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The Thorn by William Wordsworth

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A retired sea captain recounts the tale of Martha Ray, a woman pushed to the brink of madness after her lover abandons her on their wedding day and she loses her baby under strange circumstances.

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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

§01Quick summary

What this poem is about

A retired sea captain recounts the tale of Martha Ray, a woman pushed to the brink of madness after her lover abandons her on their wedding day and she loses her baby under strange circumstances. He often visits a desolate hilltop where a twisted thorn tree, a murky pond, and a small mossy mound are found together — and where Martha's cries of grief can sometimes be heard. The poem focuses less on the actual events and more on how rumor, guilt, and obsession take hold in a community.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. There is a thorn — it looks so old...

    Editor's note

    The narrator starts by drawing our focus to the thorn bush: it's ancient, twisted, and hanging on by a thread. Wordsworth dedicates an unusual amount of attention to this one object, suggesting that the thorn is more than just a backdrop — it's a monument to something that won't fade away.

  2. And close beside this aged thorn...

    Editor's note

    The narrator presents the small pond and the mossy mound beside it. These three elements — the thorn, the pond, and the mound — sit closely together on the hilltop. The mound is detailed with meticulous attention, suggesting it could be a grave, though the narrator never explicitly states this.

  3. Now would you see this aged thorn...

    Editor's note

    The narrator encourages the listener to check out the spot, but quickly adds a caveat: you need to go at just the right time and in the right weather. This sets a gothic, almost surreal vibe, making the place seem filled with significance that ordinary daylight could wash away.

  4. I've measured it from side to side...

    Editor's note

    The narrator admits he has actually measured the mound — three feet long and two feet wide. This obsessive precision is both funny and a bit unsettling. It illustrates the nature of obsession: you keep going back to something you can't quite understand, attempting to define it with facts.

  5. And she is known to every star...

    Editor's note

    Martha Ray is introduced. She stands out as a constant presence in the landscape, as permanent and visible as the thorn itself. The natural world — stars, storms, the hilltop — appears to bear witness to her suffering, turning her personal grief into something that feels almost cosmic.

  6. Before she had the child...

    Editor's note

    The narrator uncovers Martha's backstory: she was set to marry Stephen Hill, but he left her for another woman, leaving her pregnant and alone. The narrative unfolds in fragments and hearsay, which is intentional—Wordsworth aims to convey the unreliability of village gossip.

  7. And some had sworn an oath that she...

    Editor's note

    The village rumor takes a grim turn: some neighbors think Martha killed her baby and buried it under the mossy mound. The narrator won't confirm or deny this. By leaving the truth in the shadows, Wordsworth shifts the poem's focus away from the crime and onto the harshness of the accusations.

  8. Oh misery! oh misery!...

    Editor's note

    Martha's repeated cry — heard by the narrator and others on the hilltop — becomes the emotional heart of the poem. It expresses raw, wordless grief without any narrative. Wordsworth uses it as a refrain to remind us that behind all the rumors and speculation is a real woman in genuine pain.

§04Tone & mood

How this poem feels

The tone feels uneasy and mournful, driven by an obsession that runs deep. The narrator, although well-meaning, isn't entirely trustworthy—he keeps returning to the same place, the same objects, and the same unresolved questions. There's a real sense of sympathy for Martha, yet the storytelling carries a voyeuristic edge that Wordsworth appears to critique. Overall, the mood hovers between a ghost story and a lament.

§05Symbols & metaphors

Symbols & metaphors

The thorn bush
The thorn serves as the poem's central image. Old, stunted, and covered in lichen, it reflects Martha herself: still alive but barely, marked by time and hardship, stuck in a place she cannot escape. It also hints at how grief and trauma linger long after the events that brought them about.
The mossy mound
The mound likely symbolizes an infant's grave, even if the poem doesn’t explicitly state it. This ambiguity is intentional — it captures the lingering accusation against Martha and illustrates how communities often conceal uncomfortable truths beneath layers of gossip.
The muddy pond
The pond lies next to the mound and the thorn, rounding out the trio of objects on the hilltop. Stagnant and murky, it mirrors the poem's unwillingness to provide clear answers — you can't see its depths, just as the truth of what happened to Martha's child remains hidden.
The hilltop
The exposed, storm-battered hilltop is where Martha keeps coming back to cry out. It's a place away from ordinary society, which feels right: she's been pushed out of the community by scandal and grief, and this wild landscape has become her only home.
Martha's cry
The repeated cry of 'Oh misery! oh misery!' represents a grief that transcends words. It isn't just a statement or a confession — it's raw suffering that pierces through all the narrator's careful, measured thoughts.

§06Historical context

Historical context

Wordsworth published 'The Thorn' in the 1798 collection *Lyrical Ballads*, which he co-authored with Samuel Taylor Coleridge. This book is considered a cornerstone of English Romanticism, and 'The Thorn' stands out as one of its more experimental works. Wordsworth intentionally drew from the oral ballad tradition—using straightforward language, a storytelling narrator, and a dark rural theme—but he took the form in an unexpected direction by making the narrator a focal point of examination. In a prose note that accompanied the poem, Wordsworth described the speaker as a retired sea captain: a man with a limited imagination who compensates through obsessive repetition. The poem reveals Wordsworth's keen interest in the lives of marginalized rural individuals, especially women who have been abandoned or shamed, as well as how communities weave narratives around suffering they struggle to comprehend.

§07FAQ

Questions readers ask

The narrator is a retired sea captain, as noted by Wordsworth in his commentary on the poem. However, he isn't a trustworthy guide. He keeps returning to the same place, goes in circles with his thoughts, measures things obsessively, and openly admits he’s unsure about what truly occurred. Wordsworth crafted him this way intentionally: the poem explores how an everyday person transforms a woman's tragedy into a tale he can keep recounting.

Adjacent texts in the archive