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Good Government and Church Order: Essays on the Role of Secular Authority in the German ReformationOverview The essays in this volume, written over the span of five decades, are in most cases an exploration of the often unrecognized or poorly understood relationships among four reformers who were advocates of governmental responsibility for religious reform: Erasmus of Rotterdam, Martin Luther, Philip Melanchthon, and Johannes Brenz. Erasmuss long suspected but little investigated influence on the first generation of Protestant reformers is clearly
Overview
The essays in this volume, written over the span of five decades, are in most cases an exploration of the often unrecognized or poorly understood relationships among four reformers who were advocates of governmental responsibility for religious reform: Erasmus of Rotterdam, Martin Luther, Philip Melanchthon, and Johannes Brenz. Erasmus’s long suspected but little investigated influence on the first generation of Protestant reformers is clearly documented in the cases of Philip Melanchthon and Johannes Brenz, both of whom made adroit use of Erasmian arguments, in conjunction with ideas taken from Luther, in their early appeals for government support of reform (1519–1530). Meanwhile, Luther himself, unwilling to concede to secular authority as such any responsibility in spiritual matters, had to address his appeals to Christian secular rulers in their capacity as participants in the priesthood of all believers who had a special obligation to come to the aid of the church in an emergency.
Then, starting in 1530, Luther, Melanchthon, and Brenz, faced with potent criticism from Radicals, Spiritualists, and other religious dissidents who denied the right of Protestant rulers to impose religious orthodoxy, had to rethink and adapt their arguments. It was Melanchthon who formulated the most cogent version of the Lutheran doctrine of the cura religionis of secular government, doing so in close cooperation and complete agreement with Luther, something that generations of Reformation scholars were unable or unwilling to see. As for Brenz, he adopted Melanchthon’s view almost verbatim in the process of establishing himself as the most gifted church organizer of all the early Lutheran reformers.
Then, starting in 1530, Luther, Melanchthon, and Brenz, faced with potent criticism from Radicals, Spiritualists, and other religious dissidents who denied the right of Protestant rulers to impose religious orthodoxy, had to rethink and adapt their arguments. It was Melanchthon who formulated the most cogent version of the Lutheran doctrine of the cura religionis of secular government, doing so in close cooperation and complete agreement with Luther, something that generations of Reformation scholars were unable or unwilling to see. As for Brenz, he adopted Melanchthon’s view almost verbatim in the process of establishing himself as the most gifted church organizer of all the early Lutheran reformers.
James M. Estes, an authority on the German Reformation, is professor emeritus of history at the University of Toronto, chair emeritus of the editorial board of the Collected Works of Erasmus (University of Toronto Press), and historical annotator of ten of the twenty-one volumes in the correspondence series of that edition.
326 pp., 4 ill.
ISBN: 978-0-7727-2224-9
Published: 2022
Contents
Preface
- Johannes Brenz and the Institutionalization of the Reformation in Württemberg
- Johannes Brenz and the Problem of Ecclesiastical Discipline
- Officium principis christiani: Erasmus and the Origins of the Protestant Territorial Church in Germany
- Surviving the Interim: the Case of Johannes Brenz and the Duchy of Württemberg
- Erasmus, Melanchthon, and the Office of Christian Magistrate
- The Role of Godly Magistrates in the Church: Melanchthon as Luther’s Interpreter and Collaborator
- Luther’s First Appeal to Secular Authorities for Help With Church Reform, 1520
- Melanchthon’s Confrontation With the “Erasmian” Via media in Politics: The Treatise De officio principum of 1539
- Johannes Brenz and the German Reformation
- Luther and the Role of Secular Authority in the Reformation
- Luther’s Attitude Towards the Legal Traditions of His Time
Appendix — Philip Melanchthon, Concerning the Office of Princes, that God’s Command Instructs Them to Remove Ecclesiastical Abuses
Praise
“In highlighting the vital link between Erasmus and the Wittenberg theologians, James M. Estes’s ground-breaking contributions bring together two disparate strands of research and point the way to a more nuanced understanding of the early Reformation.” — Amy Nelson Burnett, University of Nebraska-Lincoln
“Estes’s work on Melanchthon, Erasmus, and Luther stands at the forefront of fine Reformation history writing. By focusing on the ‘secular’ problem of princes and their churches, Estes advances new insights into the religious nature of government and its relation to the Reformation and the church.” — Timothy J. Wengert, United Lutheran Seminary
“Estes’s work on Melanchthon, Erasmus, and Luther stands at the forefront of fine Reformation history writing. By focusing on the ‘secular’ problem of princes and their churches, Estes advances new insights into the religious nature of government and its relation to the Reformation and the church.” — Timothy J. Wengert, United Lutheran Seminary
Reviews
"Estes explores subtleties as well as anyone and excels at context. He takes on topics that still dismay us, and tells us what the reformers thought about them. He respects his readers and his sources. When he asks a question he answers it." — Willis Goth Regier, University of Illinois in Renaissance and Reformation, volume 46 no.2
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4.5 ★★★★★
Based on 27 reviews
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Product Reviews
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist).
Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really.
While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future.
Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless.
Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar!
The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co.
And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today?
I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society.
The film can be a bit 'heavy' at times, though. Not everyone's cup of tea.
Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012