The Annotated Edition
WHEREIN IT IS SHOWN THAT THE MOST ARDENT SPIRITS ARE MORE by James Russell Lowell
This poem is a lengthy comic tale from James Russell Lowell's satirical piece *The Biglow Papers*, which mocks the 19th-century Spiritualist trend — the practice of holding séances where "spirits" supposedly communicated by knocking and rapping.
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Many a speculating wight / Came by express-trains, day and night,
Editor's note
Entrepreneurs and opportunists rush in, eager to cash in on Knott's haunted house. Lowell quickly portrays the Spiritualist trend as a money-making scheme — folks are chasing profits, not the supernatural.
One threatened, if he would not 'trade,' / His run of custom to invade,
Editor's note
One schemer plans to undermine Knott by starting a competing ghost show — 'THE ORIGINAL KNOCKING TROUPE' — featuring an actor portraying Hamlet's father. The humor lies in how the 'spirits' are presented like circus performers vying for ticket sales.
Another a fair plan reveals / Never yet hit on, which, he feels,
Editor's note
A second con man suggests putting the haunted house on wheels and taking it on a tour of New England as a traveling moral lecture show. He proposes including a barrel organ playing psalm tunes and a Titian painting of Venus as part of the spectacle. This pitch blends piety and sleaze in equal parts, perfectly illustrating Lowell's argument about the intertwining of religion and showmanship in Spiritualism.
Another offered handsome fees / If Knott would get Demosthenes
Editor's note
A third visitor imagines famous dead orators like Demosthenes and Edmund Burke rapping endorsements for a public speaking book. This absurd idea of using ancient ghosts as celebrity spokesmen highlights how the séance craze was essentially early-modern marketing in mystical disguise.
Meanwhile, the spirits made replies / To all the reverent _whats_ and _whys_,
Editor's note
The spirits are friendly to believers but remain quiet around skeptics — a point Lowell highlights to suggest that the 'evidence' for ghosts tends to show up only for those who are already inclined to believe. He cleverly uses the pun 'rap-turous reception' to maintain a sharp comic tone.
True, there were people who demurred / That, though the raps no doubt were heard
Editor's note
Skeptics often notice that Jenny, her lover Doctor Slade, and the chambermaid Deborah seem to be around every time the knocking occurs. Lowell allows readers to make the clear connection on their own—the humans in the house are behind the raps.
The spirits seemed exceeding tame, / Call whom you fancied, and he came;
Editor's note
Any ghost you wanted appeared on cue, which Lowell likens to Mephistopheles summoning wine in Auerbach's cellar from Goethe's *Faust*. The ease with which the spirits appear is a clear sign — genuine supernatural forces wouldn’t be so obliging.
'Twas strange ('mongst other things) to find / In what odd sets the ghosts combined,
Editor's note
Lowell presents a hilarious and absurd list of renowned deceased individuals — philosophers, generals, fictional characters, and mythological figures — who all supposedly gather to confirm trivial details about Franklin's Arctic expedition. The list is intentionally ludicrous: Cicero, 'the late James Crow,' and 'Richard Roe' (a name often used in legal contexts) are all treated as equals. The punchline is that these spirits have little useful knowledge, and their statements often contradict one another.
Sometimes the spirits made mistakes, / And seemed to play at ducks and drakes.
Editor's note
The ghosts are remarkably poor at responding to questions about their own areas of expertise. Ulysses can’t recall what the Sirens sang ('I guess it was Old Hundred' — a well-known hymn tune), and Franklin claims that lightning happens 'Because it thundered.' These are Lowell's wittiest jokes: the dead are just as clueless as the living.
On one sole point the ghosts agreed / One fearful point, than which, indeed,
Editor's note
The spirits all share one common belief: they accuse Colonel Jones of killing a tinware peddler named Eliab Snooks. Snooks' ghost recounts an elaborate tale of the murder, complete with a bizarre lineup of historical witnesses. However, the true aim of this accusation is to manipulate Knott into allowing Jenny to marry whoever she chooses — it turns out the haunting is really a love story in disguise.
Knott was perplexed and shook his head, / He did not wish his child to wed
Editor's note
Knott is torn between his desire to prevent his daughter from marrying a man now linked to a murder and his urgent wish for the gossip to cease. Ultimately, he concedes and allows Jenny to pick her own husband — just as the 'spirits' (most likely Jenny and Slade) intended from the start.
Accordingly, this artless maid / Her father's ordinance obeyed,
Editor's note
Jenny marries Hiram Slade, and just like that, the ghosts fall silent. The town decides to excavate the rumored murder site, where they uncover an ancient jawbone that surgeons say could be human—or maybe not. After lying underground for fifty years, bones "lose their identity and grow / From human bones to bare bones." This ambiguous verdict serves as a wonderfully humorous anticlimax.
Still, if to Jaalam you go down, / You'll find two parties in the town,
Editor's note
The poem concludes with the town divided into believers and skeptics, with both sides firmly convinced of their views. Parson Wilbur has the final say: ghostly claims expressed through knocking should be approached with caution to avoid damaging anyone's reputation — yet he feels happy for Jenny in finding her man. This ending strikes a sensible, humane tone and serves as the poem's closest touch to a moral lesson.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The rapping / knocking
- The poem's central symbol is the knocks. They represent the divide between what people want to believe and the reality of the situation. For believers, the knocks are 'proof' of the supernatural, while skeptics view them as clear fraud. Lowell illustrates how both groups perceive exactly what they expect to see.
- The long lists of famous dead
- The gathering of historical, mythological, and fictional figures crammed into one séance room highlights the absurdity of democracy: death is meant to bring wisdom, yet Lowell's ghosts are just as bewildered, contradictory, and self-serving as the living. These lists also poke fun at the Spiritualist tendency to name-drop well-known spirits to lend legitimacy.
- The jawbone
- The physical 'evidence' of the murder — a grim, unclear old bone — reflects how Spiritualist 'proof' often ends up being something that could signify anything or nothing at all. The surgeons' claim that bones lose their identity after fifty years serves as a subtle joke about how evidence, much like memory, fades into irrelevance.
- The barrel organ grinding psalm tunes
- The barrel organ playing hymns in the proposed touring show reflects the cynical blend of religious sentiment and commercial entertainment that Lowell identified as central to the Spiritualist movement. Sacred music turns into a marketing tool.
- Jenny's marriage
- Jenny's choice of her own husband is the true resolution the poem has been leading to. Her freedom represents a basic human longing for self-determination that often gets overshadowed by superstition, parental control, and societal expectations — yet ultimately prevails.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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