It is a matter of no small difficulty to discover an exact and compendious definition of the word "banshee." Although, without doubt, derived from the Gaelic "bean sidhe," which literally means "female fairy," interpretations, such as the Lady of Death, the Angel of Death, the White Lady of Sorrow, the Nymph of the Air, and the Spirit of the Air have been given by various scholars. Such a variety of meanings is distinctly confusing, and though a dissertation as to the relative merits of each and every definition might prove of deep interest to the philologist, it would be sheer waste of time to enter upon such dangerous and thorny paths in an article of limited length. We must, therefore, rest content in the assurance that, although a generally accepted definition of the word "banshee" is sadly lacking, the sprite herself, her personality, and her ways are well and precisely known in Ireland and in other countries where the sublime and far-reaching imagination of the Celt has not been wholly crushed out of existence by the advancing tide of the nineteenth century materialism.
For the older Irish people, of course, it is quite unnecessary to give any description whatever of the banshee; but for the benefit of the young and those of my readers not personally acquainted with the White Lady the following definition, culled from one of Miss Edgworth's works, may be of interest and help:-- "The banshee is a species of aristocratic fairy, who, in the shape of a little, hideous, old woman, has been known to appear and heard to sing in a mournful, supernatural voice under the windows of great houses to warn the family that some of them were soon to die. In the last century every family in Ireland had a banshee who attended regularly, but latterly their visits and songs have been discontinued."
The banshee is of the spirits who take more than a passing interest in earthly affairs. In some cases, however, her interest is far from being appreciated, her appearance on the occasion of approaching death being for the purpose of aggravating instead of softening the calamity. Here we have an example of the conduct of the Spirit towards her enemies - "howling with delight over the coming death agony of another of her foes." When her song is inspired by motives of friendship however, the character of the white lady undergoes a considerable change. She is then a kindly and sympathetic warner, who calls in a low, soft chant, with a tenderness of tone that reassures the one destined to die and comforts the surviving relatives. It is in the latter role that she is a genuine success.
The song of the banshee has been variously described, ranging through a vocal compass which would do credit to a prima donna of Italian opera. Some people define her cry as a weird wail, others as a wailing shriek, while a considerable number manifest a decided preference for fiendish scream, demoniac howl, and mournful ditty. An Irishman who had the honour of hearing her in his own cabin assured me that her cry was an ear splittin' yell that nearly burst the dhrum av his ear and made him put a dint in the tatch wid his head, so great was the fright. An old Wexford Woman had quite a different story. Her banshee had a soit, cooin' voice, for all the world like that of a wood quest.
The wail is generally heard one or two days before a death. This rule seems to hold good everywhere in Ireland, though there is a great uncertainty as to the exact position taken by the banshee while her crying proceeds. miss Edgworth states that her location is usually under the windows, but instances have been known (I have this on the best authority) where the banshee was seen on the public road, in the fields, or making her way through the atmosphere. Her appearance through the latter medium would tend to confirm the opinion that she is a genuine spirit of a light, and possibly gaseous , composition, as becomes all supernatural compositions.
Night is the time usually chosen for crying, although a few fugitive cases of daylight, performances have been reported. Darkness seems to be highly suited for all supernatural businesses, and the fact that the banshee prefers it is another proof of her connection with the spirit world. One peculiarity of her voice, which has not been mentioned, is of surpassing interest to all students of sound. Under certain circumstances her note of warning is inaudible to all save those for whom it is intended. The consideration shown by the banshee in not breaking the sad news to the relatives is highly commendable, and places her in the front rank as being keenly alive to the necessity of minimising human suffering and sorrow.
Before concluding, a tribute must also be given to the patriotic qualities of the banshee. However much she may be devoted to a family she will not go abroad to lament the death of any member who may have settled in a foreign land, although she invariably gives notice of the misfortune to those at home. Linguistic difficulties may probably account for her intense distrust of foreign countries, but even so, I, for one, venture to compliment the White Lady upon her unswerving attachment to her native land. Long may that attachment continue; for here in London there is at least one scion of a "noble and ancient ould Irish family" who lives in fear and trepidation lest on his flitting from the world of tears his English landlady should be transfixed with fright and horror at the appearnace and conduct of the spirit guardian of the line to which he belongs.
P.J. O'Reilly, in the "Weekly Sun".
Reprinted in the Kildare Observer and Eastern Counties Advertiser, 30th December 1899.
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