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kevis goodman logo-motion – that the poem, according to Wordsworth, seeks both to recreate and to induce by means of tautology and other forms of repetition or repetitive motion Notwithstanding the attempt to convert the dangerous passions into more profitable “interest” in the later part of the note, there remains something frightening, and altogether resistant to the discourse of profit, about this clinging, here no less than in the case of “We Are Seven” or the “Last of the Flock.”22 This is a cleaving that brings out the full antithetical senses of the verb “to cleave”: to join (as in Genesis’s “a man shall cleave unto his wife, and they shall be one flesh”) and to sunder, tear apart It is a clinging-to that attempts precariously to fend off a profound separation or endless circulation, just as (and at the same time as) words as things are preferred to words valued for their exchangeability – either as “symbols of the passion” or as spaces on the paper This is not the distancing of the present associated with sentimental nostalgia What is transported or revealed in the passage from the medical accounts into Wordsworth’s deliberately cultivated pathology of communication – in short, in the movement from medical nostalgia to poetic tautology – is something of that other term in the full phrase “the history and science of feelings”: the history that lies behind both “sciences” and which doctors faced with cases of nostalgia sought vainly to cure – the pathos of motion, or a certain kind of endless, unfree motion Wordsworth’s conception of “Poetry” as the “science of feelings” thus intervenes where the medical writings on nostalgia had previously lodged: as an attempt at once to register and to address the pathologies of motion that emerge in response to increased mobility, expansion, exploration, and the underside of all of these, war His understanding of such a charge I take to underlie the peculiar (and ludic) comments about meter a few sentences earlier in the “Note on the Thorn”: “It was necessary that the Poem, to be natural, should in reality move slowly, yet I hoped that, by the aid of the metre it would appear to move quickly The Reader will have the kindness to excuse this note, as I am sensible that an Introductory Poem is necessary to give this Poem its full effect.” The over-explanation here may reflect not just the spreading infection of the captain’s “garrulity” but, more urgently, the poet’s own sense that something quite important but unresolved is at stake in achieving the proper readerly “motions” – neither too quick nor too slow – although it remains entirely and symptomatically unclear whether the poem moves slowly or quickly (Try, reading those lines, to discern an answer!) In this respect, as I have tried to suggest, there remains an important difference between Wordsworth’s “science of feelings” and the medical treatments Where the former had been intent on restoring healthy motions, or at least an adaptive equilibrium thereof, Wordsworth – notwithstanding 208 Cambridge Collections Online © Cambridge University Press, 2008
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