A boy is a young male human, usually child or adolescent. When he becomes an adult he's described as a man. The most apparent thing that differentiates a boy from a girl is that a boy typically has a penis while girls do not. However some intersex children with ambiguous genitals, and biologically female transgender children, may also be classified or self-identify as a "boy".
The term "boy" is primarily used to indicate biological sex distinctions, cultural gender role distinctions or both. The latter most commonly applies to adult men, either considered in some way immature or inferior, in a position associated with aspects of boyhood, or even without such boyish connotation as age-indiscriminate synonym. The term can be joined with a variety of other words to form these gender-related labels as compound words.
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The word "boy" comes from Middle English boi, boye ("boy, servant"), related to other Germanic words for boy, namely East Frisian boi ("boy, young man") and West Frisian boai ("boy"). Though the exact etymology is obscure, the English and Frisian forms probably derive from an earlier Anglo-Frisian *bō-ja ("little brother"), a diminutive of the Germanic root *bō- ("brother, male relation"), from Proto-Indo-European *bhā-, *bhāt- ("father, brother"). The root is also found in Flemish boe ("brother"), Norwegian dialectal boa ("brother"), and, through a reduplicated variant *bō-bō-, in Old Norse bófi, Dutch boef "(criminal) knave, rogue", German Bube ("knave, rogue, boy"). Furthermore, the word may be related to Bōia, an Anglo-Saxon personal name.
Ongoing debates about the influences of nature versus nurture in shaping the behavior of girls and boys raises questions about whether the roles played by boys are mainly the result of inborn differences or of socialization. Images of boys in art, literature and popular culture often demonstrate assumptions about gender roles.
An adult male human is a man, but when age is not a crucial factor, both terms can be interchangeable, e.g., 'boys and their toys' applies equally to adults and young boys, just as 'Are you mice or men?' can also apply to young boys.
The age boundary is not clear cut, rather dependent on the context or even on individual circumstances. A young man who has not assumed (or has been denied) the traditional roles of a man might also be called a boy. It may feel uncomfortable to a young male upon being referred to as a "man" before he believes he has assumed these roles, such as having a career, a partner, a household of his own, fatherhood, etc., though the addition of a jocular modifier such as "young man" or "little man" might lessen the dissonance. Conversely, it may feel uncomfortable to a male to be called a "boy" if he believes he has assumed the traditional roles of a "man". In mother's/mama's boy, the word emphatically implies a male (minor or adult in years) who is too immature to be independent.
In some traditions boyhood is held to be exchanged for adult manhood, or at least approach it significantly, by certain -in se independent- acts assuming a role deemed to be typical for a "normal" man (though there are limits) as marriage, fathering offspring or military service. Various cultural and/or religious rites of passage serve, partially or specifically, to mark the transition to manhood.
There is often a number of traditional differences in attire between boys and adult men, which may even give rise to a metaphoric term such as broekvent in Dutch (i.e., a boy who has not yet "graduated" from shorts to trousers) and in what is socially accepted as appropriate behaviour, e.g., boys may be publicly seen naked in cultures where men are not.
In English, the words youth, teenager and adolescent may refer to either male or female. No gender-specific term exists for an intermediate stage between a boy and a man, except "young man", although the term puberty, for one who reached sexual reproductivity (or the legally assumed age, e.g. 14 for boys, often set lower for girls) without being a legal adult yet, stems from a Latin word for boys only, itself named after the accompanying male body hair, pubes, on face and genital region.
Many occasions occur when an adult male is commonly referred to as a boy. A person's boyfriend or loverboy may be of any age; this even applies to a 'working' call-boy, toyboy (though usually younger than the client as youth is generally considered attractive). Reflecting the general aesthetic preference for youth, one says pretty boy (e.g. in the nickname of Charles Arthur "Pretty Boy" Floyd, who committed his first bank robbery at age 30) or Adonis (name of a mythological youth) even when a male beauty is clearly of riper age. In terms (used pejoratively or neutrally) for homosexuals such as batty boy (alongside "batty man"; from "bottom") or "bum boy", age is not essential, but the connotation of immaturity can strengthen insulting use.
A man's group of male friends etc. engaged in Male bonding are often called "the boys". It is most common to refer to men, irrespective of age or even in an adult age group, as boys in the context of a team (especially all-male), such as old boys for networking of adult men who attended the same school(s) as boys, or as professional colleagues, e.g. "the boys at the office, - police station etc." (often all adults). The members of a student fraternity can be called frat(ernity) boys, technically preferable to the pleonasm frat-bro(ther), and remain so for life as adults, after graduation.
In sports 'the boys' commonly refers to the teammates; e.g., UK football managers quite often refer to their players as "The boy so-and-so" and this usage is by no means restricted to the youngest players, though it is rarely applied to the most senior.
In US urban, particularly African American and Latino slang the term boy is used with a possessive as meaning friend (my boy, his boys), presumably as a reduction of homeboy, originally a male from the same area.
In some cases, the word boy is used merely to designate the age of the (male) person, irrespective of the function, as in altar boy, a minor acting as liturgical acolyte, or in Boy Scouts, an organisation specifically for boys. Thus the compound -man can then be replaced by -boy, as in footboy; or boy is simply added, either as a prefix (e.g., in boy-racer) or as a suffix (e.g., in Teddy Boy).
An adult equivalent (with or without -man) is not to be expected when -boy designates an apprentice (for which some languages use a compound with the equivalent of boy, e.g. leerjongen 'learning boy' in Dutch) or lowest rank implying specific on the job training if promotion is to be obtained, as in kitchen-boy. Similarly schoolboy only applies to minors; the modern near-synonym pupil originally designated a minor in Roman law as being under a specific adult's authority, as in loco parentis.
Expressions such as "boys will be boys" (i.e., a male always retains a tendency for boyish games or mischief) allude to stereotypically ascribed characteristics of boys and men; in the term tomboy, a woman's (according to the counterpart-gender stereotype) uncharacteristically bold nature is even described solely by comparing her to a boy.
The use of boy (like kid) in (fantasy or descriptive) nicknames, also for adult men (e.g. Shark Boy for a wrestler with matching costume), may also connote to the informal or naughty image of boyhood.
In such terms as 'city boy' or 'home boy', the age notion is at most anachronistic, as they indicate any male who grew up (or by extension lived a long time) in a certain environment.
The following subsections treat some specific contexts where the term boy is frequently used, as such or in compound terms, often 'emancipated' from the age notion as such.
The term 'our boys' is commonly used for a nation's soldiers, often with sympathy. Given the physical demands of battle, recruits are preferably in their physical prime, but adult professionals remain included in the term as long as they remain in service. A case where the term is formally used for (adult) men is sideboy, a member of an even-numbered group of seamen posted in two rows at the Quarterdeck when a visiting dignitary boards or leaves a ship. In the Ottoman empire, the young, mainly Christian military recruits for life (often forcibly enlisted by 'devshirme') were officially called acemi oglanlar ("novice boys").
Thus "-boy" can enter the nickname for a particular nation's soldiers, e.g. the US (infantry) doughboy, or a specific force, e.g. Fly-boy is slang for an airman.
Furthermore, specific terms refer to minors used in the armed forces:
However, when a minor in military employ is considered (historically often far less restrictive then nowadays) too young to be a 'normal' warrior (illegal under present UN rules, but without precise enforceable age limits), he's called boy soldier, regardless whether he's used as an armed fighter or only in logistic or similar functions such as bearer.
Often the term "boy" describes positions of the trainee type, such as stable boy (a junior stable hand).
Certain jobs need so little training or formal qualifications that they can easily be performed as student jobs, and thus tend to be filled mostly or exclusively by minors, as it would not pay to employ an adult at or above minimum wage. Thus an equivalent word with the compound man (or similar) may be the rarer one, or even inexistent. Examples include delivery boy, errand boy, messenger boy and various specific terms naming the product to deliver, such as paperboy (closest adult counterpart postman), pizza boy (alongside pizzaman), or to serve, such as a potboy (drinks waiter). In other cases the compound mentions a crucial attribute of his task, e.g. ball boy (more recently also girls) in tennis.
In some cases his small, light body makes a boy a better choice, e.g. as jockey where no weight handicap is in force.
Historically, in countries such as the U.S. and South Africa, "boy" was not only a 'neutral' term for domestics but also used as a disparaging racist insult towards men of colour (especially of African descent), recalling their subservient status even after the 20th century legal emancipation (from slavery, evolved to race segregation, viz. Apartheid) and alleged infantility, and many still consider it offensive in that context to this day since it denotes that men of colour (especially of African descent) are less than men.
The use of the term "boy" has not always been used as an insult. As an example, Thomas Branch, an early African-American Seventh-day Adventist missionary to Nyassaland (Malawi) referred to the native students as boys:
There is one way by which we judge many of our present boys to be quite different from some of those who were here long ago: those that are married have their wives here with them, and build their own houses, and all are busy making their gardens. I have told all the boys that if they wished to stay here and learn, those that had wives must bring them. This is having a good effect on them. They stay longer, and are more attentive to their work and their studies.[1]
Boys, in the strict or a wider sense, are often informally referred to by analogous or metaphorical terms. The literal connotations, which may be ironic or downright pejorative, have often been eroded by common use. Some terms are unisex, with or without (at least historical) preponderance of use for boys:
By analogy "boy" can also refer as an anthropomorphic term to a young male (or any male) of another animal, either in general or species-specific; in the last case it may even have a specific term, notably derived from a boy's name, such as "billy goat" for a 'boy' goat, or tomcat (known since 1809, for any male cat; but just Tom, applied to male kittens, is recorded since c.1303)
Again by analogy "boy" can occasionally even refer to a 'male' object.
Some words contain 'boy' in English by mistake (folk etymology), actually referring to a (near) homophone such as French bois = "wood" (e.g. in "low boy", a type of furniture, and in "tallboy", both furniture and a high glass or goblet).
Many mythological boys have frequently been represented in various arts, e.g. Venus' often mischievous son Cupid, himself a young god of love which he 'inflicts' on humans by shooting his arrows; in some style periods even multiplied as naked little boys called putti.
In religious art, generally adults preponderate (except as extras), with certain marked, stereotypical exceptions such as the infant Jesus or angels which may even act as 'Christianized' putti.
In children's books of English folklore, elves are often portrayed as mischievous little boys who are very small with leaf-shaped ears and blond hair.
In portrait art, and generally in commissioned work (including funeral art), the subjects are usually determined by the wishes of the (adult) client, so minors are often in the minority, yet in wealthy families especially heirs are (re)presented as part of their social positioning in view of future marriage and succession, generally either as mini-adults or stereotypical youth, e.g. at play or in cozy home scenes.
Some artists displayed a clear predeliction for scenes with boys, in certain cases (especially if frequently depicting revealing poses) believed to have to do with a homo-erotic taste, as is believed of the highly respected Old Master Caravaggio, or Henry Scott Tuke who kept producing such works even though the market circa 1900 was rather unappreciative.
In music, boys' voices, before they 'break' being of a soprano register (specifically known as treble) unlike adult men (in a choir usually tenor and bass), have been most sought-after, especially where female voices were considered inappropriate as often in church and certain theatrical music - this even led to the practice of physically trying to prevent their 'angelical' voices ever to break by surgically cutting short the hormonal drive to manhood: for centuries, castrato singers, who coupled adult strength and experience with a treble register, starred in contratenor parts, mainly in operatic styles.
Sir Walter Raleigh and his son, 1602
Die Söhne des Künstlers Christian Leberecht Vogel
Die Geschwister an der Ostsee, by Ernst Weise, 1915
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This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.
Frederick George "Freddy" Moore (born July 19, 1950) is an American rock musician probably best known for his 1980 song "It's Not A Rumour", which he co-wrote with his then-wife Demi Moore, and recorded with his band The Nu-Kats. The song was not a chart hit, but the video did receive airplay on MTV in the early 1980s.
Moore was born in Minneapolis, Minnesota, and aside from his family's brief move to San Francisco, California in 1964/65, grew up in the Twin Cities area. "I didn't have any friends and really didn't want any. I just sat in my room and played Beatle songs and wrote my own," he claims. At this point, he was known as Rick Moore.
He graduated from Richfield, Minnesota High School in 1968. Fearful that he would be drafted to serve in the Vietnam War, he enrolled at the University of Minnesota to study Music Theory and Composition under composer Dominick Argento.
After performances with his band An English Sky, Moore started performing as "Skogie", circa 1970, and soon after formed Skogie and the Flaming Pachucos. Later, the band name reverted to Skogie.
Boy (少年 Shōnen) is a 1969 Japanese film directed by Nagisa Oshima, starring Tetsuo Abe, Akiko Koyama and Fumio Watanabe.
Based on real events reported in Japanese newspapers in 1966Boy follows the title character, Toshio Omura, across Japan, as he is forced to participate in a dangerous scam to support his dysfunctional family. Toshio's father, Takeo Omura, is an abusive, lazy veteran, who forces his wife, the boy's stepmother, Takeko Tamiguchi, to feign being hit by cars in order to shake down the motorists. When his wife is unable to perform the scam, Toshio is enlisted. The boy's confused perspective of the scams and his chaotic family life are vividly captured in precisely edited sequences. As marital strife, mounting abuse, and continual moving take their toll, the boy tries to escape, either by running away on trains, or by retreating into a sci-fi fantasy he has constructed for his little brother and himself. Finally, in snowy Hokkaidō, the law finally catches up when the little brother unwittingly causes a fatal car accident. Although traumatized, Toshio tries to help his family elude capture in the final sequence, presented in documentary fashion, describing their arrest.
Bathory (also released as Bathory: Countess of Blood) is a 2008 historical drama written and directed by Juraj Jakubisko. Filming began in December 2005, and the film was released in July 2008. It was Jakubisko's first English-language film and an international co-production between the cinemas of Slovakia, the Czech Republic, Hungary, and the United Kingdom.
The film is based on the story of Erzsébet Bathory, a Hungarian countess in the 16th and 17th centuries. Her story takes place in a part of the Kingdom of Hungary that is now Slovakia. In this retelling, the Countess is a healer who conducts medical experiments and rudimentary autopsies in a "hospital" beneath her castle. She forms a relationship with a reputed witch, Darvulia, who saves her from poisoning. The witch promises Erzsebet a son and eternal beauty. In return, Erzsebet must sacrifice both love and her reputation. Darvulia becomes Erzsebet's companion. Meanwhile, maidens in the area have been dying of seemingly unrelated causes, and Erzsebet is seen bathing in a large tub of red liquid as the girls' now-mutilated corpses are buried nearby. Two monks later conclude that the water is not blood but is simply colored red by herbs.
The Báthory family were a Hungarian noble family of the Gutkeled clan.
Bathory may also refer to:
Bathory was an extreme metal band formed in Vällingby in 1983 and named after the infamous Hungarian countess, Elizabeth Báthory. The band's frontman and main songwriter was Quorthon (Tomas Forsberg). Bathory's first four albums are considered to be "the blueprint for Scandinavian black metal". The band departed from this style on their fifth album, Hammerheart (1990), which is often cited as the first Viking metal album. Bathory continued in the Viking metal style throughout the 1990s and early 2000s, although the band returned to thrash metal with the albums Requiem (1994) and Octagon (1995). Bathory ended when Quorthon died from heart failure in 2004.