In historical linguistics, the wave model or wave theory (German Wellentheorie) is a model of language change in which a new language feature (innovation) or a new combination of language features spreads from a central region of origin in continuously weakening concentric circles, similar to the waves created when a stone is thrown into a body of water. The theory was intended as a substitute for the tree model, which did not seem to be able to explain the existence of some characters, especially in the Germanic languages, by descent from a Proto-language.
The tree model requires definite, stable languages, exactly what was denied by the Wave Model; if there are no permanent languages, then they cannot evolve as a tree. Conversely, the Wave Model regards languages as impermanent collections of features at the intersections of multiple circles. What really exists are dialect continua. Johannes Schmidt used a second metaphor to explain the formation of an impermanent language from a continuum. The continuum is at first like a smooth, sloping line. Speakers in close proximity tend to unify their speech, creating a stepped line out of the sloped line. These steps are the dialects. Over the course of time some steps become weak and fall into disuse, while others preempt the entire continuum. As example Schmidt used Standard German, which was defined to conform to some dialects and then spread throughout Germany, replacing in many cases the local dialects.
Despite their intent, the wave theorists did not manage to overthrow the Tree Model. Instead it has only been invoked to complement the Tree Model in cases where the latter cannot explain some features. The basic Tree Model has remained unusually effective and resilient. In modern linguistics, the wave model has contributed greatly to improve the tree model approach of the comparative method.
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Famous quotes containing the words wave and/or model:
““Speaking of contraries, see how the brook
In that white wave runs counter to itself.
It is from that in water we were from
Long, long before we were from any creature.”
—Robert Frost (1874–1963)
“If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this: in portrait painting to put on canvas something more than the face the model wears for that one day; to paint the man, in short, as well as his features.”
—James Mcneill Whistler (1834–1903)