The literary instrument allows its author to present, in the form of a story, a different Middle Ages: far from current stereotypes, according to which the long millennium becomes at times Christian, barbaric, chivalrous, urban, rural, violent, superstitious, dark, and obscure. Understanding the ideological reasons for these encrustations, these interpretative distortions, which often arose and continue to arise from the need to justify present-day evils or to provide effective antidotes for them, means opening up to the enchantment of a rich, lively, restless, and contradictory period: perpetually balanced between order and disorder, between culture and nature, between the uniqueness and plurality of languages, between the seductions of the East and the exuberances of the West.
