Summary
Stanza 1: In the opening stanza, an unnamed speaker begins to describe an old and overgrown thornbush in a matter-of-fact tone. The speaker recounts how the thorn appears so old that one could never imagine that it was once young and fresh. The thornbush is misshapen with no leaves or prickles and is nothing more than a large mass covered with lichens, or a kind of fungus-like organism.
Stanza 2: The second stanza continues to emphasize the sorry state of the thorn, repeating how it resembles a rock and how it is overgrown with moss and lichens. The speaker describes in great detail the way in which the moss has overtaken the thorn. The moss has risen up from the earth and clasped itself tightly around the thorn, essentially suffocating it. The moss is presented as a kind of foe, intent upon destroying the thorn.
Stanza 3: The speaker describes the location and appearance of the thorn. The speaker now elaborates that the thorn is located high on top of a mountain where stormy winter winds often blow, sweeping from one vale (or valley) to another. The thornbush is therefore located in a vulnerable spot where it is attacked by cold, harsh winds. The speaker then explains in meticulous detail that the thorn is located just off the mountain path and that a small muddy pond lies near it. It is very small, yet it always contains water. Nonetheless, the water it holds would be insufficient for quenching one’s thirst.
Stanza 4: The fourth stanza marks a sudden shift in tone, as the speaker begins to describe positive elements of nature. The speaker mentions that near this thornbush lies a lovely heap of moss. Unlike the moss mentioned earlier in the poem, this small hill of moss is cast in a favorable light. This particular spot evokes excitement and admiration in the speaker, as he points out that this moss and the earth surrounding it are full of bright colors such as vermilion. The colors are more magnificent than anything one has ever seen. The moss is also so delicately woven that it looks like a woman’s handiwork.
Stanza 5: In the fifth stanza, the speaker continues to elaborate on the magnificent colors of the moss and the nature surrounding it. He explains that there are colorful hues all about, and he reminds the reader that the thorn is close by. He then goes on to mention that the spot he is describing is in fact a heap of earth, or dirt. It is this heap which is covered with moss, and it is the size of an infant’s grave. The speaker emphasizes that the heap is as similar to the size of such a grave as could possibly be, and that it is the loveliest gravesite of its kind.
Stanza 6: The sixth stanza continues to reveal the mysterious story regarding the supposed infant’s gravesite. The speaker addresses the reader directly by both inviting him to visit this location and issuing a warning regarding such a visit. The speaker states that if the reader is curious enough to visit this site, the timing must be impeccable. The speaker reveals that this quiet and lonely place often has a visitor: a mysterious woman who wears a scarlet cloak. Sitting between the heap of earth and the pond, she wails and repeats the word “misery.” The speaker is essentially warning the reader not to cross paths with the troubled woman.
Stanza 7: The seventh stanza continues to elaborate on the mysterious woman who visits the gravesite. The speaker points out that the woman can be found there night and day. In fact, she is such a frequent visitor that every element of nature—from the stars to the wind—knows her. She sits beside the thorn in freezing weather and wails in despair, always repeating the words, “Oh misery! Oh misery! Oh woe is me!” The woman clearly has an emotional connection to this spot for reasons which are still unknown.
Stanza 8: The speaker shifts to a questioning tone. He wonders out loud just why this woman is so committed to this particular spot. He asks specifically why she is willing to go there in inclement weather, and he ponders over her reason for being drawn to such a dreary place. He then mentions that he is specifically puzzled by her reasons for being attached to the thornbush. Repeating several key phrases from the previous stanza, the speaker reminds the reader of all the natural elements that make it so uncomfortable to be in that spot—from the winds to the cold air. The stanza concludes with the speaker essentially asking the reader to tell him why she cries so much.
Stanza 9: The stanza begins with the speaker’s confession that he does not know the reasons for the woman’s behavior. He expresses frustration that he does not understand her story well, for he truly wishes to. He then reveals that no one actually knows the woman’s story. The speaker then incites the reader once again to visit the spot—but only when the woman is not there. He repeats some of the physical elements of that place—the thorn, the hill, and the pond—but then surprises the reader by revealing that the woman does indeed live there in a hut. He slyly encourages the reader to walk by her door and take a peek, as the door is usually open. However, he then warns the reader to run away quickly should she be home, as he has never heard of any person daring to visit the grave when she is present.
Stanza 10: Stanza 10 repeats the speaker’s curiosity regarding the woman. Once again, he wonders why this unhappy woman keeps going to the mountaintop regardless of the time of day or the weather. However, just after repeating his question, he begins to give more background to her story. For the first time, he states that her name is Martha Ray. Twenty years earlier, she was a loyal maiden who loved a man named Stephen Hill. She was happy with this man, and all her friends and family approved of him.
Stanza 11: Stanza 11 continues to relate the story of Martha and Stephen. The speaker explains that the two were engaged to be married. However, on the morning of their wedding day, Stephen broke his promise to Martha and wed another “maid” at church. At that moment, Martha became a sad figure full of “fire”—a troubled soul who henceforth could not calm the anger and pain that arose from that fateful day.
Stanza 12: The speaker finally reveals a key piece of knowledge which better explains Martha’s misery. He continues the story by mentioning other things he has heard about Martha from other people. Six months after the planned wedding day, Martha began to venture to the mountaintop and was frequently seen there. The speaker then wonders what the purpose of these visits was, musing that she possibly was looking for something or wished to hide from others. Right after asking his question, he provides the answer himself: Martha was pregnant and had begun to go crazy. At other times, she was severely depressed from the pain of her situation. The speaker ends the stanza with a surprising reference to a higher force, invoking God and casting Him as guilty for causing Martha’s pain. The speaker cries that he wishes Stephen had died instead of breaking his promise to Martha. Death would have saved his soul, and Martha would not be in her unfortunate state.
Stanza 13: The speaker laments Martha’s situation with the repeated words, “sad case.” With references to “such a brain,” the speaker appears to refer to Martha’s thoughts. He finds it very unfortunate that she must endure the pain and madness that comes with betrayal, especially when she is connected to a growing child in her womb. Her thoughts and emotions are shared with this baby. Her brain is “wild” from emotion and madness.
The speaker then mentions a conversation with a presumably older local man named Wilfred. The two discussed Martha’s story, and Wilfred expressed that the baby captured Martha’s heart and was able to bring Martha back to her senses again. When it was finally time to give birth, Martha appeared to be calm with her senses intact.
Stanza 14: The speaker once again mentions that he does not know more details about Martha and wishes that he did. If he knew more, he would share the rest of the story with the reader. Ironically, he continues to narrate the story just after—suggesting that he does know more after all. He states that no living person ever found out about the fate of the baby. No one is sure whether the baby was even born, or, if it was, if it was born alive or dead. There is no proof of what happened to the baby, but many people do remember well that Martha would climb to the mountaintop around this time when the baby was due.
Stanza 15: In stanza 15, the speaker continues to describe the events that transpired after the baby’s due date. He claims that the following winter, many cries were heard coming from the mountaintop during windy nights. He tells the reader that it was worth seeking out the churchyard path at night just to see what was going on there. Some of the voices that were heard seemed to come from living people, but some locals swear that other voices belonged to the dead. The speaker concludes the stanza by saying that no matter what the locals say, he does not believe the voices of the dead had anything to say about Martha Ray.
Stanza 16: This stanza once again refers to the titular thornbush. The speaker reminds the reader of the thorn’s existence and tries to convince the reader that he is, at the very least, certain that Martha is a frequent visitor to this thornbush. He repeats that she sits by the thorn in a scarlet cloak, and he knows this for a fact because he once headed to the mountaintop himself. Having just arrived in the region, he wished to observe the ocean through his telescope. However, when he reached the mountaintop, a storm occurred and prevented him from seeing beyond his immediate surroundings.
Stanza 17: Stanza 17 continues to elaborate on the speaker’s experience on the mountaintop during the storm. The speaker explains that he was overwhelmed by mist, rain, and heavy winds. Under those stormy conditions, he could not find a refuge right away. As he looked around, he believed he saw a crag, or projecting piece of rock, that might shield him from the elements. However, once he ran toward the crag in the pouring rain, he was startled to find instead a woman seated on the ground.
Stanza 18: The speaker continues to recount the experience of seeing the woman (Martha) for the first time. Without saying a word to her, he understands immediately that she is distraught. Just as he has mentioned throughout the poem, he hears her cry the words, “Oh misery! Oh misery!”
The speaker then explains that she continues to sit in that same place throughout the night and well into the next day. When small breezes cause the waters of the little pond to shake, Martha begins to shudder and lament her sorrows all over again.
Stanza 19: The stanza begins with the speaker asking the main question that comes to mind when reading this poem: what is the significance of the thorn and its surroundings, and why are they so important to Martha? Additionally, he adds that he does not understand why the little breeze stirs the pond. The speaker is once again quick to answer his own question by stating not what he knows for sure, but what others have told him to be true.
He mentions that some people believe Martha hanged the baby on the tree—presumably, the thorn itself. Others say that she drowned the baby in the aforementioned pond. Regardless of their individual beliefs, everyone seems to agree that the baby is buried in that spot—beneath the mossy hill.
Stanza 20: The speaker continues to elaborate on Martha’s story. Citing other people’s comments as his references, the speaker continues to appear as a gossip who may be confounding fact and fiction. He begins by saying that he has heard the moss is spotted red with the infant’s blood. Upon making that statement, he quickly interjects that he does not believe Martha is capable of killing her baby in such a way—whichever way that may be. Nonetheless, he continues to buy into the others’ rumors about her baby by describing occurrences at the pond. He says that some claim to be able to see the baby’s reflection in the pond when looking closely. He insists that each time someone looks upon the reflection, the baby stares right back.
Stanza 21: The speaker reveals that some of the local people believed that Martha should stand trial for her actions in a public manner. If that were to happen, they would be ready to look for the remains of the baby in order to prove Martha’s guilt.
In a strange twist, the speaker then reveals that just as the idea of prosecution was brought up, the mossy hill began to shake before the people’s eyes. What’s more, the surrounding area began to shake as well, as if an earthquake was happening. The speaker then insinuates that the idea of prosecuting Martha is never pursued, yet the locals nonetheless continue to swear that her baby is buried beneath the thorn.
Stanza 22: In the final stanza, the speaker repeats his bewilderment over Martha’s story by repeating key phrases from earlier in his discourse. He states that he still does not understand how this story came to be, but he does know for certain that the thornbush exists and that it is weighed down by heavy tufts of moss. He also claims to know with full certainty that Martha may often be found on the mountaintop day and night, wailing about her misery.
Analysis
Stanza 1: The speaker of the poem is unknown within the context of the poem. However, Wordsworth specifically stated in a note included with the poem in Lyrical Ballads that the speaker is a sea captain telling a tale in the form of gossip. The notion of a sea captain recounting a story suggests that the reader may be hearing from an unreliable narrator who merely tells bits and pieces of presumed truths picked up during his travels. The use of quotation marks indicates a kind of dialogue—specifically, one between the speaker and the reader. The speaker is addressing the reader directly through the use of personal pronouns such as “you.”
The speaker casts the thornbush in a dismal light. Adjectives such as “old” and “grey” suggest a withering plant on the verge of dying. It bears no leaves and no prickly points; therefore, there seem to be no signs of life. The repetition of the word “old” further emphasizes this point. As the speaker elaborates on the thorn’s appearance, the description becomes increasingly vivid and suggestive. The speaker compares its height to that of a child, providing a clue regarding the narrative that is to come. Twice, the speaker uses the term “erect” to describe its shape. With the use of the simile “like a stone,” one gradually begins to think of the thorn as a kind of tombstone. The only sign of life is the presence of lichens growing over it. However, these lichens indicate decay, just as worms might overtake a decomposing animal. With the use of the words “wretched” and “forlorn,” the speaker personifies the thorn and presents it as a sad being. One may also think of the thorn as a symbol of discomfort, as it can inflict pain when touched.
Stanza 2: The first line of the second stanza repeats the idea of the thornbush serving as a kind of tombstone. In this stanza, the speaker uses personification once again. The lichens have grown all over the thornbush. If the thornbush were a person, one could say that is it covered from head to toe with this invasive fungus. In addition, the moss is present in “heavy tufts,” creating an image of a person who is literally weighed down by something and thus exhausted by it. The weight is too much to bear, making the thornbush “melancholy.”
The speaker’s use of the word “creep” to describe the moss rising from the earth creates a sinister tone, further making the moss look like a destructive force. The moss has sneaked up on this poor, unsuspecting thornbush. It has wrapped itself around the thorn with such force that the life has been drained from it. The speaker then personifies the moss by suggesting that it has ill intentions toward the thorn, aiming to “drag it to the ground” the way an attacker might drag a victim to the ground. The moss has essentially conspired to “bury” this poor thorn forever, thus killing it completely. With the repeated capitalization of the word “thorn,” the speaker continues to portray the bush as an actual being with a proper name.
Stanza 3: In the third stanza, the tone remains somber as the speaker gives even greater importance to this thornbush by mentioning its position high on the mountaintop. The speaker is now widening his lens, so to speak, by gradually stepping back and allowing the reader to take in more of the landscape. The thorn is positioned there as a statue might be, standing erect and looking down on the natural landscape below. However, the subsequent mention of a “stormy winter gale” that blows through the area immediately reminds the reader of the thorn’s vulnerability. It is still a poor and sad thorn, and now one learns that powerful winds threaten it as well. The wind is so cold that it “cuts like a scythe,” once again conjuring a violent image of an attacker. The thorn seems to be at odds with the nature that surrounds it.
The speaker then mentions a small muddy pond nearby. The use of the word “muddy” implies that the pond, like the thorn, is also victim to the forces of nature. While water is always present, so is the mud that has robbed the water of its purity. The pond is very small and thus also vulnerable, and the water it bears is so little that “thirsty suns” and “parching air” could not subsist on it. Once again, personification is used to portray an image of suffering that sounds almost human.
Stanza 4: The fourth stanza relays the beauty of nature that is typically expressed in Romantic poetry. In sharp contrast with the previous three stanzas, stanza four reveals nature in all its glory—full of deep colors and delicate patterns. While the thorn is dreary and old, it is adjacent to a spot that the speaker finds “fresh and lovely.” The speaker has an emotional response to the beauty he sees—he is clearly moved by this sight.
Interestingly, the moss depicted in this stanza does not have the menacing feel of the moss mentioned earlier. Rather than strangling another creature, this time it is delicately woven in such a way that one feels a lady took the time to weave it. The colors are bright and magnificent, and the moss is anything but threatening. The mention of “vermilion dye” also depicts nature as a work of art delicately designed by a creator with a steady hand. This stanza introduces the notion that beauty and ugliness coexist in nature, thus setting up the subsequent narrative that reveals the beauty and ugliness of human nature. Nothing is ever perfect.
Stanza 5: The fifth stanza gradually shifts from physical description to the main plot of the poem’s narrative. The speaker brings nature to life with his vivid description of bold colors. The “olive green” suggests vitality as one sees in green plants. “Scarlet bright” also conjures an image of life, with scarlet suggesting blood. “Pearly white” has a pristine sound to it, suggesting purity, innocence, and holiness. The speaker mentions that these colors are contained not only in the branches and the spikes, but also in the stars. This odd choice of diction suggests that the speaker finds this spot not only beautiful but divine, as if it a blessed location.
The clever use of color adjectives and hints at divinity segues perfectly into the next part of the stanza, where it is revealed shockingly that the speaker is in fact describing a grave. Even more surprising is that he is referring to an infant’s grave—a true symbol of innocence and beauty just like nature he has described. At this point, it is not clear if the speaker knows for certain that this is a burial site or if he is simply using a simile to describe the size of the plot of land. In any case, the language he uses in this stanza suggests strongly that this site is important in some way and very likely the location of a child’s grave.
Stanza 6: The sixth stanza digs deeper into the mystery surrounding this gravesite. In the first few lines, the speaker emphasizes once again the contrast between the “aged Thorn” and the splendid, “beauteous hill of moss.” The speaker then continues to tell his story using a conversational tone. This stanza establishes a greater intimacy between the speaker and the reader. Up until now, he has been merely describing a mysterious thorn surrounded by lovely nature. In this stanza, however, he draws the reader closer by revealing the existence of the woman in the scarlet cloak and warning the reader not to visit when she is present at the grave.
Like the "Thorn," the “Woman” is capitalized and thus her importance in the poem is underlined. While we do not yet know who she is, the use of a capital letter tells the reader that she is as vital to the narrative as the thorn. The mention of her scarlet cloak seems to parallel the colors of the nature surrounding her, as scarlet was mentioned before. However, when one considers the context of a gravesite, scarlet seems to suggest other meanings. It may represent blood, in both life and death. If the woman bears a connection to the child, it may represent life as in a blood connection. The child’s death may also be connected somehow to the woman. The scarlet color also suggests love or passion—as American Romantic writer Nathaniel Hawthorne would depict years later in The Scarlet Letter. The woman may have an adulterous past of some kind. Her repetition of the word “misery” to herself not only illustrates her despair but contrasts sharply with the otherwise serene setting the speaker has been describing. Once again, nature is depicted as both beautiful and jarring.
Stanza 7: The seventh stanza reveals more information about the mysterious woman. She is not an infrequent visitor at all, as she can be found there day and night. Interestingly, the speaker describes her as “wretched,” employing the same adjective he used when describing the thorn in the first stanza. For some reason, the speaker therefore considers her to be as lamentable as the thorn. In some way, they share a sad connection.
The speaker also uses personification to describe the woman’s frequent visits to the gravesite. He notes that she is “known to every star” and “every wind that blows, ” personifying these natural elements and creating a kind of intimate relationship between the woman and natural forces. She seems to be one with nature, almost like a permanent fixture on the landscape. She is often sitting by the thorn, even when the harsh winds are blowing and the frosty air is “keen and still” (another example of personification). She does not mind the elements at all as she is too absorbed in her misery. The constant repetition of her sorrow drives home the fact that something terrible has indeed afflicted her, making her resistant to natural forces that would otherwise make people turn away and go home. In a sense, this gravesite seems to be her home.
Stanza 8: The repetition of key phrases in stanza 8 describing the physical environment such as “blue daylight,” “whirlwind,” and “frosty air” slowly turns the speaker’s narrative into a kind of song. Little by little, the reader feels that he is listening not just to a story, but a ballad with a myth at its heart. The physical details seem important to the speaker, as he highlights these details over and over again throughout the poem. He appears to be reinforcing the idea that this woman is somehow entwined with her physical environment.
The shift to a questioning tone breaks the storytelling feel of the poem and makes the narrative look suddenly like an investigation. At the poem’s outset, the reader is under the impression that this speaker is telling a story he knows well. He draws in the reader with intriguing details, only to turn suddenly to the reader and ask for clarifications regarding his own story. He appears stumped by the actions of this woman, constantly asking why she behaves the way she does, in lines that repeat the word “wherefore.” The direct appeal to the reader at the end of the stanza leads to a stunning shift in the reader’s understanding of the speaker, as one may now question if the speaker is perhaps an unreliable narrator.
Stanza 9: In stanza 9, the speaker cements his status as a somewhat unreliable narrator. He admits that he does not know why the woman visits the grave, giving the reader good reason to pause and question if we should take anything he has said so far as a fact. The speaker wishes he knew the “true reason” for her behavior, further suggesting that there are secrets the woman is keeping to herself. By adding that no one else knows her story, either, one begins to realize that the narrative is indeed a form of gossip—a woman’s story turned into a kind of myth.
In the second part of the stanza, the speaker addresses the reader directly once more. This time, the tone is sly and teasing. The speaker brings up a hypothetical situation in which the reader visits the grave. With the words, “would you gladly,” one may infer that the speaker is prodding the reader to go and visit. Alternatively, he may just be referring to a hypothetical situation. He then repeats the physical details of the grave and its surroundings once more but adds for the first time that the woman lives in a hut nearby. This new detail essentially confirms that this woman has an important connection to this spot. With this mention, the speaker’s tone become grave, as he is essentially warning the reader to be careful not to cross paths with the woman. Interestingly, the speaker seems aware of the high risk of seeing her by stating that her door is “seldom shut.” Yet, despite this assumed fact, he still brings up the idea of visiting the site, only to warn the reader at the same time that no one ever dares to come face to face with this woman. One questions if the speaker is cowardly and curious, and it is quite likely that he has never seen the woman himself. Once again, he comes across as an unreliable narrator through his contradictory statements.
Stanza 10: Stanza 10 presents an interesting contradiction. At its outset, the speaker repeats his confusion over the woman’s behavior and gives the impression that he knows little about her. Surprisingly, the rest of the stanza reveals a deep knowledge of her personal history. The speaker casually relays, in parentheses, that the woman’s name is Martha Ray. By stating her name as if it were an afterthought, the speaker once again sounds like an unreliable narrator who may have forgotten her name earlier—possibly withheld it, for dramatic effect. In any case, the surprising reveal of a name gives the woman a stronger sense of identity and importance, while casting greater doubt on the speaker himself.
For the first time, the reader learns that Martha Ray was once a happy maiden in love. Unlike her current state, she was “blithe and gay” before—a carefree spirit. The diction—“true good-will” and “tenderly”—suggests that she was loyal and devoted to Stephen Hill, just as she is now devoted to visiting the grave. In stark contrast to her present life, she was surrounded by friends and family who approved of her relationship. This knowledge leaves the reader to wonder why she appears to be so lonely now. The once-happy and social Martha is now a solitary, distraught woman.
Stanza 11: Stanza 11 offers the beginning of an explanation for Martha’s current state. Although engaged to her beloved Stephen, her hopes were dashed on her wedding day. Not only did she lose her loved one that day, but she lost him through a cruel betrayal. The speaker identifies the other woman as “another Maid,” using a generic term that implies that a man can easily exchange one woman for another. This woman is not given an identity, but the use of capitalization once again gives a character in the poem a sense of importance to the story.
The adjective “unthinking” used to describe Stephen may have different interpretations. Considered within the context of Romanticism, one might argue that humankind is innocent and capable of making mistakes. Just as Martha was once a carefree woman, Stephen was carefree as well and may have innocently fallen in love with someone else. However, he was carefree to the point of being careless, and he consciously chose to betray Martha. This fact distinguishes the two, making Martha the victim and Stephen the perpetrator. In this new context, “unthinking” suggests a loss of intelligence and propriety. Just as an ugly thornbush spoils the beautiful environment in its immediate surroundings, an ugly act can spoil the soul of a beautiful human being. On this day, innocence is lost—Stephen is now an offender, and Martha has lost her trust and faith in true love.
Martha feels pain and “dismay” at this betrayal, corrupting her once pure and loving soul. What’s more, the speaker says that a “fire was kindled in her breast.” The fire serves as a metaphor for anger and possible madness, suggesting that Martha will never be the same person again. Rather than extinguishing after a time, this fire seems incapable of burning itself out. As the reader knows, this fire has only persisted over time, as Martha remains a destitute woman.
Stanza 12: In stanza 12, the speaker mentions for the first time that he hears details about Martha from other people’s gossip. The use of “they” suggests that the speaker is indeed an unreliable narrator, for his knowledge is actually coming from hearsay and therefore cannot be confirmed easily. The mention that the “summer leaves” were still green adds an extra layer of strangeness to Martha’s decision to go to the mountaintop, as one might say that in warm and pleasant weather there is no need to escape to any place. Yet, the speaker says that she “was often seen.” Once again, given the speaker’s vague manner of recounting the story, it is unclear who may have actually seen Martha.
In the second half of the stanza, the speaker uses an inquisitive tone once again. He wonders if Martha was seeking something in particular. With a long dash, he seems to add an afterthought: Perhaps she meant to hide something? As he has done in previous stanzas, the speaker then proceeds to answer his own questions. He states that any person could see that Martha was pregnant and “mad.” The interpretation of "mad" could be that she was indeed angry about her condition—for being betrayed by her lover and for finding herself with child. Alternatively, the despair she has been feeling may have driven her to madness—forcing her to leave society and find refuge in a secluded spot. The speaker adds that she was also “sober sad,” insinuating that between bouts of anger and anxiety, she was solemn and broken due to the excessive “pain” of her life circumstances.
The speaker’s sudden cry to God with “O guilty Father” shows he has sympathy for Martha and goes so far as to blame a divine being for not intervening sooner. He states that if death had come to “him”—her lover, Stephen—it would have saved Stephen from committing his betrayal. By remaining alive, he breached Martha’s faith and ruined her life. This kind of diction is interesting within the context of a Romantic poem. While nature is usually idealized and blessed by a divine force in this genre of poetry, here the speaker seems to blame the creator of all beings and view God as a destructive force instead. God is guilty of letting Stephen get away with his betrayal and is thus to blame for Martha’s demise.
Stanza 13: The speaker uses interesting diction to refer to Martha’s situation. He describes Martha’s situation as a “sad case” for her “brain to hold,” making a reference to her mental state. He seems to imply that her thoughts are muddled by her despair. With the words “communion,” and “stirring child” he indicates that there is an exchange of thoughts and emotions between mother and child. The diction evokes a powerful image of Martha actually relaying her thoughts and feelings to her baby, as if they have a dialogue. The word “communion” also has a religious connotation to it, making the mother-child bond sacred. With the second repetition of the word “brain,” the speaker describes Martha as “wild.” He may be referring to her in the past—someone with thoughts that used to run free and wild with no cares in the world. Alternatively, he may be referring to her at the present and making a reference to her mad state.
In the second half of the stanza, the speaker brings in the viewpoint of yet another unreliable narrator—a man named Wilfred. His description as “grey-haired” and “of the glen” portrays him as an older, local man. Due to his age, he may be considered a wise man and therefore—according to the speaker’s logic—his words should be trusted. The mention of “last Christmas Eve” gives a gossipy feel to the poem once again, as Martha’s story is casually by different people. Wilfred’s assertion that Martha’s unborn child “wrought” her heart indicates the importance of this child to Martha. Stephen broke Martha’s heart, and it took her unborn baby to put it back together again. Her heart was reconstructed in a metaphorical sense, bringing Martha back to her senses. When the time to give birth approached, Martha at last looked calm and normal again. While God seemed malevolent in the previous stanza, he has a benevolent spirit after all by giving Martha her sanity back via the love of her unborn child.
Stanza 14: The first two lines of stanza 14 once again illustrate the irony of the narrator’s assertion that he does not know anything more. Each time he claims not to know more, he continues the narrative. His surprising reveal that the baby’s fate is unknown shifts the tone of the poem once again, giving it a somber feel. While the previous stanza ended on a note of hope and calm, this stanza once again throws Martha into the depths of despair. Like the thorn, the baby is described as a “poor child.” The diction suggests that the child may have suffered a similar fate—one of decay.
Indeed, the speaker’s musings are open to many interpretations. If there never was a baby at all, one may ask why the myth of Martha Ray even exists or perhaps, why she was driven to madness. If the baby was indeed born alive or dead, one may ask where he is and how he came to be there. The speaker makes it clear that no one on earth knows the answer, implying that perhaps a higher force does. The subtle, indirect reference to God implies that Martha’s actions are known to God and may thus be judged. Furthermore, the reference may also indicate that the child is no longer alive and that only heavenly creatures are privy to this knowledge. While the speaker’s story is riddled with doubts, he nonetheless states at the end of the stanza that “some remember well” how Martha began climbing to the top of the mountain around the time she was to give birth. The use of the word “some” adds ambiguity to the poem once again, making the reader question what, if anything, is factual in the speaker’s narrative.
Stanza 15: In stanza 15, the speaker once again depicts the mountaintop as a mysterious setting with the repeated mention of the wind blowing there at night. The added reference of “winter” especially paints a dark and gloomy picture of a lonely, isolated, and even frightening place. The speaker then addresses the reader directly by saying that, despite the difficult conditions, it was worth the effort to seek out this mysterious place. Each time the speaker addresses the reader in this manner, one is given the impression that the speaker is trying to convince the reader that this story is indeed true and that he should be believed. While the speaker admits many times that he is not sure of the truth, his clever use of diction—for example, “’twas worth your while”—paradoxically suggests a self-assuredness. This contradiction makes it sound more and more like Martha’s story in myth.
The speaker elaborates once again that cries were often heard from the mountain head. He claims that some of these voices were from living people, but it is not clear if he ever heard them himself. He then adds that other people have sworn they heard voices that sounded like they came from the dead. This mention gives the stanza a ghostly feel, strongly suggesting that the mountain head is haunted in some way—perhaps by the spirit of Martha’s child or by other spirits who are haunting Martha herself. Alternatively, one might say that Martha is communicating with spirits—reinforcing the assumption that the baby has died.
Interestingly, the speaker says that—despite the locals’ claims—he does not believe these voices of the dead had any concern over Martha Ray. The first mention of “they” in “whate’er they say” appears to refer to the words of the local townspeople, while the second “they” in the last line seems to refer to the voices of the dead. The speaker is not convinced himself that these cries were what the locals claimed they were, yet the speaker paradoxically has stated before that Martha always cried at the mountaintop. The speaker’s contradictory statements show that he is unable to tell a straight story or that perhaps he is even doubting his own words as Martha’s story has completely stumped him. No one can tell anymore what is imagined and what is real.
Stanza 16: The speaker brings the reader back to the main subject of the poem: the story of Martha as it relates to the thornbush. Through repetition of key phrases such as “this old Thorn” and “scarlet cloak,” the speaker reinforces the importance of this image to his story. While his narrative may go off on a tangent at times, he wishes to remind the reader repeatedly that he has a main story to tell. With the words, “I will be sworn is true,” the speaker also attests to his truthfulness and accuracy when mentioning Martha’s continued presence at the gravesite. Through this diction, he seems to acknowledge that his narrative so far may be full of inaccuracies—once again making the reader skeptical.
The speaker backs up his claim by saying that he once climbed the mountaintop with his telescope, shortly after arriving in “this country.” This choice of language confirms that he is not a local, and it is impossible to tell how long he has been around to witness all that he says he has. He claims he went up on the mountain to view the ocean, and he states that this was before he knew Martha existed—“ere I had heard of Martha’s name.” However, when he climbed up, a storm arrived and deferred his plans. His claim that he could “see no object higher than my knee” is an unusual way of saying that rain was pouring down heavily. His visibility was clearly blocked, but he interestingly speaks of it in terms of height and not distance. This reference to a short height parallels the reference made to the height of the thorn in the first stanza. While the thorn’s height was directly compared to a child’s, this mention of visibility merely insinuates the size of a child but nonetheless sets the mood for the current scene as sad, haunting, and suspenseful.
Stanza 17: In stanza 17, the speaker creates a suspenseful mood by repeating words such as “rain” and emphasizing how powerful the storm was with phrases such as “wind full ten times over.” Nature has overpowered him, and he needs to find shelter from the storm. He insists in a dramatic tone that no shelter could be found anywhere—“no screen, no fence.” However, nature itself does appear to offer some refuge eventually when he thinks he spots a jutting crag: a protruding rock that may offer shelter.
Just as the speaker appears to have found his refuge, he surprises the reader with a dramatic twist: There is no crag to be found, and in its place is a woman. While the words, “as I am a man” initially feel out of place in this stanza, one may interpret these words as the speaker’s declaration of certainty. As certain as he is that he is a man, he is also certain that there was no jutting crag and that he found instead a woman seated in the rain. The capitalization of “Woman” once again hints to the reader that this person is most likely Martha Ray. It is not clear if he imagined the jutting crag, or if perhaps Martha’s form appeared to be a crag in the heavy rain. In any case, one might say that while the speaker was seeking refuge from the storm, the woman embraced it entirely. Martha, both literally and figuratively speaking, faces the storms of life.
Stanza 18: In stanza 18, the speaker relays the feeling he had when confronted with Martha for the first time. One may say that he was so surprised to see her instead of the crag that he found himself speechless—“I did not speak.” Furthermore, the repetition of “her face” coupled with his use of the exclamation mark conveys the idea that her face told him everything he needed to know about her—her sadness and despair were essentially written all over her face, and no conversation was needed to understand her pain. As he turned to go, he heard her cry her usual expression, “Oh misery!” which further cemented his understanding of her despair.
The speaker then shifts back to the present tense to relay Martha’s condition since that encounter. He explains that she continues to sit there until the moon goes through “half the clear blue sky,” indicating the passage of time as night becomes day and then night again. The speaker gives the impression that Martha has not budged from that spot, relaying the intensity of her connection to this location. Indeed, when “little breezes” shake the water of the small pond mentioned earlier in the poem, for some unspecified reason Martha begins to shudder and repeat her lines about misery. These little breezes appear to have some connection to her lost child. One might say that “little” is a reference to its youth, just as height and distance have previously been compared to a child’s size. While the sudden breeze merely makes the pond shake a bit, it is enough to make Martha shudder. Normally, a breeze would not cause such a reaction. Therefore, there is an emotional reason why the stirring of the pond would upset her so, as if the breezes stir her memory of her pain. At this point, “all the country”—or rather, all the local people—are aware of how she behaves when in this spot.
Stanza 19: In stanza 19, the speaker’s narrative at last comes to a climax when the reader learns why Martha is so often present on the mountaintop. First, he wonders about the significance of the natural elements he has been describing throughout the poem. Specifically, he wants to understand why these elements affect Martha the way they do. He asks bluntly, “What’s the thorn?” as if searching for a meaning deeper than its obvious existence as a plant. By then mentioning the pond and the hill of moss, he recreates the setting for the reader as if it were so many pieces of a puzzle—much as a detective might try to piece a narrative. Lastly, he refers to the little “creeping” breeze that stirs the pond, insinuating that there must once again be a greater explanation for this occurrence that goes beyond nature acting as it normally would. The use of “creeping” offers a negative connotation, suggesting something sinister is happening. There seems to be a supernatural force at work, and the speaker is setting up the reader for a shocking twist to his story.
While the speaker has implied all along that Martha had a baby who died, he reveals the stunning idea that the baby may have died at Martha’s own hands. The speaker admits that he does not know the actual truth, but once again he falls back on the words of others to make his tale convincing. The revelation that Martha “hanged her baby on the tree” instantly turns the thornbush not only into an ugly thing, but a place where an ugly act may have occurred. The ugliness of the thorn is no longer superficial; rather, it harbors a dark secret. Similarly, the muddy pond is no longer just a place where a small quantity of water always persists. It may actually be the very place where the baby struggled to keep its last breath but was sucked of life just as the “thirsty suns” and “parching air” were unable to subsist off of it. Suddenly, the pastoral setting that had so many beautiful aspects turns into a possible crime scene, and the sad protagonist turns into a hateful antagonist. While the manner of the baby’s death may remain a mystery, the locals seem to agree that the baby—given significance for the first time with its capitalized name—is buried beneath the moss. Interestingly, the speaker uses the word “fair” at the very end to describe the moss. Viewed within the greater context of the Romantic view of nature, one might argue that despite the ugliness one might find in nature—both the environment and human nature itself—there is still beauty to be found.
Stanza 20: The tone of stanza 20 is one of surprise and doubt, as the speaker continues to share the rumors surrounding Martha and her baby. Once again, the color red is referenced—this time specifically with the mention of blood. The otherwise perfect and fair moss is said to be spotted with drops of the “poor infant’s blood”—drawing a parallel to the “poor thorn” mentioned earlier. Like the thorn, the baby has become a victim to the cruel forces of nature and has been left to decay. Nonetheless, the speaker expresses doubt over the possibility of Martha killing her own child. Throughout the poem, he seems to insinuate that he generally believes the baby has died but stops short of accusing Martha of any wrongdoing. He is a sympathetic narrator, suggesting that the reader should feel this way as well.
In the second half of the stanza, the speaker emphasizes the possible significance of the small pond. Through the repetition of the words “babe” and “baby,” he makes it clear that the pond is somehow an extension of the lost child and thus Martha herself. The “shadow” conjures a ghostly image, once again suggesting that the baby may have died in the water. Little by little, the shadow turns into a baby’s face and then the full image of a baby. The diction used here slowly reveals the baby’s image, just as an apparition might slowly appear. Once the baby appears, it looks steadily at the observer. According to the speaker, it is very clear that the baby stares back at anyone who looks at him in the water. This symbol of a baby’s face may represent a mirror to one’s soul—every person has an innocent inner child. In Martha’s case, the inner child was of her own flesh and blood and is now lost to her.
Stanza 21: Stanza 21 reveals the irony of the locals’ wish to prosecute Martha for her actions. The words “sworn an oath” mirror the promise that Stephen had made to Martha—one which was ultimately broken. Similarly, the locals who wish to bring Martha to justice also abandon this idea. One might say that the locals’ behavior represents the guilt and hypocrisy of a society which judges and destroys rather than helping those in need, lacking the courage to return to pure, decent behavior. Stephen did not have the courage to honor Martha, and the locals do not have the courage to help Martha rather than crucify her. Even when they see the baby’s image reflected in the pond, they turn away as if reminded of their guilt over their true lack of sympathy. The speaker’s turning away from Martha when he spots her on the mountaintop also reveals his own ultimate indifference—the people who make up Martha’s society are mere gossips who make empty promises.
The second half of the stanza reveals what appears to be a supernatural event or perhaps just one of the imagination. The sudden stirring of the mossy hill and the land around it seems to stun the locals. While no explanation is provided as to why this occurrence prevented them from pursuing Martha, one might say that their own cowardice caused them to fabricate the story so as to have the continued opportunity to gossip about Martha. They content themselves with an excuse for their inaction. If one views the shaking through a supernatural lens, one might say that nature itself shudders at the idea of the tortured Martha suffering again at the hands of a society that has already wronged her. Or perhaps, the ghost of the dead child is haunting the area and trying to ward off anyone who might disturb it. Whatever the cause of this mysterious movement, the locals stubbornly insist that the baby is buried there—although they have no intention to do anything about it.
Stanza 22: The final stanza summarizes the main story about Martha. The speaker begins by saying that he “cannot tell how this may be,” making an ambiguous reference to his narrative. Perhaps he is unsure just how the events of Martha’s life unfolded and how to separate the truth from lies. In any case, he remains convinced about Martha’s presence by the thorn. He insists that the thorn is “bound” by the heavy tufts of moss—essentially trapped and weighed down. Once again, the moss is personified as “drag(ging)” the thorn to the ground as one might attack a person. The speaker then shows certainty in knowing that Martha is often present on the mountaintop. He repeats that he has heard her “full many a time,” insisting that this is a repeated occurrence. She may be heard there during the day and during the quiet night under the stars. The sad, lonely image painted here brings the reader to focus on the essential heart of the poem—the story of a desperate woman. As the poem concludes with Martha’s cry, the tone remains somber to the very end. The uncertainty regarding the child’s death is a metaphor for the loss of innocence that occurs when mankind moves away from the beauty and simplicity of nature and joins society. Martha’s loss of innocence and hope may have been the result of a natural death—growing up inevitably means dealing with life’s hardships as an adult—or unnatural, if one is to believe that mankind is malevolent and corrupts deliberately.
