The Annotated Edition
Showing What Is Meant by a Flow of Spirits by James Russell Lowell
This poem is a lengthy comic segment from Lowell's satirical narrative *A Fable for Critics*, which actually comes from his *The Biglow Papers* period.
- Core theme
- Art
Study actions
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
At first the ghosts were somewhat shy, / Coming when none but Knott was nigh,
Editor's note
The ghosts begin as shy apparitions, only showing themselves when Knott is by himself. Skeptics quickly dismiss them as just indigestion, while a swarm of dubious doctors jumps in with conflicting remedies — wet sheets, cold irons, pounded peat — each one confidently recommending something completely different from the last. The irony is that the doctors create more confusion than the ghosts themselves.
Still, spite of medical advice, / The ghosts came thicker, and a spice
Editor's note
Ignoring all the medical chatter, the ghosts become more active. They begin showing up in broad daylight and disrupt Knott's after-dinner nap with loud rapping — and Lowell adds a quick lament that life without naps hardly seems worth living. The knocking sounds like a percussion cap going off, and the entire scene feels like a party where mummies are being unwrapped.
Scratchings sometimes the walls ran round, / The merest penny-weights of sound;
Editor's note
The haunting unfolds in three phases: first, there are soft scratchings, then loud thumps beneath the parlor floor—so intense it feels as if vegetables are peeling themselves. Lowell plays with the words 'Knox' and 'Nox' (night) and throws in a Latin phrase to poke fun at the pretentiousness of ghost-hunters. The noise transforms into a relentless, gnawing presence that consumes Knott from within.
Soon they grew wider in their scope; / Whenever Knott a door would ope,
Editor's note
The poltergeist activity becomes both physical and comical. Doors slam shut on their own, and an invisible hand keeps pushing Knott's hat down over his face. Lowell then shifts to a tongue-in-cheek bibliography — Doctor Dee, John Wesley, the Mathers, Bodin — a collection of well-known ghost literature experts who all have differing opinions, except for one agreement: the devil should be told to take a hike.
Knott's Upas daily spread its roots, / Sent up on all sides livelier shoots,
Editor's note
The haunting is now likened to the Upas tree, a mythical poison tree that spreads and produces rotten fruit. The ghosts turn into real bullies: cutting holes in his Sunday clothes, playing flutes all night, and stuffing his boots with peas and his nightcap with burrs. Knott finally loses it and swears — using language that’s definitely not biblical — that he’s losing his mind.
The tables took to spinning, too, / Perpetual yarns, and arm-chairs grew
Editor's note
Furniture joins the rebellion. Tables spin—this is a clear jab at the Spiritualist parlor trick of table-turning. Armchairs take on the role of apostles, a footstool proclaims itself the sole keeper of truth, and a teapoy asserts it is the prophet Jeremiah. Kitchen tins ring out like bells, and various household objects launch into a wild dance. This satire critiques how Spiritualist séances led everyday people to interpret random noises and movements as messages from the divine.
Of course such doings, far and wide, / With rumors filled the countryside,
Editor's note
Word spreads, and soon the public gathers at Knott's house. Lowell critiques American democratic culture: truth only seems to matter when it's backed by a majority, politicians play both sides of the ghost debate, and earnest seekers flock in large numbers. Widows arrive with crying children, mourners sigh in the shadows, and everyone ties their horses to Knott's pine trees. The haunted house transforms into a chaotic mix of politics and social spectacle.
Swarms of lean Seekers, eager-eyed, / (People Knott never could abide,)
Editor's note
This is the poem's comic climax: a lengthy, breathless list of absurd questions that visitors ask the spirits. Are the damned fried or boiled? Who cleaned the moon? How do you fix baldness? Was Socrates ugly? Did a bull ring Cock Robin's death knell? The questions vary from the serious to the silly, and even to the local gossip, highlighting how people view the spirit world as a universal search engine for their own trivial curiosities. Each person seems eager to draw from the ghosts, pouring their inquiries into their own private decanter — a perfect illustration of self-centered credulity.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The knocking / rapping
- The main symbol that Lowell is mocking represents the entire Spiritualist movement. The Fox Sisters' iconic 'spirit raps' from 1848 sparked a nationwide frenzy, and Lowell exaggerates the knocking into an ever-increasing absurdity to highlight just how flimsy the evidence for the supernatural truly was.
- The spinning tables and prophetic furniture
- Table-turning was a common activity during séances, where participants believed that spirits could move the furniture. By having a footstool proclaim itself the only keeper of truth and a teapoy insist it was Jeremiah, Lowell humorously highlights how easily people attributed significant spiritual authority to everyday objects.
- The decanter
- In the final image, each visitor aims to pour the spirits from their private spout into their personal decanter. The decanter represents individual ego — everyone seeks the spirit world to validate their own unique anxieties and curiosities, rather than pursuing any common or real truth.
- The Upas tree
- The Upas was a mythical tree in Southeast Asia believed to poison everything nearby. Lowell uses this imagery to illustrate how the haunting infiltrates and taints Knott's entire existence, as well as how a belief in the supernatural, once established, continues to grow and produce harmful outcomes.
- The mock-scholarly bibliography
- The extensive list of ghost-literature authorities (Dee, Wesley, Glanvil, the Mathers, Bodin, etc.) represents a façade of intellectual legitimacy. Lowell demonstrates that simply accumulating notable names doesn’t lead to consensus or truth — all these authorities conflict, except for the shared belief that the devil should be expelled.
- Knott's hat
- The hat shoved down over Knott's face serves as a recurring slapstick image of the supernatural turning the everyday man into a fool. It also symbolizes the dignity that gets repeatedly crushed — each time Knott attempts to gather himself and carry on with his day, the ghosts bring him down again.
§06Historical context
Historical context
§07FAQ
Questions readers ask
What is this poem actually about?
It follows a man named Knott, who finds himself troubled by increasingly intrusive ghosts. The haunting begins with gentle knocks, grows to loud door slams and damaged hats, and culminates in the entire neighborhood showing up at his house to ask the spirits absurd questions. At its core, the story critiques the 1850s American Spiritualism fad, which Lowell viewed as a blend of deception, hopeful thinking, and widespread naivety.
Who were the Fox Sisters and why do they matter here?
Kate and Maggie Fox were two young women from upstate New York who, in 1848, said they could talk to a spirit using knocking sounds. Their claims turned them into a national sensation and kicked off the Spiritualist movement. Lowell's poem is filled with mentions of 'rapping' and 'knocking' since those were the Fox Sisters' trademark phenomena — the poem humorously responds to their rise to fame.
Why does Lowell list so many real authors and books about ghosts?
The bibliography (Dee, Wesley, Glanvil, the Mathers, Bodin, and others) serves as a satirical gesture. Lowell highlights the extensive learned writing about ghosts and demons, all of which contradicts one another, except for the consensus that Satan should be dismissed. This list pokes fun at the notion that having many sources guarantees strong evidence.
What is table-turning and why does Lowell mock it?
Table-turning was a popular parlor séance activity where participants would place their hands on a table, claiming that spirits would make it rotate or tip to spell out messages. This activity saw a surge in popularity in the early 1850s. Lowell pokes fun at it by depicting Knott's tables as 'spinning perpetual yarns' and having his armchairs appoint themselves apostles, treating the entire phenomenon as furniture with an absurd sense of grandeur.
What does the long list of questions at the end mean?
It’s the satirical core of the poem. Lowell lists the types of questions people asked at séances: some are theological (are the damned fried or boiled?), some are historical (who really wrote Junius?), and others are just local and petty (did Betty steal those spoons? will Ensign marry Jane?). The takeaway is that people saw the spirit world as a supernatural search engine for their own trivial worries, which Lowell finds amusing yet somewhat poignant.
Is Knott a real person?
Knott seems to be a fictional character, and the name likely serves as a pun — 'Knott' sounds like 'not,' which fits perfectly with the idea of a man named Knott getting twisted up in knots by ghosts. This kind of wordplay was exactly what Lowell enjoyed. Instead of portraying a specific historical figure, the poem is part of a longer satirical narrative.
What is the Upas tree reference about?
The Upas was a mythical tree from Southeast Asia, believed to be so toxic that nothing could survive in its shade. It often represented corruption and death during the Romantic era. Lowell employs this imagery to illustrate how the haunting has consumed Knott's life, spreading its roots and producing toxic fruit in all directions.
Why does Lowell use so many stacked rhymes?
The poem employs extended rhyme chains—often stretching to six, seven, or even eight lines with the same ending sound—as a comedic device. This relentless use of rhyme reflects the persistence of the knocking and allows Lowell to pack in increasingly absurd examples before the rhyme scheme eventually breaks. It serves as a formal joke as well as a verbal one.
Citation
Cite this poem
MLA
Lowell, James Russell. "Showing What Is Meant by a Flow of Spirits." Storgy, https://storgy.com/poems/showing-what-is-meant-by-a-flow-of-spirits-james-russell-lowell/.
APA
Lowell, J. R. (n.d.). Showing what is meant by a flow of spirits. Storgy. https://storgy.com/poems/showing-what-is-meant-by-a-flow-of-spirits-james-russell-lowell/
Row A — Thesis
1 ptIn 'Showing What Is Meant by a Flow of Spirits,' James Russell Lowell weaponizes comic excess, employing cascading rhyme schemes, mock-medical jargon, and an escalating catalogue of absurd questions to expose how credulity, faddism, and the …
- Row B — Evidence + Commentary4 pts
- Row C — Sophistication1 pt
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Available on any Storgy plan — model paragraphs, band callouts, and common student errors for every poem.
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