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Who is I referred to in the story's first line?
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Who is I referred to in the story's first line?
In the last lesson -- I is referred to Franz who is the narrator of this lesson.
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Who is I referred to in the story's first line?
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The story's first line refers to the protagonist or the narrator of the story. It is not explicitly mentioned in the text who the narrator is, but we can infer some details about them from the story.

The narrator's perspective

The entire story is told from the first-person point of view, which means that the narrator is a character in the story. We can assume that the narrator is an adult since they are reflecting on their childhood experiences.

The narrator's relationship with their father

The narrator describes their father as a "serious man," who is "not given to frivolity." They also mention that their father is a "lawyer by profession." From these details, we can assume that the narrator is the child of a lawyer who has a serious and reserved personality.

The narrator's childhood experiences

The story is primarily about the narrator's childhood experiences and their relationship with their father. The narrator describes how they used to spend time with their father by going on walks and exploring the woods near their home. They also mention how their father used to teach them about nature and the animals that lived in the woods.

The narrator's feelings about their father

The narrator has a deep respect and admiration for their father. They describe their father as a "wise man" and someone who always had the answers to their questions. The narrator also mentions that their father was a "hero" to them and that they wanted to be like him when they grew up.

Conclusion

In conclusion, the narrator is the protagonist of the story, an adult who is reflecting on their childhood experiences and their relationship with their father, a serious lawyer who taught them about nature and who they deeply admire and respect.
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British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Which genre has been referred as to as the most bastardised genre initially in the passage?

British filmmaker Richard Curtis has written iconic popcultural classics like Mr. Bean, Four Weddings and a Funeral, Notting Hill and Bridget Joness Diary. His directorial debut, Love Actually, remains a rare film that at once parodies, celebrates, and reclaims, storytellings most bastardised genre. But Curtis most accomplished movie has everything and nothing to do with his reputation as the King of (Romanti c) Comedy.About Time (2013), starring Irish actor Domhnall Gleeson in a breakthrough role, cleverly weaponises its makers stature. It counts on the fact that we anticipate an innovative (buzzword: time travel) but typically breezy love story. But the girl-boy arc fades into the background, and the film subverts our expectations by instead morphing into a deeply contemplative and winning tragedy about human nature. Curtis virtually uses his own career as a smokescreen to transform About Time into an affecting ode to closure and its elastic relationship with time. Early in the film, a retired James (Bill Nighy) informs his son Tim, a boy on the verge of big-city adulthood, that the men of the family possess the power to travel back in time. Naturally, at first, Tim abuses this cosmic gift like any red-blooded, teething male hero would - to find, and refine, his pursuit of love. He meets Mary, an American girl, and manipulates time in a manner that compels her to fall for him. Youd imagine any writer at this point would be tempted to use time travel as the pivot to continue navigating the cross-cultural politics of companionship. But Curtis refrains from old-school gimmickry. He designs the narrative device as a trigger that forces Tims conflict to be conceived in the personal chasm that separates selfishness from selflessness: The selfishness of love from the selflessness of family.Tims story gets us thinking: do some of us subconsciously fail to sustain romantic relationships because were unwilling to snap that umbilical cord? Do we postpone marriage - a family, children, onwardness -to preserve the fading remnants of our family? To keep our history accessible? The films lyrical circularity exposes an uncomfortable truth about life - that romance is inherently an act of self-preservation. That loving someone, often, is a mechanism aimed at leaving something - and some times - behind. We choose to get consumed by life so that its origins are exhumed no more. For every child Tim has, the more irrevocably he drifts away from his own childhood. Every birth is inextricably linked to his rebirth. For each milestone he crosses as a life partner, the rules of time travel - a cinematic allegory for the texture of remembrance - force him to live rather than relive. Love is, after all, the emotional manifestation of the precise moment the future decides to break up with the past.Q. Fortunately, he manages to be both selfless and selfish without compromising on the recipients of either trait. What can be inferred from this line in the context of the passage?

Who is I referred to in the story's first line?
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