Lir, a prominent figure in both Irish and Welsh mythology, is revered as the deity of the sea. His presence is particularly noted among the Tuatha De Danaan, an ancient race of deities that reigned over Ireland long before the advent of human civilization. The most renowned story featuring Lir is the “Children of Lir,” a captivating narrative within the Mythological Cycle of Irish folklore.
Key Myths
During the reign of the Tuatha De Danaan, there was a king named Bodb Dearg, with whom Lir did not see eye to eye. Striving to foster peace and harmony within his realm, Bodb sent Lir his daughter, Aoibh, in hopes of forming a marital alliance. The union bore four children—three sons and a daughter named Fionnuala. Tragically, Aoibh passed away, leading Bodb to provide Lir with another daughter, Aoife, to wed and care for his children. Aoife, however, was a woman steeped in magical arts, harboring jealousy towards the close-knit family bond that Lir shared with his offspring.
Driven by her envy, Aoife devised a plan to eliminate Lir’s children. After her first attempt to kill them failed, she resorted to sorcery, transforming them into swans. This transformation came with a grim condition: they were to remain in this form for nine centuries, spending three centuries each in three distinct locales by the water. They could only return to human form when the church bells signaled the coming of God.
When Bodb, Aoife’s father, learned of her nefarious act, he punished her by rendering her into a demon. The children endured their swan existence for the stipulated nine centuries, before being rescued by a monk named Mochua, who kept them chained in a monastery. However, a local queen, aware of the swans’ existence, instigated her husband to seize them. Ultimately, the sacred bells rang, restoring them to their human forms, but due to the extensive passage of time, the children aged rapidly and soon perished. In the wake of their demise, the Tuatha De Danaan also faded from existence, paving the way for a new lineage to govern the land.
Lir’s Historical Significance
Irish historical narratives reveal that the island of Ireland has undergone numerous rulerships over the ages. The mythical accounts of these invasions are chronicled in the Book of Invasions, which records various ruling groups and the battles they fought. Notably, some of these legendary invasions draw from real historical events; the Milesians, who succeeded the Tuatha De Danaan, likely represent the Gaelic peoples who invaded Ireland around the first century BCE.
Central Themes and Symbols
A significant motif woven into the tale of Lir’s children is the transition from ancient traditions to emerging beliefs. This is poignantly illustrated by the children’s transformation into swans, compelled to wait for the arrival of Christianity—a force that ultimately nullifies their curse. While the children are baptized Christians prior to their demise, the Tuatha De Danaan, embodiments of pre-Christian ideologies, similarly wane into obscurity.
Lir in Cultural Expressions
Although Lir’s role as a sea god appears diminutive within the vast tapestry of Irish mythology, the saga of his children remains a poignant and beloved narrative of Irish lore. It is speculated that this legend may have inspired the later tale of King Lear. One prominent artistic expression honoring Lir and his offspring can be found in Dublin’s Garden of Remembrance, where a notable sculpture symbolizes their arduous journey, paralleling the Irish quest for independence from English rule.
Juliet Marillier’s “Daughter of the Forest,” published in 2000, offers a modern retelling of the “Children of Lir” saga. In this narrative, Sorcha, the youngest daughter of Lord Colum, finds herself embroiled in a similar fate when her father’s envious new wife casts a spell transforming his six sons into swans. Sorcha, determined to save her brothers, embarks on a compelling journey. This book is the first installment of the acclaimed Sevenwaters Trilogy, with sequels “Son of the Shadows” (2001) and “Child of the Prophecy” (2002).
