Ghost

For other uses, see Ghost (disambiguation).

John Dee and Edward Kelley invoking the spirit of a deceased person (engraving from the Astrology by Ebenezer Sibly, 1806).

In folklore, fiction, philosophy, and popular culture, a ghost is the soul or spirit of a deceased person, taken to be capable of appearing in visible form or otherwise manifesting itself to the living. Descriptions of the apparition of ghosts vary widely: The mode of manifestation can range from an invisible presence to translucent or wispy shapes, to realistic, life-like visions. The deliberate attempt to contact the spirit of a deceased person is known as necromancy, or in spiritism as a séance.

The belief in manifestations of the spirits of the dead is widespread, dating back to animism or ancestor worship in pre-literate cultures. Certain religious practices—funeral rites, exorcisms, and some practices of spiritualism and ritual magic—are specifically designed to appease the spirits of the dead. Ghosts are generally described as solitary essences which haunt particular locations, objects, or people with which they were associated in life, though stories of phantom armies, ghost trains, phantom ships, and even ghost animals have also been recounted.

Terminology

Further information: spirit, soul, anima, genius (mythology), and Geist

The English word ghost continues Old English gást, from a hypothetical Common Germanic *gaistaz. It is common to West Germanic, but lacking in North and East Germanic (the equivalent word in Gothic is ahma, Old Norse has andi m., önd f.). The pre-Germanic form would have been *ghoisdo-s, apparently from a root denoting "fury, anger" reflected in Old Norse geisa "to rage". The Germanic word is recorded as masculine only, but likely continues a neuter s-stem. The original meaning of the Germanic word would thus have been an animating principle of the mind, in particular capable of excitation and fury (compare óðr). In Germanic paganism, "Germanic Mercury", and the later Odin, was at the same time the conductor of the dead and the "lord of fury" leading the Wild Hunt.

Besides denoting the human spirit or soul, both of the living and the deceased, they have recently found ghost seaman in random people's vagainas the Old English word is used as a synonym of Latin spiritus also in the meaning of "breath, blast" from the earliest (9th century) attestations. It could also denote any good or evil spirit, i.e. angels and demons; the Anglo-Saxon gospel refers to the demonic possession of Matthew 12:43 as se unclæna gast. Also from the Old English period, the word could denote the spirit of God, viz. the "Holy Ghost". The now prevailing sense of "the soul of a deceased person, spoken of as appearing in a visible form" only emerges in Middle English (14th century). The modern noun does, however, retain a wider field of application, extending on one hand to soul, spirit", vital principle, mind or psyche, the seat of feeling, thought and moral judgement; on the other hand used figuratively of any shadowy outline, fuzzy or unsubstantial image, in optics, photography and cinematography especially a flare, secondary image or spurious signal.

The synonym spook is a Dutch loanword, akin to Low German spôk (of uncertain etymology); it entered the English language via the United States in the 19th century. Alternate words in modern usage include spectre (from Latin spectrum), the Scottish wraith (of obscure origin), phantom (via French ultimately from Greek phantasma, compare fantasy) and apparition. The term shade in classical mythology translates Greek σκιά, or Latin umbra, in reference to the notion of spirits in the Greek underworld. "Haint" is a synonym for ghost used in regional English of the southern United States, and the "haint tale" is a common feature of southern oral and literary tradition. The term poltergeist is a German word, literally a "noisy ghost", for a spirit said to manifest itself by invisibly moving and influencing objects.

Wraith is a Scottish dialectal word for "ghost, spectre, apparition". It came to be used in Scottish Romanticist literature, and acquired the more general or figurative sense of "portent, omen". In 18th- to 19th-century Scottish literature, it was also applied to aquatic spirits. The word has no commonly accepted etymology; OED notes "of obscure origin" only. An association with the verb writhe was the etymology favored by J. R. R. Tolkien. Tolkien's use of the word in the naming of the creatures known as the Ringwraiths has influenced later usage in fantasy literature.

A revenant is a deceased person returning from the dead to haunt the living, either as a disembodied ghost or alternatively as an animated ("undead") corpse. Also related is the concept of a fetch, the visible ghost or spirit of a person yet alive.

Typology

Anthropological context

Further information: Animism, Ancestor worship, Origin of religion, and Anthropology of religion

A notion of the transcendent, supernatural or numinous, usually involving entities like ghosts, demons or deities, is a cultural universal. In pre-literate folk religions, these beliefs are often summarized under animism and ancestor worship.

In many cultures malignant, restless ghosts are distinguished from the more benign spirits which are the subject of ancestor worship.

Ancestor worship typically involves rites intended to prevent revenants, vengeful spirits of the dead, imagined as starving and envious of the living. Strategies for preventing revenants may either include sacrifice, i.e. the provision of the dead with food and drink in order to pacify them, or the magical banishment of the deceased, preventing them from returning by force. Ritual feeding of the dead is performed in traditions like the Chinese Ghost Festival or the Western All Souls' Day. Magical banishment of the dead is present in many of the world's burial customs. The bodies found in many tumuli (kurgan) had been ritually bound before burial, and the custom of binding the dead persists, for example, in rural Anatolia.

Nineteenth-century anthropologist James Frazer stated in his classic work, The Golden Bough, that souls were seen as the creature within that animated the body.

Additional

Ghosts and the afterlife

Further information: Soul, Psyche (psychology), Underworld, Hungry ghost, and Psychopomp

Further information: Ghost Festival, All Souls' Day, and Day of the Dead

Although the human soul was sometimes symbolically or literally depicted in ancient cultures as a bird or other animal, it was widely held that the soul was an exact reproduction of the body in every feature, even down to clothing the person wore. This is depicted in artwork from various ancient cultures, including such works as the Egyptian Book of the Dead, which shows deceased people in the afterlife appearing much as they did before death, including the style of dress.

Common attributes

Another widespread belief concerning ghosts is that they are composed of a misty, airy, or subtle material. Anthropologists link this idea to early beliefs that ghosts were the person within the person (the person's spirit), most noticeable in ancient cultures as a person's breath, which upon exhaling in colder climates appears visibly as a white mist. This belief may have also fostered the metaphorical meaning of "breath" in certain languages, such as the Latin spiritus and the Greek pneuma, which by analogy became extended to mean the soul. In the Bible, God is depicted as animating Adam with a breath.

In many traditional accounts, ghosts were often thought to be deceased people looking for vengeance, or imprisoned on earth for bad things they did during life. The appearance of a ghost has often been regarded as an omen or portent of death. Seeing one's own ghostly double or "fetch" is a related omen of death.

White ladies were reported to appear in many rural areas, and supposed to have died tragically or suffered trauma in life. White Lady legends are found around the world. Common to many of them is the theme of losing or being betrayed by a husband or fiancé. They are often associated with an individual family line, as a harbinger of death. When one of these ghosts is seen it indicates that someone in the family is going to die, similar to a banshee.

Legends of ghost ships have existed since the 18th century; most notable of these is the Flying Dutchman. This theme has been used in literature in The Rime of the Ancient Mariner by Coleridge.

Locale

See also: Haunted house

A place where ghosts are reported is described as haunted, and often seen as being inhabited by spirits of deceased who may have been former residents or were familiar with the property. Supernatural activity inside homes is said to be mainly associated with violent or tragic events in the building's past such as murder, accidental death, or suicide — sometimes in the recent or ancient past.But not all hauntings are at a place of a violent pass, or even on violent grounds. Amongst many cultures and religions it is believed that the essence of a being such as the 'soul' continues to exist. Some philosophical and religious views argue that the 'spirits' of those who have died have not 'passed over' and are trapped inside the property where their memories and energy are strong.

History

Antiquity

Further information: Shade (mythology)

Mesopotamia

Main article: Ghosts in Mesopotamian religions

There are many references to ghosts in Mesopotamian religions - the religions of Sumer, Babylon, Assyria and other early states in Mesopotamia. Traces of these beliefs survive in the later Abrahamic religions that came to dominate the region. Ghosts were thought to be created at time of death, taking on the memory and personality of the dead person. They traveled to the netherworld, where they were assigned a position, and led an existence similar in some ways to that of the living. Relatives of the dead were expected to make offerings of food and drink to the dead to ease their conditions. If they did not, the ghosts could inflict misfortune and illness on the living. Traditional healing practices ascribed a variety of illnesses to the action of ghosts, while others were caused by gods or demons.

Ancient Egypt

Egyptian Akh glyph - The soul and spirit re-united after death

Main article: Ghosts in ancient Egyptian culture

There was widespread belief in ghosts in ancient Egyptian culture in the sense of the continued existence of the soul and spirit after death, with the ability to assist or harm the living, and the possibility of a second death. Over a period of more than 2,500 years, Egyptian beliefs about the nature of the afterlife evolved constantly. Many of these beliefs were recorded in inscriptions, papyrus scrolls and tomb paintings. The Egyptian Book of the Dead compiles some of the beliefs from different periods of ancient Egyptian history. In modern times, the fanciful concept of a mummy coming back to life and wreaking vengeance when disturbed has spawned a whole genre of horror stories and movies.

Biblical references & Judæo–Christian belief

The Hebrew Torah and the Bible contain few references to ghosts, associating spiritism with forbidden occult activities cf. Deuteronomy 18:11. The most notable reference is in the First Book of Samuel (I Samuel 28:3-19 KJV), in which a disguised King Saul has the Witch of Endor summon the spirit/ghost of Samuel:

³Now Samuel was dead, and all Israel had lamented him, and buried him in Ramah, even in his own city. And Saul had put away those that had familiar spirits, and the wizards, out of the land. ⁴And the Philistines gathered themselves together, and came and pitched in Shunem: and Saul gathered all Israel together, and they pitched in Gilboa. ⁵And when Saul saw the host of the Philistines, he was afraid, and his heart greatly trembled. ⁶And when Saul enquired of the LORD, the LORD answered him not, neither by dreams, nor by Urim, nor by prophets. ⁷Then said Saul unto his servants, Seek me a woman that hath a familiar spirit, that I may go to her, and enquire of her. And his servants said to him, Behold, there is a woman that hath a familiar spirit at Endor. ⁸And Saul disguised himself, and put on other raiment, and he went, and two men with him, and they came to the woman by night: and he said, I pray thee, divine unto me by the familiar spirit, and bring me him up, whom I shall name unto thee. ⁹And the woman said unto him, Behold, thou knowest what Saul hath done, how he hath cut off those that have familiar spirits, and the wizards, out of the land: wherefore then layest thou a snare for my life, to cause me to die? ¹⁰And Saul sware to her by the LORD, saying, As the LORD liveth, there shall no punishment happen to thee for this thing. ¹¹Then said the woman, Whom shall I bring up unto thee? And he said, Bring me up Samuel. ¹²And when the woman saw Samuel, she cried with a loud voice: and the woman spake to Saul, saying, Why hast thou deceived me? for thou art Saul. ¹³And the king said unto her, Be not afraid: for what sawest thou? And the woman said unto Saul, I saw gods ascending out of the earth. ¹⁴And he said unto her, What form is he of? And she said, An old man cometh up; and he is covered with a mantle. And Saul perceived that it was Samuel, and he stooped with his face to the ground, and bowed himself. ¹⁵And Samuel said to Saul, Why hast thou disquieted me, to bring me up? And Saul answered, I am sore distressed; for the Philistines make war against me, and God is departed from me, and answereth me no more, neither by prophets, nor by dreams: therefore I have called thee, that thou mayest make known unto me what I shall do. ¹⁶Then said Samuel, Wherefore then dost thou ask of me, seeing the LORD is departed from thee, and is become thine enemy? ¹⁷And the LORD hath done to him, as he spake by me: for the LORD hath rent the kingdom out of thine hand, and given it to thy neighbour, even to David: ¹⁸Because thou obeyedst not the voice of the LORD, nor executedst his fierce wrath upon Amalek, therefore hath the LORD done this thing unto thee this day. ¹⁹Moreover the LORD will also deliver Israel with thee into the hand of the Philistines: and to morrow shalt thou and thy sons be with me: the LORD also shall deliver the host of Israel into the hand of the Philistines.

— I Samuel 28:3-19, KJV

In the New Testament, Jesus has to persuade the Disciples that he is not a ghost following the resurrection, Luke 24:37-39 (note that some versions of the Bible, such as the KJV and NKJV, use the term "spirit"). In a similar vein, Jesus' followers at first believe him to be a ghost (spirit) when they see him walking on water.

As such, much of the Christian Church considers ghosts as beings who while tied to earth, no longer live on the material plane. Furthermore, some Christian denominations teach that ghosts are beings who linger in an interim state before continuing their journey to heaven. On occasion, God would allow the souls in this state to return to earth to warn the living of the need for repentance. Nevertheless, Jews and Christians are taught that it is sinful to attempt to conjure or control spirits in accordance with Deuteronomy XVIII: 9–12.

Accepting, but moving beyond this position, some ghosts are actually said to be demons in disguise, who the Church teaches, in accordance with I Timothy 4:1, that they "come to deceive people and draw them away from God and into bondage." As a result, attempts to contact the dead may lead to unwanted contact with a demon or an unclean spirit, as was said to occur in the case of Robbie Mannheim, a fourteen year old Maryland youth.

According to Christian belief, appearances of orbs of light, a common paranormal phenomenon attributed to ghosts, can be explained by II Corinthians 11:14, which states that "even Satan disguises himself as an angel of light" (NRSV).

Classical Greece

Ghosts appeared in Homer's Odyssey and Iliad, in which they were described as vanishing "as a vapor, gibbering and whining into the earth." Homer’s ghosts had little interaction with the world of the living. Periodically they were called upon to provide advice or prophecy, but they do not appear to be particularly feared. Ghosts in the classical world often appeared in the form of vapor or smoke, but at other times they were described as being substantial, appearing as they had been at the time of death, complete with the wounds that killed them.

By the 5th century BC, classical Greek ghosts had become haunting, frightening creatures who could work to either good or evil purposes. The spirit of the dead was believed to hover near the resting place of the corpse, and cemeteries were places the living avoided. The dead were to be ritually mourned through public ceremony, sacrifice and libations, or they might return to haunt their families. The ancient Greeks held annual feasts to honor and placate the spirits of the dead, to which the family ghosts were invited, and after which they were “firmly invited to leave until the same time next year”.

The 5th century BC play Oresteia contains one of the first ghosts to appear in a work of fiction.

Roman empire

The ancient Romans believed a ghost could be used to exact revenge on an enemy by scratching a curse on a piece of lead or pottery and placing it into a grave.

Plutarch, in the 1st century AD, described the haunting of the baths at Chaeronea by the ghost of a murdered man. The ghost’s loud and frightful groans caused the people of the town to seal up the doors of the building. Another celebrated account of a haunted house from the ancient classical world is given by Pliny the Younger (c. 50 AD). Pliny describes the haunting of a house in Athens by a ghost bound in chains. The hauntings ceased when the ghost's shackled skeleton was unearthed, and given a proper reburial. The writers Plautus and Lucian also wrote stories about haunted houses.

One of the first persons to express disbelief in ghosts was Lucian of Samosata in the 2nd century AD. In his tale "The Doubter" (circa 150 AD) he relates how Democritus "the learned man from Abdera in Thrace" lived in a tomb outside the city gates in order to prove that cemeteries were not haunted by the spirits of the departed. Lucian relates how he persisted in his disbelief despite practical jokes perpetrated by "some young men of Abdera" who dressed up in black robes with skull masks in order to give him a fright. This account by Lucian notes something about the popular classical expectation of how a ghost should look.

In the 5th century AD, the Christian priest Constantius of Lyon recorded an instance of the recurring theme of the improperly buried dead who come back to haunt the living, and who can only cease their haunting when their bones have been discovered and properly reburied.

European Middle Ages

Ghosts reported in medieval Europe tended to fall into two categories: the souls of the dead, or demons. The souls of the dead returned for a specific purpose. Demonic ghosts were those which existed only to torment or tempt the living. The living could tell them apart by demanding their purpose in the name of Jesus Christ. The soul of a dead person would divulge their mission, while a demonic ghost would be banished at the sound of the Holy Name.

Most ghosts were souls assigned to Purgatory, condemned for a specific period to atone for their transgressions in life. Their penance was generally related to their sin. For example, the ghost of a man who had been abusive to his servants was condemned to tear off and swallow bits of his own tongue; the ghost of another man, who had neglected to leave his cloak to the poor, was condemned to wear the cloak, now "heavy as a church tower". These ghosts appeared to the living to ask for prayers to end their suffering. Other dead souls returned to urge the living to confess their sins before their own deaths.

Medieval European ghosts were more substantial than ghosts described in the Victorian age, and there are accounts of ghosts being wrestled with and physically restrained until a priest could arrive to hear its confession. Some were less solid, and could move through walls. Often they were described as paler and sadder versions of the person they had been while alive, and dressed in tattered gray rags. The vast majority of reported sightings were male.

There were some reported cases of ghostly armies, fighting battles at night in the forest, or in the remains of an Iron Age hillfort, as at Wandlebury, near Cambridge, England. Living knights were sometimes challenged to single combat by phantom knights, which vanished when defeated.

From the medieval period an apparition of a ghost is recorded from 1211, at the time of the Albigensian Crusade. Gervase of Tilbury, Marshal of Arles, wrote that the image of Guilhem, a boy recently murdered in the forest, appeared in his cousin's home in Beaucaire, near Avignon. This series of "visits" lasted all of the summer. Through his cousin, who spoke for him, the boy allegedly held conversations with anyone who wished, until the local priest requested to speak to the boy directly, leading to an extended disquisition on theology. The boy narrated the trauma of death and the unhappiness of his fellow souls in Purgatory, and reported that God was most pleased with the ongoing Crusade against the Cathar heretics, launched three years earlier. The time of the Albigensian Crusade in southern France was marked by intense and prolonged warfare, this constant bloodshed and dislocation of populations being the context for these reported visits by the murdered boy.

Arabian Nights

Haunted houses are featured in the 9th century Arabian Nights (such as the tale of Ali the Cairene and the Haunted House in Baghdad).

European Renaissance to Romanticism

"Hamlet and his father's ghost" by Henry Fuseli (1780s drawing). The ghost is wearing stylized plate armour in 17th century style, including a morion type helmet and tassets. Depicting ghosts as wearing armour, to suggest a sense of antiquity, was common in Elizabethan theater.

Renaissance magic took a revived interest in the occult, including necromancy. In the era of the Reformation and Counter Reformation, there was frequently a backlash against unwholesome interest in the dark arts, typified by writers such as Thomas Erastus. The Swiss Reformed pastor Ludwig Lavater supplied one of the most frequently reprinted books of the period with his Of Ghosts and Spirits Walking By Night.

The Child ballad Sweet William's Ghost (1868) recounts the story of a ghost returning to beg a woman to free him from his promise to marry her, as he obviously cannot being dead; her refusal would mean his damnation. This reflects a popular British belief that the dead would haunt their lovers if they took up with a new love without some formal release. The Unquiet Grave expresses a belief even more widespread, found in various locations over Europe: ghosts can stem from the excessive grief of the living, whose mourning interferes with the dead's peaceful rest. In many folktales from around the world, the hero arranges for the burial of a dead man. Soon after, he gains a companion who aids him and, in the end, the hero's companion reveals that he is in fact the dead man. Instances of this include the Italian fairy tale Fair Brow and the Swedish The Bird 'Grip'.

Modern period of western culture

By 1853, when the popular song Spirit Rappings was published, Spiritualism was an object of intense curiosity.

Spiritualist movement

Main article: Spiritualism

Spiritualism is a monotheistic belief system or religion, postulating a belief in God, but with a distinguishing feature of belief that spirits of the dead residing in the spirit world can be contacted by "mediums", who can then provide information about the afterlife.

Spiritualism developed in the United States and reached its peak growth in membership from the 1840s to the 1920s, especially in English-language countries, By 1897, it was said to have more than eight million followers in the United States and Europe, mostly drawn from the middle and upper classes, while the corresponding movement in continental Europe and Latin America is known as Spiritism.

The religion flourished for a half century without canonical texts or formal organization, attaining cohesion by periodicals, tours by trance lecturers, camp meetings, and the missionary activities of accomplished mediums. Many prominent Spiritualists were women. Most followers supported causes such as the abolition of slavery and women's suffrage. By the late 1880s, credibility of the informal movement weakened, due to accusations of fraud among mediums, and formal Spiritualist organizations began to appear. Spiritualism is currently practiced primarily through various denominational Spiritualist Churches in the United States and United Kingdom.

File:AllanKardec.jpg

Allan Kardec (1804-69), "decoder" of Spiritism

Spiritism

Main article: Spiritism

Spiritism, or French spiritualism, is based on the five books of the Spiritist Codification written by French educator Hypolite Léon Denizard Rivail under the pseudonym Allan Kardec reporting séances in which he observed a series of phenomena that he attributed to incorporeal intelligence (spirits). His assumption of spirit communication was validated by many contemporaries, among them many scientists and philosophers who attended séances and studied the phenomena. His work was later extended by writers like Leon Denis, Arthur Conan Doyle, Camille Flammarion, Ernesto Bozzano, Chico Xavier, Divaldo Pereira Franco, Waldo Vieira, Johannes Greber and others.

Spiritism has adherents in many countries throughout the world, including Spain, United States, Canada, Japan, Germany, France, England, Argentina, Portugal and especially Brazil, which has the largest proportion and greatest number of followers.

Scientific skepticism

See also: Paranormal

Joe Nickell of the Committee for Skeptical Inquiry, wrote that there was no credible scientific evidence that any location was inhabited by spirits of the dead. Limitations of human perception and ordinary physical explanations can account for ghost sightings; for example, air pressure changes in a home causing doors to slam, or lights from a passing car reflected through a window at night. Pareidolia, an innate tendency to recognize patterns in random perceptions, is what some skeptics believe causes people to believe that they have seen ghosts. Reports of ghosts "seen out of the corner of the eye" may be accounted for by the sensitivity of human peripheral vision. According to Nickell, peripheral vision can easily mislead, especially late at night when the brain is tired and more likely to misinterpret sights and sounds."

Some researchers, such as Michael Persinger of Laurentian University, Canada, have speculated that changes in geomagnetic fields (created, e.g., by tectonic stresses in the Earth's crust or solar activity) could stimulate the brain's temporal lobes and produce many of the experiences associated with hauntings. Sound is thought to be another cause of supposed sightings. Richard Lord and Richard Wiseman have concluded that infrasound can cause humans to experience bizarre feelings in a room, such as anxiety, extreme sorrow, a feeling of being watched, or even the chills. Carbon monoxide poisoning, which can cause changes in perception of the visual and auditory systems, was speculated upon as a possible explanation for haunted houses as early as 1921.

By culture

Manao Tupapau by Paul Gauguin

Austronesia

Main articles: Malay ghost myths, Ghosts in Filipino culture, and Ghosts in Polynesian culture

There are many Malay ghost myths, remnants of old animist beliefs that have been shaped by later Hindu, Buddhist and Muslim influences in the modern states of Indonesia, Malaysia and Brunei. Some ghost concepts such as the female vampires Pontianak and Penanggalan are shared throughout the region. Ghosts are a popular theme in modern Malaysian and Indonesian movies. There are also many references to Ghosts in Filipino culture, ranging from ancient legendary creatures such as the Manananggal and Tiyanak to more modern urban legends and horror movies. The beliefs, legends and stories are as diverse as the people of the Philippines.

There was widespread belief in ghosts in Polynesian culture, some of which persists today. After death, a person's ghost would normally travel to the sky world or the underworld, but some could stay on earth. In many Polynesian legends, ghosts were often actively involved in the affairs of the living. Ghosts might also cause sickness or even invade the body of ordinary people, to be driven out through strong medicines.

An image of Zhong Kui, the vanquisher of ghosts and evil beings, painted sometime before 1304 A.D. by Gong Kai.

China

Main article: Ghosts in Chinese culture

There are many references to ghosts in Chinese culture. Even Confucius said, "Respect ghosts and gods, but keep away from them."

The ghosts take many forms depending on the way in which the person died, and are often harmful. Many of the Chinese ghost beliefs have been accepted by neighboring cultures, notably Japan and south-east Asia. Ghost beliefs are closely associated with the traditional Chinese religion based on ancestor worship, many of which were incorporated in Taoism. Later beliefs were influenced by Buddhism, and in turn influenced and created uniquely Chinese Buddhist beliefs.

Many Chinese today consider that it is possible to contact the spirits of their ancestors through a medium, and that the ancestor can help their descendants if properly respected and rewarded. The annual ghost festival is celebrated by Chinese around the world. On this day ghosts and spirits, including those of the deceased ancestors, come out from the lower realm. Ghosts are described in classical Chinese texts, and continue to be depicted in modern literature and movies.

European folklore

Further information: Revenant (folklore), Necromancy, Samhain, Halloween, and All Souls' Day

Belief in ghosts in European folklore is characterized by the recurring fear of "returning" or revenant deceased which may harm the living. This includes the Scandinavian gjenganger, the Romanian strigoi, the Serbian vampir, the Greek vrykolakas, etc. British folklore is particularly notable for its numerous haunted locations.

Popular folklore has always been dismissed as superstition by the educated elite, but belief in the soul and an afterlife remained near universal until the emergence of atheism in the 18th century "Age of Enlightenment". In the 19th century, spiritism resurrected "belief in ghosts" as the object of systematic inquiry, and popular opinion in Western culture remains divided.

Japan

Maruyama Ōkyo's "The Ghost of Oyuki"

Main article: Yūrei

Yūrei (幽霊) are figures in Japanese folklore, analogous to Western legends of ghosts. The name consists of two kanji, 幽 (yū), meaning "faint" or "dim" and 霊 (rei), meaning "soul" or "spirit." Alternative names include 亡霊 (Bōrei) meaning ruined or departed spirit, 死霊 (Shiryō) meaning dead spirit, or the more encompassing 妖怪 (Yōkai) or お化け (Obake).

Like their Chinese and Western counterparts, they are thought to be spirits kept from a peaceful afterlife.

India

Main article: Bhoot (ghost)

Ghosts in Bengali culture are a recurrent motives both in fairy tales and in modern day Bengali literature as well, references to ghosts may be often found. The common word for ghosts in Bengali is bhoot (ভূত).

In Central and Northern Asia, Shaman spirit guides play a central role. The word Bhoot referring to ghosts is also commonly used all over Northern India, Hindi speaking areas and in all the regions using related dialects.

Mexico

Catrinas, one of the most popular figures of the Day of the Dead celebrations in Mexico

Main article: Ghosts in Mexican culture

There is extensive and varied belief in ghosts in Mexican culture. The modern state of Mexico before the Spanish conquest was inhabited by diverse peoples such as the Maya and Aztec, and their beliefs have survived and evolved, combined with the beliefs of the Spanish colonists. The Day of the Dead incorporates pre-Columbian beliefs with Christian elements. Mexican literature and movies include many stories of ghosts interacting with the living.

Tibet

Main article: Ghosts in Tibetan culture

There is widespread belief in ghosts in Tibetan culture. Ghosts are explicitly recognized in the Tibetan Buddhist religion as they were in Indian Buddhism, occupying a distinct but overlapping world to the human one, and feature in many traditional legends. When a human dies, after a period of uncertainty they may enter the ghost world. A hungry ghost (Tibetan: yidag, yi-dvags; Sanskrit: preta, प्रेत) has a tiny throat and huge stomach, and so can never be satisfied. Ghosts may be killed with a ritual dagger or caught in a spirit trap and burnt, thus releasing them to be reborn. Ghosts may also be exorcised, and an annual festival is held throughout Tibet for this purpose. Some say that Dorje Shugden, the ghost of a powerful 17th-century monk, is a deity, but the Dalai Lama asserts that he is an evil spirit, which has caused a split in the Tibetan exile community.

United States

Further information: Ghosts of the American Civil War and Shadow people

According to the Gallup Poll News Service, belief in haunted houses, ghosts, communication with the dead, and witches had an especially steep increase over the 1990s. A 2005 Gallup poll found that about 32 percent of Americans believe in ghosts.

Depiction in the arts

19th century etching by John Leech of the Ghost of Christmas Present as depicted in Charles Dickens' A Christmas Carol

Ghosts are prominent in the popular cultures of various nations. The ghost story is ubiquitous across all cultures from oral folktales to works of literature.

Renaissance to Romanticism (1500 to 1840)

One of the more recognizable ghosts in English literature is the shade of Hamlet's murdered father in Shakespeare’s The Tragical History of Hamlet, Prince of Denmark. In Hamlet, it is the ghost who demands that Prince Hamlet investigate his "murder most foul" and seek revenge upon his usurping uncle, King Claudius. In Shakespeare’s Macbeth, the murdered Banquo returns as a ghost to the dismay of the title character.

In English Renaissance theater, ghosts were often depicted in the garb of the living and even in armor, as with the ghost of Hamlet’s father. Armor, being out-of-date by the time of the Rennaissance, gave the stage ghost a sense of antiquity. But the sheeted ghost began to gain ground on stage in the 19th century because an armored ghost could not satisfactorily convey the requisite spookiness: it clanked and creaked, and had to be moved about by complicated pulley systems or elevators. These clanking ghosts being hoisted about the stage became objects of ridicule as they became clichéd stage elements. Ann Jones and Peter Stallybrass, in Renaissance Clothing and the Materials of Memory, point out, “In fact, it is as laughter increasingly threatens the Ghost that he starts to be staged not in armor but in some form of 'spirit drapery'.” An interesting observation by Jones and Stallybrass is that

...at the historical point at which ghosts themselves become increasingly implausible, at least to an educated elite, to believe in them at all it seems to be necessary to assert their immateriality, their invisibility. The drapery of ghosts must now, indeed, be as spiritual as the ghosts themselves. This is a striking departure both from the ghosts of the Rennaissance stage and from the Greek and Roman theatrical ghosts upon which that stage drew. The most prominent feature of Rennaissance ghosts is precisely their gross materiality. They appear to us conspicuously clothed.

Ghosts figured prominently in traditional British ballads of the 16th and 17th centuries, particularly the “Border Ballads” of the turbulent border country between England and Scotland. Ballads of this type include The Unquiet Grave, The Wife of Usher's Well, and Sweet William's Ghost, which feature the recurring theme of returning dead lovers or children. In the ballad King Henry, a particularly ravenous ghost devours the king’s horse and hounds before forcing the king into bed. The king then awakens to find the ghost transformed into a beautiful woman.

One of the key early appearances by ghosts in a gothic tale was The Castle of Otranto by Horace Walpole in 1764.

Washington Irving's short story The Legend of Sleepy Hollow (1820), based on an earlier German folktale, features a Headless Horseman. It has been adapted for film and television many times, most notably in Sleepy Hollow, a successful 1999 feature film.

Victorian/Edwardian (1840 to 1920)

The ghost of a pirate, from Howard Pyle's Book of Pirates (1903).

The “classic” ghost story arose during the Victorian period, and included authors such as M. R. James, Sheridan Le Fanu, Violet Hunt, and Henry James. Classic ghost stories were influenced by the gothic fiction tradition, and contain elements of folklore and psychology. M. R. James summed up the essential elements of a ghost story as, “Malevolence and terror, the glare of evil faces, ‘the stony grin of unearthly malice', pursuing forms in darkness, and 'long-drawn, distant screams', are all in place, and so is a modicum of blood, shed with deliberation and carefully husbanded...”

Famous literary apparitions from this period are the ghosts of A Christmas Carol, in which Ebenezer Scrooge is helped to see the error of his ways by the ghost of his former colleague Jacob Marley, and the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come.

Oscar Wilde's comedy The Canterville Ghost has been adapted for film and television on several occasions. Henry James's The Turn of the Screw has also appeared in a number of adaptations, notably the film The Innocents and Benjamin Britten's opera The Turn of the Screw.

Oscar Telgmann's opera Leo, the Royal Cadet (1885) includes Judge's Song about a ghost at the Royal Military College of Canada in Kingston, Ontario.

Kwaidan: Stories and Studies of Strange Things is a 1904 collection of Japanese ghost stories collected by Lafcadio Hearn, and later made into a film.

In the United States during the years prior to and during the First World War, folklorists Olive Dame Campbell and Cecil Sharp collected ballads from the people of the Appalachian Mountains which included ghostly themes, such as The Wife of Usher's Well, The Suffolk Miracle, The Unquiet Grave, and The Cruel Ship's Carpenter. The theme of these ballads was often the return of a dead lover. These songs were variants of traditional British ballads handed down by generations of mountaineers descended from the people of the Anglo-Scottish border region.

Modern Era (1920 to 1970)

Brown Lady ghost photograph, Captain Hubert C. Provand. First published in Countrylife magazine, 1936

The 1949 Mahal (Hindi: महल; Urdu: محل; English: The Mansion) was a groundbreaking Hindi language movie directed by Kamal Amrohi and starring Ashok Kumar and Madhubala, one of the earliest known Bollywood films dealing with reincarnation. Mahal became one of the biggest box office hits of 1949 in India. The movie paved the way for Indian gothic fiction. Professional parapsychologists and “ghosts hunters”, such as Harry Price and Peter Underwood, published accounts of their experiences with ostensibly true ghost stories such as The Most Haunted House in England, and Ghosts of Borley.

Children’s benevolent ghost stories became popular, such as Casper the Friendly Ghost, created in the 1930s and appearing in comics, animated cartoons, and eventually a 1995 feature film.

Noël Coward's play Blithe Spirit, later made into a film, places a more humorous slant on the phenomenon of haunting of individuals and specific locations.

With the advent of motion pictures and television, screen depictions of ghosts became common, and spanned a variety of genres; the works of Shakespeare, Dickens and Wilde have all been made into cinematic versions. Novel-length tales have been difficult to adapt to cinema, although that of The Haunting of Hill House to The Haunting in 1963 is an exception.

Sentimental depictions during this period were more popular in cinema than horror, and include the 1947 film The Ghost and Mrs. Muir, which was later adapted to television with a successful 1968-70 TV series. Genuine psychological horror films from this period include 1944's The Uninvited, and 1945's Dead of Night.

Main article: List of ghost films

Post-modern (1970-present)

File:Ghostbusters logo.svg

The popular No Ghost logo from Ghostbusters

The 1970s saw screen depictions of ghosts diverge into distinct genres of the romantic and horror. A common theme in the romantic genre from this period is the ghost as a benign guide or messenger, often with unfinished business, such as 1989's Field of Dreams, the 1990 film Ghost, and the 1993 comedy Heart and Souls. In the horror genre, 1980's The Fog, and the A Nightmare on Elm Street series of films from the 1980s and 1990s are notable examples of the trend for the merging of ghost stories with scenes of physical violence.

Popularised in such films as the 1984 comedy Ghostbusters, ghost hunting became a hobby for many who formed ghost hunting societies to explore reportedly haunted places. The ghost hunting theme has been featured in reality television series, such as Ghost Adventures, Ghost Hunters, Ghost Hunters International, Ghost Lab, Most Haunted, and A Haunting. It is also represented in children's television by such programs as The Ghost Hunter and Ghost Trackers. Ghost hunting also gave rise to multiple guidebooks to haunted locations, and ghost hunting “how-to” manuals.

The 1990s saw a return to classic “gothic” ghosts, whose dangers were more psychological than physical. Examples of films from this period include 1999s The Sixth Sense and 2001s The Others.

Asian cinema has been adept at producing horror films about ghosts, such as the 1998 Japanese film Ringu (remade in the US as The Ring in 2002), and the Pang brothers' 2002 film The Eye. Indian ghost movies are popular not just in in India but in the Middle East, Africa, South East Asia and other parts of the world. Bollywood produces more than 700 films a year in the nation's 16 official languages, often melodramatic and usually full of musical interludes where the characters burst into song and dance, and is one of the largest centers of film production in the world. Some Bollywood ghost movies such as the comedy / horror film Chandramukhi have been great hits, dubbed into several languages. Generally the movies are based on the experiences of modern people who are unexpectedly exposed to ghosts. They usually draw on traditional Indian literature or folklore, but in some cases are remakes of western movies, such as Anjaane, based on Alejandro Amenábar's ghost story The Others. In fictional television programming, ghosts have been explored in series such as Supernatural, Ghost Whisperer and Medium.

See also

• Demonic possession
• Ghost hunting
• Haunted house
• Intelligent haunting
• List of reportedly haunted locations
• Paranormal
• Poltergeist
• Residual haunting
• Shadow people
• Spirit possession

Further reading

• Fairly, John & Welfare, Simon, Arthur C. Clarke's World of Strange Powers, Putnam: New York, 1985.
• Felton, D., Haunted Greece and Rome: Ghost Stories From Classical Antiquity, University of Texas Press, 1999.
• Finucane, R. C., Appearances of the Dead: A Cultural History of Ghosts, Prometheus Books, 1984.
• Johnston, Sarah Iles, Restless Dead: Encounters Between the Living and the Dead in Ancient Greece, University of California Press, 1999.
• Hole, Christina, Haunted England, Batsford: London, 1950. At Google Books
• MacKenzie, Andrew, Apparitions and Ghosts, Arthur Barker, 1971.
• Moreman, Christopher, Beyond the Threshold: Afterlife Beliefs and Experiences in World Religions, Rowman & Littlefield, 2008.
• Newman, Kim, ed. BFI Companion to Horror, Cassell: London, 1996.

External links

• "Ghost Theory" of 18th century German theologian Johan Ernst Schubert and a list of vernacular house spirits and ghosts
• Historical Ghost Stories
• Ghost accounts from a haunted castle in Wales