After a discussion of earlier interpretations of l. 51f., an argument is made for the emendation not only of chludun to chlubun, “they clove” (incontestable), but also of stoptū to a non-ohg stopun, “they stepped” (better than a saxonised *staptun with the same meaning), as already proposed by Lachmann (1833). In addition, staim is no longer interpreted as the first part of a compound—not as *stein with the meaning “colour”, only attested in on, nor as *steim, “noise”, only attested once in mhg, nor as *sturm, “storm”, never attested in ohg, os, oe and on as first member of a compound with the meaning “battle”—but as an instrumentalis, signifying the swords, and therefore to be corrected to sta(h)lim, “with steels”, another non-ohg word-form. All this is seen, together with the use of bort for “shield”, as further evidence that the lay was influenced by oe and os poetry.
Bart Besamusca, Gareth Griffith, Matthias Meyer and Hannah Morcos
This article examines the role and function of author attributions in multi-text manuscripts containing Dutch, English, French or German short verse narratives. The findings represent one strand of the investigations undertaken by the cross-European project ‘The Dynamics of the Medieval Manuscript’, which analysed the dissemination of short verse narratives and the principles of organisation underlying the compilation of text collections. Whilst short verse narratives are more commonly disseminated anonymously, there are manuscripts in which authorship is repeatedly attributed to a text or corpus. Through six case studies, this article explores medieval concepts of authorship and how they relate to constructions of authority, whether regarding an empirical figure or a literary construction. In addition, it looks at how authorship plays a role in manuscript compilation, and at the effects of attributions (by author and/or compiler) on reception. The case studies include manuscripts from the thirteenth to fifteenth centuries, produced in a range of social and cultural contexts, and featuring some of the most important European authors of short verse narratives: Rutebeuf, Baudouin de Condé, Der Stricker, Konrad von Würzburg, Willem of Hildegaersberch, and Geoffrey Chaucer. The preliminary findings contribute to our understanding of author attributions in text collections from across northern Europe and point towards future lines of enquiry into the role of authorship in medieval textual dissemination.
Zu ‚Willehalm‘ 237,3–14 und ‚Aliscans‘ lxxxi–lxxxvi
Beginning with the insight that the poetologic statement in the Wh 237,3–14 passage stands in clear contradiction to its own original context, this article undertakes a comparison with the corresponding parts of the presumed ‘Aliscans’ source text. The author tries to show that Wolfram here attempts a narrative harmonization, that contrasts with his ‘crooked German’. This leads to the conclusion that Wolfram’s way of making poetry hasn’t been adequately understood and described yet.
Ausgehend von der Einsicht, dass die poetologische Aussage in der Passage Wh 237,3–14 einen deutlichen Widerspruch zu ihrem ureigensten Kontext aufweist, versucht der Beitrag durch einen Vergleich mit den entsprechenden Abschnitten in der angenommenen Vorlage ‚Aliscans‘ darzulegen, dass Wolfram hier im ‚Willehalm‘ eine narrative Harmonisierung vornimmt, die seinem angeblichen „krummen Deutsch“ entgegensteht. Die Schlussfolgerung mündet in die Erkenntnis, dass Wolframs Art und Weise zu dichten noch längst nicht adäquat verstanden und beschrieben worden ist.
This article is in German Language
John M. Jeep
A long-term project tracing the history of the alliterating word-pair in the earliest recorded stages of German returns to Gottfried von Straßburg on the occasion of a new edition of manuscript W. For the first time, each and every such pair is documented and analysed within the context of Tristan, including comprehensive findings in recent studies on alliterating word-pairs in Old High and Early Middle High German, and in comparison with Ranke’s edition. Gottfried’s use of the pair consitutes a major factor within his rhetorical arsenal. Related yet different phraseological phenomena are also addressed in the context of philological research on Gottfried’s work.