The Autobiography of John Stuart Mill

placed before me beautiful pictures of natural scenery. Scott does this still better than Wordsworth, and a very second-rate landscape does it more effectually than any poet. What made Wordsworth’s poems a medicine for my state of mind, was that they expressed, not mere outward beauty, but states of feeling, and of thought coloured by feeling, under the excitement of beauty. They seemed to be the very culture of the feelings, which I was in quest of. In them I seemed to draw from a source of inward joy, of sympathetic and imaginative pleasure, which could be shared in by all human beings; which had no connection with struggle or imperfection, but would be made richer by every improvement in the physical or social condition of mankind. From them I seemed to learn what would be the perennial sources of happiness, when all the greater evils of life shall have been removed. And I felt myself at once better and happier as I came under their influence. There have certainly been, even in our own age, greater poets than Wordsworth; but poetry of deeper and loftier feeling could not have done for me at that time what his did. I needed to be made to feel that there was real, permanent happiness in tranquil contemplation. Wordsworth taught me this, not only without turning away from, but with a greatly increased interest in, the common feelings and common destiny of human beings. And the delight which these poems gave me, proved that with culture of this sort, there was nothing to dread from the most confirmed habit of analysis. At the conclusion of the Poems came the famous Ode, falsely called Platonic, “Intimations of Immortality”: in which, along with more than his usual sweetness of melody and rhythm, and along with the two passages of grand imagery but bad philosophy so often quoted, I found that he too had had similar experience to mine; that he also had felt that the first freshness of youthful enjoyment of life was not lasting; but that he had sought for compensation, and found it, in the way in which he was now teaching me to find it. The result was that I gradually, but completely, emerged from my habitual depression, and was never again subject to it. I long continued to value Wordsworth less according to his intrinsic merits, than by the measure of what he had done for me. Compared with the greatest poets, he may be said to be the poet of unpoetical natures, possessed of quiet and contemplative tastes. But unpoetical natures are precisely those which require poetic cultivation. This cultivation Wordsworth is much more fitted to give, than poets who are intrinsically far more poets than he.

It so fell out that the merits of Wordsworth were the occasion of my first public declaration of my new way of thinking, and separation from those of my habitual companions who had not undergone a similar change. The person with whom at that time I was most in the habit of comparing notes on such subjects was Roebuck, and I induced him to read Wordsworth, in whom he also at first seemed to find much to admire: but I, like most Wordsworthians, threw myself into strong antagonism to Byron, both as a poet and as to his influence on the character. Roebuck, all whose instincts were those of action and struggle, had, on the contrary, a strong relish and great admiration of Byron, whose writings he regarded as the poetry of human life, while Wordsworth’s, according to him, was that of flowers and butterflies. We agreed to have the fight out at our Debating Society, where we accordingly discussed for two evenings the comparative merits of Byron and Wordsworth, propounding and illustrating by long recitations our respective theories of poetry: Sterling also, in a brilliant speech, putting forward his particular theory. This was the first debate on any weighty subject in which Roebuck and I had been on opposite sides. The schism between us widened from this time more and more, though we continued for some years longer to be companions. In the beginning, our chief divergence related to the cultivation of the feelings. Roebuck was in many respects very different from the vulgar notion of a Benthamite or Utilitarian. He was a lover of poetry and of most of the fine arts. He took great pleasure in music, in dramatic performances, especially in painting, and himself drew and designed landscapes with great facility and beauty. But he never could be made to see that these things have any value as aids in the formation of character. Personally, instead of being, as Benthamites are supposed to be, void of feeling, he had very quick and strong sensibilities. But, like most Englishmen who have feelings, he found his feelings stand very much in his way. He was much more susceptible to the painful sympathies than to the pleasurable, and, looking for his happiness elsewhere, he wished that his feelings should be deadened rather than quickened. And, in truth, the English character, and English social circumstances, make it so seldom possible to derive happiness from the exercise of the sympathies, that it is not wonderful if they count for little in an Englishman’s scheme of life. In most other countries the paramount importance of the sympathies as a constituent of individual happiness is an axiom, taken for granted rather than needing any formal statement; but most English thinkers always seem to regard them as necessary evils, required for keeping men’s actions benevolent and compassionate. Roebuck was, or appeared to be, this kind of Englishman. He saw little good in any cultivation of the feelings, and none at all in cultivating them through the imagination, which he thought was only cultivating illusions. It was in vain I urged on him that the imaginative emotion which an idea, when vividly conceived, excites in us, is not an illusion but a fact, as real as any of the