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72-428: The Jüngeres Hildebrandslied (the younger lay of Hildebrand) or Das Lied von dem alten Hildebrand (the song of old Hildebrand) is an anonymous Early New High German heroic ballad , first attested in the fifteenth century. A late attestation of Germanic heroic legend , the ballad features the same basic story as the much older Hildebrandslied , but was composed without knowledge of that text. Rather, it reworks

144-453: A Franciscan monastery or at Vadstena Abbey in Sweden. It has been suggested that the saga may have been adapted under the patronage of Swedish King Charles VII . Interest in adapting the Þiðreks saga may have been sparked by the saga's portrayal of Swedish control of a large Baltic empire called "Vilcinaland", which included Swedish rule over its rival Denmark . The Didriks Krönika

216-493: A Danish-Saxon princess, and his chancery also included a number of clerics of German origin, who could have acted as intermediaries for material from the continent. Additionally, Bergen was an import trading center for the North German Hanseatic League , who had merchants that resided there and could have brought German stories to Norway. The composition of a saga based on German materials fits into

288-528: A courtly chivalric saga , like Haakon's other translation projects, or a legendary saga given that it contains Germanic heroic legends. In addition to the Old Norse version, an adaptation into Old Swedish known as the Didriks Krönika was created in the mid 15th century. It is not a literal translation but an adaptation that would go on to influence further Scandinavian texts about Dietrich and

360-515: A fragment from 1459, with the first complete version found in the Dresdener Heldenbuch . The poem was printed numerous times beginning in the sixteenth century, and continued to be printed into the eighteenth century. The ballad even ended up in the collection of German folk poetry known as Des Knaben Wunderhorn (1805). The poem and the melody to which it was sung were both extremely well known throughout this period. The author of

432-462: A translation from (Low) German to Old Norse. Given its dating to around 1250, it is roughly contemporary with the parallel German heroic epics, with only the Nibelungenlied predating it. Some scholars have argued that the Nibelungenlied itself was a source of the saga, while others have argued that a conjectured earlier Nibelungen epic was a source, and that this hypothesized epic was also

504-442: Is Isolde , and her son is Tristram ( Tristan ), which points to courtly influence, and the influence of Arthurian literature is also found in the saga; however, Claudia Bornholdt cautions that such influence could have taken place in either Germany or Norway. The composer of the Þiðreks saga in Old Norse is unknown; scholars debate whether he was an Icelander or a Norwegian. The composer appears to have been educated, meaning he

576-427: Is a complete life of Dietrich von Bern ( Old Norse : Þiðrekr of Bern ). It begins by telling of Þiðrekr's grandfather and father, and then tells of Þiðrekr's youth at his father's court, where Hildebrand tutors him and he accomplishes his first heroic deeds. After his father's death, Þiðrekr leads several military campaigns: then he is exiled from his kingdom by his uncle Ermenrik, fleeing to Attila's court. There

648-598: Is a mostly negative figure, whereas the heroes Viðga and Þétleifr, both portrayed as Danes, are given many positive traits that put them above Thidrek's other heroes. The same scholars have also argued that the localization of the Huns in the North-German Duchy of Saxony could be related to these northern political, potentially pro- Welf leanings. The Þiðreks saga is divided into books, which are also referred to as sagas. Various proposals have been made about

720-515: Is actually the devil in equine form. It rides away with him, and no one knows what happened to him after that, but the Germans believe that he received God and Mary's grace and was saved. In addition to the life of Þiðrekr, various other heroes' lives are recounted as well in various parts of the story, including Attila , Wayland the Smith (in the section called Velents þáttr smiðs ), Sigurd ,

792-560: Is also supported by Susanne Kramarz-Bein. The Þiðreks saga also exists in a late medieval Old Swedish adaptation, known as the Didriks Krönika (also: Didrikskrönikan ) or, less frequently, Didriks saga . Most scholars agree that the Didriks Krönika used the oldest extant manuscript of the Þiðreks saga (Mb) as its main source. It is possible that German and Danish sources were used as well, as various names show forms closer to their German or Low German counterparts, and

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864-482: Is an Old Norse saga that collects almost all Germanic heroic legends known from Germany into a single narrative. At the center of this narrative is the biography of the hero Dietrich von Bern ( Old Norse : Þiðrekr af Bern ). Most scholars believe that the saga was probably composed in Bergen , Norway , at the court of king Haakon IV , sometime around 1250. Scholars are divided between those that believe that

936-455: Is an unsuccessful attempt to return to his kingdom, during which Attila's sons and Þiðrekr's brother die. This is followed by Þiðrekr's entanglement in the downfall of the Niflings , after which Þiðrekr successfully returns to Verona and recovers his kingdom. Much later, after the death of both Hildebrand and his wife Herrad, Þiðrekr kills a dragon who had killed King Hernit of Bergara, marrying

1008-520: Is based on that of the Saxon Chancery, which is followed by all the princes and kings in Germany"). He also recognized the standardising force of the two chanceries: " Kaiser Maximilian und Kurf. Friedrich, H. zu Sachsen etc. haben im römischen Reich die deutschen Sprachen also in eine gewisse Sprache gezogen " ("The Emperor Maximilian and Duke Frederick, Elector of Saxony etc. , have drawn

1080-531: Is little evidence outside of the text itself that would point either way. Most scholars adhering to the "translation hypothesis" have been German, while most adhering to the "compilation hypothesis" have been Norwegian. The most recent main proponent of the "translation hypothesis" is Theodore Andersson, who regards the text as more German than Norwegian. Andersson argued that the saga was originally composed in Northern Germany around 1200, arguing that

1152-420: Is not a literal translation of the Þiðreks saga but an adaptation for a contemporary Swedish public. The adapter has abbreviated the saga greatly. Episodes not connected to the main plot have been removed and others reduced to only what is essential for the main plot. The adapter has also made additions to the text in some places and sought to remove contradictions from his Norwegian source. The Þiðreks saga

1224-587: Is not reflected directly in spelling, but it is the source of the Modern German spelling convention that a vowel ending a syllable is always long. Examples: 2. Shortening : MHG long vowels tend to be shortened in the ENHG period before certain consonants ( m , t and others) and before certain consonant combinations ( /xt/ , /ft/ , and /m/ , /n/ , /l/ , /r/ followed by another consonant). Examples: This shortening seems to have taken place later than

1296-651: Is possible that a version of the story with a tragic and a happy ending coexisted for a time in thirteenth-century Germany, however the version of Hildebrand's battle with his son found in the Old Norse Thidreksaga (c. 1250), based on Low German sources, already includes the survival of both father and son. The name of Hildebrand's son in the Thidrekssaga matches that found in the Jüngeres Hildebrandslied ("Alebrand"), as opposed to

1368-551: Is the standard translation of the German Frühneuhochdeutsch (Frnhd., Fnhd.), introduced by Scherer. The term Early Modern High German is also occasionally used for this period (but the abbreviation EMHG is generally used for Early Middle High German ). The start and end dates of ENHG are, like all linguistic periodisations , somewhat arbitrary. In spite of many alternative suggestions, Scherer's dates still command widespread acceptance. Linguistically,

1440-453: Is the version of the Jüngeres Hildebrandslied that found its way into Des Knaben Wunderhorn : Meier, John, ed. (1935). "Jüngeres Hildebrandslied". Das deutsche Volkslied. Balladen . Vol. 1. Berlin and Leipzig: Reclam. pp. 1–21. Achim, Arnim von; Brentano, Clemens, eds. (1805). "Vom alten Hildebrandt". Des Knaben Wunderhorn: alte deutsche Lieder . Retrieved 15 April 2018 . Early New High German The term

1512-615: The Karlamagnús saga and other chivalric sagas show that the saga must have been composed with its current structure at Haakon's court in Norway. One of the main arguments in favor of the saga's composition in Norway is that no large scale epic or prose work in Low German has survived that would show that such compilations existed in Northern Germany. On the other hand, there are many Norse examples. Arguments for an oral tradition as

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1584-516: The ⟨s⟩ : ⟨z⟩ contrast are the only structural changes to the consonant system. As with phonology, the range of variation between dialects and time periods makes it impossible to cite a unified morphology for ENHG. The sound changes of the vowels had which brought consequent changes to Thidreksaga Þiðreks saga af Bern ('the saga of Þiðrekr of Bern', sometimes Thidrekssaga or Thidreks saga in English)

1656-587: The Black Death , and the end of the Thirty Years' War . Arguably, the Peace of Westphalia in 1648, by ending religious wars and creating a Germany of many small sovereign states, brought about the essential political conditions for the final development of a universally acceptable standard language in the subsequent New High German period. Alternative periodisations take the period to begin later, such as

1728-537: The Didriks Krönika to his home island of Ven in the Øresund ; the Hvenske Krønike was translated into Danish in 1603 by Anders Sørensen Vedel . The Didriks Krönika also had considerable influence on Swedish historiography as the saga identified the country of Vilkinaland with Sweden and so its line of kings was added to the Swedish line of kings. In spite of the fact that the early scholar Olaus Petri

1800-409: The Jüngeres Hildebrandslied obviously did not know the text of the 800s Hildebrandslied ; the ballad is rather the result of a long oral tradition that was only written down in the fifteenth century. It is generally assumed that in the original form of the story, Hildebrand kills his son, an assumption that a few verses in eddic meter in the Old Norse Ásmundar saga kappabana appear to support. It

1872-471: The Nibelungen , and Walter of Aquitaine . The section recounting Þiðrekr's avenging of Hertnit seems to have resulted from a confusion between Þiðrekr and the similarly named Wolfdietrich . The manuscripts of the Þiðreks saga are: Of these, the manuscripts Mb, A, and B are the most important. The Swedish version (Sv) is preserved in two manuscripts: The Swedish version is useful for reconstructing

1944-468: The Nibelungs , and Wayland the smith . Some material may be original to the compiler, having been put together using various motifs found in other heroic tales. Most scholars believe that the saga was probably composed in Bergen , Norway , at the court of king Haakon IV , sometime around 1250. Haakon had important Danish-Saxon dynastic connections, as his son Magnus VI was married to Ingeborg ,

2016-713: The Völsunga saga was written in response to the Þiðreks saga as a "re-Scandinavianisation" of the material. The Þiðreks saga was also influential on Swedish literature even before the writing of the Didriks Krönika , with Dietrich being mentioned in Herr Ivan lejonriddare (1303) - one of the translated romances known as the Eufemiavisorna - and the Eric Chronicle (c. 1320-1335). Additionally, several late medieval ballads were based on material found in

2088-429: The oral legend of the warrior Hildebrand and his fight against his son (here Alebrand) in accordance with late medieval and early modern taste. It is highly sentimentalized and focuses on Hildebrand's return home rather than the tragic conflict of the older tradition. The Jüngeres Hildebrandslied was an extremely popular ballad in the age of print, and continued to be reprinted into the eighteenth century. Its melody

2160-479: The Þiðreks saga . The Swedish Didriks Krönika inspired at least two pictorial depictions. Around 1480, artist Albertus Pictor included the scene of Didrik's fight with Wideke and the latter's flight into the sea was included, along with the battles of several other biblical and legendary heroes, on the roof of Floda church in Södermanland , Sweden . An illumination in a law codex from Uppland from

2232-572: The "Hildebrandston" all four lines are of the same length. An example is the following stanza (taken from John Meier's edition): Some versions of the Jüngeres Hildebrandslied use a modified version of the "Hildebrandston" known as the "Heunenweise" or "Hunnenweise" (the Hunnish melody), in which there are always rhymes (or near rhymes) at the mid-line caesura. The stanza can then be reinterpreted as consisting of eight short lines with alternating rhyme rather than four "Langzeilen." An example of this form

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2304-635: The MHG spelling is retained and in Modern German ⟨ie⟩ indicates the long vowel. Examples: This change, sometimes called the Central German Monophthongisation, affects mainly the Central German dialects, along with South Franconian and East Franconian. The other Upper German dialects largely retain the original diphthongs. There are two changes in vowel quantity in ENHG, the lengthening of short vowels and

2376-467: The Nibelungen. The Þiðreks saga is a compilation of legends about almost all known heroes from continental Germanic heroic legend into a single text; it also includes other narratives that were closely associated with such legends. Some of the legends have no extant German counterpart. It also contains material from fairy tales, folktales, and Spielmannsdichtung . At the centre of Þiðreks saga

2448-605: The Old High German form "Hadubrand". In the Norse text as in the Younger Lay, moreover, Hildebrand accuses his son of having been taught to fight by a woman after receiving a powerful blow with a sword—these aspects of presumably oral story-telling were thus relatively stable over time. The Jüngeres Hildebrandslied is composed in a stanza form known as the "Hildebrandston," so named because the Jüngeres Hildebrandslied

2520-464: The composer translated a lost Low German original ("translation hypothesis") and those who believe that the sources were mostly oral and conveyed to Norway by merchants of the Hanseatic League , only being joined together in Norway ("compilation hypothesis"). The saga contains a number of otherwise unknown German legends. Controversy exists as to whether to consider the Þiðreks saga af Bern

2592-489: The compositional principals and his proposed sources for various episodes indicated familiarity with early courtly literature such as Spielmannsepik and the Kaiserchronik (c. 1150), as well as conjectured predecessor epics for the Nibelungenlied and Dietrich epics. The main proponent of the saga having been composed in Norway today is Susanne Kramarz-Bein. She has argued that parallels in structure and content to

2664-555: The continent; however, its manuscript transmission in Iceland is in the same contexts as the legendary sagas. Scandinavian scholars have generally been more comfortable discussing the Þiðreks saga as a chivalric saga. Susanne Kramarz-Bein and Heinrich Beck have both argued that the saga shows pro-Scandinavian leanings, exemplified in the way in which it treats the heroes Viðga , Þétleifr Danskr ( Middle High German : Dietleib von Stîre ) and Heimir : Heimir, portrayed as Swabian ,

2736-405: The distribution and chronology of this sound change. In Bavarian, the original diphthongs are monophthongized , avoiding a merger with the new diphthongs. The MHG falling diphthongs /iə/ , /uə/ and /yə/ (spelt ⟨ie⟩ , ⟨uo⟩ and ⟨üe⟩ ) are monophthongised , replacing the long high vowels lost in the diphthongisation. In the case of /iə/ > /iː/

2808-460: The family of the Wolfings (that is, Hildebrand's family), he will slay him. Alebrand claims not to know this family, but identifies his mother as Ute and his father as Hildebrand. Hildebrand now says that if Alebrand's mother is Ute, then he is his father. He kisses his son, and the two reconcile. Alebrands regrets having given his father wounds. Alebrand now brings Hildebrand home and has him sit at

2880-423: The geographical spread and the dialect map of German in the ENHG period remained the same as at the close of the MHG period. Ripuarian Moselle Franconian Rhine Franconian Hessian Thuringian Upper Saxon Silesian Bohemian High Prussian South Franconian Swabian Low Alemannic High Alemannic East Franconian North Bavarian Middle Bavarian South Bavarian Since

2952-471: The invention of printing with moveable type in the 1450s. There was no standard Early New High German, and all forms of language display some local or regional characteristics. However, there was increasing harmonisation in the written and printed word, the start of developments towards the unified standard which was codified in the New High German period. With the end of eastward expansion ,

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3024-502: The language of the printers remained regional, the period saw the gradual development of two forms of German (one Upper German, one Central German), which were supra-regional: the Schriftsprachen ("written languages", "documentary languages") of the chanceries of the two main political centres. The language of these centres had influence well beyond their own territorial and dialect boundaries. Emperor Maximilian's chancery

3096-613: The languages of Germany together"). Middle Low German , spoken across the whole of Northern Germany north of the Benrath Line in the Middle Ages , was a distinct West Germanic language. From the start of the 16th century, however, High German came increasingly to be used in this area not only in writing but also in the pulpit and in schools. By the end of the ENHG period, Low German had almost completely ceased to be used in writing or in formal and public speech and had become

3168-401: The larger project of importing courtly literature under Haakon, which also resulted in the adaptation of the chivalric sagas from mostly French sources. However, there is no direct evidence that Haakon commissioned the Þiðreks saga . The saga matches the milieu of Haakon's court and adaptations in its frequent use of courtly and chivalric vocabulary. Likewise, the name of Þiðrekr's sister

3240-613: The linguistic admixture in the course of eastward German settlement. In addition, many Bohemians had fled to Saxony during the Hussite Wars, reinforcing the similarities between the dialects. The influence of the Saxon Chancery was due in part to its adoption for his own published works by Martin Luther, who stated, " Ich rede nach der sächsischen Canzley, welcher nachfolgen alle Fürsten und Könige in Deutschland " ("My language

3312-411: The longest lasting element of the heroic tradition in Germany that remained popular outside of learned circles. Hildebrand says that he wants to ride to Bern ( Verona ), in order to see his wife Ute. A knight warns him that if he goes there he will have to fight against Alebrand, but Hildebrand believes he will defeat Alebrand easily. Dietrich von Bern asks him not to go, because Dietrich greatly values

3384-444: The low-status variant in a diglossic situation, with High German as the high-status variant. For a number of reasons it is not possible to give a single phonological system for ENHG: Also, the difficulty of deriving phonological information from the complexity of ENHG orthography means that many reference works do not treat orthography and phonology separately for this period. The MHG vowel system undergoes significant changes in

3456-527: The material. One of main differences between the redactions is the placement of the section called "Vilkina saga": in Mb2 “Vilkina saga” is placed early in the text, whereas Mb3 has placed it later, in a section largely concerning other marriages of heroes (as a result, "Vilkina saga" appears twice in Mb). Mb3 has inserted two sections, Sigurd's youth and a long description of the various heroes after Thidrek's feast, into

3528-525: The mid 15th century also shows a scene from the saga: it shows the knight Sistram, identified by text, half-swallowed in the jaws of a dragon. The Swedish Didriks Krönika also influenced other texts produced on Dietrich von Bern and the Nibelungen in Scandinavia. In particular, Jonas Venusinus produced the Hvenske Krønike in Latin sometime after 1550, which transports the fall of Burgundians as told in

3600-421: The mid-14th century is marked by the phonological changes to the vowel system that characterise the modern standard language; the mid-17th sees the loss of status for regional forms of language, and the triumph of German over Latin as the dominant, and then sole, language for public discourse. Scherer's dates also have the merit of coinciding with two major demographic catastrophes with linguistic consequences:

3672-489: The monophthongisation, since the long vowels which result from that change are often shortened. Examples: The overall consonant system of German remains largely unchanged in the transition from MHG to Modern German. However, in many cases sounds changed in particular environments and therefore changed in distribution. Some of the more significant are the following. (In addition, there are many other changes in particular dialects or in particular words.) The loss of /w/ and

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3744-479: The old warrior should give him his weapons if he wants to live. Hildebrand warns Alebrand that he will defend himself, and both draw their swords. Alebrand is able to strike a blow on Hildebrand, and Hildebrand jumps back in shock. He declares that a woman must have taught Alebrand to fight that way. Alebrand denies this and Hildebrand attacks more vigorously, throwing Alebrand to the ground. He demands that Alebrand identify himself, declaring that if he does not belong to

3816-486: The one hand, it contains legendary stories; on the other, it does not take place vaguely in a legendary past but after the death of Constantine the Great , involves concrete, European geography, and includes King Arthur and Apollonius of Tyre among its characters. The dominant scholarly theory is that the Þiðreks saga was written in the same context as the chivalric sagas, namely, as a translation of courtly material from

3888-465: The original MHG diphthongs ⟨ei⟩ , ⟨ou⟩ and ⟨öu⟩ /øy/ , which are all lowered . Examples: This change started as early as the 12th century in Upper Bavarian, and only reached Moselle Franconian in the 16th century. It does not affect Alemannic (apart from Swabian ) or Ripuarian dialects, which still retain the original long vowels. The map shows

3960-490: The original arrangement of the material. The scribes Mb2 and Mb3 of the oldest manuscript Mb follow different arrangements of the books and chapters. The manuscripts A, B, and the Swedish version likewise all have different arrangements of the sub-sagas. Germanist Thomas Klein argued for a three-part structure of the saga, in which part one shows the youth and bringing together of the heroes, part two focuses on marriage, and part three shows death and old age. This basic structure

4032-421: The place of honor at the family table. Ute, however, believes that Hildebrand is Alebrand's prisoner and asks why he has placed him there. Alebrand reveals Hildebrand's identity, and Ute pours him wine and welcomes him. The textual form of the Jüngeres Hildebrandslied is a product of the fifteenth century, though its material is clearly much older (see below). It is transmitted in five manuscripts, beginning with

4104-421: The printers had a commercial interest in making their texts acceptable to a wide readership, they often strove to avoid purely local forms of language. This gave rise to so-called Druckersprachen ("printers' languages"), which are not necessarily identical to the spoken dialect of the town where the press was located. The most important centres of printing, with their regional Druckersprachen are: While

4176-458: The sequence of chapters written by Mb2. It is possible that Mb2 had forgotten this material or else chosen to omit it. The two redactions also contain differences in the names, number (3 vs. 4 brothers), and origins of the Burgundian kings. There is no doubt that the sources of the Þiðreks saga were mostly Middle High German or Middle Low German . It is thus the only extant example of

4248-399: The shortening of long vowels. Both show wide variation between dialects but appear earlier and more completely in Central German dialects. Many individual words form exceptions to these changes, though the lengthening is carried out more consistently. 1. Lengthening : MHG short vowels in open syllables (that is, syllables that end in a vowel) tend to be lengthened in the ENHG period. This

4320-552: The source for the second half of the Nibelungenlied . Because of the saga's localization of Attila's court at Soest , it is taken to indicate a local tradition that placed the fall of the Burgundians at that Hanseatic city. The prologue of the saga states that it was composed based on the tales of German men, but its language is somewhat obscure and scholars debate what precisely this means. The prologue also mentions tales told across Scandinavia and Iceland as sources on Sigurd ,

4392-458: The source of the saga are mostly based on the prologue's mention of "tales of German men" as sources. As opposed to the traditional "translation theory" on the basis of purely oral sources, Kramarz-Bein has argued for a "composition theory:" that the compiler of the saga relied on various written sources as well as oral sources. Long-standing controversy exists as to what genre the Þiðreks saga belongs to, chivalric saga or legendary saga . On

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4464-399: The text shows some Danish linguistic forms. However, there is no consensus as to whether these sources were written or oral. The vocabulary of the text shows many connections to contemporary courtly culture in Germany. Most scholars agree that the adaptation was likely composed in the mid 15th century, possibly in the 1450s or 1460s. There is a disagreement whether the saga was composed in

4536-411: The text where the other versions disagree. There are at least two redactions of the Old Norse Þiðreks saga , with the two main scribes of the oldest manuscript, Mb, each following a different redaction. Scribe Mb3 has followed a manuscript with a redaction similar to that found in the later Icelandic manuscripts A and B, whereas Mb2 has followed a manuscript source representing a different redaction of

4608-414: The transition to ENHG and their uneven geographical distribution has served to further differentiate the modern dialects. The long high vowels /iː/ , /uː/ and /yː/ (spelt ⟨î⟩ , ⟨û⟩ and ⟨iu⟩ ) are diphthongized to /aɪ/ , /aʊ/ and /ɔʏ/ , spelt ⟨ei⟩ , ⟨au⟩ and ⟨eu/äu⟩ . In many dialects they fall together with

4680-412: The widow and becoming king of Bergara. After Attila's death, Þiðrekr becomes king of the Huns as well. The final time he fights an opponent is to avenge the death of Heime (who had become a monk and then sworn loyalty to Þiðrekr once again). After this, he spends all his time hunting. One day, upon seeing a particularly magnificent deer, he jumped out of the bathtub and mounted a gigantic black horse – which

4752-500: The young Alebrand, but Hildebrand goes anyway. As Hildebrand is riding by the Veronan rose garden, a young warrior appears, insults Hildebrand by calling him old, asks him what he is doing in his father's country, and advises him to turn back. Hildebrand laughs and tells him that he has had to fight and ride his whole life in order to return home. This is why his beard is so white. Alebrand declares that he will rip out Hildebrand's beard;

4824-471: Was an important influence on the chivalric sagas written after it, including Erex saga , Mágus saga jarls , Kirialax saga , Blómstrvallasaga , and Samsons saga fagra . The author of the Völsunga saga appears to have known the Þiðreks saga as well. This includes a description of Sigurd's armor that is adopted directly from the Þiðreks saga . Old Norse scholar Klaus von See argued that

4896-494: Was critical, these kings were considered to have been historic Swedish kings until fairly recent times. The historicity of the kings of Vilkinaland was further boosted in 1634 when Johannes Bureus discovered the Norwegian parchment that had arrived in Sweden in the 15th century. The earliest edition of the Norwegian Þiðreks saga , together with a Latin translation, was published by Swedish antiquitarian Johan Peringskiöld in

4968-494: Was probably a cleric , as was the only named author of a chivalric saga, Brother Robert . Scholars are divided between those that believe that the composer of the saga translated a lost Low German original ("translation hypothesis") and those who believe that the sources were mostly oral and conveyed to Norway by merchants of the Hanseatic League, only being joined together in Norway ("compilation hypothesis"). There

5040-401: Was the first concerted and successful effort to introduce a standardised form of German for all German chanceries, and hence avoided the most idiosyncratic features of Austrian Upper German standards in favour of Central German alternatives. Emperor Maximilian's Prague Chancery and the Saxon Chancery used similar standards of German as they were bordering each other, both dialects originating from

5112-477: Was the most famous poem to use this metrical form throughout the early modern period, where songs were often marked "im Thon: Wie man den alten Hildenbrandt singt" (in the melody that one uses to sing the old Hildebrand). The stanza consists of four "Langzeilen," lines consisting of three metrical feet, a caesura , and three additional metrical feet. Unlike the similar stanza used in the Nibelungenlied , in

5184-418: Was well known and the poem has given its name to its metrical form, the so-called "Hildebrandston". The Jüngeres Hildebrandslied was translated into Dutch , Yiddish , and Danish several times. In the nineteenth century it was collected as a traditional piece of German folk poetry by the editors of Des Knaben Wunderhorn . Together with another heroic ballad, Das Lied vom Hürnen Seyfrid , it represents

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