By George von der Lippe, Viktoria Reck-Malleczewen
A defining paintings within the "Inner Emigration" literary move, Friedrich Reck-Malleczewen's background of the M?nster Anabaptists used to be written in 1937 as a feedback of the Nazi regime. This English translation comprises records, scholarly essays, and a close advent.
Read or Download A history of the Mu?nster Anabaptists: Inner Emigration and the Third Reich: A Critical Edition of Friedrich Reck-Malleczewen's Bockelson: A Tale of Mass Insanity PDF
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Extra info for A history of the Mu?nster Anabaptists: Inner Emigration and the Third Reich: A Critical Edition of Friedrich Reck-Malleczewen's Bockelson: A Tale of Mass Insanity
10 The city had slipped almost entirely from the strong grip of the old church, and its monasteries along with those city-dwelling representatives of the aristocracy and a few of the wealthy bourgeoisie—or as one called them in Münster, “men of inheritance”—were the last bastions of Catholicism in Münster. But almost right from the start this Protestantism in Münster is of a very special sort—it wants nothing to do with all of Luther’s compromises. It is extremely combative, almost to the point of being heretical, which can be attributed primarily to the city’s most trendy Modepastor (“pastor du jour”), a man by the name of Bernhard Rothmann.
And we know that in 2 A HISTORY OF T HE MÜNST ER ANABA P T IST S such times underground vaults with undreamed of contents open up, vaults over which God’s children have lived innocently throughout their days of too many labors and too few joys. We also observe that these unknown catacombs exist beneath every culture, that indeed they must underlie every people capable of reflection and of having great thoughts. 1 We tend to look upon the Renaissance—which practically overnight tore the ground right out from under the feet of gothic man with his God-centered life—we tend, I say, to continue to view this gigantic world transition as a simple change in taste during which facades changed a bit through the shapes of their windows and doorframes, and during which one wore a different style of clothing.
Lucas Cranach (1472–1553) was the court painter in Wittenberg and thus became the most prominent portrait painter associated directly with Luther and other Reformation figures. Another of Reck’s Bockelson-Hitler parallels is that both were initially drawn to the arts before they became despots. The duration of the Anabaptist hold on Münster is usually given as sixteen (February 1534–June 1535) or eighteen months, depending on whether the initial period of Rothmann’s and the early Anabaptist influence is included.