Máel Dúin


Máel Dúin is the protagonist of Immram Maele Dúin or the Voyage of Máel Dúin, a tale of a sea voyage written in Old Irish around the end of the 1st millennium AD. He is the son of Ailill Edge-of-Battle, whose murder provides the initial impetus for the tale.
Alternative spellings of the name include Maildun and Maeldune.

Narrative

Early life

Máel Dúin was the son of warrior chieftain Ailill Ochair Aghra. His mother was a nun raped by Ailill. Shortly after, Ailill was killed by marauders from Leix who burned a church down on him. His mother then fostered Máel Dúin with the Queen of Eoganacht. He grew into an attractive warrior who was "victorious over everyone in every game they used to play, both in running and leaping and spear casting and casting stones and racing horses." A jealous youth exposed to him the truth of his unknown kindred, saying to Máel Dúin "whose clan and kindred no one knows, whose mother and father no one knows, vanquish us in every game." All this time Máel Dúin thought he was the son of the king and queen. He refused to eat or drink with the king and queen until he was told who his birth mother was. The queen sent him to his biological mother who told him about the death of his father.
He traveled to the graveyard of the church of Dubcluain where Briccne, a poison-tongued man of the community of the church, tells him that it is Máel Dúin's duty to go out and avenge his father's murder. Máel Dúin seeks the advice of a druid named Nuca at Corcomroe, who tells him how to find the murderers.

Mael Duin and his Foster Brothers

Shortly after Máel Dúin and his crew set off on their voyage, they came across the harbour of his three stepbrothers. They call out to Máel Dúin, in hopes that Máel Dúin would allow them to enter his boat. Knowing he could not exceed the number of people on his boat per the druid's advice, Máel Dúin responds, "Get you home, for even though we should return, only the number we have here shall go with me." Upon hearing Máel Dúin's call, his foster brothers cried out, "We will go after thee into the sea and be drowned therein, unless thou come unto us." Suddenly the foster brothers jumped out into the sea and began swimming far from land. Mael Duin turned his boat around and allowed them on board, violating the number of allotted people on his boat.
They first encounter two bare islands with forts on them. From the forts can be heard "noise and the outcry of drunkenness." Máel Dúin then hears one man say, "It was I who slew Ailill Ochair of Agha and burned Dubcluain on him and no evil has been done to me for it yet by his kindred..." Máel Dúin and his crew cannot venture to the island due to wind. He suggests that God will bring the boat where it needs to go. However, the boats sails into the limitless ocean. The presence of the foster brothers are blamed for the unfavorable winds.

Islands encountered

The crew voyaged on and came across a sea like a green crystal. Here, there were no monsters but only rocks. They continued on and came to a sea of clouds with underwater fortresses and monsters.
They find a man in the sea from Tory. He was cast there as punishment. He asks them to throw their wealth into the ocean. He prophesies that they will "reach their country, it will be sage thus; though you will meet your enemies, you will not slay them."
They finally make it back to the original island of the murderers. Máel Dúin recounts the marvels that God has revealed to them on their journey. They all make peace.

Intertextuality

Intertextuality is the relationship between texts, in the way similar or related texts influence, reflect, or differ from each other. The Voyage of Máel Dúin, contains motifs elected in other immrama such as: the Voyage of Bran and the Voyage of Saint Brendan.
Hans Oskamp suggests that Mael Duin is the earliest imramm to use Christian and non-Christian elements indiscriminately. Elva Johnston pointed out that the delay caused by the extra passengers gives Máel Dúin time to reconsider his intended revenge, and is therefore instrumental in his salvation. Mael Dúin's gratitude to God for preserving him in the face of the many dangers encountered on the voyage transcends his need for vengeance.

Adaptions and derivative works

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