Ideological Weapon and Sacralizing Narrative: On the Jesuit Drama Pietas Victrix and the Construction of Habsburg Legitimacy

In the context of early modern Catholic global missions, the Jesuit strategies for proselytizing Protestant heretics within Europe exhibited operational mechanisms distinct from those employed in overseas non-Christian populations. Focusing on the seventeenth-century Jesuit drama Pietas Victrix, this article examines the process by which drama was forged into an ideological weapon serving the project of constructing legitimacy during the Catholic Counter-Reformation. Research demonstrates that Jesuit drama transcended the purely esthetic sphere of literature and art, becoming a propaganda tool that integrated Tridentine dogma, anti-Protestant polemics, and the sacralizing narratives of the Habsburg dynasty. In the play, the Jesuit Nicolaus von Avancini (1611–1686) converts abstract politico-theological ideas into tangible political loyalty through narrative strategies and the coordinated use of multiple art forms, mobilizing sensory spectacle and the affective force of total work of art within the Habsburg court—the empire’s core political arena—to reconfigure confessional identity, contest ideological leadership, and accumulate crucial social legitimacy for both the Habsburgs and the Society of Jesus. This paper contends that Jesuit drama, exemplified by Pietas Victrix, represents a missionary form rooted in Thomistic theology yet highly politicized. By situating the play within the context of the Catholic Counter-Reformation, it demonstrates how drama was forged into a potent ideological weapon for legitimacy contestation. This study provides a case for interpreting how the Jesuits utilized cultural media to participate in power construction and self-representation, thereby refining our understanding of the mechanisms of cultural politics in early modern Europe.