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The Banshee by Elliott O'Donnell
The Banshee by Elliott O'Donnell
In a country, such as Ireland, that is characterised by an arrestive and wildly beautiful scenery, it is not at all surprising to find something in the nature of a ghost harmonising with the general atmosphere and surroundings, and that something, apparently so natural to Ireland, is the Banshee.
The name Banshee seems to be a contraction of the Irish Bean Sidhe, which is interpreted by some writers on the subject "A Woman of the Faire Race," whilst by various other writers it is said to signify "The Lady of Death," "The Woman of Sorrow," "The Spirit of the Air," and "The Woman of the Barrow."
It is strictly a family ghost, and most authorities agree that it only haunts families of very ancient Irish lineage. Mr McAnnaly, for instance, remarks (in the chapter on Banshees in his "Irish Wonders"): "The Banshee attends only the old families, and though their descendants, through misfortune, may be brought down from high estate to ranks of peasant farmers, she never leaves nor forgets them till the last member has been gathered to his fathers in the churchyard."
A writer in the Journal of the Cork Historical and Arch?ological Society (Vol. V., No. 44, pp. 227-229) quotes an extract from a work entitled "Kerry Records," in which the following passage, relating to an elegiac poem written by Pierse Ferriter on Maurice Fitzgerald, occurs: "Aina, the Banshee who never wailed for any families who were not of Milesian blood, except the Geraldines, who became 'more Irish than the Irish themselves'; and in a footnote (see p. 229) it is only 'blood' that can have a Banshee. Business men nowadays have something as good as 'blood'-they have 'brains and brass,' by which they can compete with and enter into the oldest families in England and Ireland. Nothing, however, in an Irishman's estimation, can replace 'blue blood.'"
Sir Walter Scott, too, emphasises this point, and is even more specific and arbitrary. He confines the Banshee to families of pure Milesian stock, and declares it is never to be found attached to the descendants of the multitudinous English and Scotch settlers who have, from time to time, migrated to Ireland; nor even to the descendants of the Norman adventurers who accompanied Strongbow to the Green Isle in the twelfth century.
Lady Wilde[1] goes to the other extreme and allows considerable latitude. She affirms that the Banshee attaches itself not only to certain families of historic lineage, but also to persons gifted with song and music. For my own part I am inclined to adopt a middle course; I do not believe that the Banshee would be deterred from haunting a family of historical fame and Milesian descent-such as the O'Neills or O'Donnells-simply because in that family was an occasional strain of Saxon or Norman blood, but, on the other hand, I do not think the Banshee would ever haunt a family that was not originally at least Celtic Irish-such, for instance, as the Fitz-Williams or Fitz-Warrens-although in that family there might happen to be periodic infusions of Milesian blood.
I disagree, in toto, with Lady Wilde's theory that, occasionally, the Banshee haunts a person who is extremely poetical and musical, simply because he happens to be thus talented. In my opinion, to be haunted by the Banshee one must belong to an Irish family that is, at least, a thousand years old; were it not so, we should assuredly find the Banshee haunting certain of the musical and poetical geniuses of every race all over the world-black and yellow, perhaps, no less than white-which certainly is not the case.
The Banshee, however, as Mr McAnnaly says, does, sometimes, travel; it travels when, and only when, it accompanies abroad one of the most ancient of the Irish families; otherwise it stays in Ireland, where, owing to the fact that there are few of the really old Irish families left, its demonstrations are becoming more and more rare.
It may, perhaps, be said that in Dublin, Cork, and other of the Irish towns one may still come across a very fair percentage of O's and Macs. That, undoubtedly, is true, but, at the same time, it must be borne in mind that these prefixes do not invariably denote the true Irishman, since many families yclept Thompson, Walker, and Smith, merely on the strength of having lived in Ireland for two or three generations, have adopted an Irish-and in some cases, even, a Celtic Irish name, relying upon their knowledge of a few Celtic words picked up from books, or from attending some of the numerous classes now being held in nearly all the big towns, and which are presided over by teachers who are also, for the most part, merely pseudo-Irish-to give colour to their claim. Such a pretence, however, does not deceive those who are really Irish, neither does it deceive the Banshee, and the latter, I am quite sure, would never be persuaded to follow the fortunes of any Anglo-Saxon, or Scotch, Dick, Tom, or Harry, no matter how clever and convincing their camouflage might be.
Once again, then, the Banshee confines itself solely to families of bona-fide ancient Irish descent. As to its origin, in spite of arbitrary assertions made by certain people, none of whom, by the way, are of Irish extraction-that no one knows. As a matter of fact the Banshee has a number of origins, for there is not one Banshee only-as so many people seem to think-but many; each clan possessing a Banshee of its own. The O'Donnell Banshee, for example, that is to say the Banshee attached to our branch of the clan, and to which I can testify from personal experience, is, I believe, very different in appearance, and in its manner of making itself known, from the Banshee of the O'Reardons, as described by Mr McAnnaly; whilst the Banshee of a certain branch of the O'Flahertys, according to this same authority, differs essentially from that of a branch of the O'Neills. Mr McAnnaly says the Banshee "is really a disembodied soul, that of one who, in life, was strongly attached to the family, or who had good reason to hate all its members." This definition, of course, may apply in some cases, but it certainly does not apply in all, and it is absurd to be dogmatic on a subject, concerning which it is quite impossible to obtain a very great deal of information. At the most, Mr McAnnaly can only speak with certainty of the comparatively few cases of Banshees that have come under his observation; there are, I think, scores of which he has never even heard. I myself know of several Banshee hauntings in which the phantom certainly cannot be that of any member of the human race; its features and proportions absolutely negative such a possibility, and I should have no hesitation in affirming that, in these cases, the phantom is what is commonly known as an elemental, or what I have termed in previous of my works, a neutrarian, that is a spirit that has never inhabited any material body, and which belongs to a species entirely distinct from man. On the other hand, several cases of Banshee hauntings I have come across undoubtedly admit the possibility of the phantom being that of a woman belonging to the human race, albeit to a very ancient and long since obsolete section of it; whilst a few, only, allow of the probability of the phantom being that of a woman, also human, but belonging to a very much later date.
Certainly, as Mr McAnnaly stated, Banshees may be divided into two main classes, the Friendly Banshees and the Hateful Banshees; the former exhibiting sorrow on their advent, and the latter, exultation. But these classes are capable of almost endless sub-division; the only feature they possess in common being a vague something that strongly suggests the feminine sex. In most cases the cause of the hauntings can only be a matter of conjecture. Affection or crime may account for some, but, for the origin of others, I believe one must look in a totally different direction. For instance, one might, perhaps, see some solution in sorcery and witchcraft, since there must be many families, who, in bygone days, dabbled in those pursuits, that are now Banshee ridden.
Or, again, granted there is some truth in the theory of Atlantis, the theory that a whole continent was submerged owing to the wickedness of its inhabitants, who were all more or less adepts in necromancy-the most ancient of the Irish, the so-called Milesian clans who are known to have practised sorcery, might well be identical with the survivors of that great cataclysm, and have brought with them to the Green Island spirits which have stuck to their descendants ever since.
I think one may dismiss Mr C. W. Leadbeater's[2] and other writers' (of the same would-be authoritative order) assertion that family ghosts may be either a thought-form or an unusually vivid impression in the astral light, as absurd. Spiritualists and others, who blindly reverence highfalutin phraseology, however empty it may be, might be satisfied with such an explanation, but not so those who have had actual experience with the ghost in question.
Whatever else the Banshee may, or may not be, it is most certainly a denizen of a world quite distinct from ours; it is, besides, a being that has prophetic powers (which would not be the case if it were a mere thought-form or impression), and it is by no means a mere automaton.
Some Banshees represent very beautiful women-women with long, luxuriant tresses, either of raven black, or burnished copper, or brilliant gold, and whose star-like eyes, full of tender pity, are either dark and tearful, or of the most exquisite blue or grey; some, again, are haggish, wild, dishevelled-looking creatures, whose appearance suggests the utmost squalor, foulness, and despair; whilst a few, fortunately, I think, only a few, take the form of something that is wholly diabolical, and frightful, and terrifying in the extreme.
As a rule, however, the Banshee is not seen, it is only heard, and it announces its advent in a variety of ways; sometimes by groaning, sometimes by wailing, and sometimes by uttering the most blood-curdling of screams, which I can only liken to the screams a woman might make if she were being done to death in a very cruel and violent manner. Occasionally I have heard of Banshees clapping their hands, and tapping and scratching at walls and window-panes, and, not infrequently, I have heard of them signalling their arrival by terrific crashes and thumps. Also, I have met with the Banshee that simply chuckles-a low, short, but terribly expressive chuckle, that makes ten times more impression on the mind of the hearer than any other ghostly sound he has heard, and which no lapse of time is ever able to efface from his memory.
I, for one, have heard the sound, and as I sit here penning these lines, I fancy I can hear it again-a Satanic chuckle, a chuckle full of mockery, as if made by one who was in the full knowledge of coming events, of events that would present an extremely unpleasant surprise. And, in my case, the unpleasant surprise came. I have always been a believer in a spirit world-in the unknown-but had I been ever so sceptical previously, after hearing that chuckle, I am quite sure I should have been converted.
In concluding this chapter I must refer once again to Mr McAnnaly, who, in his "Irish Wonders," records a very remarkable instance of a number of Banshees manifesting themselves simultaneously. He says that the demonstrations occurred before the death of a member of the Galway O'Flahertys "some years ago."[3] The doomed one, he states, was a lady of the most unusual piety, who, though ill at the time, was not thought to be seriously ill. Indeed, she got so much better that several of her acquaintances came to her room to enliven her convalescence, and it was when they were there, all talking together merrily, that singing was suddenly heard, apparently outside the window. They listened, and could distinctly hear a choir of very sweet voices singing some extraordinarily plaintive air, which made them turn pale and look at one another apprehensively, for they all felt intuitively it was a chorus of Banshees. Nor were their surmises incorrect, for the patient unexpectedly developed pleurisy, and died within a few days, the same choir of spirit voices being again heard at the moment of physical dissolution.
But as Mr McAnnaly states, the ill-fated lady was of singular purity, which doubtless explains the reason why, in my researches, I have never come across a parallel case.
* * *
In opening this volume on Animals and their associations with the unknown, I will commence with a case of hauntings in the Old Manor House, at Oxenby.My informant was a Mrs. Hartnoll, whom I can see in my mind's eye, as distinctly as if I were looking at her now. Hers was a personality that no lapse of time, nothing could efface; a personality that made itself felt on boys of all temperaments, most of all, of course, on those who—like myself—were highly strung and sensitive.She was classical mistress at L.'s, the then well-known dame school in Clifton, where for three years—prior to migrating to a Public School—I was well grounded in all the mysticisms of Kennedy's Latin Primer and Smith's First Greek Principia.I doubt if she got anything more than a very small salary—governesses in those days were shockingly remunerated—and I know,—poor soul, she had to work monstrously hard. Drumming Latin and Greek into heads as thick as ours was no easy task.But there were times, when the excessive tension on the nerves proving too much, Mrs. Hartnoll stole a little relaxation; when she allowed herself to chat with us, and even to smile—Heavens! those smiles! And when—I can feel the tingling of my pulses at the bare mention of it—she spoke about herself, stated she had once been young—a declaration so astounding, so utterly beyond our comprehension, that we were rendered quite speechless—and told us anecdotes.Of many of her narratives I have no recollection, but one or two, which interested me more than the rest, are almost as fresh in my mind as when recounted. The one that appealed to me most, and which I have every reason to believe is absolutely true,[1] is as follows:—I give it as nearly as I can in her own somewhat stilted style:—"Up to the age of nineteen, I resided with my parents in the Manor House, Oxenby. It was an old building, dating back, I believe, to the reign of Edward VI, and had originally served as the residence of noble families. Built, or, rather, faced with split flints, and edged and buttressed with cut grey stone, it had a majestic though very gloomy appearance, and seen from afar resembled nothing so much as a huge and grotesquely decorated sarcophagus. In the centre of its frowning and menacing front was the device of a cat, constructed out of black shingles, and having white shingles for the eyes; the effect being curiously realistic, especially on moonlight nights, when anything more lifelike and sinister could scarcely have been conceived. The artist, whoever he was, had a more than human knowledge of cats—he portrayed not merely their bodies but their souls.
Elliott O'Donnell once claimed he saw a ghost, but regardless of whether he actually did, he certainly wrote about them, and his ghost stories continue to be widely read today.
There was only one man in Raegan's heart, and it was Mitchel. In the second year of her marriage to him, she got pregnant. Raegan's joy knew no bounds. But before she could break the news to her husband, he served her divorce papers because he wanted to marry his first love. After an accident, Raegan lay in the pool of her own blood and called out to Mitchel for help. Unfortunately, he left with his first love in his arms. Raegan escaped death by the whiskers. Afterward, she decided to get her life back on track. Her name was everywhere years later. Mitchel became very uncomfortable. For some reason, he began to miss her. His heart ached when he saw her all smiles with another man. He crashed her wedding and fell to his knees while she was at the altar. With bloodshot eyes, he queried, "I thought you said your love for me is unbreakable? How come you are getting married to someone else? Come back to me!"
The day Raina gave birth should have been the happiest of her life. Instead, it became her worst nightmare. Moments after delivering their twins, Alexander shattered her heart-divorcing her and forcing her to sign away custody of their son, Liam. With nothing but betrayal and heartbreak to her name, Raina disappeared, raising their daughter, Ava, on her own.Years later, fate comes knocking when Liam falls gravely ill. Desperate to save his son, Alexander is forced to seek out the one person he once cast aside. Alexander finds himself face to face with the woman he underestimated, pleading for a second chance-not just for himself, but for their son. But Raina is no longer the same broken woman who once loved him.No longer the woman he left behind. She has carved out a new life-one built on strength, wealth, and a long-buried legacy she expected to uncover.Raina has spent years learning to live without him.The question is... Will she risk reopening old wounds to save the son she never got to love? or has Alexander lost her forever?
Brenna lived with her adoptive parents for twenty years, enduring their exploitation. When their real daughter appeared, they sent Brenna back to her true parents, thinking they were broke. In reality, her birth parents belonged to a top circle that her adoptive family could never reach. Hoping Brenna would fail, they gasped at her status: a global finance expert, a gifted engineer, the fastest racer... Was there any end to the identities she kept hidden? After her fiancé ended their engagement, Brenna met his twin brother. Unexpectedly, her ex-fiancé showed up, confessing his love...
Madisyn was stunned to discover that she was not her parents' biological child. Due to the real daughter's scheming, she was kicked out and became a laughingstock. Thought to be born to peasants, Madisyn was shocked to find that her real father was the richest man in the city, and her brothers were renowned figures in their respective fields. They showered her with love, only to learn that Madisyn had a thriving business of her own. "Stop pestering me!" said her ex-boyfriend. "My heart only belongs to Jenna." "How dare you think that my woman has feelings for you?" claimed a mysterious bigwig.
At their wedding night, Kayla caught her brand-new husband cheating. Reeling and half-drunk, she staggered into the wrong suite and collapsed into a stranger's arms. Sunrise brought a pounding head-and the discovery she was pregnant. The father? A supremely powerful tycoon who happened to be her husband's ruthless uncle. Panicked, she tried to run, but he barred the door with a faint, dangerous smile. When the cheating ex begged, Kayla lifted her chin and declared, "Want a second chance at us? Ask your uncle." The tycoon pulled her close. "She's my wife now." The ex gasped, "What!?"
Dayna had worshiped her husband, only to watch him strip her late mother's estate and lavish devotion on another woman. After three miserable years, he discarded her, and she lay broken-until Kristopher, the man she once betrayed, dragged her from the wreckage. He now sat in a wheelchair, eyes like tempered steel. She offered a pact: she would mend his legs if he helped crush her ex. He scoffed, yet signed on. As their ruthless alliance caught fire, he uncovered her other lives-healer, hacker, pianist-and her numb heart stirred. But her groveling ex crawled back. "Dayna, you were my wife! How could you marry someone else? Come back!"
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