This parallels Orfeo's seeing in Heurodis's eyes "thy lovesum eyghen
two /Loketh so man doth on his fo!" (Sands 87-88/Tolkien 111-112) Each man is suddenly face-to-face with otherness.
thi lovesom eyghen
to Loketh so man doth on his fo!
Wells, Kavaler focuses on the situation in Antwerp, where mercantile models of polity based on avontuur (risk) and eyghen
baet (self-interest) threatened to disrupt fixed relations between the estates; the unresolved tensions marking this clash are read onto structural analyses of images, whose motifs Kavaler embeds in literary, political, and philosophical discourses.
Boethius' explanation of the lower versus the highest good reads almost as a script for the Troilus: For aftir that thei han cast awey hir eyghen
fro the lyght of the sovereyn sothfastnesse to lowe thingis and derke, anon thei derken by the cloude of ignoraunce and ben troubled by felonous talentz; to the whiche talentz whan thei approchen and assenten, thei [helpen] and encrecen the servage whiche thei han joyned to hemself....
at 10[r]-10[v]: Dese Judas wort een Coopman/ ende ghenen anderen Ware hebbende/ vercoopt verradelijck met eenen Cus sijnen eyghen
getrouwen Heere ende Meester/ om eenen snooden Penninck ende schandelijcken ghewins wille....