Is debate possible between ignoramuses?How is it possible

Lola:-

That last post was an example of ignorance v ignorance.

One group are ignorant of the rules of etiquette and the other are ignorant of that state of mind associated with ignorance of the rules of etiquette.
Debates between the two are pointless.In fact impossible.

As in Greek mythology, the rose plays a recurring and symbolic role in Roman legends. Although the names differ, there is a basic similarity in many of the stories. One myth parallels that of Aphrodite rescuing Adonis and symbolises the connection between blood, sexual fulfilment and red roses. Venus loved Adonis but was also pursued by Mars, the God of war, who would have killed Adonis had not Venus warned her lover of the dangers he faced. In her haste to save him, she slipped in a rose bed and scratched her legs. Red rose bushes grew from the blood that flowed from her wounds onto the ground. Rose wreaths were awarded by the Romans as a mark of honour for a major military success, and indeed in later ages for every minor victory. Rose petals were scattered in the path of the victors at the Games. The association of the rose with wine and revelry was prevalent at the height of hte Empire. Both Dionysus and Bacchus were crowned with roses. The Emperor Nero (37 - 68 ce) started the fashion for raining rose petals on guests at feasts. Two centuries later the teenage Emperor Heliogabalus (202 - 224 ce) showered his guests three times with roses which were so overpowering that a number of guests were suffocated. The Romans used roses in abundance at funerals, and garlanded their tombs with rose wreaths. Rose buds were offered to the departed during the festival called Rosalia. The rose was a symbol of life because of its beauty, a symbol of death because of the inevitable withering of its blooms and a symbol of eternal life because of its association with the Gods. In this context it is interesting to note that the Goddess Hecate is sometimes portrayed wearing a crown of roses. The predeliction of the Romans for roses is attested by the excavation of the remains of private gardens in the ruins of Pompeii, and the depiction of roses in surviving frescoes found there.

The anagrams (French, Latin, and Greek) in my title--rose, dare, sow/compose/late, eros--suggest the argument I wish to pursue: the Rose is perhaps the medieval poem that challenges the ordinary sense of linguistic stability; it is also, therefore, arguably the medieval poem that most vividly exposes the conventionality of linguistic propriety. If we ask why the Rose is the subject of such intense critical response by later readers, especially medieval poets themselves, we find the answer to this question in the realization that it is itself critical, especially in Jean de Meun's continuation. The Rose is poetry that is also critical in its belatedness or posteriority, in the sense of these terms that psychoanalytically informed critics recognize (the most famous of whom, I suppose, is Harold Bloom). Like all literature that is belated or secondary, the Rose critically examines its own discursivity: whether we consider (in the Aeneid) Aeneas "reading" the walls of Carthage, or (in the Rose) Amants' experience of the walls of the Garden of Delight, or Raison's deconstruction of euphemism, we encounter in each case of belatedness the necessity of interpretation within the narrative that offers itself to be interpreted. To construct itself the poem must also construct its own canons of criticism.