the execution and its message as a way for the executed to be an actor, to be active in what Emelie Murphy calls ”the struggle for control of the scene”. She describes how in England Catholics, primarily priests, executed for their faith used words and especially liturgical songs such as TeDeumto defiantly construct the pattern of martyrdom at their execution.416 Also others than Catholics used joyful singing to signal their martyrdom.417 From the persecutions of Catholics in Ireland one can learn how those executed truly were conceived as martyrs and how they could themselves embrace both this theme and the journey to death as a pilgrimage. The bishop Conor O’Devany and the priest Patrick O’Loughran, executed in Dublin in 1612, received the support of many of the thousands present, and many kneeled to ask for and receive the bishop’s blessing. John Burke in 1607 “approached the gallows on his knees”. Others could use the special clothing of the delinquent and view themselves as on the road to their wedding.418 A theme developing in the postreformation era was martyrdom as a sign of identification for different confessions.419 This and the more recent experience of persons identified as martyrs meant that martyrdom became less historical and more contemporary in theology and society. A murderer in France around 1800 could see his duty to murder others, their Baptisms of blood, a common understanding of martyrdom, in order to save his victims. Somewhat dissatisfied with not being executed himself, he eventually settled for describing himself as the fourth person of the Trinity.420 A case frequently alluded to occurred in the village of Wildensbuch in the canton of Zürich in 1823. Two adult sisters were killed and their brother seriously wounded in what has been seen as an outbreak of fanatical religion and where the murders had been seen as some form of human 416 Murphy 2015 p 410 sqq (quotation p 411). 417 Murphy 2015 p 423. 418 Tait 2001 p 143. 419 Dillon 2002 p 5 sqq, 369 sq, 374. 420 Pinel 1809 p 118 sqq, see also Esquirol 1838 I:379. 119
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