Another update! I'm slowly but surely working through my screenshots.
Also, I've finished the game in CK2. I hope to transfer this game to EU4, but since I don't have any DLCs, I need advice on the most important DLCs if anyone has suggestions.
--------------------------------------------------------------
“Continuous expansion” might well have been the motto of House Dál Birn. There was rarely a ruler who did not expand their domains by the end of their reign, and Duke Scandal was no exception. Within a year of his ascension to the throne, he declared war on the King of Connachta to the north.
In the tradition of House Dál Birn, Duke Scandal personally commanded troops in battle, and according to all sources was a good commander. We cannot, however, compare him to other great military leaders like Duke Máel-Cein I, King Niallán I, and Emperor Máel-Cein the Great because of his young death. The war against Connachta was ended quickly, as the King, Fogartach, was captured in battle a few months into the war. King Fogartach was ransomed in exchange for the County of Iarthar Connachta, and peace was declared.
After a few years, where the Duke was mostly concerned with domestic affairs (such as an attempt by the Chieftess of Laigin to usurp Mumu from the Duke), Duke Scandal successfully lobbied the Pope to grant him a sanction of the invasion of Tir Chonaill, a county to the north of the Duke’s realms.
Why did the Pope sanction this invasion? And why did the Catholic Church have the power to justify a war in far-off Ireland? Partially, Pope Leo IV acceded to the Duke’s request due to the Church’s stance on female rulers; Tir Chonaill was ruled by a chieftess at the time. But The Catholic Church, as the most powerful organization of pre-unification Europe, had great political as well as cultural influence. Intelligent rulers understood this and ensured good relations with both local bishops and the Pope in Rome. The Church could and did provide an ideology which justified monarchy and secular authority, and the monarchy in turn provided protection for the Church, creating special punishments for those who defiled church property or attacked bishops.
The ideology of the church, preached via parish priests to the common people, often emphasized Christ’s respect for civil authorities. In more intellectual circles, supporters of the monarchy argued that the Bible shows that God wanted Christians to support and defend civil authority. This strain of thinking, where part of any Christian’s proper role in society was to support the state, was and even is popular among the Church. A counter-theory, most famously promulgated by the Pope Iohannes X in his papal bull Unam sanctam, proposed that the Pope, as the Vicar of Christ, had authority over temporal issues as well as spiritual ones. This theory was mostly relegated to fringe thinkers after the Papal Wars, as it was declared heretical by the new Pope Iohannes XI after his installation. This theological strain was rediscovered and became important later in the Reformation.
But this religious schism came much later in history; the important point is that all throughout pre-unification Europe monarchs and the Church supported each other. Despite the excommunication of his brother, Duke Scandal evidently had a good relationship with the Church during his short reign. The conquest of Connachta, completed in 883, avenged the excommunication, as it had been King Fogartach who convinced Hadrianus I to excommunicate the Duke in the first place. The sanction of the invasion of Tir Chonaill can be seen, then, as a Papal apology – a sign that Duke Scandal and his house were no longer considered suspect. However, it was during this invasion that the Duke fell, unable to complete the conquest. It was left to his aunt and successor, Queen Sébdann, to complete it.
The motif of the tragic hero has been extremely popular in various art forms for centuries, if not millennia. The Chronicle records that Duke Scandal was planning to crown himself King of Ireland, with papal sanction, after the war against Tir Chonaill was completed. These preparations were used to crown Queen Sébdann instead in 842. Duke Scandal was so close to achieving the goal of family generations back, yet he was struck down in a chaotic battle just before he could finally attain it. No wonder the Romantic movement so fixated on his story in the 19th-century. His most famous portrayal is in the novel Duke Scandal; or, The Tragic Youth by the early Romantic writer Patrick Devlin, published in 1809, which portrays the Duke as a brooding yet ultimately heroic figure. Duke Scandal is still considered one of the greatest Romantic novels to this day, despite its myriad historical inaccuracies, such as demonizing Queen Sébdann with sexist tropes. She is depicted as a temptress (despite the fact that she was 68 at the time of the Duke’s death) and manipulator, scheming for Duke Scandal’s throne. It is even implied that she sets up the Duke’s death as an assassination in the novel, which is rather improbable given that she lived in Asturias at the time. Despite all of these historical inaccuracies, Devlin’s portrayal of doomed, tragic youth resonated both with contemporary audiences and continues to do so.
Many painters have also used the death of Duke Scandal for inspiration. One of the most famous is the English painter Alfred Marlowe, who shortly after the publishing of Duke Scandal painted a scene inspired by the novel’s climatic scene, where the unconscious Scandal is laid upon his deathbed. While the setting is anachronistic (depicting what was, at the time of the painting, contemporary furniture) the painting proved extremely popular, boosting sales of the book and establishing Duke Scandal firmly in the public mind.
Both of these artistic ventures were tacitly or even explicitly encouraged by House Dál Birn and the Britannic government at the time. Due to resurgent nationalist forces, the Royal House and Britannic government encouraged a Britannic identity through art and popular culture. This portrayal of their distant ancestor, along with comparisons to Alexander the Great (still believed at this time to be direct ancestors of House Dál Birn by many) only benefited the Royal House politically.
Summary:
It is hard to say anything truly definitive about Duke Scandal I. He showed promise as a Duke and a military leader, but his early death means we cannot judge if he was truly great or if his success was just a fluke. His ascension started one of the more unstable periods in his dynasty’s history, as both of the rulers who succeeded him would die shortly into their reigns as well. Ultimately, his greatest legacy is in the art and literature he inspired, not in the laws he enacted or the territory he conquered.
Also, I've finished the game in CK2. I hope to transfer this game to EU4, but since I don't have any DLCs, I need advice on the most important DLCs if anyone has suggestions.
--------------------------------------------------------------
The Issue of Duke Scandal mac Tóim Dál Birn, the first of his name, Duke of Laigin and Mumu, Count of Leix, Osraige, Uí Maine and Urmhumhain:
· Duke Scandal had no issue because of his early death, which is why the throne was inherited by his aunt Sébdann upon his death.
· Duke Scandal had no issue because of his early death, which is why the throne was inherited by his aunt Sébdann upon his death.
Summary:
Duke Scandal (“SKON-dul”) begins a period of short reigns. The next three heads of House Dál Birn would rule for a combined 19 years, almost exactly long as the rule of Duke Máel-Caen II. Duke Scandal continued expanding his family’s domains, and he paid for his new territory with his life, dying at the age of 36 due to a head wound he received in the Battle of Bréifne in 842. However, he did almost complete the conquest of Southern Ireland during his reign, and it is because of his expansion that his successor, the Queen Sébdann, could credibly claim the title “Queen of Ireland.” Because of this, he has often been portrayed as a tragic hero, striving and almost achieving his goal and the goal of his ancestors since Chief Tóim, yet dying and failing. Poems, plays and books have all been written by various authors on this theme, and through this, Duke Scandal has taken on a second life.
Expansion:
“Continuous expansion” might well have been the motto of House Dál Birn. There was rarely a ruler who did not expand their domains by the end of their reign, and Duke Scandal was no exception. Within a year of his ascension to the throne, he declared war on the King of Connachta to the north.








The ideology of the church, preached via parish priests to the common people, often emphasized Christ’s respect for civil authorities. In more intellectual circles, supporters of the monarchy argued that the Bible shows that God wanted Christians to support and defend civil authority. This strain of thinking, where part of any Christian’s proper role in society was to support the state, was and even is popular among the Church. A counter-theory, most famously promulgated by the Pope Iohannes X in his papal bull Unam sanctam, proposed that the Pope, as the Vicar of Christ, had authority over temporal issues as well as spiritual ones. This theory was mostly relegated to fringe thinkers after the Papal Wars, as it was declared heretical by the new Pope Iohannes XI after his installation. This theological strain was rediscovered and became important later in the Reformation.
But this religious schism came much later in history; the important point is that all throughout pre-unification Europe monarchs and the Church supported each other. Despite the excommunication of his brother, Duke Scandal evidently had a good relationship with the Church during his short reign. The conquest of Connachta, completed in 883, avenged the excommunication, as it had been King Fogartach who convinced Hadrianus I to excommunicate the Duke in the first place. The sanction of the invasion of Tir Chonaill can be seen, then, as a Papal apology – a sign that Duke Scandal and his house were no longer considered suspect. However, it was during this invasion that the Duke fell, unable to complete the conquest. It was left to his aunt and successor, Queen Sébdann, to complete it.
Portrayals in Art:
The motif of the tragic hero has been extremely popular in various art forms for centuries, if not millennia. The Chronicle records that Duke Scandal was planning to crown himself King of Ireland, with papal sanction, after the war against Tir Chonaill was completed. These preparations were used to crown Queen Sébdann instead in 842. Duke Scandal was so close to achieving the goal of family generations back, yet he was struck down in a chaotic battle just before he could finally attain it. No wonder the Romantic movement so fixated on his story in the 19th-century. His most famous portrayal is in the novel Duke Scandal; or, The Tragic Youth by the early Romantic writer Patrick Devlin, published in 1809, which portrays the Duke as a brooding yet ultimately heroic figure. Duke Scandal is still considered one of the greatest Romantic novels to this day, despite its myriad historical inaccuracies, such as demonizing Queen Sébdann with sexist tropes. She is depicted as a temptress (despite the fact that she was 68 at the time of the Duke’s death) and manipulator, scheming for Duke Scandal’s throne. It is even implied that she sets up the Duke’s death as an assassination in the novel, which is rather improbable given that she lived in Asturias at the time. Despite all of these historical inaccuracies, Devlin’s portrayal of doomed, tragic youth resonated both with contemporary audiences and continues to do so.
Many painters have also used the death of Duke Scandal for inspiration. One of the most famous is the English painter Alfred Marlowe, who shortly after the publishing of Duke Scandal painted a scene inspired by the novel’s climatic scene, where the unconscious Scandal is laid upon his deathbed. While the setting is anachronistic (depicting what was, at the time of the painting, contemporary furniture) the painting proved extremely popular, boosting sales of the book and establishing Duke Scandal firmly in the public mind.

Both of these artistic ventures were tacitly or even explicitly encouraged by House Dál Birn and the Britannic government at the time. Due to resurgent nationalist forces, the Royal House and Britannic government encouraged a Britannic identity through art and popular culture. This portrayal of their distant ancestor, along with comparisons to Alexander the Great (still believed at this time to be direct ancestors of House Dál Birn by many) only benefited the Royal House politically.


Summary:
It is hard to say anything truly definitive about Duke Scandal I. He showed promise as a Duke and a military leader, but his early death means we cannot judge if he was truly great or if his success was just a fluke. His ascension started one of the more unstable periods in his dynasty’s history, as both of the rulers who succeeded him would die shortly into their reigns as well. Ultimately, his greatest legacy is in the art and literature he inspired, not in the laws he enacted or the territory he conquered.