Modern scholars studying the oeuvre of Ramon Llull have labored for over a century to establish the chronology and filiation of his more than three hundred separate writings, in order to establish their discrete sequence and relationships as "sources" to one another. For some of his works, this labor has proven simply futile: Llull's habit of recycling his own material, expressed in the idiosyncratic vocabulary of his Great Universal Art, and in several languages (Arabic, Catalan, Latin) makes it impossible to determine which versions of his material are "original." A small, but illustrative, ex ample of this problem are section 2.7 from his Latin Rethorica nov a and items 175-225 from his Proverbis d 'ensenyament. Comparison of these texts suggests that each is simply a Lullian exercise of compi/atio, the recycling of material that in fact organizes his entire oeuvre, and that we should recognize this tactic of composition as pervasive and fundamental to all his writings.
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