Luther’s theology of the Trinity is firmly rooted in the catholic tradition of the church. In scholarly debate, it has therefore not received the same attention as the doctrines usually associated with the distinctive profile of the teaching of the Reformation, like the doctrine of justification by faith alone. The intrinsic connection between Luther’s catholic theology of the Trinity and the distinctive emphases of Reformation theology has consequently often been overlooked. Luther was reasonably well acquainted with the medieval debate and could occasionally, as in the late disputations, directly comment upon them, if the distinctions served to clarify his view of the place of Trinitarian teaching in the church.
The most interesting question with regard to Luther’s doctrine of the Trinity is not which influences can be traced in his Trinitarian thought but how he developed the status of Trinitarian discourse in Christian faith and how he applied it in his treatment of other theological issues.
If we survey Luther’s engagement with the doctrine of the Trinity, ranging from the early glosses on Lombard’s Sentences and Augustine’s De Trinitate to the very last disputation, we can see that in all the different genres in which he develops his theology, Trinitarian reflection plays an integral role. Luther’s own attempts at giving expression to the Trinitarian faith are developed within the boundaries of creedal orthodoxy. He does not modify the doctrinal tradition of the conciliar Creeds but employs it in such a way that its basis in the witness of Scripture becomes apparent and that the task of Trinitarian language in relating the different articles of Christian faith to their foundation and so can be understood by others.
Elke Anna Werner
In the mind of Martin Luther, images were first and foremost adiaphora and, as such, neither good nor bad. However, Luther spoke out firmly against the worship of images, as did other reformers. Based on his own anthropology, he countered the misuse of images by suggesting correct ways of using them, on the basis that man could only discover true faith through the mediation of images. For many years, researchers emphasized Luther’s negative attitude to images as a medium and highlighted the shift from a pre-Reformation culture of piety to the reformatory emphasis on the Scriptures. However, more recent examinations of liturgical practices and the link between art and politics, involving innovative methods, as well as some degree of imagination, have not only traced the development of a specific visual culture in Lutheranism but also highlighted their identity-creating function in denominational conflicts.
What follows is an overview of the major image and media categories as portraits, allegories, altarpieces and epitaphs which influenced the visual culture of the Reformation. Lucas Cranach the Elder (c. 1472–1553) and his youngest son Lucas Cranach the Younger (1515–1586) were at the very center of this activity, together with their productive Wittenberg workshop. From the very beginning of the Reformation right through to the 1580s, both liaised with Luther, Melanchthon, and other Wittenberg reformers, respectively accompanying and decisively shaping the development of Protestantism with their pictures. What is more and of equal importance, the influence of their work is reflected in the popularity of their style in Protestant territories throughout the Empire during the 16th century.
From the beginning of the Reformation, Martin Luther had a significant impact on church and society through his contributions to sacred music. His intention to spread the gospel among the people through song achieved its manifold purpose. This remains true not only for his own time but for the following centuries up to the present day, all over the world. Other poets, contemporaries and descendants alike, were inspired by Luther’s songs and composed their own hymns. Among these the most significant ones in German literature, poetically and theologically, are Paul Gerhardt (1607–1676) and Jochen Klepper (1903–1942).
Luther’s lifelong love of music was accompanied by an in-depth musical education. He knew secular and sacred songs from an early age, played the lute well, and sang in the convent when he was a monk, as a husband and father with his family, and as a professor with his students. Music was an indispensable part of his life. He first began writing sacred songs in 1523, sometimes composing the melody as well. He also crafted a four-part motet.
Luther was able to assess the composers of his time well. He considered Josquin des Prez (d. 1521) the greatest master, and among his living contemporaries he appreciated in particular Ludwig Senfl (c. 1490–1543). He was also acquainted with other composers and their works.
The incorporation and promotion of music in the schoolroom resulted in a close relationship between church and school, as well as between classrooms and religious services. Pupils took part through chanting at services, and the evangelical hymns in the chantry were spread through the choir’s chanting books. Numerous musical prints originated in Georg Rhau’s printing shop in Wittenberg that carried the Protestant repertoire into the world.
From central Germany, starting in Saxony and Thuringia, the Protestant musical culture covered all of evangelical Germany and later shaped Protestant musical culture. In addition to choir-related music, it cultivated the musical rendering of biblical texts.
Heinrich Schütz and Johann Sebastian Bach are the finest representatives of this specific Protestant musical culture. In addition, the culture of the organ, first cultivated in northern Germany, became widespread. One of several masters of the organ was Dieterich Buxtehude (c. 1637–1707), who established evening concerts in Lübeck, which in turn served as precursors to the bourgeois musical culture.
Luther’s approach to music is formed through the conviction that music is a particularly beautiful and unique offering of the divine creation. Music moves human hearts and allows them to anticipate the heavens. To bring people joy and to praise the Lord is music’s true task and, indeed, its service.
Luther was criticized for his polemics, particularly by his humanist contemporaries, and his writing did not in fact live up to the ideal of modestia (moderation). However, personal invective such as that engaged in by some humanists under cover of an incognito was not particularly evident in Luther’s work. Once he had sharply distanced himself from scholastic theology, especially in his academic lectures and series of theses, his polemical writing increased as a result of the dispute over indulgences (autumn of 1517). In his literary skirmishes with Tetzel, Luther first switched to using the vernacular German; it became characteristic of his polemical writing that he reacted quickly to enable the reading public to follow the controversy. From spring of 1520, as the number of defenders of the old faith (Prierias, Eck, Alveldt, Emser, Murner, Catharinus, and others) steadily grew, Luther was neither willing nor able to answer every written invective directed at him. The particular historical context, the prominence of his opponent, and the importance of the theme for further advancing the Reformation all played important roles in whom he chose to respond to. Since 1522 Luther was involved in numerous controversies with inner-Reformation opponents that centered on questions regarding how to conduct the Reformation, the sacraments, the external means of their administration, and how to treat members of congregations too weak or unprepared to accept change. Luther thought it important to draw clear lines with respect to opponents in his own camp, especially Karlstadt, Müntzer, and Zwingli. Of particular importance among his other writings are polemical texts against Turks and Jews. He found polemics in service of the truth of Christ’s teachings to be unavoidable.
Though it is well-known that Martin Luther stood in some connection to the late medieval theologians of his Order and that he intensively studied Augustine’s works in the mid-1510s, the exact nature of the influence either or both exercised upon the development of his theology is disputed. Arguably his adoption of advanced anti-Pelagian convictions aligns him with Gregory of Rimini contra pelagianos modernos in the realm of scholastic theology, while the pastoral theology he imbibed from Staupitz places him in a living tradition of “Augustinian Frömmigkeitstheologie” within the O.E.S.A. (the Hermit Order of St. Augustine). However, the most important impetus Luther received from late medieval Augustinianism was its determination to do theology in conversation with Augustine’s own works. Probably in 1514, Luther read the anti-Pelagian writings contained in the 1506 Amerbach edition of the Opera Omnia, and made his own both the iustitia passiva from sp. litt. 9.15 and the nexus of doctrines associated with residual “sin” in the baptized, which was increasingly emphasized in Augustine’s later works against Julian. Though young Friar Martin’s “Augustinianism” shifted in several respects, it possessed an enduring significance in Luther’s evangelical theology.
In the history of the German language, hardly any other author’s linguistic work is as closely associated with the German language as Martin Luther’s. From the start, Luther as a linguistic event became the embodiment of German culture and was even elevated as the birth of the language itself; his style was emulated by some, scorned by others. Luther forces one to take a position, even on linguistic terms. The Bible is at the heart of the argument, being the most important work of Luther’s translation. However, it is only one particular type of text in the general work of the reformer. The role that the Bible plays both on its own and in connection with Luther’s other works, as well as the traditions Luther drew on and the way he worked with language, will be examined within the matrix of Early New High German, with all its peculiarities.
Michael P. DeJonge
Contemporary political theology often defines itself against Lutheran social ethics, which is portrayed as politically disengaged and overly deferential to state power. At the same time, contemporary political theology often embraces the Lutheran theologian Dietrich Bonhoeffer as an exemplary political theologian. This incongruity is generally resolved by distancing Bonhoeffer from his tradition, at least on matters of political theology. But Bonhoeffer’s political theology was thoroughly Lutheran. Throughout the years of his political-theological engagement, from the Nazi rise to power in 1932–1933 to the drafting of Ethics and related writing in 1940–1943, he participated in ongoing conversations within Lutheran social ethics on the issues of, among others, the two kingdoms and the orders. In the process, he critically appropriated these elements of Lutheran thinking into an especially dynamic and christocentric framework that in turn informed his positions on various issues such as the church’s proclamation against the Nazi state and the ecumenical church’s witness for peace. Bonhoeffer is an example of Lutheran political theology, one that suggests the need to revise at least the more sweeping judgments about Lutheran theology as inherently incompatible with political engagement.
Curtis L. Thompson
In relation to Martin Luther, the topic of “history and its meaning” is necessarily imprecise. It can refer to his personal understanding of history and its meaning. It can refer to the history and meaning that Luther himself made as a result of especially his theological work. And it can refer to the history and meaning that came after Luther and was influenced by him. Therefore, some nuance and refinement are called for in dealing with this complex topic.
Luther in his own way was immersed in the topic of history and its meaning. He did not devote much of his writing and speaking explicitly to a kind of “philosophy of history.” However, he wrote and spoke much about the dynamic affairs of God, human beings, and the world, and he could not have done so without conducting his discussion of such events within a comprehensive theological framework that provided an ultimate horizon of meaning. Some explicit claims that Luther made on history and its meaning can be identified, e.g., that it provides lively examples by which the common person could more readily grasp truths that were less effectively communicated by discursive language. From these claims can be articulated a general overview of Luther’s stance on why history and its meaning were to be taken seriously.
Besides the knowledge that can be gained about this topic by marshalling Luther’s explicit claims, additional insight can be garnered through a more indirect approach. Much more awareness can be gained into Luther’s view of this topic by turning to the implicit claims that can be discerned within Luther’s theological formulations. This can be done by considering Luther’s theology from various vantage points. Taking different perspectives on his theological understanding can result in obtaining further knowledge into his view of history and its meaning, e.g., that it is marked by paradoxicality, sacramentality, complexity, intensity (of meaning), and totality (of scope).
The meaning of history is never completed in the past or the present; past and present meanings continue to be brought into fuller form in the future. Therefore, this theme has not been treated thoroughly until it has included an account of Luther’s impact in this area on future thinkers. The legacy of Luther’s view of history and its meaning is expansive. A report on this aspect of the issue must necessarily be limited. Even a selected narrative, however, can provide a sense of the truth that history’s meaning is an ever-unfolding affair.
Across the theology of the 19th century, Martin Luther came to represent not only the Reformation but also what it meant to be Protestant—and, more than occasionally, what it meant to be modern, German, and Lutheran, in particular. Much of the modern theological interaction with and “return” to Luther occurred in the context of the various Luther or Lutheran Reformation jubilees; these religious, commemorative occasions were themselves more often than not heavily politicized affairs: for instance, 1817, 1830, 1867, and 1883. In addition, neo-confessional movements and attempts at both retrieving and “repristinating” the theology of the Reformation confessions and the highly developed systems of Protestant orthodoxy, as well as debates over what constituted the key “principle of Protestantism,” had a significant impact in the reception and formation of Luther’s image (Lutherbild) in theology across the modern era. Certain aspects of Luther’s theology, such as his doctrine of the hiddenness of God (Deus absconditus) from his landmark treatise De servo arbitrio (The Bondage of the Will, 1525), played particularly important roles. A few basic approaches to Luther emerged in the second half of the 19th century, spearheaded by such figures as Albrecht Ritschl, Theodosius Harnack, C. F. W. Walther, and Charles Porterfield Krauth. Some, like Ludwig Feuerbach or Søren Kierkegaard, constructed idiosyncratic images of the reformer. Many of the interpretations arose from polemical concerns, whether political, ecclesiastical, or theological. Conflicts over the proper appropriation of Luther’s thought increasingly resembled the battles between Protestants and Catholics in the late Reformation over who could claim the authority of the church fathers and other patristic voices. In many respects, the story of Luther’s theological reception is also a struggle for authority.
Mark D. Chapman
Luther’s impact on Anglicanism, especially on the Church in England but also in Scotland, is difficult to gauge. The English and Scottish Reformations moved in ways that were more influenced by Reformed theology than by Luther himself. Nevertheless, there were many relationships between Luther and Britain that began during the time of Henry VIII. There was a correspondence between Luther and Henry, and the Reformer was even consulted on the King’s Great Matter (his attempt to have his marriage to Catherine of Aragon annulled). The king also wrote a treatise on the seven sacraments attacking Luther’s theology, to which Luther responded with his usual vitriol. During the 1520s there were efforts to ban Lutheran ideas under Cardinal Wolsey and John Fisher, although a number of early English evangelicals, including William Tyndale, Robert Barnes and John Frith, adopted many of Luther’s key doctrines even though they blended them with other sources. During the 1530s there were several efforts at forging diplomatic alliances between Henry and the German princes of the Schmalkaldic League, which in turn meant that Lutheran theology received a more sympathetic hearing in England. There was a significant although contested influence of Lutheran formularies on Anglican statements of faith and to a lesser extent on the liturgy of the Books of Common Prayer. What has been described as the “death of Lutheran England” began toward the end of the 1530s and early 1540s with the conservative backlash that led to the execution of Barnes. Later, after the death of Henry, there was a gradual acceptance of ideas, especially on Eucharistic presence, that stemmed from elsewhere in the Continent and that departed significantly from Luther’s views. As such ideas rose to prominence in Anglican theology, especially during the reign of Edward VI, Lutheran theology came to be regarded as increasingly conservative. Although there were further efforts to revive Lutheranism in the Elizabethan period, in general he was understood more as a pastor than a theologian. Although several later British figures promoted Luther, in general it has been more Calvinist or pietist positions far removed from Luther and his teachings that have dominated: for Anglican theology, and with rare exceptions for Britain in general, Luther remains a distant figure who for the most part is unread and seldom taught.