The relevance of the material in my text below to HES will become evident in the last para.

The Puritans and Presbyterianshave had such a bad press that I see the effects have seeped even into the august circles that debate matters here - and it does not help that many of our HES readers seem to have only a cursory acquaintance with John Stuart Mill's Autobiography.

The fact is that the Puritans hated SOME arts they considered dissolute (e.g. the theatre - a position which, by the way, has become valid again today, as some theatre is now as corrupt and corrupting once again in our own day as it was in theirs)

however, the Puritans loved other arts - and this applies also to the Presbyterians (including Scottish Presbyterians! - though I should not say "loved", of course, I should say "love" - for both Puritan and Presbyterian groups still exist - even in Scotland! - and many such groups are growing again in our post-secular times)

For example, consider the relationship of the Puritans and Presbyterians with literature - in terms of the poets John Milton, Anne Bradstreet, Edward Taylor, Philip Sidney, Edmund Spenser, Michael Wigglesworth (to name a few)...  or the earliest English novelist, John Bunyan.  Indeed, the whole tradition of autobiography and diary-writing comes from the Puritans.

They also loved architecture - and some lovely (and some not so lovely!) Presbyterian churches in Scotland as well as other countries stand as testimony to that

Particularly, the Puritans loved music and one only needs to mention Horatius Bonar among the Scottish Presbyterians - the whole tradition of hymn-writing, which reached its highest development in the 18th century and still produces some brilliant music and lyrics (e.g. Bono), comes from them 

As neither the Puritans nor the Presbyterians "hated the arts", that perspective does not help us to understand what did or did not happen to John Stuart Mill.

Now to JSM's Autobiography itself and the view we are given of this and other topics that have been raised:

(childhood): "Shakespeare my father had put into my hands, chiefly for the sake of the historical plays, from which, however, I went on to the others. My father never was a great admirer of Shakespeare, the English idolatry of whom he used to attack with some severity. He cared little for any English poetry except Milton (for whom he had the highest admiration), Goldsmith, Burns, and Gray's Bard, which he preferred to his Elegy: perhaps I may add Cowper and Beattie. He had some value for Spenser, and I remember his reading to me (unlike his usual practice of making me read to him), the first book of the Fairie Queene; but I took little pleasure in it. The poetry of the present century he saw scarcely any merit in, and I hardly became acquainted with any of it till I was grown up to manhood, except the metrical romances of Walter Scott, which I read at his recommendation and was intensely delighted with; as I always was with animated narrative. Dryden's Poems were among my father's books, and many of these he made me read, but I never cared for any of them except Alexander's Feast, which, as well as many of the songs in Walter Scott, I used to sing internally, to a music of my own: to some of the latter, indeed, I went so far as to compose airs, which I still remember. Cowper's short poems I read with some pleasure, but never got far into the longer ones; and nothing in the two volumes interested me like the prose account of his three hares. In my thirteenth year I met with Campbell's Poems, among which Lochiel, Hohenlinden, the Exile of Erin, and some others, gave me sensations I had never before experienced from poetry. Here, too, I made nothing of the longer poems, except the striking opening of Gertrude of Wyoming, which long kept it place in my feelings as the perfection of pathos."

(youth): ""neglect both in theory and in practice of the cultivation of feeling, naturally resulted, among other things, an under-valuing of poetry, and of Imagination generally, as an element of human nature. It is, or was, part of the popular notion of Benthamites, that they are enemies of poetry: this was partly true of Bentham himself; he used to say that "all poetry is misrepresentation: " but in the sense in which he said it, the same might have been said of all impressive speech; of all representation or inculcation mote oratorical in its character than a sum in arithmetic. An article of Bingham's in the first number of the Westminster Review, in which he offered as an explanation of something which he disliked in Moore, that "Mr Moore is a poet, and therefore is not a reasoner," did a good deal to attach the notion of hating poetry to the writers in the Review. But the truth was that many of us were great readers of poetry; Bingham himself had been a writer of it, while as regards me (and the same thing might be said of my father), the correct statement would be, not that I disliked poetry, but that I was theoretically indifferent to it. I disliked any sentiments in poetry which I should have disliked in prose; and that included a great deal. And I was wholly blind to its place in human culture, as a means of educating the feelings. But I was always personally very susceptible to some kinds of it. In the most sectarian period of my Benthamism, I happened to look into Pope's Essay on Man, and though every opinion in it was contrary to mine, I well remember how powerfully it acted on my imagination. Perhaps at that time poetical composition of any higher type than eloquent discussion in verse, might not have produced a similar effect on me: at all events I seldom gave it an opportunity. This, however, was a mere passive state. Long before I had enlarged in any considerable degree, the basis of my intellectual creed, I had obtained in the natural course of my mental progress, poetic culture of the most valuable kind, by means of reverential admiration for the lives and characters of heroic persons; especially the heroes of philosophy. The same inspiring effect which so many of the benefactors of mankind have left on record that they had experienced from Plutarch's Lives, was produced on me by Plato's pictures of Socrates, and by some modern biographies, above all by Condorcet's Life of Turgot; a book well calculated to rouse the best sort of enthusiasm, since it contains one of the wisest and noblest of lives, delineated by one of the wisest and noblest of men. The heroic virtue of these glorious representatives of the opinions with which I sympathized, deeply affected me, and I perpetually recurred to them as others do to a favourite poet, when needing to be carried up into the more elevated regions of feeling and thought. I may observe by the way that this book cured me of my sectarian follies. The two or three pages beginning "Il regardait toute secte comme nuisible," and explaining why Turgot always kept himself perfectly distinct from the Encyclopedists, sank deeply into my mind. I left off designating myself and others as Utilitarians, and by the pronoun "we" or any other collective designation, I ceased to affiche, sectarianism. My real inward sectarianism I did not get rid of till later, and much more gradually."

(Following the attack of "Dejection" or "Depression" in 1826-7): "I had now learnt by experience that the passive susceptibilities needed to be cultivated as well as the active capacities, and required to be nourished and enriched as well as guided. I did not, for an instant, lose sight of, or undervalue, that part of the truth which I had seen before; I never turned recreant to intellectual culture, or ceased to consider the power and practice of analysis as an essential condition both of individual and of social improvement. But I thought that it had consequences which required to be corrected, by joining other kinds of cultivation with it. The maintenance of a due balance among the faculties, now seemed to me of primary importance. The cultivation of the feelings became one of the cardinal points in my ethical and philosophical creed. And my thoughts and inclinations turned in an increasing degree towards whatever seemed capable of being instrumental to that object.         I now began to find meaning in the things which I had read or heard about the importance of poetry and art as instruments of human culture. But it was some time longer before I began to know this by personal experience. The only one of the imaginative arts in which I had from childhood taken great pleasure, was music; the best effect of which (and in this it surpasses perhaps every other art) consists in exciting enthusiasm; in winding up to a high pitch those feelings of an elevated kind which are already in the character, but to which this excitement gives a glow and a fervour, which, though transitory at its utmost height, is precious for sustaining them at other times. This effect of music I had often experienced; but like all my pleasurable susceptibilities it was suspended duriNg the gloomy period. I had sought relief again and again from this quarter, but found none. After the tide had turned, and I was in process of recovery, I had been helped forward by music, but in a much less elevated manner. I at this time first became acquainted with Weber's Oberon, and the extreme pleasure which I drew from its delicious melodies did me good, by showing me a source of pleasure to which I was as susceptible as ever. The good, however, was much impaired by the thought, that the pleasure of music (as is quite true of such pleasure as this was, that of mere tune) fades with familiarity, and requires either to be revived by intermittence, or fed by continual novelty. And it is very characteristic both of my then state, and of the general tone of my mind at this period of my life, that I was seriously tormented by the thought of the exhaustibility of musical combinations. The octave consists only of five tones and two semi-tones, which can be put together in only a limited number of ways, of which but a small proportion are beautiful: most of these, it seemed to me, must have been already discovered, and there could not be room for a long succession of Mozarts and Webers, to strike out, as these had done, entirely new and surpassingly rich veins of musical beauty. This source of anxiety may, perhaps, be thought to resemble that of the philosophers of Laputa, who feared lest the sun should be burnt out. It was, however, connected with the best feature in my character, and the only good point to be found in my very unromantic and in no way honourable distress. For though my dejection, honestly looked at, could not be called other than egotistical, produced by the ruin, as I thought, of my fabric of happiness, yet the destiny of mankind in general was ever in my thoughts, and could not be separated from my own.... This state of my thoughts and feelings made the fact of my reading Wordsworth for the first time (in the autumn of 1828), an important event in my life. I took up the collection of his poems from curiosity, with no expectation of mental relief from it, though I had before resorted to poetry with that hope. In the worst period of my depression, I had read through the whole of Byron (then new to me), to try whether a poet, whose peculiar department was supposed to be that of the intenser feelings, could rouse any feeling in me. As might be expected, I got no good from this reading, but the reverse. The poet's state of mind was too like my own. His was the lament of a man who had worn out all pleasures, and who seemed to think that life, to all who possess the good things of it, must necessarily be the vapid, uninteresting thing which I found it. His Harold and Manfred had the same burthen on them which I had; and I was not in a frame of mind to derive any comfort from the vehement sensual passion of his Giaours, or the sullenness of his Laras. But while Byron was exactly what did not suit my condition, Wordsworth was exactly what did. I had looked into the Excursion two or three years before, and found little in it; and I should probably have found as little, had I read it at this time. But the miscellaneous poems, in the two-volume edition of 1815 (to which little of value was added in the latter part of the author's life), proved to be the precise thing for my mental wants at that particular juncture. 

"       In the first place, these poems addressed themselves powerfully to one of the strongest of my pleasurable susceptibilities, the love of rural objects and natural scenery; to which I had been indebted not only for much of the pleasure of my life, but quite recently for relief from one of my longest relapses into depression. In this power of rural beauty over me, there was a foundation laid for taking pleasure in Wordsworth's, poetry. the more so, as his scenery lies mostly among mountains, which, owing to my early Pyrenean excursion, were my ideal of natural beauty. But Wordsworth would never have had any great effect on me, if he had merely 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 connexion with struggle ot 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 almost 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 other qualities of objects; and far from implying anything erroneous and delusive in our mental apprehension of the object, is quite consistent with the most accurate knowledge and most perfect practical recognition of all its physical and intellectual laws and relations. The intensest feeling of the beauty of a cloud lighted by the setting sun, is no hindrance to my knowing that the cloud is vapour of water, subject to all the laws of vapours in a state of suspension; and I am just as likely to allow for, and act on, these physical laws whenever there is occasion to do so, as if I had been incapable of perceiving any distinction between beauty and ugliness. 

"        While my intimacy with Roebuck diminished, I fell more and more into friendly intercourse with our Coleridgian adversaries in the Society, Frederick Maurice and John Sterling, both subsequently so well known, the former by his writings, the latter through the biographies by Hare and Carlyle. Of these two friends, Maurice was the thinker, Sterling the orator, and impassioned expositor of thoughts which, at this period, were almost entirely formed for him by Maurice. With Maurice I had for some time been acquainted through Eyton Tooke, who had known him at Cambridge, and though my discussions with him were almost always disputes, I had carried away from them much that helped to build up my new fabric of thought, in the same way as I was deriving much from Coleridge, and from the writings of Goethe and other German authors which I read during those years. I have so deep a respect for Maurice's character and purposes, as well as for his great mental gifts, that it is with some unwillingness I say anything which may seem to place him on a less high eminence than I would gladly be able to accord to him. But I have always thought that there was more intellectual power wasted in Maurice than in any other of my contemporaries. Few of them certainly have had so much to waste. Great powers of generalization, rare ingenuity and subtlety, and a wide perception of important and unobvious truths, served him not for putting something better into the place of the worthless heap of received opinions on the great subjects of thought, but for proving to his own mind that the Church of England had known everything from the first, and that all the truths on the ground of which the Church and orthodoxy have been attacked (many of which he saw as clearly as any one) are not only consistent with the Thirty-nine articles, but are better understood and expressed in those articles than by any one who rejects them. I have never been able to find any other explanation of this, than by attributing it to that timidity of conscience, combined with original sensitiveness of temperament, which has so often driven highly gifted men into Romanism from the need of a firmer support than they can find in the independent conclusions of their own judgment. Any more vulgar kind of timidity no one who knew Maurice would ever think of imputing to him, even if he had not given public proof of his freedom from it, by his ultimate collision with some of the opinions commonly regarded as orthodox, and by his noble origination of the Christian Socialist movement. The nearest parallel to him, in a moral point of view, is Coleridge, to whom, in merely intellectual power, apart from poetical genius, I think him decidedly superior. At this time, however, he might be described as a disciple of Coleridge, and Sterling as a disciple of Coleridge and of him. The modifications which were taking place in my old opinions gave me some points of contact with them; and both Maurice and Sterling were of considerable use to my development. With Sterling I soon became very intimate, and was more attached to him than I have ever been to any other man. He was indeed one of the most lovable of men. His frank, cordial, affectionate, and expansive character; a love of truth alike conspicuous in the highest things and the humblest; a generous and ardent nature which threw itself with impetuosity into the opinions it adopted, but was as eager to do justice to the doctrines and the men it was opposed to, as to make war on what it thought their errors; and an equal devotion to the two cardinal points of Liberty and Duty, formed a combination of qualities as attractive to me, as to all others who knew him as well as I did. With his open mind and heart, he found no difficulty in joining hands with me across the gulf which as yet divided our opinions. He told me how he and others had looked upon me (from hearsay information), as a "made" or manufactured man, having had a certain impress of opinion stamped on me which I could only reproduce; and what a change took place in his feelings when he found, in the discussion on Wordsworth and Byron, that Wordsworth, and all which that names implies, "belonged" to me as much as to him and his friends. The failure of his health soon scattered all his plans of life, and compelled him to live at a distance from London, so that after the first year or two of our acquaintance, we only saw each other at distant intervals. But (as he said himself in one of his letters to Carlyle) when we did meet it was like brothers. Though he was never, in the full sense of the word, a profound thinker, his openness of mind, and the moral courage in which he greatly surpassed Maurice, made him outgrow the dominion which Maurice and Coleridge had once exercised over his intellect; though he retained to the last a great but discriminating admiration of both, and towards Maurice a warm affection. Except in that short and transitory phasis of his life, during which he made the mistake of becoming a clergyman, his mind was ever progressive: and the advance he always seemed to have made when I saw him after an interval, made me apply to him what Goethe said of Schiller, "Er hatte eine f???rchterliche Fortschreitung." He and I started from intellectual points almost as wide apart as the poles, but the distance between us was always diminishing: if I made steps towards some of his opinions, he, during his short life, was constantly approximating more and more to several of mine: and if he had lived, and had health and vigour to prosecute his ever assiduous self-culture, there is no knowing how much further this spontaneous assimilation might have proceeded. 

"... I have already mentioned Carlyle's earlier writings as one of the channels through which I received the influences which enlarged my early narrow creed; but I do not think that those writings, by themselves, would ever have had any effect on my opinions. What truths they contained, though of the very kind which I was already receiving from other quarters, were presented in a form and vesture less suited than any other to give them access to a mind trained as mine had been. They seemed a haze of poetry and German metaphysics, in which almost the only clear thing was a strong animosity to most of the opinions which were the basis of my mode of thought; religious scepticism, utilitarianism, the doctrine of circumstances, and the attaching any importance to democracy, logic, or political economy. Instead of my having been taught anything, in the first instance, by Carlyle, it was only in proportion as I came to see the same truths through media more suited to my mental constitution, that I recognized them in his writings. Then, indeed, the wonderful power with which he put them forth made a deep impression upon me, and I was during a long period one of his most fervent admirers; but the good his writings did me, was not as philosophy to instruct, but as poetry to animate. Even at the time when out acquaintance commenced, I was not sufficiently advanced in my new modes of thought, to appreciate him fully; a proof of which is, that on his showing me the manuscript of Sartor Resartus, his best and greatest work, which he had just then finished, I made little of it; though when it came out about two years afterwards in Fraser's Magazine I read it with enthusiastic admiration and the keenest delight. I did not seek and cultivate Carlyle less on account of the fundamental differences in our philosophy. He soon found out that I was not "another mystic," and when for the sake of my own integrity I wrote to him a distinct profession of all those of my opinions which I knew he most disliked, he replied that the chief difference between us was that I "was as yet consciously nothing of a mystic." I do not know at what period he gave up the expectation that I was destined to become one; but though both his and my opinions underwent in subsequent years considerable changes, we never approached much nearer to each other's modes of thought than we were in the first years of our acquaintance. I did not, however, deem myself a competent judge of Carlyle. I felt that he was a poet, and that I was not; that he was a man of intuition, which I was not; and that as such, he not only saw many things long before me, which I could only when they were pointed out to me, hobble after and prove, but that it was highly probable he could see many things which were not visible to me even after they were pointed out. I knew that I could not see round him, and could never be certain that I saw over him; and I never presumed to judge him with any definiteness, until he was interpreted to me by one greatly the superior of us both -- who was more a poet than he, and more a thinker than I -- whose own mind and nature included his, and infinitely more.

"Among the persons of intellect whom I had known of old, the one with whom I had now most points of agreement was the elder Austin. I have mentioned that he always set himself in opposition to our early sectarianism; and latterly he had, like myself, come under new influences. Having been appointed Professor of Jurisprudence in the London University (now University College), he had lived for some time at Bonn to study for his Lectures; and the influences of German literature and of the German character and state of society had made a very perceptible change in his views of life. His personal disposition was much softened ; he w as less militant and polemic; his tastes had begun to turn themselves towards the poetic and contemplative. He attached much less importance than formerly to outward changes; unless accompanied by a better cultivation of the inward nature. He had a strong distaste for the general meanness of English life, the absence of enlarged thoughts and unselfish desires, the low objects on which the faculties of all classes of the English are intent. Even the kind of public interests which Englishmen care for, he held in very little esteem. He thought that there was more practical good government, and (which is true enough) infinitely more care for the education and mental improvement of all ranks of the people, under the Prussian monarchy, than under the English representative government: and he held, with the French Economistes, that the real security for good government is "un peuple ???clair???," which is not always the fruit of popular institutions, and which if it could be had without them, would do their work better than they. Though he approved of the Reform Bill, he predicted, what in fact occurred, that it would not produce the great immediate improvements in government, which many expected from it. The men, he said, who could do these great things, did not exist in the country. There were many points of sympathy between him and me, both in the new opinions he had adopted and in the old ones which he retained. Like me, he never ceased to be an utilitarian, and with all his love of the Germans, and enjoyment of their literature, never became in the smallest degree reconciled to the innate-principle metaphysics. He cultivated more and more a kind of German religion, a religion of poetry and feeling with little, if anything, of positive dogma; while, in politics (and here it was that I most differed with him) he acquired an indifference, bordering on contempt, for the progress of popular institutions: though he rejoiced in that of Socialism, as the most effectual means of compelling the powerful classes to educate the people, and to impress on them the only real means of permanently improving their material condition, a limitation of their numbers. Neither was he, at this time, fundamentally opposed to Socialism in itself as an ultimate result of improvement. He professed great disrespect for what he called "the universal principles of human nature of the political economists," and insisted on the evidence which history and daily experience afford of the "extraordinary pliability of human nature" (a phrase which I have somewhere borrowed from him), nor did he think it possible to set any positive bounds to the moral capabilities which might unfold themselves in mankind, under an enlightened direction of social and educational influences. Whether he retained all these opinions to the end of life I know not. Certainly the modes of thinking of his later years, and especially of his last publication, were much more Tory in their general character than those which he held at this time."

Above, I have extensive (and nearly exhaustive) references to such matters, in JSM's autobiography relating to most of his life.  Readers will find no trace of parental "tyranny", "puritanical hatred of the arts" (or indeed of Scotch or Presbyterian hatred of the arts).  The autobiography specifically rebuts the "popular notion (that) Benthamites ... are enemies of poetry" and documents in massive detail JSM's knowledge of poetry and liking for poetry (BTW, JSM continued to esteem the essays he had himself penned on the theory of poetry).

I have no idea why the Autobiography has so many references to poets and poetry and so few to music and musicians.  My guess is that, in those times, music was regarded as being much more "purely entertainment", whereas poetry was regarded as "intellectually mainstream".  After all, poetry reaches back to the Classics and to the Bible (where music certainly exists, but not in a form to which any then-current or now-current music can be related).  

Last question:  JSM's Autobiography makes very clear the incredibly rich cultural life from which his work flowed, ranging from science through literature to philosophy, history and practical politics; might it be the case, conversely, that our own work is shallower because of our narrower cultural matrix?

Prabhu Guptara