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Midir

Midir, often known as Midir the Proud, is a chieftain of the in , ruling the otherworldly síd-mound of Brí Leith (modern Slieve Callary) in , and renowned for his central role in the medieval tale Tochmarc Étaíne (The Wooing of ), where his passionate pursuit of the beautiful Étaín leads to themes of transformation, jealousy, and supernatural contest. As a noble and magically adept figure among the pre-Christian Irish gods, Midir serves as foster father to Aengus Óg, the youthful son of the Dagda, whom he raises in Brí Leith after aiding in the resolution of a territorial dispute at Brú na Bóinne. His first wife, the sorceress Fuamnach, driven by envy, transforms Étaín—whom Midir later marries—into a series of creatures, including a fly, scattering her across Ireland for a thousand years before Midir reclaims her through a famous chess game with the mortal king Eochaid Airem. Midir is portrayed as proud and haughty, possessing magical items such as a cauldron stolen by the hero Cú Chulainn and three stingy cranes taken by the satirist Athairne, and he is credited in some accounts with creating features of the Irish landscape, like Lough Ree, through a gifted enchanted horse. Variations in the traditions describe him variably as a son or brother of the Dagda, or father to figures like the goddess Macha and the heroine Bláithíne, highlighting the fluid nature of early Irish mythological genealogies preserved in texts like the Lebor Gabála Érenn.

Overview

Description

Midir is a prominent figure among the Tuatha Dé Danann, the mythological supernatural race in Irish lore, serving as a chieftain and ruler of the otherworldly síd-mound known as Brí Léith. This síd is identified with the modern Ardagh Hill in County Longford, Ireland, representing a gateway to the Otherworld and a center of fairy activity. As a noble of the sidhe, Midir embodies the ethereal and majestic qualities of the Tuatha Dé Danann, often depicted with an aura of pride and regality that underscores his exalted status among these immortal beings. In the medieval Irish tale Tochmarc Étaíne, Midir's physical appearance is vividly portrayed during his arrival at Inber Cíchmaine, where he rides a broad brown steed with a curly mane and tail. He wears a green folded around him, a red-embroidered , and a golden in his mantle that extends to his shoulders on both sides; his bright yellow reaches to his forehead, secured by a fillet to prevent it from falling into his face. Further descriptions highlight his exceptionally fair complexion, shining blue eyes, and overall beauty, with a and golden-yellow cascading to his shoulders, evoking an of otherworldly splendor. Midir is frequently considered a son of , the paramount leader of the , which further cements his position within this divine pantheon.

Etymology

The name Midir is derived from the term midithir, which signifies "" or one who measures and presides over judgments, stemming from Proto-Celtic *medyetor and ultimately from the *med- meaning "to measure." This linguistic origin underscores Midir's mythological associations with authority, fairness, and mediation among the , aligning with his portrayal as a and judicious figure. In medieval manuscripts, such as those containing the Tochmarc Étaíne, the name appears consistently as Midir in orthography, reflecting the language's conventions of the 8th to 10th centuries. By the period (10th to 12th centuries), minor variations like Midhir emerge in later copies, influenced by evolving scribal practices and . Modern scholarly transliterations standardize it as Midir or Midhir to preserve the original phonetic qualities, while anglicized forms such as Mider appear in 19th-century translations. These orthographic shifts highlight the name's endurance across linguistic phases of , without altering its core connotation of judicial wisdom.

Family and Relations

Immediate Family

Midir is primarily identified as a son of the Dagda, the high king of the Tuatha Dé Danann, in several mythological accounts that position him within the divine hierarchy of Irish lore. This parentage underscores Midir's status as a prominent member of the Tuatha Dé Danann, residing in the sídhe-mound of Brí Léith. An alternative genealogy appears in the Lebor Gabála Érenn, where Midir of Brí Léith is described as the son of Induí, son of Echtach, son of Etarlam, making him a brother or half-brother to the war god Neit, also a son of Induí. Other traditions describe Midir variably as a brother of the Dagda. Midir's primary spouse was Fuamnach, a powerful sorceress and druidess equal in stature to him among the , known for her mastery of magic and her role in fostering children alongside Midir. Fuamnach's life ended violently; in one account from Tochmarc Étaíne, she was beheaded by Midir's foster-son Óg due to her treacherous sorcery, while another variant states she was burned by . Midir had two notable daughters: Bri Bruachbrecc and Ogniad (also spelled Ogníad or Oicnis). Ogniad is particularly remembered as the mother of Sigmall Cael, linking Midir to later heroic lineages through this descent. In some accounts, Midir is also the father of the goddess and the heroine Bláithíne. Among his sons was , the sea god and father of , establishing Midir's ties to maritime deities within the mythological cycle, though Lir is sometimes depicted as a contemporary rather than direct son. Midir also served as foster-father to Aengus Óg (Aonghus), the son of and , raising him for nine years in Brí Léith and aiding him in claims to territories like . Additionally, Midir took Englec, the daughter of Elcmar, as a consort after abducting her from Cnogba (Knowth), an act that caused distress to Aengus Óg, who was enamored with her.

Broader Connections

Midir served as a prominent chieftain and lord of Brí Leith within the , occupying a subordinate role to in the group's hierarchical structure. According to the , the succession of high kings among the commenced with , who ruled for seven years before the loss of his arm disqualified him, followed by as an interim ruler, a second reign for Nuada with his silver prosthesis, and then as a major leader during the Second Battle of Mag Tuired. Midir, while influential as a regional sovereign over a sidhe (fairy mound), did not ascend to this supreme kingship, positioning him as one of the lesser lords under figures like Nuada and . Midir's non-familial ties included notable rivalries with other Tuatha Dé members and external figures. He clashed with Elcmar, the lord associated with Englec (a sidhe site), in disputes over territory and influence, as referenced in quatrains preserved in the Lebor Gabála Érenn. Additionally, Midir engaged in rivalry with Eochaid Airem, a king of Tara from the mortal realm, centered on romantic pursuits involving shared connections to the figure of Étaín, though these tensions remained outside direct blood relations. Midir's broader associations extended through shared lineages and sidhe networks among the Tuatha Dé Danann, particularly via Lir, another chieftain and sea-associated lord often regarded as a contemporary in the pantheon. Lir's descendants appear in separate mythological cycles, forging indirect links for Midir to these offspring without immediate kinship. This network also connects to other sidhe rulers and prominent figures like Boann, whose ties to the Dagda's extended line and riverine domains intersect with Lir's maritime and familial sphere, underscoring Midir's embedded role in the collective Tuatha Dé Danann cosmology.

Mythological Narratives

Tochmarc Étaíne

In the tale Tochmarc Étaíne, Midir, a prominent figure among the and lord of Brí Leith, plays a central role as the devoted lover of . While visiting his foster-son Óg at , Midir encounters , who is Aengus's wife and renowned for her unparalleled beauty. Overcome with passion, Midir requests her from Aengus, who, to preserve harmony, agrees to the union and aids Midir in wooing her from her original suitors by performing great labors, such as clearing vast plains and diverting rivers. Midir then takes to his otherworldly dwelling at Brí Leith, where they live in bliss as husband and wife. Jealousy soon disrupts their happiness, as Midir's first wife, Fuamnach, conspires with the Druíacht to transform into a using powerful . Blown away by a fierce wind, spends seven years in this fragile form, unable to land on hill or treetop, often resting on Midir's cheek to soothe his grief, during which he takes no other wife. Eventually, she is swallowed after falling into a cup of , leading to a cycle of reincarnations spanning over a millennium: she is reborn as the daughter of a nobleman named Etar, lives as a serving woman, and later reemerges in full beauty as , daughter of another, ultimately marrying the High King Eochaid Airem of Tara. Midir, undeterred by time and fate, continues his search across these lives until he locates her once more. Determined to reclaim Étaín, Midir arrives at Eochaid's court in disguised as a noble warrior and challenges the king to a game of fidchell, a strategic akin to chess. Midir deliberately loses the first match to earn Eochaid's confidence, but in the second, he stakes—and wins—Étaín herself, declaring the prize as "my arms around Étaín and a kiss from her." Bound by honor yet reluctant, Eochaid delays fulfillment by imposing impossible tasks, including removing every stone from the plains of Mide, building a across the , and clearing ancient forests. Midir completes these feats in a single night through his supernatural abilities and the aid of his fairy host, demonstrating the boundless power of the síd. Upon his return to Tara, Midir claims his wager: he embraces Étaín and, in a burst of magic, the pair transforms into swans with golden chains linking their necks, soaring through the roof of the great hall and away to Brí Leith. Furious, Eochaid rallies his men to excavate the fairy mounds for a year and three months in pursuit, unearthing treasures but facing fierce opposition from Midir's forces as the mounds regenerate daily. To resolve the matter, Midir sends fifty women identical to Étaín, from among whom Eochaid identifies the true Étaín by her superior skill in serving drink, restoring her to him. Midir later reveals that Étaín was pregnant when taken, had borne him a daughter who becomes Eochaid's wife, and through her lineage continues the royal line. The narrative underscores themes of transcendent that defies mortality and , the inescapable wheel of governed by otherworldly forces, and the tension between human kingship and the immortal síd, where Midir embodies persistent devotion and magical sovereignty.

Oidheadh Chlainne Lir

In the mythological narrative Oidheadh Chlainne Lir, Midir plays a peripheral yet pivotal role through his familial ties, as the father of , a prominent lord whose resentment over succession fuels the ensuing tragedy. Following 's death after the 's defeat at the Battle of Tailtiu, a convened to select a new high king from among several candidates, including (son of ), Midir, , Ilbhreach (son of ), and . was chosen for his personal qualities, his lineage as 's eldest son, and to maintain harmony among the gods, effectively passing over Midir and others. This exclusion bred immediate discord, with Midir refusing to submit hostages and withdrawing to a remote sídhe near Brí alongside his followers, while , equally aggrieved, retired in anger to Sídh Fionnachaidh without pledging allegiance, highlighting deep-seated rivalries over leadership among the . 's resentment, stemming partly from his own overlooked claim and his father's similar slight, extended to rejecting overtures of reconciliation from , including an initial proposal to wed one of Bodb's daughters to Lir's son Aodh as a means to bind the families politically; Lir declined, viewing it as an imposition on his lineage's autonomy. To mend the rift, ultimately offered his foster-daughter Aobh in marriage to himself, which Lir accepted, leading to the birth of four children: daughter and sons Aodh, Fiachra, and Conn. Aobh died shortly after the twins' birth, prompting a second marriage to her sister , another of Bodb Derg's kin. The succession dispute's lingering tensions manifested in familial strife when Aoife, consumed by jealousy toward Lir's beloved children, used a druid's to them, transforming Fionnuala, Aodh, Fiachra, and Conn into swans condemned to spend 900 years in exile—300 years on Loch Dairbhreacht, 300 on the stormy Sruth na Maoile, and 300 off the western coast at Inis Gluaire—retaining human voices to sing enchanting songs but enduring ceaseless wandering. Bodb Derg, upon discovering the act, punished Aoife by turning her into a of the air doomed to cry eternally, but the 's devastation underscored the perils of unresolved kingship rivalries. Midir's indirect involvement via his son Lir emphasizes broader themes of dynastic exclusion and its ripple effects, portraying how personal slights among the immortal precipitate profound sorrow and isolation.

Aigidecht Aitherni

In the tale Aigidecht Aitherni, Midir, ruler of the sidhe dwelling at Brí Léith, possesses three enchanted cranes that serve as guardians of his home, perpetually circling its perimeter to deny entry and hospitality to any approaching visitor. These birds, imbued with otherworldly magic, symbolize Midir's authority and his deliberate isolation from the mortal world, enforcing a barrier that reflects the stringent customs of the Tuatha Dé Danann. [Rudolf Thurneysen, "Zu irischen Texten. I. Athirne von seiner Ungastlichkeit geheilt," Zeitschrift für celtische Philologie 12 (1918): 398-400.] The narrative centers on the encounter between Midir and Athirne Ailgesach, a notoriously inhospitable poet and satirist from the Ulster Cycle, who arrives at Brí Léith seeking to acquire the cranes for his own purposes. Unable to gain admission due to the birds' enchantment, Athirne invokes the ancient Irish legal practice of fasting against his host, positioning himself at Midir's threshold without food or drink to compel compliance. This act of ritual confrontation underscores the power dynamics between mortal filid (poets) and the immortal sidhe, where such a fast could shame or oblige even a figure of Midir's stature to yield. [Thurneysen, ZCP 12 (1918): 398-400.] Under the pressure of Athirne's fast, Midir relents and relinquishes the three cranes, which Athirne then transports to his own residence, installing them as sentinels to ward off guests and preserve his household's resources. This transfer highlights the cranes' role not merely as magical artifacts but as potent emblems of exclusion and self-imposed solitude, transferring Midir's protective isolation to Athirne and amplifying the poet's reputation for churlishness. The resolution emphasizes the perilous consequences of meddling with sidhe enchantments, as Athirne's acquisition reinforces themes of otherworldly prohibitions and the binding nature of fairy customs, where even a victor like the satirist becomes ensnared by the very tools of denial he sought. [Thurneysen, ZCP 12 (1918): 399-400.]

Yellow Book of Lecan

In the Yellow Book of Lecan, a 14th-century Irish manuscript compiling various mythological texts including a version of Tochmarc Étaíne, Midir suffers a severe injury during a visit to his foster-son Aengus (Mac Óc) at Brí Leith on the day of Samain. While intervening in a quarrel between two groups of youths playing a hurling game, Midir is struck by a spit of holly that gouges out one of his eyes, leaving him holding the organ in his hand and expressing profound shame over his disfigurement. This vulnerability is poignantly described as rendering him unable to gaze upon the lands he rules or those he has left, highlighting a rare moment of physical frailty for a prominent sidhe lord of the Tuatha Dé Danann. Aengus, distressed by the incident on his territory, summons the renowned physician Dian Cecht to restore Midir, who successfully heals the injury, making him "whole again" without blemish and allowing him to regain his full sight and dignity. This interaction emphasizes Midir's close ties to key healing figures within the sidhe hierarchy, as Dian Cecht's intervention not only mends the physical wound but also preserves Midir's authority as a chieftain of Brí, the fairy palace in Tethba. In some alternative accounts outside the Lecan version, Étaín is credited with healing Midir's eye using powers associated with the well of Loch Da Lig, though the manuscript attributes the restoration solely to Dian Cecht. The episode in the Yellow Book of Lecan underscores themes of injury and recovery in sidhe lore, where even immortal beings like Midir face temporary mortal-like vulnerabilities from everyday conflicts, only to be swiftly restored through the advanced restorative arts of the Tuatha Dé Danann, symbolizing the otherworld's balance between peril and renewal.

Other References

In the pseudohistorical compilation Lebor Gabála Érenn (The Book of the Takings of Ireland), compiled in the 11th century from earlier sources, Midir appears as a prominent noble among the Tuatha Dé Danann during their invasion of Ireland as the fifth wave of settlers. He is described as the son of Indui and one of the key figures who retreated to the sídhe (fairy mounds) after the Milesian conquest, establishing his realm at Brí Leith (modern Slieve Callary or Ardagh Hill, County Longford). In the "Death-Tales of the Tuatha Dé Danann," Midir is slain by Elcmar of Brú na Bóinne following the Second Battle of Mag Tuired, portraying him as a warrior of "mighty deeds" slain without reproach; Aengus later avenges him by killing Elcmar. Brief allusions to Midir occur in accounts of the Tuatha Dé invasions and assemblies in other medieval texts, such as the Metrical Dindṡenchas (a 12th-century collection of place-name lore), where he is invoked as lord of the sídhe during gatherings of the divine kin at sites like Sid Sinche. These references emphasize his role in shaping the landscape, such as forming rivers and mounds during the Tuatha Dé's arrival, without developing full narratives. In similar pseudohistorical fragments, like those in the (a 17th-century synthesis drawing on lost earlier annals), Midir is noted peripherally as a Tuatha Dé chieftain in lists of the gods' dispersal to underground realms post-invasion, underscoring his enduring association with the fairy host. In later Irish folklore traditions, preserved in 19th-century collections from oral sources, Midir is invoked as a fairy king and judge, ruling over the sídhe of Brí Leith and mediating disputes among the Otherworld beings; his name, derived from Old Irish mídir meaning "judge," reflects this archetypal role in tales of fairy justice. Variations portray him as a invoked in charms for fair rulings or protection against sídhe incursions, often without ties to his canonical family beyond a vague link to the Dagda's line. The enduring minor presence of Midir in Irish mythology is complicated by significant gaps in the source material, with scholars estimating that up to 90% of medieval Irish manuscripts have been lost to time, fire, and neglect, including potential texts from monasteries like Clonmacnoise that may have contained additional allusions to his sidhe assemblies or pseudohistorical roles. Surviving fragments, such as those in the Yellow Book of Lecan (14th century), hint at broader lost narratives through incidental mentions, preserving Midir as a peripheral yet resonant figure in the Tuatha Dé pantheon.

Modern Depictions

Literature and Art

In the late 19th and early 20th centuries, Midir featured prominently in the Irish Literary Revival, where poets and playwrights drew on ancient myths to evoke national identity and romantic idealism. W.B. Yeats incorporated elements of the Midir and Étaín narrative into his poetry, adapting the tale's motifs of love, transformation, and otherworldly pursuit while altering its tone to emphasize mystical longing over the original's heroic determination. For instance, Yeats' works reflect the myth's symbolic use of folklore to explore themes of eternal reunion and the sidhe, blending Celtic traditions with his occult interests. Similarly, Lady Gregory's 1904 retelling in Gods and Fighting Men presents Midir as a noble Tuatha Dé Danann figure whose devotion to Étaín drives a poignant drama of enchantment and escape, making the story accessible to modern audiences through her vivid prose and emphasis on emotional depth. Visual depictions of Midir during the often highlighted his swan transformation with , symbolizing transcendence and romantic flight from mortal constraints. Early 20th-century illustrator Stephen Reid captured this moment in his artwork for T.W. Rolleston's Myths & Legends of the Celtic Race (1911), portraying the pair ascending as elegant swans against an ethereal sky, which underscored the myth's themes of love's triumph over adversity. Such illustrations, part of the broader revival's effort to revive iconography, appeared in books and prints that romanticized heritage, influencing public imagination of Midir as a chivalric otherworldly lover. Scholarly works from this era, such as ' edited Irish Fairy and Folk Tales (1888), included Irish mythological elements through a lens of romantic enchantment, portraying narratives as timeless explorations of passion and fate that resonated with Ireland's cultural revival. These analyses highlighted the tale's emphasis on enduring love amid supernatural trials, positioning Midir as an archetype of devoted pursuit in . In 21st-century literature, Midir's legacy endures in fantasy novels that reimagine Tuatha Dé Danann lore, such as Juliet Marillier's Sevenwaters series, where ancient Irish myths inform intricate plots of otherworldly alliances and personal destiny. These works blend historical fantasy with themes of transformation and loyalty.

Video Games and Media

In video games, Midir has been adapted through characters and locations drawing directly from his Irish mythological namesake, a Tuatha Dé Danann figure associated with the Otherworld and sovereignty. One prominent example is Darkeater Midir, an optional boss in Dark Souls III (2016), depicted as a massive, four-winged archdragon descendant raised by the gods to eternally combat the Abyss and its corrupting darkness, symbolizing ancient, immortal guardianship against otherworldly threats. The name explicitly references the mythological Midir, whose role as a sidhe king and shaper of landscapes evokes draconic scale and mystical authority in this antagonistic encounter. Another adaptation appears in the series, where Midir serves as a playable archer in : Genealogy of the Holy War (1996), originating from House and tasked with protecting Lady Edain during invasions, reflecting themes of loyalty and unrequited affection akin to Midir's narratives in . This character, who wields a bow and leads defensive efforts against aggressors, embodies Midir's chivalric and protective traits, later appearing in mobile spin-offs like (2017 onward) as a summonable with enhanced abilities for strategic battles. The naming draws from Midir's status as a prince of the , emphasizing heroic guardianship over otherworldly domains. The village of Mideel in Final Fantasy VII (1997, remade as Final Fantasy VII Remake in 2020 and expanded in Rebirth in 2024) serves as a hot springs resort near the Lifestream's surface, where key plot events unfold involving character recovery and environmental catastrophe; its name stems from a mistranslation of the mythological Midir, linking the location's serene yet perilous otherworldly proximity to Midir's sidhe realm associations. Beyond games, Midir features in audio media retelling Celtic myths, particularly podcasts that dramatize his narratives. For instance, the Irish Mythology Podcast episode "Midir & Etain" (February 2025) adapts the Tochmarc Étaíne tale, portraying Midir as a shape-shifting sidhe lord using magic and riddles to reclaim his beloved, highlighting his themes of love, transformation, and otherworldly intrigue for modern audiences. Similar episodes in Candlelit Tales Irish Mythology Podcast (2025) explore Midir's role as a judge-like figure in the sídhe courts, evolving his mythological sovereignty into cautionary tales of enchantment and rivalry. These adaptations often recast Midir's magical prowess in heroic or manipulative roles, contrasting his ancient antagonistic pursuits with contemporary emphases on emotional depth and folklore preservation.

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