And where a historical character becomes the symbol of a perennial ideal, as in the case of Jesus, his fame becomes a developing institution, changing its forms with successive generations and modes of thought, according to the needs of the human spirit. This, apparently, is the genesis of all life-giving conceptions of divine personality.
There are aspects of fame that cannot be understood without considering the special influence upon it of the literary class. This class has control of the medium of communication through which fame chiefly works, and so exerts a power over it somewhat analogous to the power of the financial class over trade; in both cases the forces of demand and supply are transformed by the interests of the mediating agent.
One result of this is that literary fame is, of all kinds, the most justly assigned. Candidates for it, of any merit, are rarely overlooked, because there is always a small society of inquiring experts eager and able to rescue from oblivion any trait of kindred genius. They are not exempt from conventionalism and party spirit, which may make them unjust to contemporaries, but a second or third generation is sure to search out anything that deserves to survive, and reject the unworthy. “There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man’s title to fame. Only those books come down which deserve to last.”[[27]] In this way, by the reiterated selection of an expert class with power to hand on their judgments, there is a sure evolution of substantial fame.
“Was glaenzt ist für den Augenblick geboren,
Das Echte bleibt der Nachwelt unverloren.”[[28]]
The popular judgment of the hour has little to do with the matter, one way or the other. An author may be a “best seller,” like Walter Scott, or almost unread, like Wordsworth, and fare equally well with the higher court; though in this as in all departments of life most contemporary reputations prove transitory, because their “fitness” is to a special and passing phase of the human mind, and not to its enduring needs.
However, literary reputation also has its symbolism, and a name may come to be remembered as the type of a school or a tendency rather than strictly on its own merits. Sainte-Beuve, an authority on such a matter, remarks in his essay on Villon: “But the essential thing, I see clearly, even in literature, is to become one of those names convenient to posterity, which uses them constantly, which employs them as the résumé of many others, and which, as it becomes more remote, not being able to reach the whole extent of the chain, measures the distance from one point to another only by some shining link.”
Democracy does not in the least alter the fact that literary fame is assigned by a small but perpetual group of experts. In one sense the process is always democratic; in another it is never so: there is democracy in that all may share in the making of fame who have discrimination enough to make their opinion count, but the number of these is always small, and they constitute, in this field, a kind of self-made aristocracy, not of professed critics alone, but of select readers intelligently seeking and enjoying the best. The fame of men of letters, philosophers, artists, indeed of nearly all sorts of great men, reaches the majority only as the people outside the grounds hear the names of the players shouted by those within. We know who it was that was great, but just why he was so we should, if put to it, be quite unable to tell.
This certainty and justice of literary fame, which distinguish it sharply from other kinds, depend not only upon the literary class but upon the precision of the record—the fact that the deed upon which the fame rests is imperishable and unalterable—and also upon the extremely personal and intimate character of the achievement itself, which makes it comparatively independent of external events, and capable of being valued for its own sake at any time and by anybody competent to appreciate it. It is more fortunate in this respect than political achievement, which is involved with transient institutional conditions.
For similar reasons the other and non-literary sorts of fame are certain and enduring very much in proportion as they interest the literary class. The latter, being artists or critics of art, have a natural predilection for other arts as well as their own, and cherish the fame of painters, sculptors, actors, and musicians. Actors, especially, whose art leaves no record of its own, would scarcely be remembered were it not for the enthusiasm of literary admirers, like Lamb and Hazlitt and Boswell. As to painting or sculpture, thousands of us who have little direct knowledge or appreciation of the great names have learned to cherish them at second hand through the fascination of what has been written by admiring men of letters. On the other hand, the comparative neglect of inventors, engineers, and the captains of industry and commerce is due in great part to their not appealing strongly to the literary type of mind.