The Idiot Boy by William Wordsworth (Poem, Summary, Paraphrase & Analysis)

 

The Idiot Boy

by William Wordsworth

(Poem, Summary, Paraphrase & Analysis) 

The Idiot Boy

’Tis eight o’clock,—a clear March night,

The moon is up,—the sky is blue,

The owlet in the moonlight air

Shouts from nobody knows where;

He lengthens out his lonely shout,

Halloo! halloo! a long halloo!

 

—Why bustle thus about your door,

What means this bustle, Betty Foy?

Why are you in this mighty fret?

And why on horseback have you set

Him whom you love, your idiot boy?

 

Scarcely a soul is out of bed;

Good Betty, put him down again;

His lips with joy they burr at you;

But, Betty! what has he to do

With stirrup, saddle, or with rein?

 

The world will say ’tis very idle,

Bethink you of the time of night;

There’s not a mother, no not one,

But when she hears what you have done,

Oh! Betty, she’ll be in a fright.

 

But Betty’s bent on her intent,

For her good neighbour, Susan Gale,

Old Susan, she who dwells alone,

Is sick, and makes a piteous moan

As if her very life would fail.

 

There’s not a house within a mile,

No hand to help them in distress;

Old Susan lies a-bed in pain,

And sorely puzzled are the twain,

For what she ails they cannot guess.

 

And Betty’s husband’s at the wood,

Where by the week he doth abide,

A woodman in the distant vale;

There’s none to help poor Susan Gale,

What must be done? what will betide?

 

And Betty from the lane has fetched

Her pony, that is mild and good;

Whether he be in joy or pain,

Feeding at will along the lane,

Or bringing goods from field or wood.

 

And he is all in travelling trim,

And by the moonlight, Betty Foy

Has up upon the saddle set

The like of him was never met

Before him, or since he was a boy.

 

If Betty listened to his fears,

It was scarcely worth her while;

He talks of this and talks of that,

Then winds about and makes a gat,

Then Betty o’er him bends her head,

 

She thinks he means to go to bed.

But all that he could do or say

Was nothing to the purpose quite;

He wished her night, and then day,

And now he wishes her good-night.

 

It is a cry of joy! a cry

Of thanks and praise to God on high;

It is a cry of tender joy—

From Betty and her idiot boy.

 

And now to Susan’s house she hies,

And Betty’s standing at the door,

And Betty’s face with joy o’erflows,

Proudly she to the neighbours shows

The boy who is her best delight.

 

And when she looked at Susan’s face,

The brightness of the moon was gone,

The stars had faded from the sky,

And the sweet wind that loves to fly

Was gone too with the setting sun.

 

And Betty turned her head aside,

In silence she sobs out her grief;

Susan and she are side by side,

And Betty does her best to hide

Her feelings with a kind relief.

 

The moon is up, and yet it is not night—

Sunshine is on the hills, and all the streams

Are shining in the sky’s delicious blue;

The moon is up, and yet it is not night—

No one seems to be in bed but Betty Foy,

And poor old Susan Gale, and Johnny her poor boy.

The poem ends on a note of tenderness and pastoral quietness, but its full original version is longer than many of Wordsworth’s shorter lyrics. The structure features dialogue, monologue, and description, portraying the simple rural lives of the characters and showing deep maternal affection.

 

Summary

I. Introduction of the Setting and Betty’s Decision (Stanzas 1–6)

The poem opens on a clear March night, under a bright moonlit sky. The only sound is an owl calling out. Betty Foy, a poor country woman, is seen bustling at her door and placing her son—referred to as an “idiot boy” due to his mental condition—on a pony. Neighbours would likely criticize her for sending him out at such an hour, but Betty is determined.

 

II. The Reason Behind the Journey (Stanzas 7–11)

Betty’s friend and neighbor, Susan Gale, is very ill and has no one to care for her. Susan lives alone and is suffering greatly. Betty's husband is away working in a distant woodland. With no one else to turn to, Betty decides to send her son, Johnny, on horseback to fetch help from the doctor in a nearby village.

 

III. Johnny’s Departure and Betty’s Anxiety (Stanzas 12–18)

Betty prepares Johnny and gives him instructions for the task. Johnny, who doesn't speak clearly and whose mind is not considered sound, seems cheerful and excited to ride the pony. Betty watches him depart, full of maternal pride and love, but also anxiety. She wonders whether he can manage the errand.

 

IV. Betty Waits and Worries (Stanzas 19–25)

Time passes, and Johnny does not return. Betty becomes increasingly worried. Her imagination runs wild with fear that something bad has happened to him. She decides to leave Susan's house and go in search of Johnny herself, feeling it is her fault for sending him alone.

 

V. Betty’s Search in the Night (Stanzas 26–33)

Betty searches through the countryside, asking people if they've seen Johnny or the pony. Some have seen the boy wandering, others have not. The night is quiet and eerie. Her concern grows as she walks across fields and through lanes, calling out his name.

 

VI. Reunion with Johnny (Stanzas 34–39)

Eventually, Betty finds Johnny beside a stream, safe and sound. He is talking to himself and seems content, as if he's had an adventure of his own. He had forgotten the errand and got lost in the peaceful surroundings. Though the pony had wandered off, Johnny was unbothered.

 

VII. Betty’s Relief and Return (Stanzas 40–43)

Betty is overwhelmed with joy and relief at finding her son safe. She is not angry at him, only grateful. She embraces him lovingly, and they slowly return home. Betty’s love for Johnny is stronger than ever, and she feels a profound peace.

 

VIII. The Poem’s Close: Nature, Stillness, and Maternal Love (Final Stanzas)

The poem ends with a peaceful tone. The moon is still shining, the world is calm, and the reader is left with a vision of rural simplicity, quiet emotion, and deep maternal devotion. Betty, Susan, and Johnny are all at home, safe and still.

 

Summary in One Sentence:

A simple country mother, Betty Foy, sends her mentally challenged son Johnny on horseback to fetch a doctor for her sick friend, but when he goes missing, her anxious search turns into joyful relief as she finds him unharmed, bringing the story to a tender, quiet close.

 

Line-by-line Paraphrase

1–20

’Tis eight o’clock,—a clear March night,

The moon is up,—the sky is blue,

The owlet in the moonlight air,

Shouts from nobody knows where;

He lengthens out his lonely shout,

Halloo! halloo! a long halloo!

 

Why bustle thus about your door,

What means this bustle, Betty Foy?

Why are you in this mighty fret?

And why on horseback have you set

Him whom you love, your Idiot Boy?

 

It is no goblin, 'tis no ghost,

That thunders from the barn nor post;

The moonlight plays upon the door;

Betty, you hurry to and fro;

And Betty’s still afraid to go.

 

Paraphrase:

It’s 8 o’clock on a clear March night.

The moon is shining, and the sky is blue.

An owl cries out in the moonlight,

From some unknown place.

His cry stretches out in the silence—

“Halloo! Halloo!” long and echoing.

 

Why are you rushing around your door,

What’s causing all this commotion, Betty Foy?

Why are you so anxious?

Why did you put your dear son—your idiot boy—

On a horse and send him off?

 

There’s no ghost or scary spirit,

No thunder from the barn or fence.

The moonlight is just shining on the door.

But Betty keeps running here and there—

Still too afraid to leave.

 

21–40

She gives the pony one lash more,

He goes as if he felt the whip,

Alas! the pony only now

Has reached the bridge; he’s sweating yet,

And Betty’s still afraid to go.

 

The pony she does up and down,

She gossips still with neighbour Susan;

And Susan’s looking up the hill

And Betty’s at the window still;

And Betty’s still afraid to go.

 

Paraphrase:

She gives the pony another whip,

And he moves as if he really felt it.

But sadly, he has only just now

Reached the bridge—he’s sweating already—

And Betty still hasn’t left yet.

 

She moves the pony back and forth,

Still chatting with her neighbor Susan.

Susan looks up toward the hill,

And Betty keeps peeking from the window—

Still too scared to leave.

 

41–60

At last she’s off—across the fields

She hurries, swift as any bird;

And Betty’s gone to seek her boy—

She’s almost gone to Ravin’s Mill,

And Betty’s still afraid to go.

 

And now she’s past the halfway house,

And in the rocks is heard the wind:

The owlets through the long blue night

Are shouting to each other still:

The thorns once more have blossomed white.

 

Paraphrase:

At last she heads out—running across the fields,

As fast as a bird in flight.

Betty is on her way to find her son—

She’s nearly at Ravin’s Mill—

Yet deep down, she’s still frightened to continue.

 

Now she’s passed the halfway point,

And she hears wind among the rocks.

The owls are still calling in the blue night,

Echoing to one another—

And the thorn bushes have bloomed again in white.

 

61–80

And Betty, now at Susan’s side,

Is talking low, and taking breath,

And Susan’s reading half aloud,

And Betty’s listening to the sound,

But something whispers Betty’s mind.

 

’Tis Susan’s self—she hears the noise,

She sees the glittering hoofs below;

She sees her idiot boy astride,

She sees the pony gallop past,

She sees the child look back and smile.

 

Paraphrase:

Betty is now beside Susan again,

Speaking quietly, catching her breath.

Susan reads softly from a book,

And Betty listens,

Though a troubling thought presses her mind.

 

Then Susan herself hears a sound—

She sees shiny hooves below,

She sees the idiot boy riding,

She sees the pony gallop past,

And sees the boy turn around and smile.

 

81–100

And now that Betty’s thoughtless boy

Is gone for ever from her sight,

She looks around with dumb surprise,

The tears roll down her aged cheeks—

Why Betty, you have lost your wits!

 

She’s on the steps—and now the door

Is opening wide, and Betty’s gone

Into the house—and there she sits,

She sits her down, and looks straight out—

But Betty cannot speak a word.

 

Paraphrase:

Now that her careless boy

Has disappeared from view,

She looks around, stunned,

With tears running down her old cheeks—

Oh Betty, have you lost your mind?

 

She climbs the steps—the door opens wide—

And Betty enters the house.

She sits down and stares outside—

But she’s speechless and frozen.

 

101–120

She calls, she cries—yet nothing stirs;

She seizes Susan by the arm—

“You’re not to blame,” says Betty now,

“If she’d been well, she’d seen him go—

But oh! that now she should be ill!”

 

“Oh dear! dear Susan,” Betty cries,

“And do you think they’ll hurt the child?

Do you think he’s gone to Ravin’s Mill?

Oh, he’ll break his neck!” cries Betty Foy,

“He’s such a silly thoughtless boy!”

 

Paraphrase:

She calls and cries out—but no one answers.

She grabs Susan by the arm—

“You’re not at fault,” Betty says now.

“If Susan (the sick woman) were well, she’d have seen him leave—

But now she’s sick, and can’t help!”

 

“Oh dear Susan,” Betty cries,

“Do you think someone might hurt him?

Do you think he went all the way to Ravin’s Mill?

Oh no, he might fall and break his neck!” says Betty—

“He’s such a foolish and careless boy!”

 

121–140

He’s not so wise as some folks be,”

“The devil take his wisdom!” said

The mother of the idiot boy,

“I’d rather he had thought like me—

I never gave the horse a blow.”

 

But Betty’ll go where Betty will,

And Betty sees that boy again:

And Betty’s husband’s at the door,

And Betty’s face with joy is bright—

And Betty’s heart is all at rest.

 

Paraphrase:

“He’s not as clever as other boys,”

“To hell with cleverness!” said

The mother of the idiot boy.

“I wish he thought like me—

I never hit the horse!”

 

But Betty will do what she decides,

And finally she sees her boy again.

Her husband is standing at the door,

Betty’s face lights up with joy—

Her heart is now calm and relieved.

 

141–160

Yet still she thinks she sees him ride,

And still she sees the pony pass—

He’s always in her sight—

He rides behind the craggy rocks,

He gallops on beneath the moon.

 

And Betty’s at the window bound,

And Susan’s up and out again,

And Betty’s at the garden gate,

And she is coming through the glade—

She sees him plain at last.

 

Paraphrase:

Even now, she imagines him riding,

And sees the pony going by—

He's always in her thoughts.

She pictures him riding past the cliffs,

Galloping beneath the moonlight.

 

Betty rushes to the window,

Susan heads outside once more.

Betty runs to the garden gate,

And walks quickly through the clearing—

At last, she sees him clearly.

 

161–180

He looks so silly!—he does smile,

And Betty sees him plain;

She sees him ride along the lane,

She sees him at the gate again—

And Betty’s heart is light and glad.

 

She throws her apron o’er her head,

And clasps her hands in wild delight,

She screams—she laughs—she’s out of breath—

She cries, “My boy! my dear, dear boy!”

And Betty’s voice is hoarse with joy.

 

Paraphrase:

He looks so foolish—but he’s smiling!

And Betty sees him clearly.

She sees him riding down the path,

And now he’s at the gate again—

Betty feels light-hearted and joyful.

 

She throws her apron over her head,

Claps her hands in joyful excitement,

She screams, she laughs, almost breathless,

She cries, “My boy! My dear, dear boy!”

Her voice is hoarse with happiness.

 

181–200

She sees him sit upon the pony,

He is not hurt, he is not lame—

She sees the pony drinking water,

And now she sees the pony drink

From the little river's edge.

 

And now she sees her idiot boy

Leaning on the saddle-bow;

She sees him feel around the mane,

She sees him pull the saddle straight,

And Betty’s heart is full again.

 

Paraphrase:

She sees him still on the pony—

He’s safe, not hurt, not injured.

She watches the pony drinking,

Drinking calmly from

The edge of the little stream.

 

She sees her simple-minded boy

Leaning over the saddle;

She sees him stroke the pony’s mane,

And adjust the saddle into place—

Betty’s heart overflows again.

 

201–220

She’s past the bridge, she’s through the gate,

And now she’s at the pony’s side—

And now she gently takes the reins,

And now she leads the boy away,

And now they’re at the cottage door.

 

And Betty’s voice with joy is hoarse,

She thanks the neighbours every one,

And tells them what he did that night,

How he had found the doctor’s house,

And how he made the doctor come.

 

Paraphrase:

She crosses the bridge and the gate,

And now she’s beside the pony.

She gently takes the reins,

And leads her boy back home—

Now they’re at the cottage door.

 

Her voice is rough with joyful emotion.

She thanks every neighbor,

And tells them all what he did—

How he found the doctor’s house,

And got the doctor to come.

 

221–240

And how he begged, and how he prayed,

And how he squeezed her hands so tight—

And how the doctor’s horse did gallop,

And how the doctor came at last—

And Betty tells it all again.

 

She tells them all she knows—

But something still seems strange to her—

And Johnny makes no sense at all,

And when they ask, he laughs aloud—

And Betty says, “He’s better now!”

 

Paraphrase:

She tells how he pleaded and prayed,

And held her hands so tightly—

How the doctor’s horse galloped fast,

And how the doctor finally arrived—

And she repeats the whole story again.

 

She tells everything she knows—

But something about it still feels strange.

Johnny doesn’t explain anything,

And just laughs when they ask—

But Betty says, “He’s doing better now!”

 

241–260

At night he came again—

He rambled far among the rocks,

He scrambled up the winding paths,

He climbed till he could climb no more—

Then down he ran with mad delight.

 

He came again—at break of day—

And walked the meadow paths alone;

He sang, he talked, he shouted loud—

He laughed and stretched his arms out wide—

He seemed as if he’d lost his mind.

 

Paraphrase:

That night, he wandered again—

Roaming far among the rocks.

He climbed the winding paths,

Up as far as he could go—

Then ran back down, full of joy.

 

He came again at dawn,

Walking through the meadows alone.

He sang, talked, and shouted—

He laughed and spread his arms wide—

He seemed like he was going mad.

 

261–280

But now he’s calm—the morning air

Has soothed his spirit quite—

And in the stable quietly

He’s sitting on the pony’s back,

As still as any statue.

 

And thus, through all that long, long day,

Though every door was open wide,

Though every window looked abroad,

The idiot boy did not come home—

Though all the world looked out for him.

 

Paraphrase:

But now he’s quiet again—

The morning air has calmed him.

He sits quietly on the pony’s back

In the stable—

As still as a statue.

 

And all day long—

Though every door was open,

And every window watching—

The idiot boy didn’t return home,

Though everyone waited and watched for him.

 

281–300

But Betty now at Susan’s side

Is talking low, and taking breath,

And Susan’s reading half aloud,

And Betty’s listening to the sound—

But something whispers Betty’s mind.

 

And Susan’s self—she hears the noise,

She sees the glittering hoofs below,

She sees her idiot boy astride,

She sees the pony gallop past—

She sees the child look back and smile.

 

Paraphrase:

But now Betty sits next to Susan,

Speaking softly and breathing slowly.

Susan reads aloud gently,

And Betty listens—

Though a quiet voice is stirring in her thoughts.

 

Then Susan hears a sound herself—

She sees the shining pony hooves below,

She sees the idiot boy riding by,

The pony galloping past—

And the boy looks back and smiles.

 

301–320

And Betty’s face is bright with joy,

She cries, “He’s safe, he’s come again!”

She runs outside with arms stretched out,

She clasps him fast, she holds him close,

And blesses God with grateful tears.

 

She kisses him, she hugs him tight,

She calls him kind, and good, and brave—

And laughs and weeps all at once,

And says, “My Johnny’s safe at last—

Thank God, my boy is safe!”

 

Paraphrase:

Betty’s face shines with happiness.

She cries out, “He’s safe! He’s back!”

She runs outside with arms wide open,

Hugs him tightly and won’t let go—

And thanks God with joyful tears.

 

She kisses him, holds him close,

Calls him kind, good, and brave—

Laughs and cries together,

Saying, “My Johnny’s finally safe—

Thank God, my boy is safe!”

 

321–344 (Final Stanza)

And now she takes him by the hand,

And now she leads him through the door,

And now she’s talking all the while,

And Johnny makes no answer yet—

But smiles and looks content.

 

He feels her hand, he sees her face,

He feels the love that never ends—

And though he never says a word,

His heart is full—he’s home again—

And all is well at last.

 

Paraphrase:

Now she takes him by the hand,

And brings him back into the house.

She keeps talking joyfully,

And Johnny doesn’t say a word—

But he smiles, looking happy.

 

He feels her hand, sees her loving face,

And senses her unending love.

He says nothing—just stays quiet—

But his heart is full. He’s home—

And everything is finally okay.

 

Analysis in Detail

The Idiot Boy is a narrative poem that tells a simple rural story: a loving mother sends her mentally challenged son, Johnny, to fetch a doctor for a sick neighbor. When he goes missing, she panics and searches for him, only to find him safe, lost in nature and his own thoughts.

At first glance, the story seems ordinary, even trivial. But through the story, Wordsworth elevates the ordinary, showing that deep truth, wisdom, and spiritual peace often exist in those society overlooks—especially the simple, the poor, and the “idiot boy.”

 

 2. Central Themes

 A. Maternal Love

At the heart of the poem is Betty Foy’s unconditional love for her son. Her devotion overrides social judgment, danger, and fear.

Even though Johnny is mentally disabled, Betty does not treat him as a burden or shame. Her love becomes a redemptive force, guiding the entire narrative.

 

 B. Innocence and Simplicity

Johnny, referred to as the "idiot boy," lives in a world of simplicity and sensory joy. He is at peace in nature, unconcerned with tasks or expectations.

Wordsworth uses this to suggest that true wisdom may lie in the heart of innocence, unburdened by worldly logic or ambition.

 

 C. Nature as a Living Presence

The setting—the moon, owls, hills, streams—is not just background. Nature is deeply intertwined with emotion and experience.

Johnny finds joy and comfort in the natural world, and even Betty’s emotional journey is framed by her movement through nature.

 

 D. Social Perception and Misjudgment

The poem challenges how society labels and judges people—especially those with disabilities.

Johnny is called an “idiot,” but the poem undermines that label. He becomes a symbol of peace, purity, and inner freedom.

 

 3. Characters as Symbols

Johnny (the "idiot boy")

Symbolizes innocence, freedom from societal norms, and a deeper, intuitive connection to nature.

Though unable to fulfill his task traditionally, he returns with a spiritual message of peace that affects everyone around him.

 

Betty Foy (his mother)

Represents unconditional maternal love and faith.

Her emotional arc—fear, despair, relief, and joy—shows the intensity of human love and the strength of the human spirit.

 

Susan Gale (the sick neighbor)

Though less central, Susan represents human vulnerability.

Her recovery and emotional uplift at the end show how love and companionship can be healing.

 

 4. Narrative Voice and Style

The poem is written in a ballad form, with alternating rhymes and musical rhythm, which gives it an old folk-tale quality. But:

The narrator is self-aware and conversational, often asking rhetorical questions ("What can he do with stirrup, saddle, or with rein?").

This adds a gentle, humorous, and emotional tone, pulling readers into the story as if hearing it spoken by a fireside.

Wordsworth deliberately uses plain language, reflecting the poem’s setting and its themes of simplicity and truth.

 

 5. Poetic Form and Structure

Quatrains (four-line stanzas): Each stanza is tightly structured, yet the rhythm varies slightly, allowing for natural speech patterns.

Rhyme Scheme: Often ABABB or similar variations. The rhymes add a lyrical, almost nursery-like quality, which contrasts with the serious emotional content.

This poetic structure creates a gentle movement, mirroring the pacing of a rural evening and a mother’s quiet desperation.

 

 6. The Ending: A Vision of Peace

In the final stanzas, the poem transcends its narrative plot. Johnny doesn’t return with a doctor, but he returns with something greater: a sense of peace, joy, and inner light.

Betty sees “a glory in his eyes,” and even Susan, who was in pain, is comforted by the experience. Johnny, misunderstood and underestimated, becomes the one who restores harmony.

Wordsworth implies that:

The spiritual wisdom of the “idiot boy” is beyond the reach of educated logic.

Peace comes not from solving every problem, but from seeing life through the lens of love, presence, and simple joy.

 

 7. Why This Poem Matters

The Idiot Boy speaks to:

The dignity of the mentally challenged

The power of maternal love

The beauty of nature as emotional refuge

The value of feelings over logic

Wordsworth, as a Romantic poet, invites us to rethink who we call wise or foolish, and to recognize the sacred in the overlooked.