In the sixteenth and seventeenth centuries the Low Countries were a melting pot of religious beliefs: Roman Catholicism and several Protestant and Catholic Reformation movements coexisted together, the ‘radical Reformation movement’ of the Anabaptists, the ‘militant movement’ of Calvinism, and the more mild variant of Lutheranism. The Southern part of the Low Countries were ‘re-catholicized’ after the Fall of Antwerp in 1585, and the Counter- Reformation was active there. Authors of several denominations wrote Latin plays. In this article I will look at the theology represented in some of these plays, particularly those of Macropedius and Laurimanus as examples of Roman Catholic (non-Jesuit) plays; those of Lummenaeus a Marca and Libenius as examples of Jesuit drama; and those of Gnapheus as examples of Protestant theatrical writing. Thus, it will be possible to draw some general conclusions about religion, theology and confessionalization in neo-Latin drama of the Low Countries.

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近代早期低地国家的宗教与拉丁戏剧

在 16 和 17 世纪，低地国家是宗教信仰的大熔炉：罗马天主教和几次新教和天主教改革运动并存，再洗礼派的“激进改革运动”、加尔文主义的“激进运动”等等。路德教的温和变体。1585 年安特卫普沦陷后，低地国家的南部被“重新天主教化”，反宗教改革在那里活跃起来。几个教派的作者写了拉丁戏剧。在本文中，我将探讨其中一些戏剧中所代表的神学，特别是作为罗马天主教（非耶稣会）戏剧示例的麦克罗佩迪乌斯和劳里曼努斯的戏剧；Lummenaeus a Marca 和 Libenius 的那些作为耶稣会戏剧的例子；以及 Gnapheus 的那些作为新教戏剧写作的例子。因此，