What this song renders
The marriage-proposal story is unique to the Primary Chronicle. Constantine VII’s own De Ceremoniis, which describes Olga’s receptions in detail, makes no mention of any such proposal. The emperor’s wife Helena was alive and at the receptions. The Chronicle’s account is almost certainly literary — a tale told later in Rus’ tradition to magnify Olga’s wit at the expense of the famous emperor.
Two readings are possible. One: a real diplomatic exchange — perhaps a politically charged offer of dynastic alliance, or a flirtation — was preserved and embellished into the Chronicle’s clean trap. Two: the entire scene is invented as a folkloric punchline, structurally similar to the four-fold revenge stories about the Drevlians.
Either way, the scene is the Chronicle’s argument about Olga’s temperament. She is not just dangerous in the field; she is dangerous at the table. The album takes the story at face value as a Chronicle-attested anecdote and marks it clearly as Rus’-tradition rather than independently confirmed.
The marriage-trap story is from the Primary Chronicle alone. Constantine VII was demonstrably married at the time and the Byzantine sources do not record the proposal. Treat it as legendary embellishment that nonetheless preserves something real about how Olga was remembered.