Volume 145, Issue 1

This study offers a new typology of runic formulas in the corpus of the older runic inscriptions (up to AD 700). Its basis as defined in this paper is the minimal ›one-word formula‹ along with its diverse morpho-syntactical extensions. The approach taken in this study identifies ›one-word-formulas‹ such as alu or laukaR as the basic building blocks of runic formulaicity which can be extended in various ways. The typology thus established comprises 1. monolexemes consisting of isolated charm words, e. g., alu , 2. reduplication formulas, e. g., salu-salu , 3. twin formulas, e. g., līna laukaR , 4. alliterative non-twin formulas, e. g., rūnō raginakundō , 5. tandem formulas and further combinations of formulas, e. g., laukaR alu , and 6. disguised and distorted formulas, e. g., tua , which probably can stand for alu . The methodological foundation of this overall classification lies in the linguistic and rhythmic-metrical principles that these formulas obey, not least Behaghel’s Fourth Law.

Early Modern foreign language textbooks and especially the model dialogues that are typical of such manuals are particularly valuable sources for historical pragmatics due to the imitation of oral communication. However, the potential of this source has hardly been exploited, especially for historical speech act analysis. This study will now, first, empirically investigate the realization patterns for directive speech acts in selected model dialogues from the 16 th  to 18 th  century. Second, on the basis of the results, a data-based evaluation of the authenticity and thus the potential of language learning dialogues as a source for historical linguistics will be made.

Chrétien de Troyes’s Old French Arthurian romances have mostly found expression in corresponding German romances such as Hartmann von Aue’s ›Iwein‹. Generally, Chrétien’s romances have not influenced the German poets’ lyrical works, so far as known, with one single exception: an ironic passage from Chrétien’s ›Chevalier au lion‹ could have served as a model for the ironic speech in Hartmann’s crusade song ›Ich var mit iuweren hulden‹ (MF 218,5). In Chrétien, Calogrenant, Yvain’s cousin, informs the Arthurian court of his defeat by Esclados, and Yvain is eager to take revenge for his cousin. By using proverbial expressions which allude, inter alia, to the crusades against Noradin or Saladin, Keu, however, ironically reproaches Yvain for not following his words with action whereas at table, he is talking about heroic deeds he would achieve the following day. The discrepancy between word and deed is also a theme in Hartmann’s crusade song. A much discussed passage in the song’s second stanza first declares true love for God and then for one’s lady as being willing to embark on a crusade. Then, however, a logical break occurs, when the singer, obviously on the point of departing, declares: ›yet if Saladin were alive and all his army, they would never take me a foot out of Franconia‹ (MF 218,19f.). Hartmann undoubtedly knew the ironic Noradin passage from Chrétien. Therefore, the question arises if the Saladin passage in Hartmann’s crusade song should also be read ironically.

There are remarkable parallels between the version *D of the ›Nibelungenlied‹ and the version P of the ›Rosengarten‹: Both groups of manuscripts show references to the East Upper German, Czech and East Central German language areas and both include four identical long verses. This article tries to clarify the connections.