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CATHOLIC ENCYCLOPEDIA: Pilgrimages. Help support New Advent and get the full contents of this website as an instant download. Includes the Catholic Encyclopedia, Church Fathers, Summa, Bible and more — all for only $1.

Middle English, pilgrime, Old French, pelegrin, derived from Latinperegrinum, supposed origin, per and ager—with idea of wandering over a distance). Pilgrimages may be defined as journeys made to some place with the purpose of venerating it, or in order to ask there for supernatural aid, or to discharge some religiousobligation. Origin. The idea of a pilgrimage has been traced back by some (Littledale in "Encycl. Brit.", 1. 88. 5, XIX, 9. New Internat. Encyc.", New York, 1. XVI, 2. 0, etc.) to the primitive notion of local deities, that is, that the divine beings who controlled the movements of men and nature could exercise that control only over certain definite forces or within set boundaries. Thus the river gods had no power over those who kept away from the river, nor could the wind deities exercise any influence over those who lived in deserts or clearings or on the bare mountain- side.

Similarly there were gods of the hills and gods of the plains who could only work out their designs, could only favour or destroy men within their own locality (1 Kings 2. Hence, when some man belonging to a mountain tribe found himself in the plain and was in need of divine help, he made a pilgrimage back again to the hills to petition it from his gods. It is therefore the broken tribesmen who originate pilgrimages. Without denying the force of this argument as suggesting or extending the custom, for it has been admitted as plausible by distinguished Catholics (cf. Lagrange, "Etudes sur les relig.

VIII, Paris, 1. 90. For pilgrimages properly so called are made to the places where the gods or heroes were born or wrought some great action or died, or to the shrines where the deity had already signified it to be his pleasure to work wonders. Once theophanies are localized, pilgrimages necessarily follow. The Incarnation was bound inevitably to draw men across Europe to visit the Holy Places, for the custom itself arises spontaneously from the heart. It is found in all religions.

The Egyptians journeyed to Sekket's shrine at Bubastis or to Ammon'soracle at Thebes; the Greeks sought for counsel from Apollo at Delphi and for cures from Asclepius at Epidaurus; the Mexicans gathered at the huge temple of Quetzal; the Peruvians massed in sun- worship at Cuzco and the Bolivians in Titicaca. But it is evident that the religions which centered round a single character, be he god or prophet, would be the most famous for their pilgrimages, not for any reason of tribal returns to a central district where alone the deity has power, but rather owing to the perfectly natural wish to visit spots made holy by the birth, life, or death of the god or prophet. Hence Buddhism and Mohammedanism are especially famous in inculcating this method of devotion.

Huge gatherings of people intermittently all the year round venerate Kapilavastu where Gaukama Gaukama Buddha began his life, Benares where he opened his sacred mission, Kasinagara where he died; and Mecca and Medina have become almost bywords in English as the goals of long aspirations, so famous are they for their connexion with the prophet of Islam. Granting then this instinctive movement of humannature, we should expect to find that in Christianity. God would Himself satisfy the craving He had first Himself created. The story of His appearance on earth in bodily form when He "dwelt amongst us" could not but be treasured up by His followers, and each city and site mentioned became a matter of grateful memory to them. Then again the more famous of His disciples, whom we designate as saints, themselves began to appeal to the devotion of their fellows, and round the acts of their lives soon clustered a whole cycle of veneratedshrines.

Especially would this be felt in the case of the martyrs; for their passion and death stamped more dramatically still the exact locality of their triumph. Moreover, it seems reasonable to suppose that yet another influence worked to the same end. There sprang up in the early Church a curious privilege, accorded to dying martyrs, of granting the remission of canonicalpenances.

No doubt it began through a generous acceptance of the relation of St. Stephen to St. Paul.

But certain it is that at an early date this custom had become so highly organized that there was a libellus, or warrant of reconciliation, a set form for the readmittance of sinners to Christian fellowship (Batiffol, "Etudes d'hist. I, Paris, 1. 90. 6, 1. Surely then it is not fanciful to see how from this came a further development. Not only had the martyrs in their last moments this power of absolving from ecclesiastical penalties, but even after their deaths, their tombs and the scenes of their martyrdom were considered to be capable also—if devoutly venerated—of removing the taints and penalties of sin.

Accordingly it came to be looked upon as a purifying act to visit the bodies of the saints and above all the places where Christ Himself had set the supreme example of a teaching sealed with blood. Again it may be noted how, when the penitential system of the Church, which grouped itself round the sacrament of the confessional, had been authoritatively and legally organized, pilgrimages were set down as adequate punishments inflicted for certain crimes. The hardships of the journey, the penitential garb worn, the mendicity it entailed made a pilgrimage a real and efficient penance (Beazley, "Dawn of Modern Geography", II, 1. Furnival, "The Stacions of Rome and the Pilgrim's Sea Voyage", London, 1.

To quote a late text, the following is one of the canons enacted under King Edgar (9. It is a deep penitence that a laymanlay aside his weapons and travel far barefoot and nowhere pass a second night and fast and watch much and prayfervently, by day and by night and willingly undergo fatigue and be so squalid that iron come not on hair or on nail" (Thorpe, "Ancient Laws", London, 1. Another witness to the real difficulties of the wayfaring palmer may be cited from "Syr Isenbras", an early English ballad: – "They bare with them no maner of thynge. That was worth a farthynge.

Cattell, golde, ne fe; But mekely they asked theyre meate. Where that they myght it gette. For Saynct Charyte."(Uterson, "Early Popular Poetry", I, London, 1. And the Earl of Arundel of a later date obtained absolution for poaching on the bishop's preserves at Hoghton Chace only on condition of a pilgrimage to the shrine of St. Richard of Chichester ("Archæologia", XLV, 1. Chaucer, "Works", ed. Morris, III, 2. 66).

And these are but late descriptions of a practice of penance which stretches back beyond the legislation of Edgar and the organization of St. Theodore to the sub- Apostolic age. Finally a last influence that made the pilgrimage so popular a form of devotion was the fact that it contributed very largely to ease the soul of some of its vague restlessness in an age when conditions of life tended to crampmen down to certain localities. It began to be looked upon as a real help to the establishment of a perfectly controlled character.

It took its place in the medieval manuals of psychology. So John de Burg in 1. Pupilla oculi, fol. LXII), "contra acediam, opera laboriosa bona ut sint peregrinationes ad loca sancta."History in general. In a letter written towards the end of the fourth century by Sts.

Paula and Eustochium to the Roman matron Marcella, urging her to follow them out to the Holy Places, they insist on the universality of the custom of these pilgrimages to Palestine: —"Whosoever is noblest in Gaul comes hither. And Britain though divided from us yet hastens from her land of sunset to these shrines known to her only through the Scriptures." They go on to enumerate the various nationalities that crowded round these holy places, Armenians, Persians, Indians, Ethiopians, and many others (P.

Richard Armitage interview: Pilgrimage, Ocean’s 8, Castlevania Back when we last spoke to Mr Armitage in 2. Ireland filming Pilgrimage, alongside Jon Bernthal and, at that point, the relatively unknown Tom Holland, who you’ve probably heard of by now due to his current web swinging antics across cinema screens. It’s been a two year wait for Pilgrimage to hit these shores since then, but it’s finally out on disc and digital download and adds another fine villain to Richard Armitage’s roster, while providing an exhilaratingly violent and gritty quest across 1. Ireland, when a group of monks try to keep a sacred relic safe from various undesirables. The film's strengths come from the stellar cast, suitably grim atmosphere and sporadic carnage; it also has the emotional power that always comes from seeing blood spilt in the name of religion, when the reality is that people are dying over a rock which may, or may not contain divine powers of retribution. As Raymond De Merville, Armitage shows a penchant for torturing anyone that stands between him and the holy artifact via a disemboweling arrow, ratcheting up the tension as he closes in on his prey, but our conversation was considerably more pleasant as he was out in Berlin (the setting for his latest TV series, Berlin Station) enjoying a sunny morning…Congratulations firstly on the film and on your performance. Thanks, dude! Last time I spoke to you, strangely enough, was for the last Hobbit promotion, when The Battle Of The Five Armies was coming out on disc and you were filming Pilgrimage at the time.

How did you first get involved with the film? It's a good question. I think I was sent a script quite a long time before it was setup with any of the other actors and it was a direct offer. I have an agent based in LA who is Irish and has a strong affinity towards all things Irish. It’s connected me to the Irish film board and work that’s coming out of Ireland and Irish directors.

So this kind of fell into my lap and I really enjoyed the possibility of playing a character who was French and also somebody who was largely focused on war in occupied territory and a period piece. Yeah, it was interesting to me. I really liked the world that Jamie Hannigan was writing about.

You mention playing a French character - do you enjoy the challenge of playing with a different accent? Yeah I think that was one of the main things that attracted me to it, because it was something I’d never done before and it’s a huge challenge to work in a foreign language. You know I’ve done a medical drama in my past, and to be honest doing a medical drama is like speaking a foreign language. I’m working on a spy show at the moment and it’s like speaking a foreign language, because the jargon is so alien to what we do every day. You know one of my main goals was - because my character in Pilgrimage was going to be immersed amongst other actors who were coming out of France and Belgium, that I could somehow stand up against two French speakers and not standout as being incompetent! I just really enjoyed the challenge of it and I have always enjoyed French cinema as well. Yeah it’s the funny thing anyway isn't it? Watch Highlander Online Free 2016 there.

One of my wife’s lecturers at University said once that Kevin Costner’s American accent in Robin Hood was actually closer to how he would have sounded back then, than people would expect. I’m sure that wasn't his line of study, but it’s a good review isn't it? Yeah, it’s a good excuse isn't it? Yes! I’ve got the impression from you that before that a character's backstory is very important to you.

Do you prefer having a lot of existing written material, as when playing a literary character like Thorin or Francis Dolarhyde, or do you prefer the creative freedom from playing a fictional, historic character where you have a bit more freedom? You know I like both. I really love having book to read where your character is imagined by an author because it’s like the source material and I really enjoy that, but I also like to expand on that and interpret what the author wanted and then go find things that will help seed the garden. But also, when you start with nothing at all you can really go anywhere. The difficulty with that, is that you sort of have to be very much in contact with the writers and collaboratively with the show's creator, or the movie's creator, because you know I could spend hours going off on a tangent by myself, in my own research bubble and if it’s not being translated into real words on the page in the writers room, or with a writer, it’s just interesting to me, but worthless to the piece.

That’s why more and more as I get older I’m kind of co- producing things and I’m working on something with the Irish film board at the moment, where I have found a piece which has come from source material and I’m very much involved with putting it together, as a construction, so a bit of both I think is the answer to your question. The piece you are working on at the moment, is it historic too? It is. It’s set at the turn of the century and it’s based on a true story and there was a documentary and a book written about it. So it roots in the truth, but we are going to try and take it in a bit more of a genre direction. Raymond was a bastard, for want of a better word, so do you look for sympathy within the villainous characters you’ve played, to help find empathy? I think so, yeah.

I mean really empathy is the word you sort of go into it with, you somehow have to put yourself within the shoes of a character and try to understand why they are behaving and why they are thinking and feeling the way that they do. To an extent, with someone like Raymond, there’s such an ambition in him and he’s been raised in a paternal society where war is the only reason to exist. War and dominance and occupation has been, from the cradle, everything he’s known and his father is now in decline.

He calls his own father a coward. So he see’s the relic as something that’s going to elevate him and give him like a golden ticket to gain favour with his king and I think that’s all he sees, he doesn't see a life beyond that. It’s really interesting to see me as well, that there are no female characters within the story, because often the female characters can kind of balance the aggressive thrusting kind of paternal mind. But finding empathy with that - it was a challenge and at some point you give up because the overwhelming kind of darkness takes over, but I also feel like the character gives up. The character – you can either fight it, or yield to the darkness inside of you and I think that’s what happens with Raymond, he becomes so obsessed with his personal destructive quest that he just yields to it and is like ‘ Well if I can’t be good, then I’m going to be really bad!’Did you have a name for his torturous, gut twisting arrow? I didn't actually, but I should have thought of something!

There were a couple of them. We snapped a few of them, because… um… I was practicing a little bit too hard into the stomach of the monk that I was torturing! I should have named them, but I didn’t. Maybe it says something wrong about me that I wondered it in the first place! What would you name it? Do you know what?

I don’t know… I can’t think of anything clever, other than The Interrogator or something. The Interrogator! There you go. That’s a good one! Where I’ve been writing over the last decade about homegrown historic, brutal films such as Centurion, Iron Clad and Black Death, they’re all great films and ones that I’ve loved, but I always wonder why they never get the recognition they deserve.

I do wonder if the brutality of the past is too much for some people, but wondered if you had any thoughts on that? Yeah, I feel that with period drama it does fall into a number of categories I think and I have been a part of a few of them.