Ireland, a land steeped in myth and legend, boasts a rich tapestry of supernatural beings. Among these, the banshee holds a prominent and chilling place. Often heard but rarely seen, the banshee is a female spirit whose mournful wail is an omen of death, deeply embedded in Irish folklore and culture. Stemming from the Irish term “bean sí” (pronounced ban-shee), meaning “woman of the fairy mounds” or fairy woman, the banshee is more than just a ghost; she is a harbinger of fate, a figure of both fear and fascination.
The banshee’s image is versatile, appearing as a young, radiant woman, a dignified matron, or a terrifying hag. Regardless of her form, she is typically cloaked in grey or white, her presence most often announced by her haunting cries in the night, signaling impending death. Those who claim to have witnessed her speak of long, flowing hair, often accompanied by a comb, a detail some interpret as a symbol of sorrowful anguish, like tearing hair in grief.
Popular belief associates the banshee with specific, noble Irish families, such as the O’Neills, O’Connors, O’Briens, O’Gradys, and Kavanaghs, though the exact list varies across different tellings. Anecdotes abound, like the tale of an O’Connor in County Kerry who claimed to hear the banshee’s cries near the ruins of Lislaughtin Abbey while cycling between Ballylongford and Tarbert. This story even inspired a custom silver pendant of the Lislaughtin Abbey window, a tangible link to the spectral legend.
While the banshee herself is not considered harmful, merely a messenger of doom, Irish folklore also features more malevolent female spirits. The Lianhan Sidhe (pronounced lan-awn shee), or sweetheart fairy, is a captivating beauty whose love brings ruin to mortal men, a theme explored by W.B. Yeats in his “Fairy and Folklore of the Irish Peasantry”. Yeats describes the Leanhaun Shee as a muse whose affections are a double-edged sword, granting inspiration at the cost of life itself, leading to early death for Gaelic poets under her sway.
Mythology in Ireland, with its complex web of fairies, leprechauns, púcas, and more sinister creatures, is an integral part of the culture. Each region holds unique variations and omens associated with these beings, reflecting a rich tapestry of folklore passed down through generations. The banshee, with her intimidating presence and mournful cry, stands out as one of the most compelling figures in this mystical landscape. She is known as ‘Bean Chaointe’, or ‘crying woman’, in some areas, further emphasizing her role as a lamenter. Her tales resonate not only in Ireland but also echo in Scottish, Welsh, Norse, and even American folklore, showcasing the widespread fascination with death omens and spectral figures across cultures.
Tracing the Origins of the Banshee Myth
The genesis of the banshee tradition, surprisingly, lies in a tangible historical practice. In medieval Ireland, funerals featured “keeners,” women who performed ritualistic mourning. These keeners sang “caoineadh,” Irish for “crying,” at gravesides. Skilled keeners were highly valued and well-compensated, especially those who could attract larger crowds to funerals, as a greater display of mourning signified the deceased’s importance. For prominent families, the belief arose that a “bean sidhe,” a fairy woman, would keen, considered inherently more gifted at lamentation than any human. The term “bean sidhe” was Anglicized to “banshee,” and over time, the associated stories evolved into the banshee legends known today. The fact that keeners were often paid in alcohol and sometimes became ostracized, elderly alcoholic women might have further fueled the mystique and fear surrounding the banshee figure. The earliest written account of a banshee story is found in Sean MacCraith’s “Cathreim Thoirdhealbhaigh,” or “Triumphs of Turlough.”
Initially, the banshee was said to appear only to those facing violent deaths, such as murder. Later tales depict her wailing near the homes of the doomed, often in wooded areas, remaining mostly unseen. Skeptics often dismiss banshee sightings as misidentification of natural sounds, attributing the cries to barn owls or foxes, whose calls can indeed bear a striking resemblance to human screams. Descriptions of the banshee often portray her as an aged, gaunt woman in white or grey with long silver hair, occasionally morphing into animals associated with witchcraft in Ireland, such as crows, stoats, hares, or weasels.
Deciphering Banshee Appearance and Behavior
The banshee’s appearance is not fixed, presenting in three common forms depending on regional tales and personal accounts. She is frequently depicted as a hunched hag with a deeply wrinkled face. However, contrasting narratives portray her as a beautiful, ethereal young woman or a dignified, stately matron. Some interpretations even suggest she is the ghost of a woman murdered or one who died during childbirth. Intriguingly, these three forms might correspond to the three facets of the Celtic goddess of war and death: Badhbh, Macha, and Mor-Rioghain, linking the banshee to deeper Celtic mythological roots.
Consistently, the banshee is described with long, silver hair, often seen brushing it with a comb. This detail has instilled a superstition, with some avoiding picking up combs found on the ground, fearing fairy abduction. She typically wears a grey hooded cloak or a white shroud-like garment and is noted for her eyes, reddened from perpetual weeping. Many believe in her shapeshifting ability, capable of transitioning between these forms at will.
The banshee’s cry is a subject of varied descriptions. In Leinster, it is said to be piercingly shrill, capable of shattering glass. Further north in Tyrone, it is likened to the sound of two boards clashing, while in Kerry, it is described as “low, pleasant singing.” Regardless of the specific sound, there is consensus on its audibility over great distances. Some accounts describe hearing her cries for consecutive nights before a death, while others report a single instance on the night of passing. Her cry is characterized by its fluctuating intensity and duration, lasting for several minutes with rising and falling tones.
Instances are recorded where the banshee’s lament preceded the sudden death of a healthy individual within a week, often due to unforeseen accidents. Her appearances predominantly occur at night, with fewer instances reported at noon. Folklore suggests the banshee was once a vibrant woman, full of life and beauty, who succumbed to immense sorrow, transforming into her haggard state. She is depicted as reclusive, shunning both mortal and immortal company, preferring solitude and vanishing at any sign of human presence.
Witnesses have described a fluttering sound, akin to birds in flight, accompanying the banshee’s movements. Upon disappearing, she is said to leave behind only a cloud of mist. Across Ireland, certain wedge-shaped rocks are known as “Banshee Chairs,” believed to be her resting places where she would mourn general misfortunes when no specific death was imminent. Legend also dictates that the banshee would follow families who emigrated, or if not, remain at their ancestral home, lamenting their departure.
Other Forms and Related Spirits
The banshee is generally considered harmless, evoking fear primarily through her deathly premonition. Aside from her chilling cry, she is sometimes associated with knocking on doors or windows. However, folklore mentions a more dangerous counterpart, the Lianhan Sidhe, or “sweetheart fairy.” This spirit actively seeks mortal men, and her allure is said to be so potent that it drives them to madness and destruction.
Another related figure, more prominent in Scottish than Irish folklore, is the Bean Nighe, or “washing woman.” Instead of wailing, the Bean Nighe foretells death by washing the bloodied garments of the doomed in a local body of water. Her appearance is similar to the banshee, though sometimes she is depicted washing her own bloodstained clothes, adding a layer of grim self-reference to the omen.
Banshees and Associated Families: Lineage of Lament
Popular accounts often link banshees to Irish families whose surnames begin with “Ó” or “Mac,” a vast category encompassing a significant portion of Irish surnames. However, more specific legends narrow down the association to five prominent families: the O’Neills, O’Briens, O’Connors, O’Gradys, and Kavanaghs.
The O’Brien family is particularly connected to a banshee named ‘Eeevul’ (resembling “evil”), who supposedly commanded twenty-five other banshees. This gave rise to the belief that multiple banshee cries signaled the approaching death of a highly influential person.
The O’Donnell family’s banshee was said to reside on a rock overlooking the sea at Dunluce Castle, lamenting not a specific death but all past and future misfortunes of the family. The O’Neill banshee, named Maeveen, cried from Coile Ultagh (Ulster Wood), audible across Lough Neagh to their castle. She was even granted a dedicated room within the castle walls.
Conflicting interpretations exist regarding the banshee’s attachment to these families. Some believe she was a harbinger of misery, delighting in their sorrow, while others see her as a sorrowful spirit, deeply saddened by the family’s losses and expressing genuine grief.
Famous Banshee Encounters: Echoes in History
Beyond family-specific omens, banshees are said to wail at the coronation of a true king. One such instance is linked to the crowning of Brian Boru, who famously overthrew the O’Neills and initiated the O’Brien dynasty. Perhaps the only account of a human banshee appearance dates back to 1437 when a woman claiming to be a seer foretold King James I of Scotland’s murder, orchestrated by the Earl of Atholl, a prophecy that tragically came to pass.
In 1801, a notable banshee encounter involved the Commander-in-Chief of British forces in Ireland. After a party at Dublin Castle, he hosted guests at his Mount Kennedy, Co. Wicklow, residence. Sir Jonah Barrington and his wife, among the guests, awoke at 2:30 am to “plaintive sounds” outside their window. His wife and a maid also heard the sound, which evolved into the name “Rossmore” screeched thrice. The following morning, they learned that a servant, hearing strange noises from Rossmore’s room around 2:30 am, discovered him in his dying moments. This chilling tale further solidified the banshee’s place in Irish lore as a harbinger of death.
To discern the line between myth and reality, listening to the cry of a barn owl, often cited as a possible source of banshee legends, can be insightful. Listen to this barn owl screeching and consider if the banshee’s cry might have earthly origins.
For firsthand accounts of alleged banshee incidents, the Clare County Library offers a collection of folklore surveys here, providing a glimpse into the enduring belief in this spectral omen.
Claddagh Design
Handcrafted Irish Jewelry Inspired by the Past
View Our Collection of Celtic Inspired Handcrafted Jewelry
