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John Stuart Mill: A Criticism with Personal Recollections

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TASTES AND DIVERSIONS. 151<br />

complex product. The remark is applicable to the Tender<br />

feeling, viewed in its ultimate form ; and even more to the other<br />

great<br />

feeling.<br />

source of human emotion the Malevolent or Irascible<br />

Unless conspicuously present, or conspicuously absent,<br />

the amount of the feeling in the elementary shape can <strong>with</strong><br />

difficulty be estimated in a character notable for growth, and for<br />

complication of impulses. In <strong>Mill</strong>, all the coarse, crude forms<br />

of angry passion were entirely wanting. He never got into a<br />

rage. His pleasures of malevolence, so far as existing, were of<br />

a very refined nature. Only in the punishment of offenders<br />

against his fellow-men, did he indulge revengeful sentiment.<br />

He could, on occasions, be very severe in his judgments and<br />

denunciations ;<br />

but vulgar calumny, abuse, hatred for the mere<br />

sake of hatred, were completely crucified in him. He spent a<br />

large part of his life in polemics ; and his treatment of oppo<br />

nents was a model of the ethics of controversy. The delight<br />

in victory was <strong>with</strong> him a genial, hearty chuckle, and no more.<br />

Taking emotional and sensuous elements together, we may<br />

recount his chief tastes and diversions, irrespective of sympathy<br />

proper, which adds a new and all-important fact of character.<br />

The love of scenery, in connexion <strong>with</strong> touring excursions,<br />

was stimulated from an early date, and indulged in to the last.<br />

Whether he had a refined judgment of scenic effects, from an<br />

artist s point of view, I am unable to say. He did not become<br />

poetically inspired by nature, like Shelley or Wordsworth;<br />

perhaps he enjoyed<br />

it none the less. He made little use of<br />

his varied travels by allusions, or figures in his composition.<br />

His enjoyment of the concrete did not render his style much<br />

less abstract than it would have been although, like Kant, he<br />

had never left home.<br />

His taste for plant-collecting began in France, under George<br />

Bentham, and was continued through<br />

those limited excursions, in the neighbourhood<br />

of London,<br />

that he habitually kept up for the needs of recreation. I may<br />

to a<br />

life. It served him in<br />

be mistaken, but it seems to me, that this taste belongs

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