's Celestial Hierarchy. On the other hand, if subtleties are presented to the unlearned, what they understand imperfectly will only give them material for going astray. For confirmation here Aquinas quotes 1 Corinthians 3: 1-"Brothers, I could not speak to you as spiritual men; rather I gave you, as little ones in Christ, milk, not meat" -the last part of which is the epigraph of the Summa Theologiae, a work 3 STh I, q. 1, a. 1, s.c. (Opera Omnia [Rome: Leonine Commission, 1882-]), 4:6a: "Sed contra est quod dicitur II ad Tim. III: omnis scriptura divinitus inspirata utilis est ad docendum, ad arguendum, ad corripiendum, ad erudiendum ad iustitiam." 4 On Aquinas's concern for usefulness in his writings, see Rene-A. Gauthier's preface to Sentencia libri De anima (Leonine ed., 45.1:276*). On hls comment about straw, see JeanPierre Torrell, Initiation asaint Thomas d'Aquin: Sa personne et son oeuvre (Fribourg-Paris: Editions universitaires-Editions du Cerf, 1993), 401, 424. On his submission of his writings to correction by the Church, see ibid., 428. AQIBNAS ON ORAL TEACHING 509 directed to beginners; he also quotes a gloss by Gregory. 5 Secrets and subtleties, then, are the two kinds of things that should be concealed when revealing them would cause harm. Drawing from Augustine's De doctrinachristiana,Aquinas then explains the relevant difference between the written and the spoken word. A speaker can make a distinction between hearers that allows him to say in private to the wise what he leaves in silence in public, but no such distinction can be applied in writing, for a book can fall into anyone's hands. In writing, then, some things must be hidden by verbal obscurity in such a way as to be beneficial to the wise who can understand them and hidden from the simple who cannot. No one is put upon by this: those who do understand are caught up in their reading and those who do not are not forced to read. 6 Socrates, from what he says in the Phaedrus, would seem to have regarded dialectic as an essentially private kind of teaching. 5 Super Boetium De Trinitate, q. 2, a. 4 (Leonine ed., 50:101.53-79): "Dicendum, quod uerba docentis ita debent esse moderata, ut proficient, non noceant audienti. Quedam autem sunt que audita nemini nocent, sicut ea que omnes scire tenentur, et talia non sunt occultanda, set manifeste omnibus proponenda. Quedam uero sunt que proposita manifeste auditoribus nocent. "Quod quidem contingit dupliciter. Vno modo si archana fidei infidelibus fidem abhorrentibus denudentur: eis enim uenirent in derisum; et propter hoc Dominus