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The Thorn by William Wordsworth

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A nervous local narrator shares with a stranger the tale of a twisted old thorn tree perched on a windswept mountain, along with a small mossy mound that resembles a baby's grave, where a woman named Martha Ray sits through all kinds of weather, crying out in her grief.

Core theme
Memory
The PoemFull text

The Thorn

William Wordsworth

"There is a Thorn—it looks so old, In truth, you'd find it hard to say How it could ever have been young, It looks so old and gray. Not higher than a two years' child It stands erect, this aged Thorn; No leaves it has, no thorny points; It is a mass of knotted joints, A wretched thing forlorn. It stands erect, and like a stone With lichens it is overgrown. Like rock or stone, it is o'ergrown With lichens to the very top, And hung with heavy tufts of moss, A melancholy crop: Up from the earth these mosses creep, And this poor Thorn they clasp it round So close, you'd say that they were bent With plain and manifest intent To drag it to the ground; And all had joined in one endeavour To bury this poor Thorn for ever. High on a mountain's highest ridge, Where oft the stormy winter gale Cuts like a scythe, while through the clouds It sweeps from vale to vale; Not five yards from the mountain path, This Thorn you on your left espy; And to the left, three yards beyond, You see a little muddy Pond Of water, never dry; I've measured it from side to side: 'Tis three feet long, and two feet wide. And, close beside this aged Thorn, There is a fresh and lovely sight, A beauteous heap, a Hill of moss, Just half a foot in height. All lovely colours there you see, All colours that were ever seen; And mossy net-work too is there, As if by hand of lady fair The work had woven been; And cups, the darlings of the eye, So deep is their vermilion dye. Ah me! what lovely tints are there! Of olive green and scarlet bright, In spikes, in branches, and in stars, Green, red, and pearly white. This heap of earth o'ergrown with moss, Which close beside the Thorn you see, So fresh in all its beauteous dyes, Is like an infant's grave in size, As like as like can be: But never, never any where, An infant's grave was half so fair. Now would you see this aged Thorn, This Pond, and beauteous Hill of moss, You must take care and choose your time The mountain when to cross. For oft there sits, between the Heap That's like an infant's grave in size, And that same Pond of which I spoke, A Woman in a scarlet cloak, And to herself she cries, "Oh misery! oh misery! Oh woe is me! oh misery!" At all times of the day and night This wretched Woman thither goes; And she is known to every star, And every wind that blows; And there beside the Thorn she sits When the blue daylight's in the skies, And when the whirlwind's on the hill, Or frosty air is keen and still, And to herself she cries, "Oh misery! oh misery! Oh woe is me! oh misery!" "Now wherefore, thus, by day and night, In rain, in tempest, and in snow, Thus to the dreary mountain-top Does this poor Woman go? And why sits she beside the Thorn When the blue daylight's in the sky, Or when the whirlwind's on the hill, Or frosty air is keen and still, And wherefore does she cry?— Oh wherefore? wherefore? tell me why Does she repeat that doleful cry?" "I cannot tell; I wish I could; For the true reason no one knows: But if you'd gladly view the spot, The spot to which she goes; The Heap that's like an infant's grave, The Pond—and Thorn, so old and gray; Pass by her door—'tis seldom shut— And, if you see her in her hut, Then to the spot away!— I never heard of such as dare Approach the spot when she is there." "But wherefore to the mountain-top Can this unhappy Woman go, Whatever star is in the skies, Whatever wind may blow?" "Nay, rack your brain—'tis all in vain, I'll tell you every thing I know; But to the Thorn, and to the Pond Which is a little step beyond, I wish that you would go: Perhaps, when you are at the place, You something of her tale may trace. I'll give you the best help I can: Before you up the mountain go, Up to the dreary mountain-top, I'll tell you all I know. 'Tis now some two-and-twenty years Since she (her name is Martha Ray) Gave, with a maiden's true good will, Her company to Stephen Hill; And she was blithe and gay, And she was happy, happy still Whene'er she thought of Stephen Hill. And they had fix'd the wedding-day, The morning that must wed them both; But Stephen to another Maid Had sworn another oath; And with this other Maid to church Unthinking Stephen went— Poor Martha! on that woeful day A pang of pitiless dismay Into her soul was sent; A Fire was kindled in her breast, Which might not burn itself to rest. They say, full six months after this, While yet the summer leaves were green, She to the mountain-top would go, And there was often seen. 'Tis said, a child was in her womb, As now to any eye was plain; She was with child, and she was mad; Yet often she was sober sad From her exceeding pain. Oh me! ten thousand times I'd rather That he had died, that cruel father! Sad case for such a brain to hold Communion with a stirring child! Sad case, as you may think, for one Who had a brain so wild! Last Christmas when we talked of this, Old farmer Simpson did maintain, That in her womb the infant wrought About its mother's heart, and brought Her senses back again: And when at last her time drew near, Her looks were calm, her senses clear. No more I know, I wish I did, And I would tell it all to you; For what became of this poor child There's none that ever knew: And if a child was born or no, There's no one that could ever tell; And if 'twas born alive or dead, There's no one knows, as I have said; But some remember well, That Martha Ray about this time Would up the mountain often climb. And all that winter, when at night The wind blew from the mountain-peak, 'Twas worth your while, though in the dark, The churchyard path to seek: For many a time and oft were heard Cries coming from the mountain-head: Some plainly living voices were; And others, I've heard many swear, Were voices of the dead: I cannot think, whate'er they say, They had to do with Martha Ray. But that she goes to this old Thorn, The Thorn which I've described to you, And there sits in a scarlet cloak, I will be sworn is true. For one day with my telescope, To view the ocean wide and bright, When to this country first I came, Ere I had heard of Martha's name, I climbed the mountain's height: A storm came on, and I could see No object higher than my knee. 'Twas mist and rain, and storm and rain, No screen, no fence could I discover, And then the wind! in faith, it was A wind full ten times over. I looked around, I thought I saw A jutting crag,—and off I ran, Head-foremost, through the driving rain, The shelter of the crag to gain; And, as I am a man, Instead of jutting crag, I found A Woman seated on the ground. I did not speak—I saw her face, Her face—it was enough for me; I turned about and heard her cry, "O misery! O misery!" And there she sits, until the moon Through half the clear blue sky will go; And, when the little breezes make The waters of the Pond to shake, As all the country know, She shudders, and you hear her cry, "Oh misery! oh misery!" "But what's the Thorn? and what's the Pond? And what's the Hill of moss to her? And what's the creeping breeze that comes The little Pond to stir?" "I cannot tell; but some will say She hanged her baby on the tree; Some say she drowned it in the pond, Which is a little step beyond: But all and each agree, The little babe was buried there, Beneath that Hill of moss so fair. I've heard, the moss is spotted red With drops of that poor infant's blood; But kill a new-born infant thus, I do not think she could! Some say, if to the Pond you go, And fix on it a steady view, The shadow of a babe you trace, A baby and a baby's face, And that it looks at you; Whene'er you look on it, 'tis plain The baby looks at you again. And some had sworn an oath that she Should be to public justice brought; And for the little infant's bones With spades they would have sought. But then the beauteous Hill of moss Before their eyes began to stir; And for full fifty yards around, The grass,—it shook upon the ground; But all do still aver The little Babe is buried there, Beneath that Hill of moss so fair. I cannot tell how this may be: But plain it is, the Thorn is bound With heavy tufts of moss, that strive To drag it to the ground; And this I know, full many a time, When she was on the mountain high, By day, and in the silent night, When all the stars shone clear and bright, That I have heard her cry, "Oh misery! oh misery! Oh woe is me! oh misery!"

Public domain

Sourced from Project Gutenberg

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§01Quick summary

What this poem is about

A nervous local narrator shares with a stranger the tale of a twisted old thorn tree perched on a windswept mountain, along with a small mossy mound that resembles a baby's grave, where a woman named Martha Ray sits through all kinds of weather, crying out in her grief. On her wedding day, Martha was left at the altar, later showed signs of pregnancy, but the baby was never seen again—causing whispers throughout the village about what might have happened. The poem never reveals the full truth; it keeps you tangled in a mist of rumor, guilt, and sorrow, much like the narrator.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. There is a Thorn—it looks so old, / In truth, you'd find it hard to say

    Editor's note

    The narrator begins by drawing our focus to the thorn bush. Its ancient, diminutive stature — no taller than a toddler — gives it a sense of being stunted and defeated right from the start. The repeated use of "old" and the term "wretched" create a tone of pity that resonates throughout the poem.

  2. Like rock or stone, it is o'ergrown / With lichens to the very top,

    Editor's note

    This stanza emphasizes the thorn being smothered. The mosses seem to be *trying* to drag the thorn underground, giving them a somewhat sinister intent. The thorn is being buried alive, hinting at the buried infant that the poem will eventually reveal.

  3. High on a mountain's highest ridge, / Where oft the stormy winter gale

    Editor's note

    We get our first sense of the location: a harsh, exposed mountain ridge where the wind "cuts like a scythe." Then, the narrator takes an oddly specific action — measuring the nearby pond to be three feet by two feet. This meticulous detail reveals something about the narrator: he’s the type who measures things to regain control over what feels beyond his understanding.

  4. And, close beside this aged Thorn, / There is a fresh and lovely sight,

    Editor's note

    The mossy mound next to the thorn is depicted in vibrant colors—vermilion, olive green, scarlet, and pearly white. The beauty is undeniable, yet Wordsworth quickly diminishes it by comparing the mound to "an infant's grave in size." From here, the beauty and the horror become intertwined.

  5. Ah me! what lovely tints are there! / Of olive green and scarlet bright,

    Editor's note

    The narrator is captivated by the colors of the mound, finding it hard to look away. The last couplet — "But never, never any where, / An infant's grave was half so fair" — is the poem's first clear indication of what the pile might represent. The beauty deepens the potential tragedy rather than alleviating it.

  6. Now would you see this aged Thorn, / This Pond, and beauteous Hill of moss,

    Editor's note

    The narrator takes on the role of a tour guide, cautioning the stranger to choose the best time for a visit. He then presents Martha Ray for the first time: a woman clad in a scarlet cloak, seated between the mound and the pond, lamenting, "Oh misery!" The vibrant red of her cloak mirrors the scarlet moss, connecting Martha to both the landscape and the events that unfolded there.

  7. At all times of the day and night / This wretched Woman thither goes;

    Editor's note

    Martha's vigil never wavers — whether it's day or night, through storms or frost. The echo of her cry ("Oh misery! oh misery!") in various stanzas acts like a haunting refrain that keeps the reader engaged. She is portrayed as "known to every star / And every wind," which gives her grief a sense of cosmic depth.

  8. "Now wherefore, thus, by day and night, / In rain, in tempest, and in snow,

    Editor's note

    The poem transitions into a dialogue. The stranger poses the questions that any reader might wonder: why does she go there? Why does she cry? The narrator's response — "I cannot tell; I wish I could" — serves as the poem's key revelation. The truth remains hidden, and the narrator's failure to share it adds depth to the overall meaning.

  9. "But wherefore to the mountain-top / Can this unhappy Woman go,

    Editor's note

    The stranger presses once more, prompting the narrator to finally share the backstory. The phrase "I'll tell you all I know" indicates that we're about to hear the poem's closest approximation to facts — even if these will ultimately be secondhand and incomplete.

  10. 'Tis now some two-and-twenty years / Since she (her name is Martha Ray)

    Editor's note

    We discover Martha's name and her story: she loved Stephen Hill, they were set to marry, but Stephen left her for another woman on their wedding day. The narrator describes it as "pitiless dismay" and notes "a Fire was kindled in her breast / Which might not burn itself to rest" — portraying grief and betrayal as an unending internal flame.

  11. They say, full six months after this, / While yet the summer leaves were green,

    Editor's note

    Martha stands on the mountain, her pregnancy obvious. The narrator observes that she is "with child, and she was mad" — yet at times also "sober sad." The line "ten thousand times I'd rather / That he had died, that cruel father!" captures the narrator's most intense emotion, revealing a moment of moral judgment that pierces through the usual cautious language.

  12. Sad case for such a brain to hold / Communion with a stirring child!

    Editor's note

    A neighbor, old farmer Simpson, says that the baby's movement in the womb helped bring Martha back to her senses as her pregnancy was nearing its end. This detail is important: if Martha was calm and clear-headed during the birth, the village rumors about her actions become even more troubling, not less.

  13. No more I know, I wish I did, / And I would tell it all to you;

    Editor's note

    The narrator hits the boundaries of his knowledge: no one witnessed the birth, and no one can say whether the child survived or not. The stanza relies on negatives — "no one," "never knew," "no one that could ever tell." This mystery isn't meant to be unraveled; it's the essence of the matter.

  14. And all that winter, when at night / The wind blew from the mountain-peak,

    Editor's note

    The village was filled with cries coming from the mountain — some believed they were living voices, while others thought they belonged to the dead. The narrator keeps a distance from interpreting this as supernatural, yet he also doesn't outright reject that idea. The uncertainty is thoughtfully preserved.

  15. But that she goes to this old Thorn, / The Thorn which I've described to you,

    Editor's note

    The narrator is clear about one thing: he has seen Martha there himself. He recounts how he first came across her — climbing the mountain with a telescope, caught in a storm, running for shelter, and stumbling upon a woman on the ground instead of a rock. This first-person account is intended to ground the story in reality, but the storm and mist give even this sighting a dreamlike quality.

  16. I did not speak—I saw her face, / Her face—it was enough for me;

    Editor's note

    The narrator's encounter with Martha is silent. He catches a glimpse of her face and quickly looks away—her expression says it all without words. This moment stands out as one of the poem's most impactful: the narrator, who has been speaking endlessly, is rendered speechless by her gaze.

  17. "But what's the Thorn? and what's the Pond? / And what's the Hill of moss to her?

    Editor's note

    The stranger poses the question that the entire poem has been hinting at: what do these objects signify for Martha? The narrator's response reveals the village's darkest gossip — she hanged the baby, or drowned it, or buried it beneath the moss. Although the narrator struggles to accept that she could have done such a thing, he faithfully recounts every rumor.

  18. I've heard, the moss is spotted red / With drops of that poor infant's blood;

    Editor's note

    The rumors hit their peak with disturbing images: bloodstained moss and a baby's shadow in the pond that seems to stare back. These elements are steeped in folk horror, and Wordsworth presents them with a straight face. They illustrate how a community transforms grief and mystery into a gothic legend.

  19. And some had sworn an oath that she / Should be to public justice brought;

    Editor's note

    The villagers almost excavate the mound in search of the infant's bones, but a tremor in the ground makes them halt. It's unclear whether this is a supernatural occurrence or just the men losing their courage; the narrator leaves that ambiguous. Justice is called for but remains elusive — Martha is neither tried nor exonerated.

  20. I cannot tell how this may be: / But plain it is, the Thorn is bound

    Editor's note

    The poem ends by revisiting the thorn, which is still being pulled down by the moss. The last repetition of Martha's cry — "Oh misery! oh misery!" — wraps things up neatly. However, nothing has truly been resolved. The thorn, the woman, and the grief remain, just as they were.

§04Tone & mood

How this poem feels

Haunted and uneasy, the poem presents a veneer of simple rural gossip that continually reveals deeper, darker truths. The narrator's tone is friendly and well-intentioned but not entirely trustworthy — he measures ponds, hedges every statement, and maintains he can't speak on things he doesn't understand. Beneath that meticulous caution lies real fear. The poem's restraint in tone amplifies the horror: each time Martha's cry is repeated, it hits harder precisely because the narrator conveys it so straightforwardly.

§05Symbols & metaphors

Symbols & metaphors

The Thorn
The thorn serves as the poem's main symbol of enduring through pain. It's old, leafless, twisted, and slowly being buried — yet it remains upright. It reflects Martha Ray: both share a deep-seated grief, both are weighed down by external pressures, and both refuse to fade away.
The Hill of Moss
The mossy mound is both beautiful and unsettling. Its colors are bright and appealing, yet its size is exactly that of an infant's grave. It embodies how nature can mask human tragedy — creating a lovely exterior while hiding the sorrow underneath.
The Pond
The small, muddy pond — which the narrator measures obsessively — is linked to the rumor that Martha drowned her child there. The baby's face, said to appear on its surface, transforms it into a mirror of guilt and accusation. In this case, water doesn't cleanse; it preserves and reflects.
Martha's Scarlet Cloak
The scarlet cloak makes Martha stand out from afar and ties her visually to the red-spotted moss and the vermilion cups on the mound. Scarlet suggests feelings of both passion and guilt, and the color seems to seep into the landscape, as if Martha's grief has left a mark on everything around her.
The Mountain
The exposed, storm-battered mountain ridge is where Martha escapes from ordinary village life. It's a harsh place — shaped by fierce winds and cloaked in mist — reflecting her troubled mind. Climbing the mountain means leaving behind the comforts of community and the constraints of law.
The Mosses
The mosses creeping up the thorn, dragging it toward the ground, function like a collective force of a village — slow, relentless, and suffocating. They illustrate how time, nature, and shared pressure can bury what is inconvenient or painful, whether it’s a tree, a secret, or a woman’s story.

§06Historical context

Historical context

Wordsworth published "The Thorn" in the 1798 *Lyrical Ballads*, a collection he created with Coleridge that many consider the beginning of English Romanticism. In a detailed note, he explains that the narrator is a retired sea captain—someone with a narrow view of the world who sticks to facts (as shown by the pond measurement) yet feels a strong pull towards the inexplicable. The poem takes inspiration from the ballad tradition of folk storytelling, featuring repetitions, refrains, and lingering mysteries. The name Martha Ray comes from a real woman who was murdered in 1779, a detail that some readers would have recognized. Wordsworth was fascinated by how rural communities deal with trauma through gossip and folklore, as well as how the natural world absorbs and reflects human pain—concepts that appear throughout the *Lyrical Ballads* project.

§07FAQ

Questions readers ask

The poem keeps its secrets intentionally. The narrator shares every rumor — hanging, drowning, burial — yet he won’t confirm any of them and insists he doesn't believe she could have done it. Wordsworth encourages the reader to embrace the uncertainty instead of coming to a conclusion. The key takeaway is that the village gossip has already judged and condemned Martha without any evidence.

Citation

Cite this poem

MLA

Wordsworth, William. "The Thorn." Storgy, https://storgy.com/poems/the-thorn-william-wordsworth/.

APA

Wordsworth, W. (n.d.). The thorn. Storgy. https://storgy.com/poems/the-thorn-william-wordsworth/

TeacherAP Lit Q1 scaffold — preview

Row A — Thesis

1 pt

In 'The Thorn,' Wordsworth constructs an unreliable village narrator whose obsessive, halting descriptions of a blighted thorn tree, a muddy pond, and a moss-covered mound transform unverifiable rumor into the poem's true subject, arguing …

  • Row B — Evidence + Commentary4 pts
  • Row C — Sophistication1 pt
  • Common student errors
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