#Emperor Rudolf ii

[jareckiworld]

Bedřich Budil — Rudolf II of Habsburg (oil on canvas, 1985)

[little-candy-store-of-horrors]

"Bella gerunt alii, tu felix Austria nube!"

Day 6 of @spaus-week 's challenge

"Let others wage war, you, happy Austria, marry!" Was the political strategy of the Habsburgs, and marry did the House of Austria! Infamously, scandalously, sensationally. A mangled wreath of a family tree. We all know this horror story. And we all know the bitter end.

After Emperor Charles V&I divided his Spanish and Austrian inheritance ((also gained through his parents' and grandparents' marriages)) to his descendants and those of his younger brother Ferdinand I respectively, the Habsburg dynasty split into two branches. The Spanish and Austrian Habsburgs notoriously intermarried for generations, right up till Charles II of Spain whose heirless death in 1700 sparked the War of the Spanish Succession. The inbreeding and this informal Latin motto behind it has been blamed to hell and back for their implosion, for the physical ugliness that ran in this royal bloodline. But it is not to say the Habsburgs never went to war, nor that dynastic marriage was a political strategy unique to them! But they were, if anything, bloody successful at it seeing how they did rule half of Europe for 200 years, and then a lot of it in the Austrian line for another 200. Before anyone figured out inbreeding was bad it was considered a privilege to marry into the Habsburgs, with Louis XV claiming that Louis XVI's betrothal to Marie Antoinette was marrying the "Daughter of the Caesars", and Napoleon Bonaparte infamously ditching Josephine for Marie Louise. Charles II was a poor sod who took the fall and the mugs were wretched from the same ugly gene being passed around countless times*, but they did wear power and privilege well.

💅✨ Symbolism bc I'm a NERD and this my Category 10 autism event ✨💅 :

Charles V & Ferdinand I's joint portrait based on that propaganda woodcut, behind them the colours of the Habsburg flag.

The Spanish branch, comprising Charles V & I's descendants, is represented with a black background, and the Austrian branch, comprising Ferdinand I's descendants, gold, both colours pulled from their flag, a dynasty intertwined but split in two.

Round frames denote that the individual had no heirs.

Only the most influential ruler on both sides, the King of Spain and the Holy Roman Emperor, are represented as framed portraits, explaining Archduke Charles II's unframed depiction.

The unconventional placement of Charles II of Spain and Emperor Rudolf II's nameplates are a nod to their queerness: their intersexuality and bisexuality respectively.

Ferdinand III's portrait is lopsided because of the losses of the 30 Years War.

Cracks in Charles II's portrait: 🙃🙃🙃

[roehenstart]

Rudolf II by Adolf Liebscher.

[tiny-librarian]

Royal Birthdays for Today, August 8th: 

Casper, Maya Ruler, 422

Horikawa, Emperor of Japan, 1079

Rudolf II, Duke of Bavaria, 1306

Maria Alexandrovna, Empress of Russia, 1824

Beatrice of York, British Princess, 1988

[famousborntoday]

Rudolf II was Holy Roman Emperor (1576–1612), King of Hungary and Croatia, King of Bohemia (1575–1608/1611) and Archduke of Austria (1576–1608). He was a member...

Link: Rudolf II, Holy Roman Emperor

[tudorblogger]

Book Review - ‘Alchemy’ by S.J. Parris

I really enjoyed this latest instalment in the Giordano Bruno series. I had to listen towards the end on double speed to finish it before my loan time expired, but that didn’t lessen my enjoyment of it. It’s weird because I sometimes put off starting some of the historical fiction I have set in the sixteenth century because I spend so much of my time there writing my own nonfiction books, but…

[cervenakoviny]

Very eccentric.

As befits a dude who would rather collect art and ponder alchemy than rule, but also very much not random.

Copies of the painting were distributed across Europe, this was a political statement, this was supposed to bolster grandeour and near divinity of emperorship.

First there is the theme of the painting - Vertumnus

Vertumnus is a Roman god. And well, in Rudolph's time, in age of rennaissance, there wasn't much else beside Greco-Roman mythology that would be available and also not decried as pure devilry by church. But still, we are talking about deity that oversaw birth of Rome herself, clear callback to the empire on which tradition Holy Roman Empire was founded (yes, Voltaire, I know, Voltaire, it was neither holy, nor Roman, and by 18th century not much of empire either...). Habsburgs as heirs of Ceasar and Octavianus.

More specificaly Vertumnus is a god of seasonal change. That means he has control over frost breaking to let rivers flow and fields be worked, over crop growing under abudance of light rain and bright sun, or withering in drought and hail, over new beginnings and sweet fruits rewarding year-long hard labour. It is him who grants you your sustenance, your very survival. It is him who makes and breaks order of life and world. Order on which you depend and which you must not question, lest he might use his power to turn your life upside down. Without him in place all would fall into disarray. When he is halted, when he is ailing, all of you are as well. Beside guardianship he also enacts change while remaining eternal himself, the ultimate alchemist of all material bellow and immaterial above. And some radical changes were definitely afoot.

Rudolph's were trying times.

Habsburgs were still surfing on high tide, greatest power in Europe and New World, with highest income, backing papacy (now that it's been tamed) and catholicism (except that time when Rudolph's father Maximilian flirted with conversion, to his wife's horror), acting a bit like policeman. But it was also a very precarious and taxing position.

On the outside Ottoman empire that spent last century and some trying to gobble up Medditeranean, flood Polish-Lithuanian commonwealth and break through Vienna gate to have free pass into German states, thus threatening European economic, religious and administrative core. On the inside religious wars between various christian denominations sprinkled with clashes against regional bodies which resisted centralization. And neighbouring kingdoms (especially France) eager to see Habsburgs taken down a peg.

All permeated with high expactations for the age of discoveries, be them unknown rich lands or emerging sciences twined with occult mysteries. Times in which educated and noble elite attempted to turn base metals into gold that would pay off their ever growing debts. Times in which John Dee hoped to learn from angels about secrets with which he could explain and alter cosmos.

To become master of natural forces, religious discourse and political stage who will fix the grand mess, stay afloat torrents of different court factions, defeat Turks, sort out squabling christians and become true global power from his cerebral position between earth and heaven must have been a very attractive image both to psych himself up and to present to the public. Aspirations so much loftier than eventual results of his reign. Melancholic affliction did not help.

Then we can take a look at various details of the painting.

It is nothing short of smorgasbord. From early spring onions and summer cherries to late autumn chestnuts, crowned by wheat sown as trees shed their leaves before winter and sprouting from soil as soon as snows melt away. From basic grain and cabbage that feeds all the peasants to the expensive fruits like pomegranates and figs brought in carts of merchants travelling from distant countries, or flowers to be found only in the gardens of the richest. Grape that is mother of wine that is blood of Christ. And fairly universal currency as well. Olives that are mother of oil. Also currency. And the most exotic items of them all - corn, pumpkin, cucumber, all discovered in New World.

All this belongs to the holy roman emperor, folks, this vast territory, this wealth, this beauty, this power to pluck and use and share whatever he wishes from the very edges of earth.

Also...

I can't be the only one who finds those cherries in place of his lips rather erotic. Wouldn't wish to fuck him (sorry, Dolph), but those cherry lips sure are very suggestive. He was a hoe and he's got syphilis to prove it too.

Giuseppe Arcimboldo. Imperatore Rodolfo II d'Asburgo come Vertumno Giuseppe Arcimboldo. Rudolph II of Habsburg as Vertumnus Джузеппе Арчимбольдо. Портрет императора Рудольфа II в образе Вертумна 1590

god

[archivist-crow]

On this day:

VOYNICH MANUSCRIPT: MOST MYSTERIOUS MANUSCRIPT IN THE WORLD

On August 19, 1666, the rector of Prague University sent a letter and a manuscript to one of his former students, the Jesuit scholar Athanasius Kircher. The manuscript had lain forgotten in the monastery library in Frascati, Italy, for 250 years. It was obtained by Wilfred Voynich in 1912 and went on to be dubbed "the Most Mysterious Manuscript in the World."

Christened the Voynich, the six-by-nine-inch parchment codex appears to be a straightforward book. It is, however, over two hundred pages written in a code or unknown language that has never been deciphered. The text is elaborately illustrated with colored drawings of unknown plants and the sun, moon, and stars. Depictions of tiny naked women also frolic over the pages.

First appearing in history in 1586, the book was purchased for a then-outrageous sum of 600 ducats by the Holy Roman emperor, Rudolf II of Bohemia. One of the most eccentric European monarchs of the era, Rudolf collected dwarfs, had a regiment of giants in his army, and entertained all manner of magicians and alchemists. It has been suggested that the Voynich manuscript is the work of Roger Bacon, a famous English monk and scientist, and that it made its way to Prague via John Dee, a famous occultist of the time.

From dating of the vellum, pigments, calligraphy, and drawings, the manuscript is judged to be from the late thirteenth century. It has been labeled as everything from an illustrated herbal, to an alchemical treatise written in code to protect the contents, to an elaborate hoax. Its contents are roughly thought to be divided into sections of astronomy/astrology, biology, cosmology, pharmaceuticals, and recipes. After Voynich's widow died, the manuscript was sold to a book dealer and then donated to Yale University.

Text from: Almanac of the Infamous, the Incredible, and the Ignored by Juanita Rose Violins, published by Weiser Books, 2009

[notalicent]

HOUSE OF THE DRAGON + art (11/∞)

Emperor Rudolf II in Armour | Martino Rota De Koning van Thule | Pierre Jean van der Ouderaa Portrait of a Man in Armour with Red Scarf | Anthony van Dyck

[collectionstilllife]

Giuseppe Arcimboldo (Italian, 1527–1593) • Emperor Rudolf II as Vertumnus, the Roman God of the Seasons • c. 1590

[tercessketchfield]

MEN THINK ABOUT ROMAN EMPIRE. WOMEN THINK ABOUT HOLY ROMAN EMPIRE

JUDITH OF BAVARIA (797-843) — Daughter of Count Welf I of Bavaria, Judith was a Carolingian Empress as the second wife of Louis I the Pious. Mother of Gisela and Charles the Bald, she foght for both her own influence at court and for the succession of her son over the claims of his elder half-brothers, the sons of Louis I from his first marriage. Charles became the Emperor in 875, after the death of Louis II, his nephew and a son of his half-brother Lothair / fancast: Annabel Scholey

MARIA OF AUSTRIA (1528-1603) — Daughter of Charles V, Holy Roman Emperor, and Isabella of Portugal. She served as Regent of Spain both jointly with her husband, Maximilian (before their accession to the imperial throne), and in person, for her father, and brother, Philip II. Her children include two Holy Roman Emperors, Rudolf II and Matthias, over whom she held great influence, and queens consorts of Spain, and France / fancast: Olivia Cooke

EMPRESS MAUD (1102-1167) — Daughter of Henry I of England and Matilda of Scotland. Her first marriage to the Holy Roman Emperor, Henry V, gave her the title under which she came down into history, and was a source of great pride to Maud. Rightful heiress of Henry I, she confronted her cousin, King Stephen, in the civil war, known as the Anarchy, fighting ferociously for her rights. She failed in this for herself but won for her son Henry, who became king and established the Plantagenet dynasty in England / cast: Alison Pill in The Pillars of the Earth (2010)

MARIA THERESA (1717-1780) — She succeded her father Charles VI as the ruler of Habsburg monarchy in 1740, and devoutedly defended it against its enemies in the War of Austrian Succession and the Seven Year's War. Wife of the Holy Roman Emperor, Francis I, she was a forceful personality and a competent ruler herself, reigning first in her own right, and later, jointly with her son Empreror Joseph II. Her children include two Holy Romam Emperors (Joseph II and Leopold II), queens consorts of Naples ans Sicily, and France / cast: Marie-Luise Stockinger in Maria Theresia (2017)

[best-habsburg-monarch]

Franz Joseph, Emperor of Austria, King of Hungary, etc. Reigned 1848-1916

Challenge: Talk about his reign without talking about wife a lot (impossible)

from anon:

Dual Monarchy. HELLO.

Constitution! (Italy immediately declared war after but ya know)

Survived assassination attempts

Doesn't lose territory to Prussian unification which is something I guess

Shares 2 names with Hayden

from @minetteskvareninova:

Franz Joseph propaganda (proper):

as much of a poor little meow meow as Joseph II.

also known as Starej Procházka (ask @archduchessofnowhere I promise it's hillarious)

wholesome friendship with Katharina Schratt

was there not for a good time, but a long time certainly, and unlike queen Victoria doesn't even get the dignity of an era named after him!!!

girldad (better not ask about his son)

loved the great god Mars, even though Mars did not love him back, wore uniform all the fucking time, but his actually military record was. well. gotta love a boyfailure.

conservative in principle, but smart enough to know when to fold 'dem (which is why the former monarchy didn't end up like Russia)

from anon:

Anti-Franz Joseph Propaganda: Yes, the sideburns are iconic, but when you are a reigning emperor for 68 years and your signature facial hair is colloquially named after a minor U.S. Civil War general instead, you fumbled the bag.

anti Franz Joseph propaganda: he was an older sibling (derogatory)

from @master-of-the-opera-house:

MARRIED HIS FIRST COUSIN WHEN THEY WERE BEGINNING TO FIGURE OUT THIS HABSBURG INCEST SHIT DON'T WORK

EVEN THO THE POPE SAID NO

Sissi was a babe tho i get him BUT THEN

THEN HE GAVE HER AN STD AND TOOK A MISTRESS

Didn't drink his respect cousin-wife juice apparently

CAUSED CROWN PRINCE RUDOLF TO COMMIT

CLASSIST PIECE OF SHIT didn't allow franz ferdinand to marry sophie chotek

And then literally said "thank God" when he died

Somehow still had the people's support as a poor old man who lost everyone close to him when he either indirectly caused that or just didn't give a shit

a Leo ♌🤢

They wasted such a pretty face and such a snatched waist on such a cunt

Had he stayed alive any longer and he would've been at the negotiating table at the hall of mirrors in 1918 *shivers*

THOROUGHLY UNFUNNY """""desk bound monarch"""""" stringent for protocol """last of the old school monarchs"""" and didn't even cause any nonsense catastrophes that usually accompanies this stick up the arse

68 long monotonous years on the throne then couldn't even make 69 for the joke

Fredrick III, Holy Roman Emperor, reigned 1452-1493

Kicked off the whole tradition of being Holy Roman Emperors

[fitzrove]

Rambling about Hass in Elisabeth for a REALLY long time. TL;DR - yeah, it is necessary as a song...

Because of the costumes and staging people often just see it as "the antisemitism song", which it is, strongly, but I think sometimes the wider context presented therein is ignored. Really, the song shows how antisemitism and hatred are fuelling and entangled with other movements!!

The nationalists in that song come from various groups and social classes, and identify as their enemies:

Socialists

Pacifists

Jewish writers

Jewish women

"Those who are not like us"

Crown prince Rudolf (because of his - historically strong - friendships and other positive associations with Jews)

The Habsburgs as a whole

Elisabeth and her Heinrich Heine (= a Jewish poet) monument project (which also attracted such strong criticism from German nationalists [Austrian Germans who were nationalists, not "Germans" in the modern sense] historically)

Hungary

The "barons" - so the nobility

The "slavic state"

The ongoing "betrayal of the people"

And to contrast, they identify as good:

Strength ("the strong wins, the weak fails", and also "strong leaders") and "purity"

"Unity"

Glory/splendour ("pracht")

Christian values

"Unified Germany", an alliance with Prussia and even an Anschluss (the joining of Austria and other "ethnically German" [so-called] lands to the German Reich. Hmm does anyone remember who also strove for and eventually implemented this... /s)

The conservative Wilhelm II as emperor (again, they want to join Austria into the German Reich)

So like. There is a glorification of all things "German" and of conservative values (religion) and reactionary power politics ("weakness" was and is by similar groups now considered to be a major flaw of liberalism and a liberal world order - in the song, pacifism and socialism are also connected to it), as exemplified by Wilhelm II's Germany specifically. To contrast, racial enemies ("non-Germans") threatening "racial purity" must be eliminated, with violence if necessary. And the Habsburg monarchy, being a multinational empire, is described as immoral and weak because of it being multinational (and the position of Slavs and Hungarians in politics and imperial administration).

The themes of "betraying the people" (Volksverrat) are especially interesting because the enemies of the nationalists as listed in the song, Jewish women, pacifists and socialists, were also the people blamed for German defeat in WW1 (the "stab in the back" at the home front myth). It's overall 19th and 20th century anti-establishment fascist imagery.

Ajdkkf I don't think I'm clearly making my argument but the song's key functions are:

To dispel the myth of the late 19th century being "the good old days", the glory days of Austria before the world wars somehow magically came to happen and ruined it. In fact, the songs shows that the developments leading to the world wars stem from politics and mass movements of hatred that developed alongside and gave power to & drew power from nationalism in the 19th century

To show the audience exactly what Rudolf is talking about in "Die Schatten werden Länger (reprise)". What is the "evil that is developing"? It's not Rudolf's personal petty wish for more power, or his angst about not being emperor yet, or some generic amorphous disdain for how FJ is reigning; it's not the lack of Hungarian independence either, for god's sake. I will die on this hill, if you cut Hass or replace it with conspiracy or whatever you can cut Rudolf as well, Elisabeth as a show is (in my opinion) a good portrayal of him precisely because it depicts him as a political thinker (in contrast to many depictions and post-Mayerling accounts which diminish that and just talk about Mayerling and his "immorality" - a talking point devised by the nationalists and antisemitists who hated him lol, liberal politics were connected to lack of morality) and someone who, unlike most of his contemporaries, saw that antisemitism, emphasis on "power" and realist power politics, exclusionary/hateful rhetoric and excess nationalism would lead to ruin. AND Hass also shows that he was hated by the German nationalists for this! As was his mother, for her sympathy to Heine...

To connect genuine popular dissatisfaction (from Milch - Hass is a reprise of Milch in terms of rhythm and the call-and-response structure where Lucheni talks to the crowd) with inequality, the lack of democracy and the excesses of royalty... to the rise and presentation of fascism as a "solution"

To show that 19th century nationalism was, in many ways, exclusionary, antisemitic, racist and "war-mongering", and that this rhetoric is old - not somehow magically appearing for WW2 and then disappearing again - and will time and again rise... and that it's everyone's responsibility to recognise it for what it is when it happens, if we are to have a reasonable, decent world to live in.

The framing of Hass sometimes confuses people I will never recover from that one post cancelling Elisabeth das musical for being antisemitic because Hass exists ajiddfkdllfgl what's next, it's pro-suicide and homophobic because a character technically dies from being gay? but to me it's rather clear that it's unsympathetic lol, with the whole doomsday atmosphere (no music, just footsteps/marching and drums and screaming, it's meant to be threatening), the way the ensemble harshly criticises the most sympathetically portrayed characters we have seen so far (Elisabeth and Rudolf) for things that seem petty and harmless (having Jewish friends), and the extremely direct comparison drawn to N*zism (to indicate what such a movement would develop to) in many stagings. I don't know how to say this but somehow I've always assumed that "H*tler and n*zism = evil" is EXTREMELY common knowledge and it mystifies me when people like. Think it should have been stated more clearly in the show. Like, the show is working off the assumption that you know what it is and that it's bad because of the millions and millions of people they killed............. this is EXTREMELY common knowledge in Europe, not least in Germany and Austria lol.

So um yeah akwkldlf, sorry for the ramble, I just feel like the song can be poorly understood and criticised on shaky ground sometimes. I mean, I am not Jewish and not equipped to talk about whether it's triggering or traumatising to watch especially with lived or family experience of antisemitic violence... But I think for non-Jewish people there is a huge responsibility to be aware and vigilant of antisemitism, historically and in the present, and sometimes it needs to be hammered home for people to understand...

By that last point I also somewhat mean... I think you don't "get" to be triggered by it if you're not Jewish but perhaps otherwise affected by politics of hatred. Of course I'm not emotions police lol, but many Jewish people have intergenerational trauma AND have to live with extremely similar antisemitic rhetoric and culture to this day, so there I understand criticisms - and there is also a discussion to be had about how and to what extent it is ok to use and display Jewish suffering as a device to educate non-Jewish people.

But anyway, to my original point. This is something I've seen people say and I just... if you're queer and it makes you uncomfortable to see Hass because modern n*zis hate you and it's traumatic, I mean, it's valid to feel uncomfortable and you can choose not to watch it personally to avoid being triggered, but you don't get to call for it to be erased from the show for "problematic content" or for "escapism" or to make you feel better. It is there because the destruction of the 19th century world, and Rudolf's and Elisabeth's suffering, is intrinsically tied to the rise of such hateful politics and without that being shown there is no show. You don't get to make it something it's not, this show is not ONLY an epic gothic romance with imaginary boyfriend, it's a commentary on past, present and future politics in that it shows the dangers of conservatism, antisemitism, racism and illiberalism. Calling for or supporting censorship, or state emphasis on militarism/"destroying the enemy", or advocating hatred, violence or oppression against any group based on ethnicity, religion, race, political views, etc. are all political stances held by and propagated by various people today in various political contexts. And you are not immune to antisemitism or reactionary nationalism if you're queer or whatever, so you have the constant responsibility to think critically about your worldview and your politics!!

[racefortheironthrone]

A Guildsman Goes Forth to War, World-Building Part II

Historical Departures:

As you might imagine, in a world that's experienced quite a significant change almost a thousand years previously, Europe circa 1500 AD in A Guildsman Goes Forth to War is not the same as the one from our timeline. Names and places are familiar but distinct, and the borders of entire countries have shifted because a battle that went one way in one timeline went the other in this.

For the purposes of this novel, I wish to draw your attention to two more significant historical departures that will be the most central to the main characters and the plot.

The first departure has to do with the outcome of the Franco-Flemish War at the beginning of the 14th century. As in our timeline, the war began as a conflict between Phillip the Fair (although in this world, he was King of Gallia, rather than of France) and the Count of Flanders, and turned into a Flemish revolt against the overlordship of France that enraged and terrified the French chivalry after the Guldensporenslag. Unlike our timeline, however, the Count of Flanders offered marriage of his younger daughter to Rudolf I of the Empire after Phillip blocked his marriage alliance to Edward of Anglia.

While sadly in this timeline the Flemish cause did not ultimately win victory either, the Imperial marriage meant that when French forces pushed the Flemings' backs to the wall at Zierikzee and Mons-en-Pévèle, they were met by an Imperial expeditionary force. Rudolf I was no partisan of the burghers, but neither was he about to have Phillip the Fair as a neighbor. And so instead, the Low Countries became a buffer zone between the Kingdom of Gallia and the Sacrum Imperium.

Major warfare between Gallia and the Empire was avoided. (After all, Phillip had his hands full with Edward and Rudolf desperately needed that bastard Pope to agree to his coronation.) As for the people who had fought so hard for their freedom, the militias were disbanded, the burghers were stripped of much of their former independence, all commoners were forbidden to carry arms, and the local nobility were carefully balanced between Gallician and Imperial lines to keep the peace. Everyone returned to the business of spinning thread into gold. But still the memory of the goedendag lingered...

The second, more recent event is the rise of the Lega di Mille Communi. At the height of the Wars of the Guelphs and Ghibellines, a number of Italian communes hatched a conspiracy "as to dwarf any previous such venture in the history of man." To end the constant fighting and free themselves from the ambitions of Pope and Emperor both, these communes pretended loyalty to both factions, offering loans and fighting men while working within the walls of their own cities to plant spies, provacateurs, and assassins among the leading families of the signorile.

This silent campaign built to its height at the Second Battle of Legnano, where the combined forces of Pope Boniface VIII and his Guelph allies and Emperor Louis IV and his Ghibellines met again at that place honored in song and memory as the place where Barbarossa was humbled. When the battle was fully joined, a pre-arranged signal was given and the condottieri on both sides turned on their own armies, making a daring charge for the command tents of Pope and Emperor alike. In the confusion and chaos, those great and noble persons were taken captive in the name of the newly revealed Lega di Mille Communi.

The shockwave echoed across all Europe. For six months, the greatest secular and religious authorities in Christendom lingered in golden fetters, while Kings and Cardinals from ultramontano threatened foreign intervention. Across northern and central Italy, a civil war raged in the streets and in the fields, but the Guelph and Ghibelline partisans found themselves leaderless and undirected, unwilling to combine with their hated enemies against the professional forces of the well-heeled Lega who toppled government after government from within and without. When the dust had settled, a "Treaty of Perpetual Liberty" was signed by the Empire and the Papal See alike. Under the terms of this pact, the Lega was recognized as independent of both, the sole legitimate sovereign of all territories south of the Alps.

Naturally, this document signed under heavy coercion was immediately repudiated the moment the principals were freed (albeit under heavy bond). Louis IV declared war the moment he set foot on German soil, and Boniface would have done the same in his own territories had he not dropped dead of a rage-induced stroke. For another ten years, the Lega fought to uphold the Treaty, and ultimately narrowly triumphed thanks to a crucial alliance with the Swiss Confederacy that bled the Emperor's legions white as they tried to fight their way south through the Alps, and thanks to a deadlocked Papal conclave (kept that way by heavy bribery and constant espionage) that allowed the Lega to fight on one front at a time.

But in the end, the Lega endured because of the simple principles of its constitution. Under the articles of federation and defensive alliance, each commune was largely free to govern itself within certain boundaries. No separate alliance or agreement with any foreign state was allowed. Limited wars between Communi were allowed after arbitration, but not to the point of outright conquest of one city-state over another. Contracts would be honored across the Lega, and exchange rates between local currencies would be fixed at yearly conferences. Violators would face the combined forces of every other Communi bound together in fraternal oath.

One Pope after the other was crippled with debt until they had to sell the Donation of Pepin city by city and valley by valley, culminating in a truly Croesian subvention from the Lega for the new Prince of the Vatican. The Kingdom of Naples tried again and again to fight its way up the boot, only to find itself mired in costly sieges ahead and suspiciously well-funded peasant rebellions behind, until eventually the House of Anjou declined into civil war. The Lega was not a peaceful country after independence, but the fighting kept their condottieri well-trained and well-paid, and a new cultural ethos emerged among the Communi that they would uphold as jealously as the virginity of their kinswomen: "I against my brother, my brother and I against my cousin, my cousins and I against a foreigner."

And so for the first time since the time of the Divine Julius, one of the major powers of Europe was a Republic(s). A specter had begun to haunt the crowned heads of Christendom...

[four-loose-screws]

FE2 Novelization Translation - Book 2 Cover and Intro Pages

If you would like to start from the beginning, read a missed part, etc., click here!

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———————————

Cover

Fire Emblem Gaiden

Land of Sorrow

Book 2

STORY

A large-scale war is currently ravaging the continent of Valentia. After the loss of countless Units, the story of a new encounter is told. General Alm, leading the imperial army of Zofia to restore the country’s sovereignty, under the name “the Deliverance.” Young Priestess Celica, attempting to make her deepest wish of restoring goddess Mila to her rightful place a reality. However, fate is still leading these two in opposite directions.

The dark plot of the cold-hearted and ruthless Emperor Rudolf of Rigel is once again in motion. …The plot to thoroughly destroy the Kingdom of Zofia. For what reason has he fallen to such insanity? Alm, who has not even an idea of the fate of his bloodline, raises his sword against Rudolf.

Will he and Celica finally be able to act upon their love for each other? Will peace return to Valentia? Find out here, in the conclusion to this story!

Written by Katsuyuki Ozaki

Cover Illustration by Ichiro ?*

Cover Design by Kazuo Hiroi (WIDE)**

*T/N: I cannot find the Kanji character in this person’s last name anywhere to confirm its reading.

**T/N: First name could also be ‘Ichio’ or ‘Itsuo.’ I cannot find any record of this person online, so I cannot confirm the correct reading of their name. Their nickname is ‘WIDE’ because their last name, ‘hiroi,’ is the Japanese word for wide.

Published by Futabasha

Author’s Profile

Katsuyuki Ozaki

An up-and-coming author also working as a copywriter. His major works include “Valkyrie no Densetsu,” “F-Zero,” “Zelda II: The Adventure of Link,” and many more, all published by Futabasha. He has also written for other strategy guide series. His hobbies include golf, cars, and computer games. He is of course also passionate about Fire Emblem, and has completed all of the games so far. He poured all of his love for the series into writing these two books without rest!

Front:

The stage continues to unfold upon the continent of Valentia at war!

This fantastical tale of our young fighters finally comes to its end!

What will become of Alm and Celica’s love for each other? Where will their fate to fight lead them?

And in what direction will these Unit’s adventures take them…?

Back:

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Color Art

Text:

This fantastic story is about the great battle on Land Valencia.

According to the destinies, many young heroes and heroines will fight to save their lovers.

Which will God promise to them, victory or defeat?

For whom will He smile?

Whom will He crush by a hummer at last?

Nothing but the bravy spirit of youth can bring peace to such a confused world.

The new act of this drama has just started now!!

Title Page

Table of Contents

(T/N: Exact translation of the chapter and chapter part titles are subject to change, once I read and translate them in full detail, based on exact context.)

Prologue

Chapter 1: The Second War

Mila, Lost Forever

The Empty Throne

Divine Blade Falchion

The Army of Witches at the Border

Chapter 2: The Battle at the Border

The Tragic Mage Luthier

Fratricide

The Golden General, Zeke

Surprise Attack

Sonya’s Secret

Crux of Fate

Chapter 3: God Duma

Triangle Attack

Great Sage Halcyon

Volcano

My Father, Jedah

Chapter 4: Reunion

To Rigel Castle

Mad Emperor Rudolf

The Heir

Chapter 5: The Altar and the Final Act of the War

The Mystery of Gradivus

Inside the Continent

My Father, Rudolf

The Gods’ Slumber

The Reborn Kingdom of Valentia

Epilogue

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Illustrations: Ichiro ?* & Kazuo Hiroi (WIDE)**

*T/N: I cannot find the Kanji character in this person’s last name anywhere to confirm its reading.

**T/N: First name could also be ‘Ichio’ or ‘Itsuo.’ I cannot find any record of this person online, so I cannot confirm the correct reading of their name. Their nickname is ‘WIDE’ because their last name, ‘hiroi,’ is the Japanese word for wide.

Book design: Yusuke Matsuoka (NEXT)

Editing & printing: Rekkasha

Character Introductions

Celica’s Army

Genny: A Cleric from Novis Island’s Priory who supports Celica’s ideals.

Atlas: A Villager who joins Celica and her army to defeat the pirate Grieth. A hot-blooded young man with exceptional sword fighting talent.

Leon: A young Archer who is saved by Celica’s army at the pirate’s fortress, and stays with them afterwards.

Saber: A Mercenary searching for an employer to work for at Novis Greatport. Later transcends to Myrmidon.

Valbar: An Armor who was one of three people fighting to kill the pirate Barth at his fortress.

Est: A Pegasus Knight and one of the three sisters from Archanea. She is captured alone and brought to Grieth’s fortress.

Palla: One of the three sisters from Archanea. A Pegasus Knight with superior strength and mobility.

Nomah: A Sage whose spiritual powers have only strengthened in his old age, and possesses the skill to cast Sagittae.

Catria: A Pegasus Knight and one of the three sisters from Archanea. When they combine their powers, they can pull off the strongest attack of all…

Boey: A young Mage who serves at Novis Island’s Priory with Celica. 

Jesse: A Mercenary who joins forces with Celica to defeat Grieth. Though he acts like a ruffian, his swordsmanship skills are above average.

Sonya: A female Mage who can cast Excalibur. Her red lipstick and makeup proves that she is not associated with either the Mila nor Duma faithful.

Mae: Like Boey, she is a Mage from Novis Island’s Priory.

Celica: A deeply devout Priestess who leaves Novis Island’s Priory to travel to Mila’s Shrine. She is the second protagonist of this story, in addition to Alm.

Kamui: A Mercenary who goes to the pirate fortress with Leon and Valbar.

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Wives and Daughters of Holy Roman Emperors: Age at First Marriage

I have only included women whose birth dates and dates of marriage are known within at least 1-2 years, therefore, this is not a comprehensive list.

This list does not include women who died before their husbands were crowned Emperor. It spans between the beginning of the reign of Otto I (962 CE) and the end of the reign of Francis II (1806 CE).

The average age at first marriage among these women was 17. The sample size was 91 women. The youngest bride, Bianca Maria Sforza, was just 2 years old when she wed her first husband, who was himself 9. The oldest bride, Constance of Sicily, was 32 years old.

Adelaide of Italy, wife of Otto I, HRE: age 15 when she married Lothair II, King of Italy, in 947 CE

Liutgarde of Saxony, daughter of Otto I, HRE: age 15 when she married Conrad the Red, Duke of Lorraine, in 947 CE

Theophanu, wife of Otto II, HRE: age 17 when she married Otto in 972 CE

Cunigunde of Luxembourg, wife of Henry II, HRE: age 24 when she married Henry in 999 CE

Gisela of Swabia, wife of Conrad II, HRE: age 12 when she married Brun I of Brunswick in 1002 CE

Agnes of Poitou, wife of Henry III, HRE: age 18 when she married Henry in 1043 CE

Matilda of Germany, daughter of Henry III, HRE: age 11 when she married Rudolf of Rheinfelden in 1059 CE

Judith of Swabia, daughter of Henry III, HRE: age 9 when she married Solomon, King of Hungary in 1063 CE

Bertha of Savoy, wife of Henry IV, HRE: age 15 when she married Henry in 1066 CE

Agnes of Waiblingen, daughter of Henry IV, HRE: age 14 when she married Frederick I, Duke of Swabia in 1086 CE

Empress Matilda, wife of Henry V, HRE: age 12 when she married Henry in 1114 CE

Beatrice I, Countess of Burgundy, wife of Frederick I, HRE: age 13 when she married Frederick in 1156 CE

Beatrice, daughter of Frederick I, HRE: age 10 when she married Guillaume II, Count of Chalon in 1173 CE

Constance, Queen of Sicily, wife of Henry IV, HRE: age 32 when she married Henry IV in 1186 CE

Beatrice of Swabia, first wife of Otto IV, HRE: age 14 when she married Otto in 1212 CE

Maria of Brabant, second wife of Otto IV, HRE: age 24 when she married Otto in 1214 CE

Constance of Aragon, first wife of Frederick II, HRE: age 19 when she married Emeric of Hungary in 1198 CE

Isabella II of Jerusalem, second wife of Frederick II, HRE: age 13 when she married Frederick in 1225 CE

Isabella of England, third wife of Frederick II, HRE: age 21 when she married Frederick in 1235 CE

Margaret of Sicily, daughter of Frederick II, HRE: age 14 when she married Albert II, Margrave of Meissen in 1255 CE

Anna of Hohenstaufen, daughter of Frederick II, HRE: age 14 when she married John III Doukas Vatatzes in 1244 CE

Marie of Luxembourg, daughter of Henry VII, HRE: age 18 when she married Charles IV of France in 1322 CE

Beatrice of Luxembourg, daughter of Henry VII, HRE: age 13 when she married Charles I of Hungary in 1318 CE

Margaret II, Countess of Hainaut, wife of Louis IV, HRE: age 13 when she married Louis in 1324 CE

Matilda of Bavaria, daughter of Louis IV, HRE: age 10 when she married Frederick II, Margrave of Meissen in 1323 CE

Beatrice of Bavaria, daughter of Louis IV, HRE: age 12 when she married Eric XII of Sweden in 1356 CE

Anna von Schweidnitz, wife of Charles IV, HRE: age 14 when she married Charles in 1353 CE

Elizabeth of Pomerania, wife of Charles IV, HRE: age 16 when she married Charles in 1378 CE

Margaret of Bohemia, daughter of Charles IV, HRE: age 7 when she married Louis I of Hungary in 1342 CE

Catherine of Bohemia, daughter of Charles IV, HRE: age 14 when she married Rudolf IV, Duke of Austria in 1356 CE

Elisabeth of Bohemia, daughter of Charles IV, HRE: age 8 when she married Albert III, Duke of Austria in 1366 CE

Anne of Bohemia, daughter of Charles IV, HRE: age 16 when she married Richard II of England in 1382 CE

Margaret of Bohemia, daughter of Charles IV, HRE: age 8 when she married John III, Burgrave of Nuremburg in 1381 CE

Barbara of Cilli, wife of Sigismund, HRE: age 13 when she married Sigismund in 1405 CE

Elizabeth of Luxembourg, daughter of Sigismund, HRE: age 13 when she married Albert II of Germany in 1422 CE

Eleanor of Portugal, wife of Frederick III, HRE: age 18 when she married Frederick in 1452 CE

Kunigunde of Austria, daughter of Frederick III, HRE: age 22 when she married Albert IV, Duke of Bavaria in 1487 CE

Bianca Maria Sforza, wife of Maximilian I, HRE: age 2 when she married Philibert I, Duke of Savoy in 1474 CE

Margaret of Austria, daughter of Maximilian I, HRE: age 17 when she married John, Prince of Asturias in 1497 CE

Barbara von Rattal, daughter of Maximilian I, HRE: age 15 when she married Siegmund von Dietrichstein in 1515 CE

Dorothea of Austria, daughter of Maximilian I, HRE: age 22 when she married Johan I of East Frisia in 1538 CE

Isabella of Portugal, wife of Charles V, HRE: age 23 when she married Charles in 1526 CE

Maria of Austria, daughter of Charles V, HRE: age 20 when she married Maximilian II, HRE in 1548 CE

Joanna of Austria, daughter of Charles V, HRE: age 17 when she married John Manuel, Prince of Portugal in 1552 CE

Margaret of Parma, daughter of Charles V, HRE: age 14 when she married Alessandro de’ Medici, Duke of Florence, in 1536 CE

Elizabeth of Austria, daughter of Ferdinand I, HRE: age 16 when she married Sigismund II Augustus of Poland in 1543 CE

Anna of Austria, daughter of Ferdinand I, HRE: age 17 when she married Albert V, Duke of Bavaria in 1546 CE

Maria of Austria, daughter of Ferdinand I, HRE: age 15 when she married William of Julich-Cleves-Berg in 1546 CE

Catherine of Austria, daughter of Ferdinand I, HRE: age 16 when she married Francesco III Gonzaga in 1559 CE

Eleanor of Austria, daughter of Ferdinand I, HRE: age 27 when she married William I, Duke of Mantua in 1561 CE

Barbara of Austria, daughter of Ferdinand I, HRE: age 26 when she married Alfonso II d’Este in 1565 CE

Joanna of Austria, daughter of Ferdinand I, HRE: age 18 when she married Francesco I de’ Medici in 1565 CE

Anna of Austria, daughter of Maximilian II, HRE: age 21 when she married Philip II of Spain in 1570 CE

Elisabeth of Austria, daughter of Maximilian II, HRE: age 16 when she married Charles IX of France in 1570 CE

Anna of Tyrol, wife of Matthias, HRE: age 26 when she married Matthias in 1611 CE

Eleonora Gonzaga the Elder, wife of Ferdinand II, HRE: age 24 when she married Ferdinand in 1622 CE

Maria Anna of Austria, daughter of Ferdinand II, HRE: age 25 when she married Maximilian I, Elector of Bavaria in 1635 CE

Cecilia Renata of Austria, daughter of Ferdinand II, HRE: age 26 when she married Władysław IV of Poland in 1637 CE

Maria Anna of Spain, wife of Ferdinand III, HRE: age 25 when she married Ferdinand in 1631 CE

Maria Leopoldine of Austria, wife of Ferdinand III, HRE: age 16 when she married Ferdinand in 1648 CE

Eleonora Gonzaga the Younger, wife of Ferdinand III, HRE: age 21 when she married Ferdinand in 1651 CE

Mariana of Austria, daughter of Ferdinand III, HRE: age 15 when she married Philip IV of Spain in 1649 CE

Eleonore of Austria, daughter of Ferdinand III, HRE: age 17 when she married Michael I of Poland in 1670 CE

Maria Anna Josepha of Austria, daughter of Ferdinand III, HRE: age 24 when she married Johann Wilhelm II, Elector Palatine in 1678 CE

Margaret Theresa of Spain, wife of Leopold I, HRE: age 15 when she married Leopold in 1666 CE

Claudia Felicitas of Spain, wife of Leopold I, HRE: age 20 when she married Leopold in 1673 CE

Eleonore Magdalene of Neuberg, wife of Leopold I, HRE: age 21 when she married Leopold in 1676 CE

Maria Antonia of Austria, daughter of Leopold I, HRE: age 16 when she married Maximilian II Emanuel, Elector of Bavaria in 1685 CE

Maria Anna of Austria, daughter of Leopold I, HRE: age 25 when she married John V of Portugal in 1708 CE

Wilhelmine Amalie of Brunswick, wife of Joseph I, HRE: age 26 when she married Joseph in 1699 CE

Maria Josepha of Austria, daughter of Joseph I, HRE: age 20 when she married Augustus III of Poland in 1719 CE

Maria Amalia of Austria, daughter of Joseph I, HRE: age 21 when she married Charles VII, HRE in 1722 CE

Elisabeth Christine of Brunswick, wife of Charles VI, HRE: age 17 when she married Charles in 1708 CE

Maria Theresa of Austria, daughter of Charles VI, HRE: age 19 when she married Francis I, HRE in 1736 CE

Maria Anna of Austria, daughter of Charles VI, HRE: age 26 when she married Charles Alexander of Lorraine in 1744 CE

Maria Antonia of Bavaria, daughter of Charles VII, HRE: age 23 when she married Frederick Christian, Elector of Saxony in 1747 CE

Maria Anna Josepha of Bavaria, daughter of Charles VII, HRE: age 20 when she married Louis George of Baden-Baden in 1755 CE

Maria Josepha of Bavaria, daughter of Charles VII, HRE: age 26 when she married Joseph II, HRE in 1765 CE

Maria Christina, daughter of Francis I, HRE: age 24 when she married Albert Casimir, Duke of Teschen in 1766 CE

Maria Amalia, daughter of Francis I, HRE: age 23 when she married Ferdinand I, Duke of Parma in 1769 CE

Maria Carolina, daughter of Francis I, HRE: age 16 when she married Ferdinand IV & III of Sicily in 1768 CE

Maria Antonia, daughter of Francis I, HRE: age 14 when she married Louis XVI of France in 1770 CE

Maria Josepha of Bavaria, wife of Joseph II, HRE: age 26 when she married Joseph in 1765 CE

Maria Luisa of Spain, wife of Leopold II, HRE: age 19 when she married Leopold in 1764 CE

Maria Theresa of Austria, daughter of Leopold II, HRE: age 20 when she married Anthony of Saxony in 1787 CE

Maria Clementina of Austria, daughter of Leopold II, HRE: age 20 when she married Francis I of Sicily in 1797 CE

Maria Theresa of Naples, wife of Francis II, HRE: age 18 when she married Francis in 1790 CE

Marie Louise, daughter of Francis II, HRE: age 19 when she married Napoleon I of France in 1810 CE

Maria Leopoldina, daughter of Francis II, HRE: age 20 when she married Pedro I of Brazil and IV of Portugal in 1817 CE

Clementina, daughter of Francis II, HRE: age 18 when she married Leopold of Salerno in 1816 CE Marie Caroline, daughter of Francis II, HRE: age 18 when she married Frederick Augustus of Saxony in 1819 CE