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Disowned by Memory: Wordsworth's Poetry of the 1790s

Disowned by Memory: Wordsworth's Poetry of the 1790s
By David Bromwich

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Although we know him as one of the greatest English poets, William Wordsworth might not have become a poet at all without the experience of personal and historical catastrophe in his youth. In Disowned by Memory, David Bromwich connects the accidents of Wordsworth's life with the originality of his writing, showing how the poet's strong sympathy with the political idealism of the age and with the lives of the outcast and the dispossessed formed the deepest motive of his writings of the 1790s.

"This very Wordsworthian combination of apparently low subjects with extraordinary 'high argument' makes for very rewarding, though often challenging reading."—Kenneth R. Johnston, Washington Times

"Wordsworth emerges from this short and finely written book as even stranger than we had thought, and even more urgently our contemporary."—Grevel Lindop, Times Literary Supplement

"[Bromwich's] critical interpretations of the poetry itself offer readers unusual insights into Wordworth's life and work."—Library Journal

"An added benefit of this book is that it restores our faith that criticism can actually speak to our needs. Bromwich is a rigorous critic, but he is a general one whose insights are broadly applicable. It's an intellectual pleasure to rise to his complexities."—Vijay Seshadri, New York Times Book Review

Product Details

  • Amazon Sales Rank: #2262768 in Books
  • Published on: 2000-04-15
  • Original language: English
  • Dimensions: .73 pounds
  • Binding: Paperback
  • 193 pages

Editorial Reviews

From Amazon.com
Any discussion of William Wordsworth invariably brings forth three maxims. First, he's the great poet of self-consciousness, having practically cooked up the concept in The Prelude; second, he's the preeminent nature boy of the romantic era; and third, his work went steadily downhill after the glory days of Poems in Two Volumes (1807). David Bromwich, however, feels differently. In Disowned by Memory, he slides Wordsworth's poetry of the 1790s under the magnifying glass and comes up with some persuasive revisionism.

It's not that Bromwich presents an brand-new, nature-hating Wordsworth. But he does suggest that we do the poet an injustice by tarring him with the tranquil, touchy-feeley brush:

We have honored him for uninteresting virtues; but the fault is not entirely his. Art of a certain dignity risks being fancied in the minds of spectators as a monumental thing. Wordsworth was a disagreeable man and an interesting poet, but a man wrote the poems and it seems worth keeping him in view, as disagreeably as possible.
Bromwich initially applies the blowtorch to our conception of Wordsworth's ideology, examining the early poem "The Old Cumberland Beggar" for its expression of what the author calls "radical humanity." This is no bucolic postcard, he argues, but a complicated spin on worth and worthlessness, the self and society, in which the beggar operates as a odd medium of exchange: "His life is more valuable than others just because it is obviously less valued." Elsewhere Bromwich ponders his subject's verse-play, "The Borderers"--in which he sees Wordsworth working out his mingled guilt and joy over the violence of the French Revolution--and recasts "Tintern Abbey" as an expression of seclusion from nature, rather than an anticipatory tree-hugger's anthem. Here as always Bromwich is tartly provocative, even on the subject of being provocative: "To become detached from one habitual sense of a poem is an odd and unsettling process, and it takes time. I can compare it to having a fixed idea of a friend who, when you meet him after a long absence, says or does something so peculiar that it changes the whole picture of his character, until you think about it and realize this was part of the picture all along."

The Wordsworth we encounter in Disowned by Memory is indeed detached from our habitual sense of the poet. Still, Bromwich's arguments are so sound, and his prose so agreeably spiky, that he forces you to think through what he's saying and offer some articulate reply. It was Hazlitt who first put the finger on Wordsworth's paradoxical insularity: "He sees nothing but himself and the universe." But Bromwich too makes you wonder whether being self-centered is a good thing, a bad thing, or just a fact of life for a poet. --James Marcus

From Library Journal
The poetry of the first decade of Wordsworth's career is some of his most memorable. According to Bromwich (English, Yale), Wordsworth turned to poetry after the French Revolution to articulate the ideals of human dignity and solidarity. Bromwich engages in dazzling close readings of poems like "Tintern Abbey," "A Slumber Did My Spirit Seal," and "The Old Cumberland Beggar" as he contends that Wordsworth's early poetry has "radical acts of human solidarity" as its theme. Bromwich combines the of psychology, history, and biography to uncover the contexts for these poems, but his critical interpretations of the poetry itself offer readers unusual insights into Wordsworth's life and work. Highly recommended for both large public libraries and academic libraries.?Henry L. Carrigan Jr., Westerville P.L., OH
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