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Radical Protestant Propaganda of the Thirty Years' War

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media campaign. The result was a spread <strong>of</strong> <strong>Protestant</strong> ideas that threatened to transform<br />

<strong>the</strong> social order radically. 13 It was consequently <strong>the</strong> success <strong>of</strong> <strong>the</strong> propaganda campaign<br />

that paved <strong>the</strong> way for <strong>the</strong> acceptance <strong>of</strong> a new, reformed faith. 14<br />

As for trends in <strong>the</strong> <strong>Protestant</strong> propaganda <strong>of</strong> <strong>the</strong> Reformation, two patterns can be made<br />

out in <strong>the</strong> lead-up to <strong>the</strong> Schmalkaldic <strong>War</strong>. The first trend is a concentration on <strong>the</strong> image<br />

<strong>of</strong> <strong>the</strong> enemy, possibly instigated by Lu<strong>the</strong>r’s own critical stance toward <strong>the</strong> Catholic Church.<br />

Later, as <strong>the</strong> idea <strong>of</strong> <strong>the</strong> reformed faith took hold, texts produced for public consumption<br />

concentrate increasingly on defining <strong>Protestant</strong>ism’s own self-image and on solidifying its<br />

identity. 15 It was seen by <strong>the</strong> propagandists to be <strong>of</strong> crucial importance to focus on <strong>the</strong> sin<br />

and danger posed by <strong>the</strong> enemy in order to convince <strong>the</strong> audience that <strong>the</strong> conflict in <strong>the</strong><br />

Empire was not just between one priest and <strong>the</strong> Pope. If <strong>the</strong> audience did not see Lu<strong>the</strong>r’s<br />

actions to be <strong>of</strong> personal relevance to <strong>the</strong>m, <strong>the</strong>y would be less inclined to support him. This<br />

is why writers widened <strong>the</strong> parameters <strong>of</strong> <strong>the</strong> debate by arguing that Lu<strong>the</strong>r was leading a<br />

fight against enemies <strong>of</strong> <strong>the</strong> Gospel 16 and by extension, <strong>of</strong> Christ himself. This also helped to<br />

protect <strong>Protestant</strong> leaders from being accused <strong>of</strong> heresy <strong>the</strong>mselves. In addition to<br />

presenting Lu<strong>the</strong>r as engaged in a cosmic battle, writers also played on o<strong>the</strong>r <strong>the</strong>mes<br />

relevant and familiar to <strong>the</strong> audience at <strong>the</strong> time, including anti-clericalism, socio-economic<br />

complaints, proverbs, biblical images and familiar stereotypes such as darkness and light. 17<br />

Play on <strong>the</strong> familiar was part <strong>of</strong> <strong>the</strong> Reformation propagandists’ strategy because it ensured<br />

instant recognition <strong>of</strong> <strong>the</strong> images <strong>the</strong>y used, as well as <strong>the</strong>ir connotations. In <strong>the</strong> light <strong>of</strong> this,<br />

<strong>the</strong>y worked with many images from popular culture at <strong>the</strong> time, including those from<br />

13 Heintzl, p. 216.<br />

14 Heintzl, p. 217.<br />

15 Heintzl, p. 214.<br />

16 See Scribner’s chapter on this, pp. 37-58.<br />

17 Scribner, pp. 57-8.<br />

14

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