The Intellectual Life

by Philip Gilbert Hamerton

Watching this charming picture with a perfect sympathy, I began to have certain thoughts of my own which it is my present purpose to communicate to you without disguise. I thought, first, how agreeable it was to be the spectator of so pretty a picture; but then my eyes wandered to a painting that hung upon the walls, in which also there were a mother and her son, and this led me a long way. The painting was a hundred years old; but although the colors were not quite so fresh as when they left the palette of the artist, the beautiful youth who stood radiant like a young Apollo in the centre of the composition had not lost one of the great gifts with which his cunning human creator had endowed him. The fire of his eye had not been quenched by time; the bloom of his cheek still flushed with faint vermilion; his lip was full and imperious; his limbs athletic; his bearing haughty and dauntless. All life seemed spread before him like a beautiful rich estate of which every acre was his own. How easily will he conquer fame! how easily kindle passion. Who shall withstand this pink and perfection of aristocracy—this ideal of the age of fine gentlemen, with all the gifts of nature helped by all the inventions of art?

Then I thought farther: “That splendid young nobleman in the picture will look just as young as he does now when we shall be either superannuated or dead.” And I looked at you and your mother again and thought: “It is just five minutes since I saw these two living beings, and in this little space of time they have both of them aged a little, though no human observer has enough delicacy of perception to detect so inappreciable an alteration.” I went gradually on and on into the future, trying to imagine the changes which would come over yourself more especially (for it was you who were the centre of my reverie), till at last I imagined pretty accurately what you might be at sixty; but there it became necessary to stop, because it was too difficult to conceive the processes of decay.

After this, one thought grew upon me and became dominant. I thought, at present he has all the senses in their perfection, and they serve him without a hitch. He is an intelligence served by organs, and the organs are all doing their duty as faithfully as a postman who brings letters. When the postman becomes too infirm to do his work he will retire on his little pension, and another will take his place and bring the letters just as regularly; but when the human organs become infirm they cannot be taken out and replaced by new ones, so that we must content ourselves to the end, with their service, such as it may be. Then I reflected how useful the senses are to the high intellectual life, and how wise it is, even for intellectual purposes, to preserve them as long as possible in their perfection.

To be able to see and hear well—to feel healthy sensations—even to taste and smell properly, are most important qualifications for the pursuit of literature, and art, and science. If you read attentively the work of any truly illustrious poet, you will find that the whole of the imagery which gives power and splendor to his verse is derived from nature through one or other of these ordinary channels. Some philosophers have gone much farther than this, and have affirmed that the entire intellectual life is based ultimately upon remembered physical sensations; that we have no mental conception that is really independent of sensuous experience; and that the most abstract thought is only removed from sensation by successive processes of substitution, I have not space to enter into so great and mysterious a subject as this; but I desire to draw your attention to a truth very commonly overlooked by intellectual people, which is the enormous importance of the organs of sense in the highest intellectual pursuits. I will couple together two names which have owed their celebrity, one chiefly to the use of her ears, the other to the use of his eyes. Madame de Stael obtained her literary material almost exclusively by means of conversation. She directed, systematically, the talk of the learned and brilliant men amongst whom she lived to the subject which for the moment happened to occupy her thoughts. Her literary process (which is known to us in detail through the revelations of her friends) was purposely invented to catch everything that she heard, as a net catches fish in a river. First, she threw down on paper a very brief rough draft of the intended literary project. This she showed to few, but from it she made a second “state” (as an engraver would say), which she exhibited to some of her trusted friends, profiting by their hints and suggestions. Her secretary copied the corrected manuscript, incorporating the new matter, on paper with a very broad margin for farther additions. During all the time that it took to carry her work through these successive states, that ingenious woman made the best possible use of her ears, which were her natural providers. She made everybody talk who was likely to be of any use to her, and then immediately added what she had caught on the wide margin reserved for that purpose. She used her eyes so little that she might almost as well have been blind. We have it on her own authority, that were it not out of respect to custom, she would not open her window to see the Bay of Naples for the first time, whereas she would travel five hundred leagues to talk with a clever man whom she had never met.

Now since Madame de Stael’s genius fed itself exclusively through the faculty of hearing, what an enormous difference it would have made to her if she had been deaf! It is probable that the whole of her literary reputation was dependent on the condition of her ears. Even a very moderate degree of deafness (just enough to make listening irksome) might have kept her in perpetual obscurity.

The next instance I intend to give is that of a distinguished contemporary, Mr. Ruskin. His peculiar position in literature is due to his being able to see as cultivated artists see. Everything that is best and most original in his writings is invariably either an account of what he has seen in his own independent inimitable way, or else a criticism of the accurate or defective sight of others. His method of study, by drawing and taking written memoranda of what he has seen, is entirely different from Madame de Stael’s method, but refers always, as hers did, to the testimony of the predominant sense. Every one whose attention has been attracted to the subject is aware that, amongst people who are commonly supposed, to see equally well, and who are not suspected of any tendency to blindness, the degrees of perfection in this sense vary to infinity. Suppose that Mr. Ruskin (to our great misfortune) had been endowed with no better eyes than many persons who see fairly well in the ordinary sense, his enjoyment and use of sight would have been so much diminished that he would have had little enthusiasm about seeing, and yet that kind of enthusiasm was quite essential to his work.

The well-known instance of Mr. Prescott, the historian, is no doubt a striking proof what may be accomplished by a man of remarkable intellectual ability without the help of sight, or rather helped by the sight of others. We have also heard of a blind traveller, and even of a blind entomologist; but in all cases of this kind they are executive difficulties to be overcome, such that only the most resolute natures would ever dream of encountering them. When the materials for the “Reign of Ferdinand and Isabella” arrived in Prescott’s house from Europe, his remaining eye had just suffered from over-exertion to such a degree that he could not use it again for years. “I well remember,” he wrote in a letter to a friend, “the blank despair which I felt when my literary treasures arrived, and I saw the mine of wealth lying around me which I was forbidden to explore.” And although, by a most tedious process, which would have worn out the patience of any other author, Mr. Prescott did at last arrive at the conclusion of his work, it cost him ten years of labor—probably thrice as much time as would have been needed by an author of equal intellectual ability without any infirmity of sight.

Although, of the five senses which God has given us, sight and hearing are the most necessary to the intellectual life, it may easily be demonstrated that the lower ones are not without their intellectual uses. Perfect literature and art can only he produced by men who are perfect in all their natural faculties. The great creative intellects have never been ascetics; they have been rightly and healthily sensitive to every kind of pleasure. The taste of fruits and wines, the perfume of flowers are a part of the means by which the spirit of Nature influences our most secret thoughts, and conveys to us suggestions, or carries us into states of feeling which have an enormous effect upon our thinking, though the manner in which the effect is produced is one of the deepest mysteries of our mysterious being. When the Caliph Vathek added five wings to the palace of Alkoremmi, on the hill of Pied Horses, for the particular gratification of each of his five senses, he only did on a uselessly large scale what every properly-endowed human being does, when he can afford it, on a small one.

You will not suspect me of preaching unlimited indulgence. The very object of this letter is to recommend, for intellectual purposes, the careful preservation of the senses in the freshness of their perfection, and this is altogether incompatible with every species of excess. If you are to see clearly all your life, you must not sacrifice eyesight by over-straining it; and the same law of moderation is the condition of preserving every other faculty. I want you to know the exquisite taste of common dry bread; to enjoy the perfume of a larch wood at a distance; to feel delight when a sea-wave dashes over you. I want your eye to be so sensitive that it shall discern the faintest tones of a gray cloud, and yet so strong that it shall bear to gaze on a white one in the dazzling glory of sunshine. I would have your hearing sharp enough to detect the music of the spheres, if it were but audible, and yet your nervous system robust enough to endure the shock of the guns on an ironclad. To have and keep these powers we need a firmness of self-government that is rare.

Young men are careless of longevity; but how precious are added years to the fulness of the intellectual life! There are lives, such as that of Major Pendennis, which only diminish in value as they advance—when the man of fashion is no longer fashionable, and the sportsman can no longer stride over the ploughed fields. The old age of the Major Pendennises is assuredly not to be envied: but how rich is the age of the Hunboldts! I compare the life of the intellectual to a long wedge of gold—the thin end of it begins at birth, and the depth and value of it go on indefinitely increasing till at last comes Death (a personage for whom Nathaniel Hawthorne had a peculiar dislike, for his unmannerly habit of interruption), who stops the auriferous processes. Oh, the mystery of the nameless ones who have died when the wedge was thin and looked so poor and light! Oh, the happiness of the fortunate old men whose thoughts went deeper and deeper like a wall that runs out into the sea!