The subject of linguistics, anthropology, and verbal art is an especially gratifying one for a folklorist of my persuasion to deal with, not only because of my own personal commitment to a unified perspective on all three areas, but also because my folklorist's investment in tradition leads me to value that part of our collective scholarly birthright as linguists, anthropologists, and folklorists, that is represented by an integrated vision of language, culture, and verbal art. 1 In the scholarship of recent decades, that unified vision has tended to break down as the various disciplines of linguistics, anthropology, and folklore have asserted their disciplinary autonomy; but it has not always been so, and I believe grounds are firmly established on which that trend can be reversed by those with the interest and commitment to do so.The sources of this formerly unified vision of language, culture, and folklore are widely known in our various disciplines, but it may be useful to recapitulate briefly aspects of its development which will serve as a frame of reference for our later considerations. The seminal figure was that great precursor of the era of romantic nationalism, Johann Gottfried von Herder. For Herder, the touchstone of a people's distinctiveness, the source that gives rise to and sustains their sense of themselves as a separate, unique social entity, was the possession of a common language. Language embodies the character, the inner being, of a Volk. Moreover, language represents the means of transmitting the distinctive traditions of a Volk across the generations, thus representing the instrument 13 14 / RICHARD BAUMAN for that progressive cultivation of faculties that Herder identified as culture (Cultur), in what was then a new sense of the word, and an antecedent of subsequent usage in anthropology (