By Amalia Carosella
Lengthy earlier than she ran away with Paris to Troy, Helen of Sparta was once haunted via nightmares of a burning urban below siege. those goals foretold drawing close war—a conflict that in simple terms Helen has the ability to ward off. to take action, she needs to defy her kin and betray her betrothed by way of fleeing the palace in the dark. short of safeguard, she reveals defend and luxury within the hands of Theseus, son of Poseidon. With Theseus at her aspect, she believes she will break out her future. yet at each flip, new dangers—violence, betrayal, extortion, danger of war—thwart Helen’s plans and bar her course. nonetheless, she refuses to bend to the desire of the gods.
A new tackle an historical delusion, Helen of Sparta is the tale of 1 lady decided to come to a decision her personal destiny.
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With my sword I shall protect Christendom. They will have a cause for sore regret: either I will avenge your eyes, or I will renounce my sword. (14529-14540) The temporal authority, then, may well forgive a crime against it, but only if such forgiveness belongs to it. ” The same question, but with much more subtle shading, is treated in an earlier story, that of the entirely fictional Empress Crescentia. She intervenes with a duke on behalf of a guilty seneschal whose false witness 24 Introduction had caused the duke to order her drowned for the murder of the duke’s son.
32 A passage in its portrayal of Charlemagne reflects the wording of a law promulgated by Frederick Barbarossa in Regensburg in 1152 in the presence of Count Otto V of Wittelsbach. This idiofact does much more to establish the Charlemagne chapter’s terminus a quo than Count Otto V as the author’s patron, although this dating does serve to eliminate suggested patrons from an earlier period. Urbanek bases much of his argument for Count Otto V as patron upon the chronicler’s non-usage of Otto of Freising’s History of the Two Cities as a source book of historical fact.
Irmgard Möller’s dissertation on German history in the Book of Emperors (see note 30) locates two new likely sources for the Charlemagne story but generally deals with questions of parallels rather than those of sources. This is also true of Robert Folz who includes the Book of Emperors Charlemagne story in his Le Souvenir et la Légende de Charlemagne dans l’Empire germanique médiéval (Paris, 1950). Publications de l’Université de Dijon VII. 40 Introduction standpoint and emphasize the work’s unevenness—and lets accident account for changes that the author can be seen or assumed to be making in his treatment of sources.