Ruodlieb

from Wikipedia, the free encyclopedia
Text fragment from the only copy of Ruodlieb , Clm 19486, 11th century

Ruodlieb is a Latin verse epic from the beginning of the High Middle Ages , which was probably written around the middle of the 11th century by a monk from Tegernsee in good Leonine hexameters . The work, of which eighteen fragments have survived about 2,300 verses, can be regarded as an early forerunner of the courtly novel of the 12th century. Apparently it was not spread at all.

In the story of the knight Ruodlieb, who goes out into the world in search of his luck, motifs from fairy tales and heroic sagas are combined with realistic depictions of the life of both the nobility and the farmers in the (Upper Bavarian) village. Wisdoms of life play a major role, which the characters either follow or (to their detriment) disregard. In addition to its partly fairytale-like, colorful mood, the story also has a sober moral-didactic intention.

Discovery, Edition, and Background

"So I recently discovered a fragment from a knight poem in Leonine rhymes, where the names Rudlieb, Immunch, and the fight of the first with the dwarf (nanus) occur." With this succinct remark by the librarian Bernhard Joseph Docen , who with the Was entrusted with viewing the books of the Royal Court and State Library in Munich acquired through secularization in 1803, the history of research into this unique work of Middle Latin literature begins in 1807 .

The scholar found a total of 15 double sheets that had served as binding material for various codices kept in the Tegernsee monastery library, but which he was not yet able to put into a logical order. In the period that followed, other sheets were discovered which, as far as can be proven, were also misused in the second half of the 15th century. Since the discovery of the last fragments in 1981, there have been 21 pieces of double sheets from the former Tegernsee holdings, more or less severely damaged by trimming, which have passed on to us 2320 verses or fragments of verses and once formed a group of parchment sheets that belonged together and was never bound.

The double page with 140 verses discovered in the Upper Austrian Abbey Library of St. Florian in 1830, however, is the remnant of a second manuscript, which, according to the palaeographic findings, is characterized by larger letters, regular numbers of verses on each page, rubrications, paragraphs and a different scribe differs from Clm 19486.

The comparatively unclean Munich fragments sometimes seem to represent only a rough version of Ruodlieb , while the sheet from St. Florian, which probably also comes from the Tegernsee Monastery, can be regarded as part of a fair copy. Since the corrections in the text of the Munich fragments were primarily made for prosodic reasons and were probably only carried out by one hand, an autograph by Ruodlieb is here with some certainty .

Approx. 40% of the work should be lost if one takes into account the existing gaps in the content and assumes that only double pages are lost.

After the first edition by Jacob Grimm and Johann Andreas Schmeller in 1838, the first halfway satisfactory edition and commentary on the text was finally made by Friedrich Seiler in 1882, but many questions about conjectures, unusual text passages or the semantics of some terms remained controversial until the 1990s the research.

The authorship of Ruodlieb has not yet been clarified. The assumption that the author could be Froumund von Tegernsee turned out to be untenable for chronological reasons, as the style of the "fair copy", which was probably created shortly after the rough version, was based on the late or late 11th. It is dated to the 20th century and contains a few corrections that are probably attributable to the author himself. Because of the large number of Tegernsee manuscripts from this period and the possibilities for comparison that are given with them, one is able to make fairly precise dates, which means that earlier approaches that settled the work in the first half of the century or its middle have lost their plausibility.

The dating argument used was that the representation of the royal court and the diplomatic conduct could only be based on the author's autopsy, although a meeting between Emperor Henry II and the French King Robert in 1023 or the glamorous court of Henry III. (1039–1056) are said to have influenced the anonym. However, these considerations are too vague and therefore by no means mandatory. It is also unclear whether the unknown epic poet even completed his work. For on the back of the last sheet and on one side of the first double sheet of the Munich Codex, which was largely written by one hand, there are eleven epigrams written by the same person. Therefore it is highly unlikely that the CLm 19486 was continued beyond the abruptly interrupted dwarf scene already mentioned by Docen.

The fragment from St. Florian could, however, come from a completely completed complete version of Ruodlieb , since a first text version on wax tablets should not be improbable and therefore the CLm 19486 must not be assumed as the sole model.

The fact that no great importance was attached to the work at the time of its creation shows, in addition to the lack of a book binding, not so much the shameless material exploitation that was made possible four centuries after it was written, but rather the fact that there are no notes from later users on the text sheets intensive reception must therefore be ruled out. This is supported by the fact that a poem like Ruodlieb , commonly referred to as a novel, did not find a successor in Latin and that vernacular products of a comparable nature did not appear in the French-speaking area until the middle of the 12th century. Whether the Ruodlieb was created at Tegernsee at all cannot be proven, but so far nothing speaks against it.

It is noticeable that the poet, who most likely belonged to the clerical class, had very little interest in the direct exploitation of ancient authors. Pliny the Elder is the only author to be named and apparently quoted, but apart from an Aeneid passage, which of course had to be converted into a Leonine verse, there are probably no quotations. However, knowledge of various authors and works can be assumed. In addition to Virgil and the Etymologiae of Isidore of Seville, this includes, with very high probability, Ovid , the Waltharius epic or the Vita Udalrici of Gerhard von Augsburg. The same applies at least to the Gesta Apollonii Tyri, a hexametric version of the novel Historia Apollonii Regis Tyri. Our poet may also have known the Alexander novel.

Outline of the course of action

The following course of events can be deduced from the fragments that have been preserved: A nobleman, initially referred to as quidam vir or miles , is forced to leave his homeland. For despite the self-sacrificing fulfillment of his duties for his domini locupletes , he received no support from them against other potentates whom he had just made enemies in the exercise of his faithful service, and now sees no other way out than to leave his manor and his widowed mother and only himself escorted by a squire to safety abroad. Once there, the now exul- named meets a hunter of the king who, impressed by the appearance and the dignity of the mounted refugee, quickly becomes friends with him and introduces him to his king. The knight proves his hunting skills at the royal court and is allowed to enter the service of the generous king, who enables him to become general and chief negotiator because of his outstanding moral, but also professional qualifications. When a predatory margrave of the neighboring king, who is often referred to as a rex minor to distinguish himself from the first-mentioned king, the rex maior , plunders the border area, the miles masters the task with flying colors to stop the aggressor by defeating the count in open battle and captured with 900 men. In the course of negotiations between the two kings, our knight comes to the court of the rex minor , where he shows another talent in the truest sense of the word: chess . He manages to negotiate a meeting between the two potentates willing to reconcile, which finally takes place on a bridge over the border river and runs extremely harmoniously. The procedure of the partly formal and partly amicable expressions of courtesy and the extensive exchange of gifts are described in great detail. Hardly has this model example of the Christian conception and exercise of power been over when a messenger brings him a letter from his former masters and his mother, in which he is pleadingly asked to return home, because now all his opponents have been eliminated and there is no longer any danger. At this point, the name Ruodlieb is introduced for our knight for the first time, which is the first step towards the dissolution of the previously maintained complete anonymity. The king dismisses his loyal servant at his request and asks Ruodlieb to choose as a farewell present whether he wants pecunna (sic!) Or sophia . His departing cliens Ruodlieb, by his own admission, decides without hesitation for them because of the permanence of wisdom and therefore receives twelve wisdom teachings from his master and two loaves of bread, one of which Ruodlieb is supposed to open when he meets his mother again, the other when he gets married . The breads are treasure loaves, inside of which jewelry, jewels and pieces of gold are hidden in silver bowls. The content that Ruodlieb has kept secret is described to the reader in great detail and splendor before it is handed over.

These gifts of thanks from the rex maior , strange at first glance, are typical topoi in the so-called advice tales, under the star of which the next section of the epic, the journey home, is located. Immediately after his departure, a redhead joins Ruodlieb, who has left his squire behind, but is alarmed by the warning about redheads in the first advice and behaves very distantly towards him. The character of the rufus , as it quickly turns out, is diametrically opposed to that of his chivalrous companion and corresponds completely to the image sketched out in the first advice: thieving, quick-tempered, lustful, violent and ruthless he drives his mischief and is punished for his unbridled behavior by was promptly beaten up by the farmers concerned for entering the seed fields, contrary to the second advice, which was of course unknown to him. His misconduct is taken to extremes when, disgusted by the idea of ​​spending the night with Ruodlieb with an old, wealthy woman with a young, virtuous husband, he lodges with a young peasant woman who is unhappily married to an old, stingy man. He persuades her to be able to free her from her position by taking her to his alleged master Ruodlieb at his behest. When he picks up the love wages she has promised in advance, the old husband catches the couple in flagrante, whereupon the redhead fatally injures him. Cleansed, the husband forgives the two on his deathbed, who have to answer in court after his imminent death, where the unscrupulous rufus tries to lay the blame on the wife in the usual way. She, on the other hand, regrets what has happened so much that she would like to have the worst forms of penance imposed, so that from now on she is allowed to lead a life as a hermit with the strictest regulations, while the devious redhead has to atone for his deed with his life.

After this excursus, Ruodlieb is back in the foreground of the action. We meet him again in the company of his nephew, whom he tries to free from the dependence on a light girl. With him he arrives at a noble seat of a widow who is still mourning for her husband and who, as it turns out later, has a close relationship with Ruodlieb's mother, who is even the godmother ( commater ) of her adolescent, adorable widow Daughter is. Our Anonymous describes this extremely pleasant stay Ruodlieb in small-aristocratic company in great detail. In addition to the evening entertainment scenes to be examined in more detail, the repeated use of buglossa ("ox tongue", especially the common ox tongue as a so-called mad bait ) in fishing, the lively depiction of a watchful dog and an entertaining aviary scene with pater noster croaking birds. His return from a foreign country, in which he has spent ten years, is particularly joyful, not least because of the opening of the treasure bread. Now the reader learns that Ruodlieb, astonishingly, stayed with the Afri the whole time. Now the nephew and the noble girl are married in a relaxed atmosphere, which Ruodlieb's mother takes as an opportunity to reason about her age and to ask Ruodlieb to marry. Before that, however, Ruodlieb reconciled with his former masters and received an extensive loan. When courting, he takes advice from friends and relatives to ensure compliance with the seventh wisdom. An initially promising candidate is convicted of fornication with a cleric, which Ruodlieb takes as an opportunity to teach her a lesson. By having the items of clothing brought to her disguised as a gift, which acted as corpora delicti , he rejects her without publicly compromising her. A surprising turn in the course of action occurs when the mother tells her son Ruodlieb about her extremely allegorical dreams, in which the prospect of an enormous increase in the status of her son, namely the marriage to a king's daughter and the attainment of royal dignity, is promised. A large loophole leaves only vague speculations about what happened until we meet Ruodlieb in a conversation with a dwarf he has captured, who offers him the decisive help in obtaining the kingdom of King Immunch for his release. This would fall from Ruodlieb's hand just like his son Hartunch and then he would only have to marry heres tunc sola superstes , the king's daughter Heriburg, in order to come into possession of the royal rule. After an invective of the dwarf against the faithlessness of the people, the story ends abruptly with the dwarf wife's pleading for her husband to be released. There are only seven epigrams written in Leonine verse on the reverse , which have no recognizable connection with Ruodlieb .

Generic question

The discussion about the type of literature that Ruodlieb is facing is as old as its (modern) reception history. Seiler already made a clear judgment in the title of his edition: RUODLIEB, THE OLDEST ROMAN OF THE MIDDLE AGES. If you look at more recent research opinions, a more differentiated picture emerges in which the work seems to be something of a lot, but ultimately a clear allocation is not possible. In considering this question today, one at least admits that of all Latin works of the Middle Ages he is closest to the genre Roman. Fairy tales, heroic sagas, saints' vitae, Ritterspiegel and adventure novels: all these types of literature have shaped the Ruodlieb and given it an unmistakable, independent form and each dominate certain parts of the work.

This becomes clearest in the last two fragments, in which set pieces of the ruod love affair, which has been handed down in several variants, are used. Therefore, the judgment of Hans Naumann might be partially correct that Ruodlieb is “closer to the north than the southern world, as is typical of the narrative”. Since he was probably able to develop almost no effect at all, it is hardly illuminating to link works that are chronologically classified according to him with him in order to construct a line of development. But you can see many similarities in the old French “chansons des gestes” or the high medieval knight epics in Middle High German , which point to a common store of stories. But the many differences are at least as noticeable: Despite the fragmentation, one can safely say that no genre is even remotely maintained throughout the entire work. Even the main character Ruodlieb is not in the center of attention in too many scenes, but is at most an observer, even if in the end he is given an outstanding fate. All of these factors, especially those researchers who were rather skeptical about the literary value, preferred to give Ruodlieb the name "failed experiment". One might speak of failure if one looks at the history of the impact, which can hardly be described as such. Ruodlieb's language is difficult because, for prosodic reasons, the poet sometimes goes to the limits of comprehensible formulation. The author hardly proves that he can be called homo eruditus .

But can you deny him education because he neglected to write out other authors and forged his own, albeit often awkward, verses? It has been proven that there is a large number of overlaps with other authors that can hardly be attributed to coincidence or only to a similar background of experience. To see him as an ingenious head who constructed his own material devoid of any role models, which coincidentally only reappeared in different places a century later in the literary heyday of the High Middle Ages, should also bypass reality. Instead, in addition to using the monastery library, one should above all assume that oral narrative traditions are interwoven and that the various elements are usually cleverly and imaginatively linked. Our clerical author, however, has a gift that puts this achievement in the shade: He is able to present very vivid pictures and relatively good character representations in small episodes, which overlook some linguistic clumsiness. Despite all the unusualness of the variety of narrative elements, the work can definitely be recognized as a child of the early High Middle Ages: the development of a professional ethos is reflected in the ideal-typical figure of the pious and capable knight, initially kept anonymous for precisely this reason. Clerics, on the other hand, do not play a major role, but their prominent position vis-à-vis the nobles is clearly demonstrated to the reader, i.e. no situation that was completely atypical for the social order of the time is not faked.

The aristocratic convent students should be seen as the presumed addressees of this moral-pedagogical story. Despite the extensive anonymization of the work, signs of identification with the realm of the rex maior appear in at least three places outside of messenger reports . Whether it is actually evidence of a relation to reality or whether the poet takes the point of view of miles / exul / venator Ruodlieb in a somewhat strange way cannot be clearly decided.

action

The course of action can be roughly divided as follows:

  1. Ruodlieb as a servant: unsuccessful service at home; successful service in exile as a hunter, general, diplomat, reward (wisdom teachings and treasure in bread), farewell [I – V 558]
  2. Ruodlieb on the journey home: in the company of rufus , three wisdom doctrines tested, in the company of the contribulis (stop at a noble residence and engagement of the contribulis with the daughter of the house) [V 559 – XIII]
  3. Ruodlieb as Lord: Marriage contribulis - dominella , Ruodlieb's search for a bride (rejection of the wrong bride, acquisition of a king's daughter) [XIV – XVIII].

A finer section breakdown gives the following picture:

  1. I 1-71 (complete) ⇒ Excerpt of the miles (= Ruodlieb): history, description of equipment, farewell to the mother.
  2. I 72–141 ⇒ Ruodlieb befriends the venator regis and enters the service of the rex maior .
  3. IA 1–7, II 1–50 ⇒ Ruodlieb has served the rex maior for 10 years as a hunter with bird trapping, fishing (with Buglossa) and wolf hunting.
  4. II 51–65, III 1–70, IIIA 1–3 ⇒ Ruodlieb as commander of the rex maior against peace breakers from the land of the rex minor .
  5. III A 4–7, IV 1–230 ⇒ Ruodlieb on a diplomatic mission to the rex minor , chess game scenes (IV 184–188) in his report to the rex maior .
  6. IV 231-252, V 1–221 ⇒ The meeting of kings, dancing bear scene, release of prisoners and in return gifts for the rex maior : catalog of valuable animals, use of the lynx box.
  7. V 222–391 (complete) ⇒ Ruodlieb receives a letter with the request to return home (V 222–228). The rex maior prepares a farewell present, treasure description (preparation of two farewell loaves covered with flour and filled with silver bowls (inside: money or jewelry)).
  8. V 392-584 (without gaps) ⇒ The 12 teachings of the rex maior , handing over of the treasure loaves to be sliced at home and Ruodlieb's farewell.
  9. V 585–621 ⇒ Ruodlieb meets a rufus who joins him. The truth of the first two teachings is shown.
  10. VI 8–123 ⇒ The story of the old woman with the young man (extremely positive) and the young woman with the old man (presented in a decidedly negative way).
  11. VII 1–25 ⇒ Ruodlieb as a guest of the young man with the old woman.
  12. VII 26–129, VIII 1–10 ⇒ The rufus as a guest with the old man with the young woman; Seduction of the faithless wife; Killing the man who still forgives the evildoers.
  13. VIII 11–129 ⇒ The judgment; Wife as a repentant sinner who undergoes severe lifelong penance.
  14. Gap ⇒ Ruodlieb's onward journey and encounter with his contribulis .
  15. IX 1–24 ⇒ Ruodlieb in conversation with his contribulis . Joint departure.
  16. X 1–58, X 59–112 ⇒ Ruodlieb and his contribulis as guests in a manor house (I): arrival, overnight stay, morning fishing (catalog with 18 Upper Bavarian fish names) and lunch; Thieves scenting dog.
  17. X 113–132, XI 1–72, XII 1–32, XII 33–36 ⇒ Ruodlieb and his contribulis as guests in a mansion (II): aviary scene, evening entertainment (harp play and dance XI 38–72), engagement of the contribulis with der dominella (XII 22–32), overnight stay and farewell.
  18. XII 37–66, XII 67–90, XIII 1–9, XIII 10–81 ⇒ journey home, messenger, arrival, bathing scene and celebration, cutting the first loaf of bread, time: exul ... denis ... in annis ; first mention of the name "Ruodlieb", which can certainly be traced back to the author.
  19. XIV 1–99 ⇒ The marriage of the contribulis with the dominella (XIV 51–87).
  20. Gap ⇒ Reconciliation with the previous employer and loan. Ruodlieb's work at home and in the service of the country.
  21. XV 1–70, XVI 1–18 ⇒ The mother's lament (XV 3–15); she asks Ruodlieb to marry.
  22. XVI 19–70, XVII 1–84 ⇒ Ruodlieb's courtship: Invitation of relatives and friends for advice (7th teaching!); Shame of the Sorrowful Bride (XII 1–14).
  23. XVII 85–128 (complete) ⇒ The dreams of the mother: Her holy life enables (in the vision) the ascent of the son, namely the marriage with a king's daughter and the acquisition of a kingdom.
  24. Gap ⇒ the death of the mother.
  25. XVIII 1–32 ⇒ Ruodlieb and bound dwarf who promises him a royal treasure, a kingdom and a king's daughter when he is liberated.

Then: Abort the novel with the beginning of the final phase (royal increase).

Conclusion

Ruodlieb , a fictional tale of virtue and happiness by the young aristocrat Ruodlieb (mostly apostrophized as a novel) is the “first knight mirror ” of the Middle Ages (for typical knight virtues see the “knight and friendship epic”, “ Engelhard ” by Konrad von Würzburg from the 2nd half of the 13th century) and lies decades before the " Chansons de geste " of the " Riot Cycle " (e.g. Gormond et Isembart ). In contrast to the ancient novel, however, the story of a continuous rise is told. The almost complete waiver of proper names and place names is unusual; only exceptions: Ruodlieb, Immunch, Hartunch, Heriburg, ligamina from Lukka (= Lucca), gold coins from Byzantium, service with the Afri (serves to alienate). There are no references to concrete political allusions, rather the drawing of various ideal images dominates (e.g. Ruodlieb, rex maior , repentant sinner; diametrically opposite: the rufus ). The special role of the advice fairy tale topos is also striking. The Ruodlieb combines different elements of different literary genres in a unique poetic experiment, the sources of which are seldom directly accessible. Due to the idealization of many courses of action, intensive use of the work as a cultural-historical document is problematic, but nonetheless a relic, albeit unfortunately ineffective, of an extremely creative spirit.

Editions and translations (some with commentary)

  • Seiler: Ruodlieb. Hall 1882.
  • Partial translation by Paul von Winterfeld . In: Paul von Winterfeld, Hermann Reich (ed.): German poets of the Latin Middle Ages in German verse. CH Beck, Munich 1913, further editions in 1917 (there pp. 287–361) and 1922.
  • CW Grocock: The Ruodlieb. Edited with translations and notes. Warminster / Chicago 1985.
  • Walter Haug: facsimile. Facsimile edition of the Codex Latinus Monacensis 19486 of the Bavarian State Library in Munich and the fragments of St. Florian. Volume I, Wiesbaden 1974.
  • Benedikt Konrad Vollmann : Facsimile edition of the Codex Latinus Monacensis 19486 of the Bavarian State Library in Munich and the fragments of St. Florian. Volume II, Wiesbaden 1985.
  • Walter Haug, Benedikt Konrad Vollmann: Early German literature and Latin literature in Germany 800–1150. Library of the Middle Ages, Volume 1. Deutscher Klassiker-Verlag, Frankfurt am Main 1991, ISBN 3-618-66010-3 , pp. 388–551 (Ruodlieb: text and translation), pp. 1306–1406 (commentary).
  • Fritz Peter Knapp: Ruodlieb. Middle Latin and German translation, commentary and afterword. Reclam, Stuttgart 1977, ISBN 3-15-009846-7 .
  • Karl Langosch : Waltharius, Ruodlieb, fairytale epics. Latin epic of the Middle Ages with German verse. Scientific Book Society, Darmstadt 1967.

literature

  • Arno Borst: The book of natural history. Pliny and his readers in the age of parchment. Winter, Heidelberg 1994, ISBN 3-8253-0132-X .
  • Werner Braun: Studies on Ruodlieb. Knight ideal, narrative structure and presentation style. De Gruyter, Berlin 1962.
  • P. Dronke: “Ruodlieb”: The Emergence of Romance. In: Ders .: Poetic Individuality in the Middle Ages. New Departures in Poetry. 1000-1150. London 1986.
  • Andreas Epe: Index verborum Ruodliebianus. Lang, Frankfurt am Main / Bern / Cirencester 1980, ISBN 3-8204-6801-3 .
  • HM Gamer: The Earliest Evidence of Chess in Western Literature: The Einsiedeln Verses. In: Speculum. Part 29. 1954, pp. 734-750.
  • HM Gamer: Studies on Ruodlieb. In: Journal for German Antiquity and German Literature. Part 88. 1958, pp. 249-266.
  • HM Gamer: Ruodlieb and tradition. In: Karl Langosch (ed.): Middle Latin poetry. Darmstadt 1969, pp. 284-329.
  • C. Gellinek: Marriage by consent in Literary Sources of Germany. In: Studia Gratiana. Part 12. 1967, pp. 555-579.
  • P. Godman: The “Ruodlieb” and Verse Romance in the Latin Middle Ages. In: Michelangelo Picone, Bernhard Zimmermann (ed.): The ancient novel and its mediaeval reception. Birkhäuser, Basel / Boston / Berlin 1997, ISBN 3-7643-5658-8 , pp. 245-271.
  • Christian Götte: Rex Maior's image of man and rulers in “Ruodlieb”. Studies on ethics and anthropology in the “Ruodlieb”. Fink, Munich 1981, ISBN 3-7705-1428-9 .
  • Hans Heinrich: Ruodlieb's nephew is getting married. In: woman stories. WM-Literatur-Verlag, Weilheim 2002, ISBN 3-9808439-0-4 .
  • P. Klopsch: The "Ruodlieb". In: AU. Part 17. 1974, pp. 30-47.
  • P. Klopsch: The Hero's Name: Considerations on the “Ruodlieb”. In: Günter Bernt (Hrsg.): Tradition and Valuation: Festschrift for Franz Brunhölzl on his 65th birthday. Thorbecke, Sigmaringen 1989, ISBN 3-7995-7065-9 , pp. 147-154.
  • Fritz Peter Knapp: Comments on “Ruodlieb”. In: Journal for German Antiquity and German Literature. Part 104, 1975, pp. 189-205.
  • Fritz Peter Knapp: Similitudo. Stylistic and narrative function of comparison and example in the Latin, French and German grand epic of the High Middle Ages. Vienna / Stuttgart 1975, especially pp. 191–222.
  • Karl Langosch: On the style of "Ruodlieb". In: Karl Langosch, P. Klopsch (ed.): Small writings. Weidmann, Hildesheim / Munich / Zurich 1986, ISBN 3-615-00031-5 .
  • L. Laistner: Review of Seiler. Ruodlieb. In: Anzeiger für German antiquity and German literature. Part 9. Weidmann, Berlin 1883, pp. 70-106.
  • L. Laistner: The gaps in Ruodlieb. In: Journal for German antiquity and German literature. Part 29. Weidmann, Berlin 1885, pp. 1-25.
  • Bengt Löfstedt: On Ruodlieb XII 22ff. In: Logos semantikos. Studia linguistica in honorem Eugenio Coseriu 1921–1981. Volume 4: Grammar. Berlin / Madrid 1981, p. 267f.
  • H. Meyer: The marriage in the "Ruodlieb" and the marriage sword. In: Journal of the Savigny Foundation for Legal History . German Department, Part 52. 1932, pp. 276–293.
  • H. Naumann: The Norse relatives of the Ruodlieb novel. In: Hermann Schneider (Hrsg.): Edda, Skalden, Saga. Festschrift for Felix Genzmer's 70th birthday. Winter, Heidelberg 1952, pp. 307-324.
  • Peter Stotz: Form theory, syntax and style. Handbook of Classical Studies: Dept. 2: Part 5: Handbook on the Latin language of the Middle Ages; Volume 4. Beck, Munich 1998, ISBN 3-406-43447-9 .
  • Peter Stotz: Change of meaning and word formation. Handbook of Classical Studies: Dept. 2: Part 5: Handbook on the Latin language of the Middle Ages; Volume 2. Beck, Munich 2000, ISBN 3-406-45836-X .
  • S. Stricker: vernacular in Ruodlieb. In: Linguistics. Part 16. 1991, pp. 117-141.
  • Benedikt Konrad Vollmann: Ruodlieb. Scientific Book Society, Darmstadt 1993, ISBN 3-534-09073-X .
  • HJ Westra: “Brautwerbung” in the “Ruodlieb”. In: Middle Latin Yearbook. Part 18. 1983, pp. 107-120.
  • HJ Westra: On the Interpretation of Dominella's Speech in the “Ruodlieb”. In: Middle Latin Yearbook. Part 22. 1987, pp. 136-141.

Web links

Remarks

  1. ^ Heinrich Grimm: New contributions to the "fish literature" of the XV. to XVII. Century and through their printer and bookkeeper. In: Börsenblatt for the German book trade - Frankfurt edition. No. 89, November 5, 1968 (= Archive for the History of Books. Volume 62), pp. 2871–2887, here: pp. 2883 f.
  2. ^ Heinrich Grimm: New contributions to the "fish literature" of the XV. to XVII. Century and through their printer and bookkeeper. In: Börsenblatt for the German book trade - Frankfurt edition. No. 89, November 5, 1968 (= Archive for the History of Books. Volume 62), pp. 2871–2887, here: p. 2884.