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Additionally, the patient person will not proceed with undue haste. If one undertakes to write a book or build a house, these undertakings take time, and the excellent completion of these projects takes time and careful attention. The patient person does not rush the job. These smaller tasks remain unavoidable so long as one is committed to the larger end, and these various steps in a large undertaking are not best thought of as delays—or obstacles—in the satisfaction of our main desire say, to complete the book or the house , because they are essential steps in the overall project.
Of course, in any large undertaking, we may encounter unforeseen obstacles and setbacks which delay our progress, and so the patience of accepting delays is contained within this broadened conception of patience as bearing unavoidable and wisely assumed burdens with equanimity.
Pianalto — In Defense of Patience 6 obstacles, delays, or other forms of adversity that may give rise to undue anger or despair—to which one can respond, or fail to respond, with patience.
Burden tends to have a negative connotation, and this is surely because many of the things that burden us are things from which we would prefer to be free. If we take on too much, then we become overburdened. This itself can undermine the cultivation of patience since, in taking on too many responsibilities, we seem to have no time to discharge all of our duties, and thus no time to be patient. The Value of Patience Patience thus contrasts with several other ways of responding to the various burdens of life.
On the one hand, patience contrasts with mere passivity, apathy, despair, and even cowering—all frames of mind that can lead to a failure to undertake right or proper action, or to give up too soon. On the other hand, I have contrasted patience with anger. In this grouping, we could also include undue haste and rashness, both of which are related to anger.
Robert A. Pianalto — In Defense of Patience 7 in fact an unbalanced thing overall: now it sallies forth farther than it should, now it comes to a halt sooner than it should. First, those consumed by anger tend to act rashly.
Importantly, for Seneca, anger is not merely a feeling, but rather an emotion comprised of several cognitive attitudes: the judgments that a wrongful injury to have occurred and that revenge is warranted, and the desire for such revenge.
These judgments and desires, taken together, constitute anger as Seneca understands it. Seneca sees revenge itself as opposed to a justified, corrective punishment as futile and regards the consuming nature of the angry desire for revenge as an obstacle to proper moral judgment and action. As Nussbaum brings out in her reading of On Anger, in anger with others, we run the risk of losing sight of or denying the humanity of the other, of objectifying others while also becoming overly confident of our own righteousness, while forgetting our own imperfections and errors The Therapy of Desire, Anger is unreliable not only in its tendency to rashness but also because its energy or motivational force is fickle.
This, in addition to the considerations above, is why Seneca rejects the Aristotelian idea that courage, for example, can be helped by a properly conditioned disposition to anger.
Importantly, because Seneca defines anger in cognitive terms, he allows that the initial feelings one has, that can prompt angry judgments, can themselves be controlled, and so those feelings themselves, which may prompt initial action and response, would not for Seneca count as anger. See On Anger, II. Pianalto — In Defense of Patience 8 after an initial massive assault it droops, prematurely wearied, and the anger that had contemplated nothing but cruelty and novel penalties is already broken and tamed when the punishment must be imposed.
Passion quickly fades, reason is well-balanced. Anger can be very intense, but intense emotions tend not to last, and so if we rely on them in order to undertake some course of action, we will very quickly lose our motivation. Once our anger has subsided and we again become reasonable, we may not see the point of carrying out what we had determined, in anger, to do.
Of course, this is often a good thing. If punishment or some other response is reasonable, then it is not anger but rather a sense of duty and a concern for justice that is necessary.
If we only correct others when we are angry, we will run the risks of both undue severity and inappropriate lenience. That is, we will fail to make appropriate corrections if we only react to wrongdoing when it makes us unbearably angry. Or consider the parent who never explodes, but also never corrects—if there is such a parent. Of course, it might seem that the patient person, too, is liable to undue lenience, since the patient person is better able to endure the misdeeds and mistakes of others without reacting with anger.
But patience is not simply unlimited forbearance—in many cases, correction is necessary. Pianalto — In Defense of Patience 9 Again, think of parenting or teaching.
Undue lenience results from a lack of practical wisdom, or inattentiveness, insensibility, and possibly cowardice, but these failures should not be confused with the patient endurance of errors and misdeeds, which is as compatible with responding to them by way of correction or just punishment as it is with forbearance and forgiveness.
The value of patience can be understood in terms of its contrast with these other possible ways of responding to unavoidable and wisely assumed burdens—both the destructive and unreliable emotion of anger and the hopeless passivity that attaches to despair.
On the one hand, the patient person is not blown about by the recklessness of anger, but on the other hand, and this is equally important, the patient person is able to maintain his or her sense of purpose and of self in the face of unavoidable burdens that might tempt others to despair and lose hope, thereby losing the motivation to act. Furthermore, the person who remains patient, as opposed to giving in to anger or despair, is perhaps better able to attend to the details of her circumstances, and thus is in a better position to make good judgments about when and how to act in carrying out her duties and pursuing her other projects.
In this respect, patience supports mindfulness, diligence, and constancy of commitment, as opposed to a distracted, hurried kind of living, in which we lose sight of ourselves and the things that we think should matter most to us.
Pianalto — In Defense of Patience 10 3. The Scope of Patience This characterization of patience and its value will seem to suggest that patience is an instrumental virtue, necessary for the cultivation of other virtues, which has its value primarily as a kind of restraint. Aquinas, deviating from Christian theologians such as Tertullian and St. Gregory who classify patience as one of the central virtues, argues that patience is a minor virtue and an aspect of fortitude , because it merely opposes vice and temptation; whereas, virtues such as justice and love are themselves positively oriented toward the good.
In this section, via a comparative detour into the thought of Kiekegaard, whose estimation of patience is more in line with earlier Church thinkers, I aim to motivate the idea that patience is indeed central to the moral life, and to show how this view is reflected in Stoic thought as well.
This will illustrate how patience can retain a central significance in moral life even within a secular framework. In some cases patience is inextricable from the wise pursuit of some goal, as in cases where patience enables us to pace our efforts.
In other cases, patience attaches not to the pursuit but rather to the wait—patience enables us to avoid acting too soon as in harvesting crops or merely acting out, say, in a pointless outburst of frustration as we wait our turn in line. It is noteworthy that Tertullian claims that non-Christian philosophers concur in their high estimation of patience though their lack of faith makes their patience a false form of the true Christian virtue.
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Although Tertullian does not name any specific philosophers or schools, the fact that he was well-acquainted with Stoic thought makes it reasonable to think that he has the Stoics, if others, too, in mind here. Pianalto — In Defense of Patience 11 Plain examples such as these indicate the instrumentality of patience in the pursuit of external goals. In this respect, patience underwrites the continuity of oneself, enables one to be oneself rather than a mindless center of rage or despair.
We need patience not simply in order to get what we want but more importantly in order to be who we are—that is, to maintain a proper sense of self and good judgment in the face of the various changes in fortune that are inevitable. Like the Stoics despite the obvious theological difference , Kierkegaard regards attachment to externals as an obstacle to self-possession. To be possessed by the world is, in effect, to have abandoned a steadfast commitment to virtue, the Good and likewise, for Kierkegaard, to God.
Thus, patience as self-possession is an indispensable condition of living virtuously on both views. But are you not ashamed that you turn over your own faculty of judgment to whoever happens along, so that if he abuses you it is upset and confused? At the same time, given the Stoic view that anger is contrary to virtue, we also fail to maintain a steadfast commitment to the good. If we are patient with the person who insults or abuses us which, again, is not simply to remain passive , if we accept what is not up to us, then we possess ourselves in patience.
If we desire what we cannot have—absolute control over externals, immunity from the fickleness of fortune—then we are bound for frustration. Nicholas White, Indianapolis: Hackett, I refer to standard sections of the Enchiridion in the text. In closing this section, I want to note how the role patience plays in maintaining self- possession relates to the cultivation of character in general. Above, I characterized the instrumentality of patience in terms of its role in the pursuit of externals, but it should be clear that patience is equally instrumental to the pursuit of internal goods13—that is, to the cultivation of other virtuous traits.
Indeed, if we maintain self-possession in and through patience, then patience is not merely instrumental to the cultivation of other virtues, not merely helpful, but is rather absolutely necessary in order for us to improve and sustain our character. This is both because the cultivation of character and skills takes time and because there may be moments when we fail to live up to our own expectations. Pianalto — In Defense of Patience 14 with ourselves or to despair over our own imperfection or moral weakness.
Such failures are an occasion for humility, but neither anger nor despair can save us from future failures, and the humbled, patient person will bear these mistakes without losing hope in the possibility of improving herself and of doing better in the future. In patience, we bear the burden of our own imperfections and limitations without losing sight of the goal of improvement. Additionally, since the exercise of other virtues requires practical wisdom, and patience makes us receptive to practical insights that we would overlook when blinded by anger or despair, patience takes the form of an enabling and not merely a restraining virtue—enabling us to maintain hold of the practical wisdom that informs the practice of other virtues.
Patience, Fortitude, and Detachment However, it might seem that Stoic ideals go beyond patience, that patience is only instrumental in the process of achieving a more complete state of Stoic detachment and imperviousness, which might be ideally characterized as an utter lack of disturbance in the face of misfortunes involving externals.
That man whom I just now described as standing taller than any vexation holds the greatest good, as it were, in an embrace.
One who has truly achieved the kind of detachment that makes this thick- skinned imperviousness possible has nothing in the way of inner disturbance to endure; misfortune is borne not patiently, but rather, it appears, indifferently.
This looks very much like the attitude praised by Epictetus; it is through detachment, and thereby indifference, that one avoids becoming upset at misfortunes of both small and large measure e. Scarre writes: A clue to their difference is provided by the conventional unwillingness to speak of fortitude in connection with very trivial ills, though these may be borne with patience. The reason for this seems to be that patience has primarily to do with how one feels, while fortitude has most to do with how one acts; and the latter is generally more significant, to oneself and to others, than the former.
They remain distinct virtues, Scarre claims, because They involve different kinds of strength: the subject of fortitude has the firmness of self-possession and endures hardship without flinching, while the patient individual has the power to dismiss such disturbing emotions as anger, bitterness, resentment, depression, and disappointment. It seems that Scarre can only separate patience and fortitude by divorcing the latter from any particular psychological disposition, and this would suggest that fortitude is possible without underlying capacity for patience.
Furthermore, it seems that Scarre is wrong to identify patience only with feeling, since responding to a person patiently is not merely a function of how we feel, but also of how we treat the other person. As patience increases, so, too, does fortitude. If it Pianalto — In Defense of Patience 17 takes patience to endure trivial ills, then it takes great patience to endure with equanimity major ills.
From the Stoic perspective, the indifference or detachment typically described as a source of fortitude can thus equally be regarded as the perfection of patience. It is a strange aspect of human nature that what eludes us tends to attract us, until we get it.
In a sense, this is the way of all good storytelling.
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And editing is storytelling. In it, Firth plays an unorthodox acting coach who becomes embroiled in a murder plot, after putting his student Jamie Harris Jennifer Rubin through a series of unusual and, at times, extreme acting exercises. At one point he even cuts off her clothes. I explained that it was a tease and that all would be revealed by the end. The portion of the scene described above begins at Anyone who has ever listened to an uncle or co-worker who is not proficient in storytelling knows there are two basic approaches that do not work.
One is found in the person who rambles on endlessly about a minor event devoid of conflict or a conflict-filled event devoid of character, supplying every minute detail, many of which have no impact on the story, and ultimately boring his or her listener. The other is the person who does not have the patience to develop a story and anxiously whips through the facts to get to the main point, diving headlong toward the ending before he or she has let us know the characters, setting, conflicts.
Their story blips along with plot spikes but misses all the important moments. On a graph these moments may appear as valleys or plateaus, but without these the spikes make little sense. In creating love and sex scenes it is important to create moments. A moment suggests a particular allotment of time where a feeling can develop.
Imagine two people who come from different backgrounds, whose families disagree on many things, who would feel more comfortable having never met each other. Yet something brings them together. Even though they argue, try to avoid each other, put up with the criticisms from their parents, one day they discover an overwhelming attraction between them. The tension breaks and they fall into an embrace or a kiss. As it turns out, the tension was not one of dislike but of sexual tension.
That moment, when they realize how much the other means to them, requires the editor to slow down and develop that experience. These shots, when paced with the right timing, help the audience to experience what the lovers feel in their hearts. The scene may or may not be infused with dialogue.
Sometimes the dialogue in these scenes is overwritten. In the script it served to communicate to the reader what could not be seen. Yet once the director has envisioned it, once it resides on film or video, so much more becomes obvious and clear.
And with editing, where small, neutral images build toward overwhelming moments, certain dialogue may sound superfluous. The editor may find that it is best to leave it out. Generally, this deletion occurs in collaboration with the director.
But at times when one feels comfortable to experiment and feels trust with the director, the editor may leave out a line to find out if it is missed.
Often it is not. Other scenes incorporate an impetuous approach on the part of the characters. As in life, sex often involves a gradual seduction, a slow burn toward a final conflagration of passion. But in other cases, characters can be overcome by passion. Vampire Diaries Since The Vampire Diaries is a TV series, viewers had come to know the characters and look forward to them ultimately hooking up.
In fact, fans counted down the years two , months seven and days three till the fateful day. In the episode where they finally get together, the editor, Nancy Forner, was careful to squeeze every bit of joyful anticipation from the scene before paying it off with a passionate kiss.
As she acknowledges, love scenes are oddly analogous to horror scenes when it comes to editing. Mac and Me As the editor of the pivotal chase sequence in the family action film Mac and Me, the story of a disabled boy, Eric Jade Calegory , who befriends an alien who was mistakenly sucked off his own planet by a United States space probe, I found myself immersed in footage of swerving cars, sprinting FBI agents, and a determined boy cradling an alien as he navigated his wheelchair downhill through heavy traffic.
It was excellent action footage shot by a veteran director, Stewart Raffill. But during the shooting of this scene, an accident occurred. The stunt double who was piloting the wheelchair miscalculated. A pickup truck plowed into him as it passed, sending him to the hospital.
Fortunately, he was okay. But the animatronic alien that was riding on his lap got fairly beat up. Instead the script supervisor marked it as N.
Later, in the editing room, it occurred to me that this accident might be of value, since it was full of real jeopardy. I asked the assistants to order a print of it from the film lab. At first, I received some disapproving looks, as if I had a morbid interest in accidents. Having read the script, I was aware of this.
The take arrived and I watched it. As it played out, the camera followed behind the wheelchair-bound boy. In an instant, a truck appeared and smacked into him, sending him flying. I realized that I could use the take up until the actual impact. One frame before the collision, I cut away to the reverse angle of the boy passing the truck and heading toward the camera.
When the two pieces were cut together, they played as an extremely close call. When the director saw it, he was thrilled. As the truck speeds past, they gasp, sensing how close it was, relieved that it misses the boy, and completely unaware of what actually happened. In Mac and Me, a variety of inconsistencies in continuity occur. These other accidents are rarely, if ever, noticed.
One appears in the chase scene where wheelchair-bound Eric speeds down a road with the alien on his lap, chased by the FBI agents. As the van approaches the camera in a wide shot, we see the older brother lean out to retrieve the wheelchair with his brother and the alien.
Then I cut back inside the van for the kids crossing their fingers and cheering him on.It's just that half of the time I was pissed at Patience. Zeke had no respect for women, he was beaten down by his father and allowed his love of his mother destroy how he saw his future, until he found a her on the floor of that bathroom in that club.
While they have physically escaped the demons of their past I just noticed on Goodreads that this book is listed as Blow Hole Boys 1. It's hard to blame her because it was horrible but she messes up Zeke a lot in this book.
At times I wanted to choke the shit out of Patience and be like tell hi Perfecting Patience start off with Zeke and Patience reuniting after the horror they went through in Playing Patience.
These smaller tasks remain unavoidable so long as one is committed to the larger end, and these various steps in a large undertaking are not best thought of as delays—or obstacles—in the satisfaction of our main desire say, to complete the book or the house , because they are essential steps in the overall project.
Coxe, eds. Yes, you read it right! Indianapolis: Hackett Gregory the Great.
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