This article argues that the literary reception of Classical historians through Philipp Melanchthon and his students made a decisive contribution to the pluralization and secularization of early Lutheran scholarly culture. It focuses on Georg Major’s hitherto unexplored edition of Justin’s Epitoma, which was printed in Hagenau in 1526, with a second, extended edition appearing in Magdeburg in 1537. Major’s first edition of 1526 is here scrutinized in the broader context of the emergence of Protestant universal history and the forming of Melanchthon’s understanding of the Four Kingdoms of Daniel, which is traditionally seen by scholars as the starting point of the distinction between secular and sacred history. The second edition (1537) includes a general instruction for the study of histories. Based as it is on Cicero’s historical-methodological principles of consilia, acta, and eventus, laid out in De Oratore, this handbook for Protestant Latin-school pupils is rooted in the historical thought of Italian humanists.
Georg Majors Edition des Justinus (1526/37) und die Chronica Carionis (1532)
Angelus Silesius describes the mystical deification of the human soul as its inclusion in the Trinity. He uses traditional comparisons and metaphors, as formed on biblical basis by the Fathers to illustrate the inner Trinitarian relations, but also geometric and naturalistic analogies to lead the soul in three ways into God. These are always figurative appellations which, paradoxically, according to negative theology, can also be negated for the very essence of God, which remains unnameable. In this mystical unity, which in the teaching of the church can only happen by grace, but not in a pantheistic fashion by nature, man preserves the creaturely difference to the Creator. Even in the earliest epigrams, Scheffler’s Catholic point of view is that God cannot resist this union of love, and that therefore only man, with his free will, is responsible for its success. The model of the saints and the ethical demand for the keeping of the commandments and the doing of the good works, which confirm the authenticity of this mysticism as well as their conformity with the ecclesiastical tradition, also fit in with this result.
Die Reformationsschauspiele von Martin Rinckart und die Reformpoetik von Martin Opitz
The essay focuses on the drama-pieces planned by Martin Rinckart to celebrate the 100th anniversary of the Reformation in 1617. They are concentrated around Martin Luther as a “hero” for the protestant confession, like in Der Eißlebische Christliche Ritter where Luther figures as a warrior of true belief. Special attention is paid first to the relation between text and music with regard to the performances of the pieces; and second to the question why Rinckart has obviously realized only three of the seven planned pieces about the reformation and Luther. For answering, the essay argues that the reform in poetics and poetry initiated by Martin Opitz has challenged the poetical concept of Rinckart’s pieces in such a way that he was unable to continue them. Ironically, his most famous religious poem Nun danket alle Gott has been rescued out of the wreckage of his ambitious plan of a Luther-Heptalogy.
Wat nyeus verfraeyt dat herte ende verlicht den sin. Studien zum Schauspiel des Mittelalters und der Frühen Neuzeit
Festschrift für Carla Dauven-van Knippenberg zum 65. Geburtstag
Edited by Elke Huwiler, Elisabeth Meyer and Arend Quak
Die Beiträge stammen von Bernd Bastert, Bart Besamusca, Cornelia Herberichs, Johannes Janota, Cobie Kuné, Tanja Mattern, Volker Mertens, Christian Moser, Arend Quak, Werner Röcke, Eckehard Simon, Clara Strijbosch und Elke Ukena-Best.