SHOWING HOW HE BUILT HIS HOUSE AND HIS WIFE MOVED INTO IT by James Russell Lowell: Summary, Meaning & Analysis
A wealthy retired businessman, A.
The poem
My worthy friend, A. Gordon Knott, From business snug withdrawn, Was much contented with a lot That would contain a Tudor cot 'Twixt twelve feet square of garden-plot, And twelve feet more of lawn. He had laid business on the shelf To give his taste expansion, And, since no man, retired with pelf, The building mania can shun, 10 Knott, being middle-aged himself, Resolved to build (unhappy elf!) A mediæval mansion. He called an architect in counsel; 'I want,' said he, 'a--you know what, (You are a builder, I am Knott) A thing complete from chimney-pot Down to the very grounsel; Here's a half-acre of good land; Just have it nicely mapped and planned 20 And make your workmen drive on; Meadow there is, and upland too, And I should like a water-view, D'you think you could contrive one? (Perhaps the pump and trough would do, If painted a judicious blue?) The woodland I've attended to;' [He meant three pines stuck up askew, Two dead ones and a live one.] 'A pocket-full of rocks 'twould take 30 To build a house of freestone, But then it is not hard to make What nowadays is _the_ stone; The cunning painter in a trice Your house's outside petrifies, And people think it very gneiss Without inquiring deeper; _My_ money never shall be thrown Away on such a deal of stone, When stone of deal is cheaper.' 40 And so the greenest of antiques Was reared for Knott to dwell in: The architect worked hard for weeks In venting all his private peaks Upon the roof, whose crop of leaks Had satisfied Fluellen; Whatever anybody had Out of the common, good or bad, Knott had it all worked well in; A donjon-keep, where clothes might dry, 50 A porter's lodge that was a sty, A campanile slim and high, Too small to hang a bell in; All up and down and here and there, With Lord-knows-whats of round and square Stuck on at random everywhere,-- It was a house to make one stare, All corners and all gables; Like dogs let loose upon a bear, Ten emulous styles _staboyed_ with care, 60 The whole among them seemed to tear, And all the oddities to spare Were set upon the stables. Knott was delighted with a pile Approved by fashion's leaders: (Only he made the builder smile, By asking every little while, Why that was called the Twodoor style, Which certainly had _three_ doors?) Yet better for this luckless man 70 If he had put a downright ban Upon the thing _in limine;_ For, though to quit affairs his plan, Ere many days, poor Knott began Perforce accepting draughts, that ran All ways--except up chimney; The house, though painted stone to mock, With nice white lines round every block, Some trepidation stood in, When tempests (with petrific shock, 80 So to speak,) made it really rock, Though not a whit less wooden; And painted stone, howe'er well done, Will not take in the prodigal sun Whose beams are never quite at one With our terrestrial lumber; So the wood shrank around the knots, And gaped in disconcerting spots, And there were lots of dots and rots And crannies without number, 90 Wherethrough, as you may well presume, The wind, like water through a flume, Came rushing in ecstatic, Leaving, in all three floors, no room That was not a rheumatic; And, what with points and squares and rounds Grown shaky on their poises, The house at nights was full of pounds, Thumps, bumps, creaks, scratchings, raps--till--'Zounds!' Cried Knott, 'this goes beyond all bounds; 100 I do not deal in tongues and sounds, Nor have I let my house and grounds To a family of Noyeses!' But, though Knott's house was full of airs, _He_ had but one,--a daughter; And, as he owned much stocks and shares, Many who wished to render theirs Such vain, unsatisfying cares, And needed wives to sew their tears, In matrimony sought her; 110 They vowed her gold they wanted not, Their faith would never falter, They longed to tie this single Knott In the Hymeneal halter; So daily at the door they rang, Cards for the belle delivering, Or in the choir at her they sang, Achieving such a rapturous twang As set her nerves ashivering. Now Knott had quite made up his mind 120 That Colonel Jones should have her; No beauty he, but oft we find Sweet kernels 'neath a roughish rind, So hoped his Jenny'd be resigned And make no more palaver; Glanced at the fact that love was blind, That girls were ratherish inclined To pet their little crosses, Then nosologically defined The rate at which the system pined 130 In those unfortunates who dined Upon that metaphoric kind Of dish--their own proboscis. But she, with many tears and moans, Besought him not to mock her. Said 'twas too much for flesh and bones To marry mortgages and loans, That fathers' hearts were stocks and stones. And that she'd go, when Mrs. Jones, To Davy Jones's locker; 140 Then gave her head a little toss That said as plain as ever was, If men are always at a loss Mere womankind to bridle-- To try the thing on woman cross Were fifty times as idle; For she a strict resolve had made And registered in private, That either she would die a maid, Or else be Mrs. Doctor Slade, 150 If a woman could contrive it; And, though the wedding-day was set, Jenny was more so, rather, Declaring, in a pretty pet, That, howsoe'er they spread their net, She would out-Jennyral them yet, The colonel and her father. Just at this time the Public's eyes Were keenly on the watch, a stir Beginning slowly to arise 160 About those questions and replies. Those raps that unwrapped mysteries So rapidly at Rochester, And Knott, already nervous grown By lying much awake alone. And listening, sometimes to a moan, And sometimes to a clatter, Whene'er the wind at night would rouse The gingerbread-work on his house, Or when some, hasty-tempered mouse, 170 Behind the plastering, made a towse About a family matter, Began to wonder if his wife, A paralytic half her life. Which made it more surprising, Might not, to rule him from her urn, Have taken a peripatetic turn For want of exorcising. This thought, once nestled in his head, Erelong contagious grew, and spread 180 Infecting all his mind with dread, Until at last he lay in bed And heard his wife, with well-known tread, Entering the kitchen through the shed, (Or was't his fancy, mocking?) Opening the pantry, cutting bread, And then (she'd been some ten years dead) Closets and drawers unlocking; Or, in his room (his breath grew thick) 189 He heard the long-familiar click Of slender needles flying quick, As if she knit a stocking; For whom?--he prayed that years might flit With pains rheumatic shooting, Before those ghostly things she knit Upon his unfleshed sole might fit, He did not fancy it a bit, To stand upon that footing: At other times, his frightened hairs 199 Above the bedclothes trusting, He heard her, full of household cares, (No dream entrapped in supper's snares, The foal of horrible nightmares, But broad awake, as he declares), Go bustling up and down the stairs, Or setting back last evening's chairs, Or with the poker thrusting The raked-up sea-coal's hardened crust-- And--what! impossible! it must! He knew she had returned to dust, 210 And yet could scarce his senses trust, Hearing her as she poked and fussed About the parlor, dusting! Night after night he strove to sleep And take his ease in spite of it; But still his flesh would chill and creep, And, though two night-lamps he might keep, He could not so make light of it. At last, quite desperate, he goes And tells his neighbors all his woes, 220 Which did but their amount enhance; They made such mockery of his fears That soon his days were of all jeers. His nights of the rueful countenance; 'I thought most folks,' one neighbor said, 'Gave up the ghost when they were dead?' Another gravely shook his head, Adding, 'From all we hear, it's Quite plain poor Knott is going mad-- For how can he at once be sad 230 And think he's full of spirits?' A third declared he knew a knife Would cut this Knott much quicker, 'The surest way to end all strife, And lay the spirit of a wife, Is just to take and lick her!' A temperance man caught up the word, 'Ah yes,' he groaned, 'I've always heard Our poor friend somewhat slanted 239 Tow'rd taking liquor overmuch; I fear these spirits may be Dutch, (A sort of gins, or something such,) With which his house is haunted; I see the thing as clear as light,-- If Knott would give up getting tight, Naught farther would be wanted:' So all his neighbors stood aloof And, that the spirits 'neath his roof Were not entirely up to proof, Unanimously granted. 250 Knott knew that cocks and sprites were foes, And so bought up, Heaven only knows How many, for he wanted crows To give ghosts caws, as I suppose, To think that day was breaking; Moreover what he called his park, He turned into a kind of ark For dogs, because a little bark Is a good tonic in the dark, If one is given to waking; 260 But things went on from bad to worse, His curs were nothing but a curse, And, what was still more shocking, Foul ghosts of living fowl made scoff And would not think of going off In spite of all his cocking. Shanghais, Bucks-counties, Dominiques, Malays (that didn't lay for weeks), Polanders, Bantams, Dorkings, (Waiving the cost, no trifling ill, Since each brought in his little bill,) 271 By day or night were never still, But every thought of rest would kill With cacklings and with quorkings; Henry the Eighth of wives got free By a way he had of axing; But poor Knott's Tudor henery Was not so fortunate, and he Still found his trouble waxing; As for the dogs, the rows they made, 280 And how they howled, snarled, barked and bayed, Beyond all human knowledge is; All night, as wide awake as gnats, The terriers rumpused after rats, Or, just for practice, taught their brats To worry cast-off shoes and hats, The bull-dogs settled private spats, All chased imaginary cats, Or raved behind the fence's slats At real ones, or, from their mats, With friends, miles off, held pleasant chats, 291 Or, like some folks in white cravats, Contemptuous of sharps and flats, Sat up and sang dogsologies. Meanwhile the cats set up a squall, And, safe upon the garden-wall, All night kept cat-a-walling, As if the feline race were all. In one wild cataleptic sprawl, Into love's tortures falling. 300
A wealthy retired businessman, A. Gordon Knott, constructs an absurd and shoddily built medieval-style house. He then attempts to marry off his daughter against her wishes, ultimately becoming convinced that the ghost of his deceased wife is haunting the creaky, drafty disaster he created. The poem serves as a lengthy comic satire that critiques poor architectural taste, parental control over daughters, and the mid-19th-century fascination with spiritualism. Every effort Knott makes backfires dramatically, from a leaking roof to the noisy army of chickens and dogs he acquires in a misguided attempt to scare off ghosts.
Line-by-line
My worthy friend, A. Gordon Knott, / From business snug withdrawn,
He had laid business on the shelf / To give his taste expansion,
He called an architect in counsel; / 'I want,' said he, 'a--you know what,
And so the greenest of antiques / Was reared for Knott to dwell in:
Knott was delighted with a pile / Approved by fashion's leaders:
But, though Knott's house was full of airs, / _He_ had but one,--a daughter;
But she, with many tears and moans, / Besought him not to mock her.
Just at this time the Public's eyes / Were keenly on the watch, a stir
This thought, once nestled in his head, / Erelong contagious grew, and spread
Night after night he strove to sleep / And take his ease in spite of it;
Knott knew that cocks and sprites were foes, / And so bought up, Heaven only knows
Tone & mood
The tone is consistently comic and satirical throughout, reminiscent of a witty friend delivering an elaborate routine at a dinner party. Lowell maintains an unending flow of puns (like Knott/not, Tudor/two-door, Jennyral/general, sole/soul, spirits/gin), clever asides, and cheeky parenthetical jokes. Beneath the humor lies a subtle but sincere critique: the poem pokes fun at social pretentiousness, the obsession with faux Gothic architecture, parental control over daughters, and the naivety of those attracted to Spiritualism. While the narrator isn't cruel, he isn't kind either—everyone in the poem comes off as a fool in some way, and the reader is encouraged to relish the spectacle.
Symbols & metaphors
- The medieval mansion — The house symbolizes misplaced ambition and a facade of gentility. Constructed from painted wood that mimics stone and filled with mismatched architectural styles, it literally crumbles around Knott. It illustrates the foolishness of seeking status instead of earning it, highlighting the disparity between appearances and reality.
- Painted stone — The fake stone finish — wood painted to resemble freestone, with white lines outlining each "block" — serves as the poem's most vivid image of deception. It appears solid but warps in the sunlight, cracks, and allows the cold to seep in. Lowell uses this imagery to represent all of Knott's self-deceptions: his taste, his social status, and his authority over his daughter.
- The ghost of Mrs. Knott — The dead wife, who might be haunting the house, symbolizes everything Knott has tried to leave behind: his domestic life, his wife's influence, and the everyday world he sought to escape by constructing a grand mansion. Her presence is even more unsettling because she's often heard performing ordinary tasks like knitting, dusting, and cutting bread.
- The roosters and dogs — Knott's effort to employ animals as ghost-repellents illustrates how superstition and panic can result in a series of escalating disasters. Each attempted solution seems to generate a new problem that's even more disruptive than the last, reflecting the poem's overall progression: a bad house leads to a flawed marriage plan, which then leads to a haunting, and ultimately culminates in barnyard chaos.
- The Knott name / puns throughout — The name "Knott" symbolizes a tangled mess and a problem that’s hard to resolve, also hinting at a negative ("not"). Lowell weaves this into the poem by connecting it to the marriage "knot," the architectural knots in the wood that lead to cracked walls, and illustrating how this man's life has turned into a complex tangle of his own creation.
Historical context
James Russell Lowell penned this poem in the mid-19th century, during a time when newly affluent Americans were constructing elaborate Gothic Revival and Tudor Revival homes inspired by English aristocratic architecture. This style was promoted by tastemakers like Andrew Jackson Downing, leading to a proliferation of pattern-book houses adorned with faux medieval elements. Lowell, a Harvard professor, abolitionist, and prominent literary figure of his time, had little tolerance for this kind of social climbing masquerading as cultural refinement. The poem also critiques the Spiritualist movement, which gained momentum in America after 1848 when the Fox sisters from Rochester, New York, claimed to communicate with the dead through mysterious rapping sounds. By the 1850s, séances and spirit communication had become a widespread cultural phenomenon. Lowell cleverly critiques both trends at once, using the poorly constructed house—complete with real creaks and drafts—as a fitting backdrop for manufactured supernatural fright.
FAQ
A retired businessman constructs an ostentatious fake-medieval house that quickly crumbles, attempts to pressure his daughter into a marriage she does not want, and ultimately persuades himself that the spirit of his deceased wife is haunting the creaky, drafty disaster he created. This piece is a comic poem that ridicules poor taste, overbearing parenting, and the 19th-century obsession with ghost-hunting.
It’s a pun. "Knott" sounds like "not," and Lowell uses it frequently: Knott isn't what he pretends to be, the marriage knot he wishes to tie for his daughter, the knots in the wood that cause his house to crack. The name indicates from the very first line that this poem relies on wordplay.
Knott keeps wondering why his house is called the "Tudor" style when it clearly has three doors. The name is a pun on "two-door," highlighting that Knott doesn't really grasp what the architectural style he paid for actually signifies. He purchased the label without fully understanding what it entails.
In 1848, two sisters from Rochester, New York — Kate and Maggie Fox — announced that they could talk to a deceased man's spirit using knocking sounds. Their story quickly gained traction and sparked the American Spiritualist movement. Séances became all the rage, and a lot of people really thought the dead could communicate through raps and taps. Lowell taps into this phenomenon to illustrate why Knott, who resides in a house filled with genuine structural noises, starts to believe that his late wife is haunting him.
"Davy Jones's locker" is a term used by sailors to refer to the bottom of the sea, symbolizing death by drowning. Jenny is saying she’d prefer to end her life rather than marry Colonel Jones. However, Lowell is also making a pun: she'd rather end up in Davy *Jones's* locker than become Mrs. *Jones*. It’s a dark joke presented in a very light-hearted way.
It’s a play on the word "outgeneral," meaning to outmaneuver someone strategically. Jenny claims she will outmaneuver both her father and the colonel. Lowell incorporates the pun into her name: Jenny will out-Jenny-ral them. This also indicates that she is the smartest character in the poem.
Traditional folklore suggested that a rooster's crow at dawn could scare off ghosts and evil spirits. It was believed that dogs could sense and chase away supernatural beings. Knott, frightened by the strange sounds in his house, attempts to use both a rooster and dogs as ghost deterrents. The humor lies in the fact that these animals create far more noise than any ghost, transforming his haunted house into a chaotic barnyard scene.
Jenny stands out as the most capable and insightful character in the poem. She knows her desires, won't allow herself to be forced into marriage, and cleverly outmaneuvers both her father and the suitor she doesn't want. Lowell equips her with the cleverest puns and the most impactful actions. Amid a poem filled with foolish men, she’s the only one whose plan succeeds.