Under the heading of place in the estimation of the world we have put Fame; and this we must now proceed to consider.

Fame and honor are twins; and twins, too, like Castor and Pollux, of whom the one was mortal and the other was not. Fame is the undying brother of ephemeral honor. I speak, of course, of the highest kind of fame, that is, of fame in the true and genuine sense of the word; for, to be sure, there are many sorts of fame, some of which last but a day. Honor is concerned merely with such qualities as everyone may be expected to show under similar circumstances; fame only of those which cannot be required of any man. Honor is of qualities which everyone has a right to attribute to himself; fame only of those which should be left to others to attribute. Whilst our honor extends as far as people have knowledge of us; fame runs in advance, and makes us known wherever it finds its way. Everyone can make a claim to honor; very few to fame, as being attainable only in virtue of extraordinary achievements.

These achievements may be of two kinds, either actions or works; and so to fame there are two paths open. On the path of actions, a great heart is the chief recommendation; on that of works, a great head. Each of the two paths has its own peculiar advantages and detriments; and the chief difference between them is that actions are fleeting, while works remain. The influence of an action, be it never so noble, can last but a short time; but a work of genius is a living influence, beneficial and ennobling throughout the ages. All that can remain of actions is a memory, and that becomes weak and disfigured by time—a matter of indifference to us, until at last it is extinguished altogether; unless, indeed, history takes it up, and presents it, fossilized, to posterity. Works are immortal in themselves, and once committed to writing, may live for ever. Of Alexander the Great we have but the name and the record; but Plato and Aristotle, Homer and Horace are alive, and as directly at work to-day as they were in their own lifetime. The Vedas, and their Upanishads, are still with us: but of all contemporaneous actions not a trace has come down to us.{1}

{Footnote 1: Accordingly it is a poor compliment, though sometimes a fashionable one, to try to pay honor to a work by calling it an action. For a work is something essentially higher in its nature. An action is always something based on motive, and, therefore, fragmentary and fleeting—a part, in fact, of that Will which is the universal and original element in the constitution of the world. But a great and beautiful work has a permanent character, as being of universal significance, and sprung from the Intellect, which rises, like a perfume, above the faults and follies of the world of Will.

The fame of a great action has this advantage, that it generally starts with a loud explosion; so loud, indeed, as to be heard all over Europe: whereas the fame of a great work is slow and gradual in its beginnings; the noise it makes is at first slight, but it goes on growing greater, until at last, after a hundred years perhaps, it attains its full force; but then it remains, because the works remain, for thousands of years. But in the other case, when the first explosion is over, the noise it makes grows less and less, and is heard by fewer and fewer persons; until it ends by the action having only a shadowy existence in the pages of history.}

Another disadvantage under which actions labor is that they depend upon chance for the possibility of coming into existence; and hence, the fame they win does not flow entirely from their intrinsic value, but also from the circumstances which happened to lend them importance and lustre. Again, the fame of actions, if, as in war, they are purely personal, depends upon the testimony of fewer witnesses; and these are not always present, and even if present, are not always just or unbiased observers. This disadvantage, however, is counterbalanced by the fact that actions have the advantage of being of a practical character, and, therefore, within the range of general human intelligence; so that once the facts have been correctly reported, justice is immediately done; unless, indeed, the motive underlying the action is not at first properly understood or appreciated. No action can be really understood apart from the motive which prompted it.

It is just the contrary with works. Their inception does not depend upon chance, but wholly and entirely upon their author; and whoever they are in and for themselves, that they remain as long as they live. Further, there is a difficulty in properly judging them, which becomes all the harder, the higher their character; often there are no persons competent to understand the work, and often no unbiased or honest critics. Their fame, however, does not depend upon one judge only; they can enter an appeal to another. In the case of actions, as I have said, it is only their memory which comes down to posterity, and then only in the traditional form; but works are handed down themselves, and, except when parts of them have been lost, in the form in which they first appeared. In this case there is no room for any disfigurement of the facts; and any circumstance which may have prejudiced them in their origin, fall away with the lapse of time. Nay, it is often only after the lapse of time that the persons really competent to judge them appear—exceptional critics sitting in judgment on exceptional works, and giving their weighty verdicts in succession. These collectively form a perfectly just appreciation; and though there are cases where it has taken some hundreds of years to form it, no further lapse of time is able to reverse the verdict;—so secure and inevitable is the fame of a great work.

Whether authors ever live to see the dawn of their fame depends upon the chance of circumstance; and the higher and more important their works are, the less likelihood there is of their doing so. That was an incomparable fine saying of Seneca's, that fame follows merit as surely as the body casts a shadow; sometimes falling in front, and sometimes behind. And he goes on to remark that though the envy of contemporaries be shown by universal silence, there will come those who will judge without enmity or favor. From this remark it is manifest that even in Seneca's age there were rascals who understood the art of suppressing merit by maliciously ignoring its existence, and of concealing good work from the public in order to favor the bad: it is an art well understood in our day, too, manifesting itself, both then and now, in an envious conspiracy of silence.

As a general rule, the longer a man's fame is likely to last, the later it will be in coming; for all excellent products require time for their development. The fame which lasts to posterity is like an oak, of very slow growth; and that which endures but a little while, like plants which spring up in a year and then die; whilst false fame is like a fungus, shooting up in a night and perishing as soon.

And why? For this reason; the more a man belongs to posterity, in other words, to humanity in general, the more of an alien he is to his contemporaries; since his work is not meant for them as such, but only for them in so far as they form part of mankind at large; there is none of that familiar local color about his productions which would appeal to them; and so what he does, fails of recognition because it is strange.

People are more likely to appreciate the man who serves the circumstances of his own brief hour, or the temper of the moment,—belonging to it, living and dying with it.

The general history of art and literature shows that the highest achievements of the human mind are, as a rule, not favorably received at first; but remain in obscurity until they win notice from intelligence of a high order, by whose influence they are brought into a position which they then maintain, in virtue of the authority thus given them.

If the reason of this should be asked, it will be found that ultimately, a man can really understand and appreciate those things only which are of like nature with himself. The dull person will like what is dull, and the common person what is common; a man whose ideas are mixed will be attracted by confusion of thought; and folly will appeal to him who has no brains at all; but best of all, a man will like his own works, as being of a character thoroughly at one with himself. This is a truth as old as Epicharmus of fabulous memory—

The sense of this passage—for it should not be lost—is that we should not be surprised if people are pleased with themselves, and fancy that they are in good case; for to a dog the best thing in the world is a dog; to an ox, an ox; to an ass, an ass; and to a sow, a sow.

The strongest arm is unavailing to give impetus to a featherweight; for, instead of speeding on its way and hitting its mark with effect, it will soon fall to the ground, having expended what little energy was given to it, and possessing no mass of its own to be the vehicle of momentum. So it is with great and noble thoughts, nay, with the very masterpieces of genius, when there are none but little, weak, and perverse minds to appreciate them,—a fact which has been deplored by a chorus of the wise in all ages. Jesus, the son of Sirach, for instance, declares that He that telleth a tale to a fool speaketh to one in slumber: when he hath told his tale, he will say, What is the matter?{1} And Hamlet says, A knavish speech sleeps in a fool's ear.{2} And Goethe is of the same opinion, that a dull ear mocks at the wisest word,

and again, that we should not be discouraged if people are stupid, for you can make no rings if you throw your stone into a marsh.

{Footnote 1: Ecclesiasticus, xxii., 8.}

{Footnote 2: Act iv., Sc. 2.}

Lichtenberg asks: When a head and a book come into collision, and one sounds hollow, is it always the book? And in another place: Works like this are as a mirror; if an ass looks in, you cannot expect an apostle to look out. We should do well to remember old Gellert's fine and touching lament, that the best gifts of all find the fewest admirers, and that most men mistake the bad for the good,—a daily evil that nothing can prevent, like a plague which no remedy can cure. There is but one thing to be done, though how difficult!—the foolish must become wise,—and that they can never be. The value of life they never know; they see with the outer eye but never with the mind, and praise the trivial because the good is strange to them:—

To the intellectual incapacity which, as Goethe says, fails to recognize and appreciate the good which exists, must be added something which comes into play everywhere, the moral baseness of mankind, here taking the form of envy. The new fame that a man wins raises him afresh over the heads of his fellows, who are thus degraded in proportion. All conspicuous merit is obtained at the cost of those who possess none; or, as Goethe has it in the WestÖstlicher Divan, another's praise is one's own depreciation—

We see, then, how it is that, whatever be the form which excellence takes, mediocrity, the common lot of by far the greatest number, is leagued against it in a conspiracy to resist, and if possible, to suppress it. The pass-word of this league is À bas le mÉrite. Nay more; those who have done something themselves, and enjoy a certain amount of fame, do not care about the appearance of a new reputation, because its success is apt to throw theirs into the shade. Hence, Goethe declares that if we had to depend for our life upon the favor of others, we should never have lived at all; from their desire to appear important themselves, people gladly ignore our very existence:—

Honor, on the contrary, generally meets with fair appreciation, and is not exposed to the onslaught of envy; nay, every man is credited with the possession of it until the contrary is proved. But fame has to be won in despite of envy, and the tribunal which awards the laurel is composed of judges biased against the applicant from the very first. Honor is something which we are able and ready to share with everyone; fame suffers encroachment and is rendered more unattainable in proportion as more people come by it. Further, the difficulty of winning fame by any given work stands in reverse ratio to the number of people who are likely to read it; and hence it is so much harder to become famous as the author of a learned work than as a writer who aspires only to amuse. It is hardest of all in the case of philosophical works, because the result at which they aim is rather vague, and, at the same time, useless from a material point of view; they appeal chiefly to readers who are working on the same lines themselves.

It is clear, then, from what I have said as to the difficulty of winning fame, that those who labor, not out of love for their subject, nor from pleasure in pursuing it, but under the stimulus of ambition, rarely or never leave mankind a legacy of immortal works. The man who seeks to do what is good and genuine, must avoid what is bad, and be ready to defy the opinions of the mob, nay, even to despise it and its misleaders. Hence the truth of the remark, (especially insisted upon by Osorius de Gloria), that fame shuns those who seek it, and seeks those who shun it; for the one adapt themselves to the taste of their contemporaries, and the others work in defiance of it.

But, difficult though it be to acquire fame, it is an easy thing to keep when once acquired. Here, again, fame is in direct opposition to honor, with which everyone is presumably to be accredited. Honor has not to be won; it must only not be lost. But there lies the difficulty! For by a single unworthy action, it is gone irretrievably. But fame, in the proper sense of the word, can never disappear; for the action or work by which it was acquired can never be undone; and fame attaches to its author, even though he does nothing to deserve it anew. The fame which vanishes, or is outlived, proves itself thereby to be spurious, in other words, unmerited, and due to a momentary overestimate of a man's work; not to speak of the kind of fame which Hegel enjoyed, and which Lichtenberg describes as trumpeted forth by a clique of admiring undergraduates—the resounding echo of empty heads;—such a fame as will make posterity smile when it lights upon a grotesque architecture of words, a fine nest with the birds long ago flown; it will knock at the door of this decayed structure of conventionalities and find it utterly empty!—not even a trace of thought there to invite the passer-by.

The truth is that fame means nothing but what a man is in comparison with others. It is essentially relative in character, and therefore only indirectly valuable; for it vanishes the moment other people become what the famous man is. Absolute value can be predicated only of what a man possesses under any and all circumstances,—here, what a man is directly and in himself. It is the possession of a great heart or a great head, and not the mere fame of it, which is worth having, and conducive to happiness. Not fame, but that which deserves to be famous, is what a man should hold in esteem. This is, as it were, the true underlying substance, and fame is only an accident, affecting its subject chiefly as a kind of external symptom, which serves to confirm his own opinion of himself. Light is not visible unless it meets with something to reflect it; and talent is sure of itself only when its fame is noised abroad. But fame is not a certain symptom of merit; because you can have the one without the other; or, as Lessing nicely puts it, Some people obtain fame, and others deserve it.

It would be a miserable existence which should make its value or want of value depend upon what other people think; but such would be the life of a hero or a genius if its worth consisted in fame, that is, in the applause of the world. Every man lives and exists on his own account, and, therefore, mainly in and for himself; and what he is and the whole manner of his being concern himself more than anyone else; so if he is not worth much in this respect, he cannot be worth much otherwise. The idea which other people form of his existence is something secondary, derivative, exposed to all the chances of fate, and in the end affecting him but very indirectly. Besides, other people's heads are a wretched place to be the home of a man's true happiness—a fanciful happiness perhaps, but not a real one.

And what a mixed company inhabits the Temple of Universal Fame!—generals, ministers, charlatans, jugglers, dancers, singers, millionaires and Jews! It is a temple in which more sincere recognition, more genuine esteem, is given to the several excellencies of such folk, than to superiority of mind, even of a high order, which obtains from the great majority only a verbal acknowledgment.

From the point of view of human happiness, fame is, surely, nothing but a very rare and delicate morsel for the appetite that feeds on pride and vanity—an appetite which, however carefully concealed, exists to an immoderate degree in every man, and is, perhaps strongest of all in those who set their hearts on becoming famous at any cost. Such people generally have to wait some time in uncertainty as to their own value, before the opportunity comes which will put it to the proof and let other people see what they are made of; but until then, they feel as if they were suffering secret injustice.{1}

{Footnote 1: Our greatest pleasure consists in being admired; but those who admire us, even if they have every reason to do so, are slow to express their sentiments. Hence he is the happiest man who, no matter how, manages sincerely to admire himself—so long as other people leave him alone.}

But, as I explained at the beginning of this chapter, an unreasonable value is set upon other people's opinion, and one quite disproportionate to its real worth. Hobbes has some strong remarks on this subject; and no doubt he is quite right. Mental pleasure, he writes, and ecstacy of any kind, arise when, on comparing ourselves with others, we come to the conclusion that we may think well of ourselves. So we can easily understand the great value which is always attached to fame, as worth any sacrifices if there is the slightest hope of attaining it.

And again:

{Footnote 1: Milton. Lycidas.}

We can thus understand how it is that the vainest people in the world are always talking about la gloire, with the most implicit faith in it as a stimulus to great actions and great works. But there can he no doubt that fame is something secondary in its character, a mere echo or reflection—as it were, a shadow or symptom—of merit: and, in any case, what excites admiration must be of more value than the admiration itself. The truth is that a man is made happy, not by fame, but by that which brings him fame, by his merits, or to speak more correctly, by the disposition and capacity from which his merits proceed, whether they be moral or intellectual. The best side of a man's nature must of necessity be more important for him than for anyone else: the reflection of it, the opinion which exists in the heads of others, is a matter that can affect him only in a very subordinate degree. He who deserves fame without getting it possesses by far the more important element of happiness, which should console him for the loss of the other. It is not that a man is thought to be great by masses of incompetent and often infatuated people, but that he really is great, which should move us to envy his position; and his happiness lies, not in the fact that posterity will hear of him, but that he is the creator of thoughts worthy to be treasured up and studied for hundreds of years.

Besides, if a man has done this, he possesses something which cannot be wrested from him; and, unlike fame, it is a possession dependent entirely upon himself. If admiration were his chief aim, there would be nothing in him to admire. This is just what happens in the case of false, that is, unmerited, fame; for its recipient lives upon it without actually possessing the solid substratum of which fame is the outward and visible sign. False fame must often put its possessor out of conceit with himself; for the time may come when, in spite of the illusions borne of self-love, he will feel giddy on the heights which he was never meant to climb, or look upon himself as spurious coin; and in the anguish of threatened discovery and well-merited degradation, he will read the sentence of posterity on the foreheads of the wise—like a man who owes his property to a forged will.

The truest fame, the fame that comes after death, is never heard of by its recipient; and yet he is called a happy man.

His happiness lay both in the possession of those great qualities which won him fame, and in the opportunity that was granted him of developing them—the leisure he had to act as he pleased, to dedicate himself to his favorite pursuits. It is only work done from the heart that ever gains the laurel.

Greatness of soul, or wealth of intellect, is what makes a man happy—intellect, such as, when stamped on its productions, will receive the admiration of centuries to come,—thoughts which make him happy at the time, and will in their turn be a source of study and delight to the noblest minds of the most remote posterity. The value of posthumous fame lies in deserving it; and this is its own reward. Whether works destined to fame attain it in the lifetime of their author is a chance affair, of no very great importance. For the average man has no critical power of his own, and is absolutely incapable of appreciating the difficulty of a great work. People are always swayed by authority; and where fame is widespread, it means that ninety-nine out of a hundred take it on faith alone. If a man is famed far and wide in his own lifetime, he will, if he is wise, not set too much value upon it, because it is no more than the echo of a few voices, which the chance of a day has touched in his favor.

Would a musician feel flattered by the loud applause of an audience if he knew that they were nearly all deaf, and that, to conceal their infirmity, they set to work to clap vigorously as soon as ever they saw one or two persons applauding? And what would he say if he got to know that those one or two persons had often taken bribes to secure the loudest applause for the poorest player!

It is easy to see why contemporary praise so seldom develops into posthumous fame. D'Alembert, in an extremely fine description of the temple of literary fame, remarks that the sanctuary of the temple is inhabited by the great dead, who during their life had no place there, and by a very few living persons, who are nearly all ejected on their death. Let me remark, in passing, that to erect a monument to a man in his lifetime is as much as declaring that posterity is not to be trusted in its judgment of him. If a man does happen to see his own true fame, it can very rarely be before he is old, though there have been artists and musicians who have been exceptions to this rule, but very few philosophers. This is confirmed by the portraits of people celebrated by their works; for most of them are taken only after their subjects have attained celebrity, generally depicting them as old and grey; more especially if philosophy has been the work of their lives. From the eudaemonistic standpoint, this is a very proper arrangement; as fame and youth are too much for a mortal at one and the same time. Life is such a poor business that the strictest economy must be exercised in its good things. Youth has enough and to spare in itself, and must rest content with what it has. But when the delights and joys of life fall away in old age, as the leaves from a tree in autumn, fame buds forth opportunely, like a plant that is green in winter. Fame is, as it were, the fruit that must grow all the summer before it can be enjoyed at Yule. There is no greater consolation in age than the feeling of having put the whole force of one's youth into works which still remain young.

Finally, let us examine a little more closely the kinds of fame which attach to various intellectual pursuits; for it is with fame of this sort that my remarks are more immediately concerned.

I think it may be said broadly that the intellectual superiority it denotes consists in forming theories, that is, new combinations of certain facts. These facts may be of very different kinds; but the better they are known, and the more they come within everyday experience, the greater and wider will be the fame which is to be won by theorizing about them.

For instance, if the facts in question are numbers or lines or special branches of science, such as physics, zoology, botany, anatomy, or corrupt passages in ancient authors, or undecipherable inscriptions, written, it may be, in some unknown alphabet, or obscure points in history; the kind of fame that may be obtained by correctly manipulating such facts will not extend much beyond those who make a study of them—a small number of persons, most of whom live retired lives and are envious of others who become famous in their special branch of knowledge.

But if the facts be such as are known to everyone, for example, the fundamental characteristics of the human mind or the human heart, which are shared by all alike; or the great physical agencies which are constantly in operation before our eyes, or the general course of natural laws; the kind of fame which is to be won by spreading the light of a new and manifestly true theory in regard to them, is such as in time will extend almost all over the civilized world: for if the facts be such as everyone can grasp, the theory also will be generally intelligible. But the extent of the fame will depend upon the difficulties overcome; and the more generally known the facts are, the harder it will be to form a theory that shall be both new and true: because a great many heads will have been occupied with them, and there will be little or no possibility of saying anything that has not been said before.

On the other hand, facts which are not accessible to everybody, and can be got at only after much difficulty and labor, nearly always admit of new combinations and theories; so that, if sound understanding and judgment are brought to bear upon them—qualities which do not involve very high intellectual power—a man may easily be so fortunate as to light upon some new theory in regard to them which shall be also true. But fame won on such paths does not extend much beyond those who possess a knowledge of the facts in question. To solve problems of this sort requires, no doubt, a great ideal of study and labor, if only to get at the facts; whilst on the path where the greatest and most widespread fame is to be won, the facts may be grasped without any labor at all. But just in proportion as less labor is necessary, more talent or genius is required; and between such qualities and the drudgery of research no comparison is possible, in respect either of their intrinsic value, or of the estimation in which they are held.

And so people who feel that they possess solid intellectual capacity and a sound judgment, and yet cannot claim the highest mental powers, should not be afraid of laborious study; for by its aid they may work themselves above the great mob of humanity who have the facts constantly before their eyes, and reach those secluded spots which are accessible to learned toil.

For this is a sphere where there are infinitely fewer rivals, and a man of only moderate capacity may soon find an opportunity of proclaiming a theory which shall be both new and true; nay, the merit of his discovery will partly rest upon the difficulty of coming at the facts. But applause from one's fellow-students, who are the only persons with a knowledge of the subject, sounds very faint to the far-off multitude. And if we follow up this sort of fame far enough, we shall at last come to a point where facts very difficult to get at are in themselves sufficient to lay a foundation of fame, without any necessity for forming a theory;—travels, for instance, in remote and little-known countries, which make a man famous by what he has seen, not by what he has thought. The great advantage of this kind of fame is that to relate what one has seen, is much easier than to impart one's thoughts, and people are apt to understand descriptions better than ideas, reading the one more readily than the other: for, as Asmus says,

And yet for all that, a personal acquaintance with celebrated travelers often remind us of a line from Horace—new scenes do not always mean new ideas—

{Footnote 1: Epist. I. II.}

But if a man finds himself in possession of great mental faculties, such as alone should venture on the solution of the hardest of all problems—those which concern nature as a whole and humanity in its widest range, he will do well to extend his view equally in all directions, without ever straying too far amid the intricacies of various by-paths, or invading regions little known; in other words, without occupying himself with special branches of knowledge, to say nothing of their petty details. There is no necessity for him to seek out subjects difficult of access, in order to escape a crowd of rivals; the common objects of life will give him material for new theories at once serious and true; and the service he renders will be appreciated by all those—and they form a great part of mankind—who know the facts of which he treats. What a vast distinction there is between students of physics, chemistry, anatomy, mineralogy, zoology, philology, history, and the men who deal with the great facts of human life, the poet and the philosopher!