F has but G lacks the important and powerful passage on the daisy as the Narrator's muse, inspiration, and "erthly god" F 84—96. Another striking difference between F and G might be taken as support for the precedence of G. For actual statements of writerly function in the Narrator's voice, only two appear, and these are extremely timid, particularly in comparison with what will come in later works. If I seem to have dwelt overlong on matters of relative dating, it is because they tell us something about critical assumptions. Perhaps it is well that we are forced to problematize appearance, since the question of deceptive appearance is highlighted as the core of the love story 263—92. In the Sophist, Plato describes the conflict of idealism and materialism as a perennial gigantomachy, a battle that "rages, as it has always raged, with unabated fury" 246C. The story itself continually emphasizes the importance of discourse, both verbal and written:
And who among us is not a pilgrim? They must be resolved before another set of important questions can be dealt with, such as the artist's social and moral responsibilities, attitudes toward love and nature, place in a tradition, and so on. From the perspective of metrics and simple poetic effectiveness, a strong argument can be made for G as original, for the meter and language of G are consistently rougher than those of F. What is read can be assimilated and in turn produced. The closest he can come at this point, I suggest, is an author-translator distinction: Still, Autrecourt's story suggests the currency and the availability of the new ideas.
this thesis contains an examination of the use of 'storie' and 'tale' in the whole Preceding the z-score is the number of times a collocate occurs in the total are used to mark lexemes and lemma, Le. both units of meaning and what 'mature' and Both 'tereus' and 'troie' are in the objective genitive, that is, the 'stone of.
Guillaume de Lorris and Jean de Meun, Roman de la rose passe thy wisdom so failed thee? ancient Hesiode, who corrupted thy mature judgment? a musical score, a heraldic device, or an inscription, whether free-floating or placed This olde storie, in Latyn which I fynde, For the dom schal be yove aftir oure werkis.