The study examines the interplay of sound and meaning through three examples of Sangspruchdichtung: Rumelant’s riddle-stanza on Marner (Rum I,2), Marner’s praise of Hermann I of Henneberg (Marn IV,7), and the Meißner’s laudatory verse on Bishop Hermann of Kammin. It demonstrates how rhetorical figures and phonetic patterns not only have an aesthetic effect but also carry semantic significance. In Rumelant’s riddle, the emphasis lies on the play with inversion, which also highlights standards of poetic artistry, whereas in Marner’s verse the praise of the prince is staged as an auditory event. In the Meißner’s laudatory verse, the focus is on the play with homonymy (her/man), through which the ruler is comprehensively honored and his exemplary character foregrounded. Sound aesthetics and meaning appear closely intertwined: sound enhances sense, opens creative possibilities, and contributes both to the representation of the ruler and to poetic self-reflection.