What is the end of Fame? ’tis but to fill
A certain portion of uncertain paper:
Some liken it to climbing up a hill,
Whose summit, like all hills, is lost in vapour;
For this men write, speak, preach, and heroes kill,
And bards burn what they call their “midnight taper,”
To have, when the original is dust,
A name, a wretched picture, and worse bust.
Quotations about:
fame
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
Popularity is the easiest thing in the world to gain and it is the hardest thing to hold.
There have been as great Souls unknown to fame as any of the most famous.
Benjamin Franklin (1706-1790) American statesman, scientist, philosopher, aphorist
Poor Richard (1734 ed.)
(Source)
The mania afflicting most French people is the desire to be witty, and the mania afflicting those who want to be witty is the desire to write books.
However, this is a very bad idea.
[La fureur de la plupart des François, c’est d’avoir de l’esprit ; et la fureur de ceux qui veulent avoir de l’esprit, c’est de faire des livres.
Cependant il n’y a rien de si mal imaginé.]Charles-Lewis de Secondat, Baron de Montesquieu (1689-1755) French political philosopher
Persian Letters [Lettres Persanes], Letter 66, Rica to *** (1721) [tr. MacKenzie (2014), No. 64]
(Source)
(Source (French)). Alternate translations:
The Predominant Passion or rather Fury of most of the French is, to be thought Wits; and the Predominant passion of those who would be thought Wits, is to write Books.
And yet there is nothing so ill-contrived.
[tr. Ozell (1736 ed.), No. 64]
The passion of most of the French is to be taken for wits, and the passion of thole who would be thought wits, is to write books. And yet there is nothing so badly imagined.
[tr. Floyd (1762)]
The passion of nearly every Frenchman, is to pass for a wit; and the passion of those who wish to be thought wits, is to write books.
There never was such an erroneous idea.
[tr. Davidson (1891)]
The passion of most Frenchmen is to be thought wits ; and the passion of those who wish to be thought wits is to write books.
It is impossible to imagine a more unfortunate mania.
[tr. Betts (1897)]
The passion of most of the French is to be thought witty, and the passion of those who wish to be considered wits is to write books.
A worse misconception cannot be imagined.
[tr. Healy (1964)]
Most Frenchmen are desperately eager to be thought witty and, of those who seek to be witty, most are desperately eager to write a book.
No plan, however, could be less well conceived.
[tr. Mauldon (2008), No. 64]
Whatever then its value be,
Accept this little book from me;
And, o protecting Virgin, deign
It may for centuries remain![Quare habe tibi quidquid hoc libelli
qualecumque, quod, o patrona virgo,
plus uno maneat perenne saeclo.]Catullus (c. 84 BC – c. 54 BC) Latin poet [Gaius Valerius Catullus]
Carmina # 1 “To Cornelius Nepos,” ll. 8-10 [tr. Nott (1795), l. 11ff.]
(Source)
Dedicating the book to his friend and patron, as well as to Pallas Athena.
(Source (Latin)). Alternate translations:
Then take the book I now address,
Though small its size, its merit less,
'Tis all thy friend can give;
And let me, guardian Muse, implore
That when at least one age is o'er,
This volume yet may live.
[tr. Lamb (1821), st. 3]
Then take this little book, whae'er
Of good or bad it store;
And grant, oh guardian Muse, that it
May keep the flavour of its wit
A century or more.
[tr. T. Martin (1861), st. 3]
Wherefore accept my tiny leaves, I pray,
Such as they are, -- and, Patron Goddess, give
This boon: that still perennial they may live
After a century has roll'd away.
[tr. Cranstoun (1867)]
Therefore welcome it, yours the little outcast,
This slight volume. O yet, supreme awarder,
Virgin, save it in ages on for ever.
[tr. Ellis (1871), st. 4]
So take, whate'er its worth may be,
My Book, -- but, Lady and Queen of Song,
This one gift I crave of thee,
That it may live for ages long!
[tr. Lang (1888)]
Then take thee whatso in this booklet be,
Such as it is, whereto O Patron Maid
To live down Ages lend thou lasting aid!
[tr. Burton (1893)]
Therefore take this booklet, such as it is, and, O Virgin Patroness, may it outlive generations more than one.
[tr. Smithers (1894)]
So take and keep for your own this little book, such as it is, and whatever it is worth; and may it, O Virgin my patroness, live and last for more than one century.
[tr. Warre Cornish (1904)]
Accept, therefore, this little book and all that it contains, such as it is; and, O guardian maiden, ordain that it shall outlive this generation.
[tr. Stuttaford (1912)]
So take my small book -- if it meet with your favor,
The passing of years cannot dull its sweet savor.
[tr. Stewart (1915)]
Do thou then accept this booklet, I pray;
And grant, Virgin muse, that, if such be its worth,
It outlive the one age that has given it birth.
[tr. Symons-Jeune (1923)]
Therefore the book how slight soe'er,
Be yours: and thou, kind Muse, prolong
More than one age my timeless song.
[tr. MacNaghten (1925)]
Wherefore, dear friend, this humble volume take,
With all its imperfections, for my sake;
Which with Minerva's favour yet may last
When you and I into the dust have passed.
[tr. Wright (1926)]
Then, take this little book
for what it is, my friend.
Patroness and Muse,
keep these poems green for
a day or so beyond a hundred years.
O Virgin!
[tr. Gregory (1931)]
And so it's yours; I hand this slim book over,
such as it is -- for the sake of its patron
may it survive a century or better.
[tr. C. Martin (1979)]
Then take this little book for your own: whatever
it is, and is worth: virgin Muse, patroness,
let it last, for more lives than one.
[tr. Kline (2001)]
For that reason have for yourself whatever this little book is,
and whatever you like, oh patron maiden,
let it last a long time, for more than one generation!
[tr. Ozlem (2003)]
So take this little booklet, this mere trifle,
whatever it may be worth -- and Patron Virgin,
let it outlast at least one generation!
[tr. Green (2005)]
Book of mine for what it’s worth; whatever;
And oh, patroness Virgin, grant that it shall
Live and survive beyond the century.
[tr. Ferry (2012)]
For this reason have for yourself whatever this is of a little book,
Such as it is; O virgin patron,
That it may endure for more than one age.
[tr. Wikibooks (2017)]
So keep for yourself this little book of some sort.
May it last, O generous goddess!,
more than one long age.
[tr. Wikisource (2018)]
The fable of Tantalus has generally been regarded as symbolizing avarice. It’s at least equally applicable to ambition, love of fame, indeed to almost every passion.
[La fable de Tantale n’a presque jamais servi d’emblème qu’à l’avarice. Mais elle est, pour le moins, autant celui de l’ambition, de l’amour de la gloire, de presque toutes les passions.]Nicolas Chamfort (1741-1794) French writer, epigrammist (b. Nicolas-Sébastien Roch)
Products of Perfected Civilization [Produits de la Civilisation Perfectionée], Part 1 “Maxims and Thoughts [Maximes et Pensées],” ch. 1, ¶ 70 (1795) [tr. Parmée (2003), ¶ 58]
(Source)
(Source (French)). Alternate translations:
The fable of Tantalus is hardly ever applied except to the passion of avarice; but it is at least as applicable to ambition, to the love of glory, and to nearly all the other passions.
[tr. Mathers (1926)]
The fable of Tantalus has been used almost exclusively as an emblem of avarice, but it is at least as applicable to ambition, the love of fame, and virtually all the passions.
[tr. Merwin (1969)]
The fable of Tantalus has almost never served as a precept except in the case of avarice. But it is, at all events, a precept attaching no wit less to ambition, to love of glory, to almost all passions.
[tr. Pearson (1973)]
The fable of Tantalus has nearly only ever served as an emblem of avarice. However, it is at least as much a symbol of ambition, of the love of glory, and of nearly every passion.
[tr. Siniscalchi (1994)]
Were you to reach the ripe old age of death,
instead of dying prattling in your crib,
would you have more fame in a thousand years?
What are ten centuries to eternity?
Less than the blinking of an eye compared
to the turning of the slowest of the spheres.[Che voce avrai tu più, se vecchia scindi
da te la carne, che se fossi morto
anzi che tu lasciassi il ‘pappo’ e ’l ‘dindi’,
pria che passin mill’anni? ch’è più corto
spazio a l’etterno, ch’un muover di ciglia
al cerchio che più tardi in cielo è torto.]Dante Alighieri (1265-1321) Italian poet
The Divine Comedy [Divina Commedia], Book 2 “Purgatorio,” Canto 11, l. 103ff (11.103-108) [Oderisi of Gubbio] (1314) [tr. Musa (1981)]
(Source)
Dante refers to two childish terms, which various translators note as
- "pappo" perhaps "father" (padre), or "bread" (pane) or just "baby food" (cf. English "pap")
- "dindi," probably "money" (danari/denaro)
(Source (Italian)). Alternate translations:
Ah! where's your 'vantage, if yon cast away,
In years, the muddy vesture of decay,
As when the swathe involves your tender frame?
Can you suppose her long, sonorious blast,
Thro' twice six thousand changing Moons, will last?
Yet, what is that to Heav'n's eternal year? --
Less, than the quick glance of human eye,
To that slow movement of the ample Sky,
That turns around the universal Sphere!
[tr. Boyd (1802), st. 20-21]
Shalt thou more
Live in the mouths of mankind, if thy flesh
Part shrivel’d from thee, than if thou hadst died,
Before the coral and the pap were left,
Or ere some thousand years have passed? and that
Is, to eternity compar’d, a space,
Briefer than is the twinkling of an eye
To the heaven’s slowest orb.
[tr. Cary (1814)]
More fame shalt thou enjoy, if once old age
Wear flesh away, than if thou hadst expired
Ere left the breast, or coral last admired?
A thousand years' eternity to thee
Far shorter than the eyebrow's movement fleet
To slowest orbit stars of heaven complete.
[tr. Bannerman (1850)]
What fame shalt thou have more, if old peel off
From thee thy flesh, than if thou hadst been dead
Before thou left the 'pappo' and the 'dindi,'
Ere pass a thousand years? which is a shorter
Space to the eterne, than twinkling of an eye
Unto the circle that in heaven wheels slowest.
[tr. Longfellow (1867)]
What fame wilt thou have more, if when it is old thou loose from thee thy flesh, than if thou hadst died before thou hadst left off thy child's prattle, ere a thousand years are past? which beside the eternal is a shorter space than is a movement of the eyelid beside the circle which in heaven turns the slowest.
[tr. Butler (1885)]
If thou stripp'st off thy aged flesh, wilt share
More fame than if thou'dst early died in grace
Before thou'dst ceased thy childish prattle,
A thousand years have past? A briefer space
Beside the eternal, than a glance of the eye
By that star's orbit, longest whirled through space.
[tr. Minchin (1885)]
What more fame shalt thou have, if thou strippest old flesh from thee, than if thou hadst died ere thou hadst left the pap and the chink, before a thousand years have passed? -- which is a shorter space compared to the eternal than a movement of the eyelids to the circle that is slowest turned in Heaven.
[tr. Norton (1892)]
What greater fame shalt thou have, if thou strip thee of thy flesh when old, than if thou hadst died ere thou wert done with pap and chink,
before a thousand years are passed? which is shorter space to eternity than the twinkling of an eye to the circle which slowest is turned in heaven.
[tr. Okey (1901)]
What more fame shalt thou have if thou put off thy flesh when it is old than if thou hadst died before giving up pappo and dindi, when a thousand years are past, which is a shorter space to eternity than the twinkling of an eye to the slowest turning circle in the heavens?
[tr. Sinclair (1939)]
Wilt thou have more fame if old age unwrap
Thy bones from withered flesh than if thy race
Ended ere thou wert done with bib and pap
Before a thousand years pass, -- shorter space
To eternity than is a blinked eye-lid
To the circle in heaven that moves at slowest pace?
[tr. Binyon (1943)]
Ten centuries hence, what greater fame hast thou,
Stripping the flesh off late, than if thou'dst died
Ere thou was done with gee-ger and bow-wow?
Ten centuries hence -- and that's a brief tide,
Matched with eternity, than one eye-wink
to that wheeled course Heaven's tardiest sphere must ride.
[tr. Sayers (1955)]
Though loosed from flesh in old age, will you have
in, say, a thousand years, more reputation
than if you went from child's play to the grave?
What, to eternity, is a thousand years?
Not so much as the blinking of an eye
to the turning of the slowest of the spheres.
[tr. Ciardi (1961)]
What greater fame will you have if you strip off your flesh when it is old than if you had died before giving up pappo and dindi, when a thousand years have passed, which is a short4er space compared to the eternal than the movement of the eyelids to that circle which is slowest turned in heaven?
[tr. Singleton (1973)]
What greater name will you have, if you are old
When you put aside your flesh, than if you had died
Before you had given up baby-talk and rattles,
Once a thousand years have passed? And that is a shorter
Space to the eternal than the flash of an eyelid
To the circle which turns in the heavens most slowly.
[tr. Sisson (1981)]
Before a thousand years have passed -- a span
that, for eternity, is less space than
an eyeblink for the slowest sphere in heaven --
would you find greater glory if you left
your flesh when it was old than if your death
had come before your infant words were spent?
[tr. Mandelbaum (1982)]
What more acclaim will you have if you strip off your flesh when it is old, than if you had died before you left off saying ‘pappo’ and ‘dindi,’
before a thousand years have passed? which is a briefer space compared with eternity than the blinking of an eye to the circle that turns slowest in the sky
[tr. Durling (2003)]
What more fame will you have, before a thousand years are gone, if you disburden yourself of your flesh when old, than if you had died before you were done with childish prattle? It is a shorter moment, in eternity, than the twinkling of an eye is to the orbit that circles slowest in Heaven.
[tr. Kline (2002)]
What more renown will you have if you strip
your flesh in age away than if you died
before you’d left off lisping "Din-dins!", "Penth!"
when once a thousand years have passed, a space
that falls far short of all eternity --
an eye blink to the slowest turning sphere.
[tr. Kirkpatrick (2007)]
Will greater fame be yours if you put off
your flesh when it is old than had you died
with pappo and dindi still upon your lips
after a thousand years have passed? To eternity,
that time is shorter than the blinking of an eye
is to one circling of the slowest-moving sphere.
[tr. Hollander/Hollander (2007)]
Suppose you get to be old, before you discard
Your flesh, how much more fame will go with your name,
After a thousand years, if "Pappy" and "Mammy"
were still on your tongue when you died? And a thousand years
Compared with life eternal, is like an eyelid
Flutter compared with the slowest stars int he skies.
[tr. Raffel (2010)]
I have known nearly all the famous men of our age and I have seen them made wretched by this glorious passion for fame, and die after debauching their moral natures in its service.
[J’ai connu presque tous les hommes célèbres de notre tems, et que je les ai vus malheureux par cette belle passion de célébrité, et mourir, après avoir dégradé par elle leur caractère moral.]Nicolas Chamfort (1741-1794) French writer, epigrammist (b. Nicolas-Sébastien Roch)
Products of Perfected Civilization [Produits de la Civilisation Perfectionée], Part 1 “Maxims and Thoughts [Maximes et Pensées],” “Question” (1795) [tr. Merwin (1969)]
(Source)
(Source (French)). Alternate translation:
I have known nearly every famous man in our times, and I have seen them unhappy through this pretty passion for celebrity, and die after having degraded their moral character for it.
[tr. Siniscalchi (1994)]
A breath of wind — no more — is earthly fame,
And now this way it blows and that way now,
And as it changes quarter, changes name.
[Non è il mondan romore altro ch’un fiato
di vento, ch’or vien quinci e or vien quindi,
e muta nome perché muta lato.]
Dante Alighieri (1265-1321) Italian poet
The Divine Comedy [Divina Commedia], Book 2 “Purgatorio,” Canto 11, l. 100ff (11.100-102) [Oderisi of Gubbio] (1314) [tr. Sayers (1955)]
(Source)
(Source (Italian)). Alternate translations:
The breath of Fame is but a fickle gale,
Whose veering blasts from every point prevail,
And every change bestows a different name.
[tr. Boyd (1802), st. 20]
The noise
Of worldly fame is but a blast of wind,
That blows from divers points, and shifts its name
Shifting the point it blows from.
[tr. Cary (1814)]
The mundane rumour is a fleeting breath
Of wind, that veers and varies in account,
And changes name because it changes point.
[tr. Bannerman (1850)]
Naught is this mundane rumour but a breath
Of wind, that comes now this way and now that,
And changes name, because it changes side.
[tr. Longfellow (1867)]
The rumour of the world is naught else than a breath of wind, which now comes hence and now comes thence, and changes name because it changes quarter.
[tr. Butler (1885)]
Mundane renown is but a breath forlorn
Of wind that cometh now from here, now there,
Named various from the quarter whence 'tis borne.
[tr. Minchin (1885)]
Worldly renown is naught but a breath of wind, which now comes this way and now comes that, and changes name because it changes quarter.
[tr. Norton (1892)]
Earthly fame is naught but a breath of wind, which now cometh hence and now thence, and changes name because it changes direction.
[tr. Okey (1901)]
The world's noise is but a breath of wind which comes now this way and now that and changes name because it changes quarter.
[tr. Sinclair (1939)]
Naught but a wind's breath is the world's acclaim,
Which blows now hence, now thence, as it may hap,
And when it changes quarter changes name.
[tr. Binyon (1943)]
A breath of wind is all there is to fame
here upon earth: it blows this way and that
and when it changes quarter it changes name.
[tr. Ciardi (1961)]
Earthly fame is naught but a breath of wind,
which now comes hence and now comes thence,
changing its name because it changes quarter.
[tr. Singleton (1973)]
Your earthly fame is but a gust of wind
that blows about, shifting this way and that,
and as it changes quarter, changes name.
[tr. Musa (1981)]
Earthly fame is nothing but a breath of wind,
Which first blows one way and then blows another,
And brings a fresh name from each fresh direction.
[tr. Sisson (1981)]
Worldly renown is nothing other than
a breath of wind that blows now here, now there,
and changes name when it has changed its course.
[tr. Mandelbaum (1982)]
The clamor of the world is nothing but a breath of wind that comes now from here and now from there, and changes names because it changes directions.
[tr. Durling (2003)]
Worldly Fame is nothing but a breath of wind, that now blows here, and now there, and changes name as it changes direction.
[tr. Kline (2002)]
The roar of earthly fame is just a breath
of wind, blowing from here and then from there,
that changes name in changing origin.
[tr. Kirkpatrick (2007)]
Worldly fame is nothing but a gust of wind,
first blowing from one quarter, then another,
changing name with every new direction.
[tr. Hollander/Hollander (2007)]
Shouts of worldly fame are nothing more
Than a passing breath of wind, blowing here,
Then there, changing its name from place to place.
[tr. Raffel (2010)]
This thing of being a hero, about the main thing to it is to know when to die. Prolonged life has ruined more men that it ever made.
We pursued an empty fame and popularity even down to the applause of the playhouse, poetical competitions, and contests for garlands of grass, foolish plays on the stage, and unbridled lusts.
[Hac popularis gloriae sectantes inanitatem, usque ad theatricos plausus et contentiosa carmina et agonem coronarum faenearum et spectaculorum nugas et intemperantiam libidinum]
Augustine of Hippo (354-430) Christian church father, philosopher, saint [b. Aurelius Augustinus]
Confessions, Book 4, ch. 1 / ¶ 1 (4.1.1) (c. AD 398) [tr. Ryan (1960)]
(Source)
(Source (Latin)). Alternate translations:
Hunting after the emptiness of popular praise, down even to theatrical applauses, and poetic prizes, and strifes for grassy garlands, and the follies of shows, and the intemperance of desires.
[tr. Pusey (1838)]
Striving after the emptiness of popular fame, even to theatrical applauses, and poetic contests, and strifes for grassy garlands, and the follies of shows and the intemperance of desire.
[tr. Pilkington (1876)]
Vain seeking the emptiness of popular praise, even the applause of the theatres , and the prizes for verses, and the struggle for withering garlands, and the follies of shows, and the gratification of ungoverned desires.
[tr. Hutchings (1890)]
Education drew me to follow the toys that men call fame, applause in the theatre, prize poems, contests for crowns of hay, the follies of the stage, all the riot of passion.
[tr. Bigg (1897)]
I pursued the emptiness of popular glory and the applause of spectators, with competition for prize poems and strife for garlands of straw and the vanity of stage shows and untempered lusts.
[tr. Sheed (1943)]
In my public life I was striving after the emptiness of popular fame, going so far as to seek theatrical applause, entering poetic contests, striving for the straw garlands and the vanity of theatricals and intemperate desires.
[tr. Outler (1955)]
We would hunt for worthless popular distinctions, the applause of an audience, prizes for poetry, or quickly fading wreaths won in competition. We loved the idle pastimes of the stage and in self-indulgence we were unrestrained.
[tr. Pine-Coffin (1961)]
I and my friends would be hunting after the empty show of popularity -- theatrical applause from the audience, verse competitions, contests for crowns of straw, the vanity of the stage, immoderate lusts.
[tr. Warner (1963)]
I would be seeking empty popularity, cheers in the theatre, poetic competitions, strife for straw crowns, trifles of stage shows, and undisciplined desires.
[tr. Blaiklock (1983)]
We pursued trumpery, popular acclaim, theatrical plaudits, song-competitions and the contest for ephemeral wreaths, we watched trashy shows and indulged our interperate lusts.
[tr. Boulding (1997)]
For of old
Rome said to me — “Your readers are your gold.
By them the stream of Lethe you’ll survive,
By them the better part of you will live.”
The wild fig splits Messalla’s marbles through,
And Crispus’ steeds are shattered quite in two :
But books are helped by time nor hurt by thieves,
Memorials that death uninjured leaves.[Quem cum mihi Roma dedisset.
“Nil tibi quod demus maius habemus” ait.
“Pigra per hunc fugies ingratae flumina Lethes
Et meliore tui parte superstes eris.
Marmora Messallae findit caprificus, et audax
Dimidios Crispi mulio ridet equos:
At chartis nec furta nocent et saecula prosunt,
Solaque non norunt haec monumenta mori.”]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 10, epigram 2 (10.2) (AD 95, 98 ed.)[tr. Pott & Wright (1921)]
(Source)
(Source (Latin)). Alternate translations:
Reader, my wealth; whom when to me Rome gave,
Nought greater to bestow (quoth she) I have.
By him ingratefull Lethe thou shalt flye,
And in thy better part shalt never dye.
Wilde Fig-trees rend Messalla's Marbles off;
Crispus halfe-horses the bold Carters scoffe.
Writings no age can wrong, no thieving hand.
Deathlesse alone those Monuments will stand.
[tr. May (1629)]
When Fate to me a constant reader gave;
Receive, she said, the greatest boon I have.
By this beyond oblivion's stream arrive;
And in your better party by this survive.
Statues may moulder; and the clown unbred
Scoff at young Ammon's horse without his head.
But finish'd writings theft and time defy;
The only monument, which cannot die.
[tr. Hay (1755)]
Reader, our riches! Well, said, Rome, I know,
A blester boon I have not to bestow.
By this though thro' Lethean streams shalt strive,
And in thy better part shalt still survive.
The wilding may Messala's marble cleave,
The speaker silence, and the sculptor reave.
The mule's pert driver may reproachless laugh,
At Crispus' coursers dwindled down to half.
Wit's labors onely rape or age defy:
His monuments alone can never die.
[tr. Elphinston (1782)]
When Rome gave you [readers] to me, she said, "I have nothing greater to give you. By his means you will escape the sluggish waves of ungrateful Lethe, and will survive in the better part of yourself. The marble tomb of Messale is split by the wild fig, and the audacious muleteer laughs at the mutilated horses of the statue of Crispus.1 But as for writings, they are indestructible either by thieves or the ravages of time; such monuments alone are proof against death."
[tr. Bohn's Classical (1859)]
For when Rome had given you to me, she said: We have nothing greater to give you. By him will you escape unthankful Lethe's sluggish stream, and will in your better part survive. Messalla's marble the wild-fig sunders, and boldly the mule-driver laughs at Crispus' steeds broken in two. But writings thefts do not injure, and time befriends them, and alone these monuments know not death."
[tr. Ker (1919)]
Rome can tell how dear,
Who gave thee, saying, "Take my best; 'tis here;
By him ungrateful Lethe thou shallt flee
And thy best parts have immortality."
The fig-tree splits Messala's marble blocks,
And the rough drover draggled Crispus mocks.
Verses grow great with Time and Fate defy;
Such monuments alone can never die.
[tr. Francis & Tatum (1924), ep. 508]
When Rome gave you to me, she said: "I have nothing greater to give you. through him you will escape ungrateful Lethe's idle waters and survive in the better part of yourself. The fig tree splits Messalla's marble, the bold muleteer laughs at Crispus' halved horses. But thefts do not harm paper and the centuries do it good. These are the only memorials that cannot die."
[tr. Shackleton Bailey (1993)]
Reader, Patron, willed to me by Rome
saying: "No greater gift! Through him
You'll flee neglectful Lethe's stagnant flood --
the better part of you survive.
Wild-fig rives the marble, heedless muleteers
deride the busted steeds of bronze.
But verse no decrease knows, time adds to verse,
deathless alone of monuments."
[tr. Whigham (1985), "Rome's Gift"]
Some new path must be tried if ever I,
With wing uplifted from the level ground.
May on the public voice triumphant rise.[Tentanda via est, qua me quoque possim
Tollere humo victorque virum volitare per ora.]Virgil (70-19 BC) Roman poet [b. Publius Vergilius Maro; also Vergil]
Georgics [Georgica], Book 3, l. 8ff (3.8-9) (29 BC) [tr. Williams (1915)]
(Source)
The poet's ambition. Often quoted as Alia tentanda via est ("Another way must be tried"). (Source (Latin)). Alternate translations:
To raise my self a way must now be found,
That through all Nations I may be renown'd.
[tr. Ogilby (1649)]
New ways I must attempt, my groveling Name
To raise aloft, and wing my flight to Fame.
[tr. Dryden (1709), ll. 13-14]
I too from earth to lift myself will try,
And on the wings of Fame adventurous fly
[tr. Nevile (1767), ll. 11-12]
I too will boldly strive my flight to raise,
And, wing'd by victory, catch the gale of praise.
[tr. Sotheby (1800)]
I, too, must attempt a way, whereby I may raise myself from the gorund, and victorious hover through the lips of men.
[tr. Davidson (1854)]
Some way I must outstrive,
To lift me also from the ground, and then
A flight of triumph on the lips of men!
[tr. Blackmore (1871), l. 10ff]
I must essay a course by which I may raise myself, like other poets, from the lowly ground, and ride triumphant on the lips of men.
[tr. Wilkins (1873)]
Needs must a path be tried,
By which I too may lift me from the dust,
And float triumphant through the mouths of men.
[tr. Rhoades (1881), ll. 11-13]
Be mine the glory to ascend to fame
By paths untrodden.
[tr. King (1882)]
I must try a course whereby I also may soar aloft and hover victorious before the eyes of men.
[tr. Bryce (1897)]
A path must be adventured where I too may rise from earth and fly triumphing on the lips of men.
[tr. Mackail (1899)]
A path will I try that shall lift me above
This earth, and from lip to lip of men my triumphant flight
Will I wing.
[tr. Way (1912)]
I must essay a path whereby I, too, may rise from earth and fly victorious on the lips of men.
[tr. Fairclough (Loeb) (1916)]
No, I must venture a theme will exalt me
From earth and give me wings and a triumph on every tongue.
[tr. Day-Lewis (1940)]
I must find a way to soar aloft
And raise my verse above this common soil,
To fly victorious on the lips of men.
[tr. Bovie (1956)]
I must find a way to raise myself from the earth and fly victorious, my name on the lips of men.
[tr. Miles (1980)]
I must find a way
Of my own to soar above the common ground
And "fly victorious on the lips of men."
[tr. Wilkinson (1982)]
I must try a path, by which I too
can rise from the earth and fly, victorious, from men’s lips.
[tr. Kline (2001)]
I must try for a new path on which I may rise from the earth and soar triumphant from the lips of men.
[tr. Lembke (2004)]
I must essay a path by which I too
may rise from earth a triumph fluttering on the lips of men.
[tr. Johnson (2009)]
I too must find
The way to rise in flight above the earth,
Triumphant on the speech of men.
[tr. Ferry (2015)]
Celebrity: the advantage of being known by those who do not know you.
[Célébrité: l’avantage d’être connu de ceux qui ne vous connaissent pas.]
Nicolas Chamfort (1741-1794) French writer, epigrammist (b. Nicolas-Sébastien Roch)
Products of Perfected Civilization [Produits de la Civilisation Perfectionée], Part 1 “Maxims and Thoughts [Maximes et Pensées],” ch. 1, ¶ 135 (1795) [tr. Mathers (1926)]
(Source)
(Source (French)). Alternate translations:
Celebrity: the advantage of being known to those who do not know you.
[tr. Hutchinson (1902)]
Celebrity: the advantage of being known by those who do not know you.
[tr. Merwin (1969)]
Being a celebrity gives you the advantage of being known to those not of your acquaintance.
[tr. Pearson (1973)]
Celebrity: the advantage of being known by those who do not know you.
[tr. Dusinberre (1992)]
Celebrity: the advantage of being known by people who don't know you.
[tr. Parmée (2003), ¶ 111]
Celebrity: the advantage of being recognized by people who don't know you.
[Source]
Land, gold, and trifles many give or lend,
But he that stoops in fame is a rare friend.[Aurum et opes et rura frequens donabit amicus:
Qui velit ingenio cedere, rarus erit.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 8, epigram 18 (8.18.9-10) (AD 94) [tr. Taylor (1657)]
(Source)
To a friend whom Martial considered as good or better an writer, who in turn publicly lauded Martial as the superior.
"To Cirinius." (Source (Latin)). Alternate translations:
Friends oft to friends in other points submit;
Few yield the glory of the field in wit.
[tr. Hay (1755)]
A friend will oft bestow gold, goods, or ground:
But who his wit will yield, is rarely found.
[tr. Elphinston (1782); Book 2, ep. 103]
It is not uncommon for one friend to bestow on another good and land, but to make concessions of literary pre-eminence is a rare proof of friendship.
[tr. Amos (1858)]
Gold, and wealth, and estates, many a friend will bestow; one who consents to yield the palm in genius, is rare.
[tr. Bohn's Classical (1859)]
Gold and possessions and lands many a friend will bestow: he who is willing to yield in genius will be rare.
[tr. Ker (1919)]
Full many a friend will give you wealth and fields;
But rare is he who thus in genius yields.
[tr. Pott & Wright (1921)]
Gold, wealth, estates will many a man resign
To save a friend, but few the bay divine.
[tr. Francis & Tatum (1924), #400]
Many a friend will give gold and riches and land, but one prepared to yield in talent will be found but seldom.
[tr. Shackleton Bailey (1993)]
Some friends will give up goods or yield their gold.
But few will let their own worth go untold.
[tr. Wills (2007)]
A friend will often give gold, wealth, and ground:
one who will yield in talent's rarely found.
[tr. McLean (2014)]
“Here is where you can’t afford to be lazy,”
My Master said. “Lying in feather beds,
Or under quilts, no one conquers fame,
Without which, once your earthly life is dead,
The only traces you leave behind you are smoke
Blown in the air or bubbles breaking in water.[“Omai convien che tu così ti spoltre”,
disse ’l maestro; “ché, seggendo in piuma,
in fama non si vien, né sotto coltre;
sanza la qual chi sua vita consuma,
cotal vestigio in terra di sé lascia,
qual fummo in aere e in acqua la schiuma.”]Dante Alighieri (1265-1321) Italian poet
The Divine Comedy [Divina Commedia], Book 1 “Inferno,” Canto 24, l. 46ff (24.46-51) [Virgil] (1309) [tr. Raffel (2010)]
(Source)
The analogy of life to smoke and foam have been noted by commentators as resembling similar metaphors in Wisdom 2:1-4 and 5:14 and the Aeneid 5.740.
Virgil's urging of Dante to continue on out of a desire for fame, rather than to learn how to be saved or to come closer to God, have only recently been interpreted as an intentional showing that the poet/guide is not perfect -- another reason, beyond being only a virtuous pagan, that he cannot complete the journey with Dante to Paradise. (See here for more commentary on this.)
(Source (Italian)). Alternate translations:
It now is proper, said my Lord, that you
Should from this bed of yours arise; for they
Ne'er Fame acquire who spend their lives in down:
He who, without pursuing her, consumes
His time, leaves himself such tracts behind,
As Froth in Water, or as Smoke in Air.
[tr. Rogers (1782), ll. 44-49]
Arise! -- In vain the slumb'ring soul aspires,
(Her powers betray'd by sloth, extinct her fires)
In vain she tries the dazzling heights of fame:
As morning fogs disperse to meet no more,
As the waves close behind the lab'ring oar,
The dastard soul expires without a name!
[tr. Boyd (1802), st. 9]
“Now needs thy best of man;” so spake my guide:
“For not on downy plumes, nor under shade
Of canopy reposing, fame is won,
Without which whosoe’er consumes his days
Leaveth such vestige of himself on earth,
As smoke in air or foam upon the wave."
[tr. Cary (1814)]
"Rouse thee," my master urged, "'tis time to throw
This lethargy aside; who dozing lies
'Tween coverlet and feathers, ne'er shall know
Renown, and without her who wastes and dies,
Leaves of himself like trace on earth behind,
As foam on wave, or vapour on the skies."
[tr. Dayman (1843)]
"Now it behooves thee thus to free thyself from sloth," said the Master: "for sitting on down, or under coverlet, man come not into fame;
without which whoso consumes his his life, leaves such vestige of himself on earth, as smoke in air or foam in water."
[tr. Carlyle (1849)]
"Henceforth you must abandon indolence,"
My master said: "'tis not repose on plumes
That leads to fame -- nor yet in shady glooms;
Without the which if one consumes his life,
E'en such a vestige upon the earth he'll make
As smoke in air, or foam on water's track."
[tr. Bannerman (1850)]
"Now it befits thee to shake off this sloth,"
The Master said, "for resting upon down,
And under quilts is not the way to fame;
And without this he who his life consumes,
Leaves of himself on earth no better trace,
Than smoke in air or on the water foam."
[tr. Johnston (1867)]
"Now it behoves thee thus to put off sloth,"
My Master said; "for sitting upon down,
Or under quilt, one cometh not to fame,
Without which whoso his life consumes
Such vestige leaveth of himself on earth,
As smoke in air or in the water foam."
[tr. Longfellow (1867)]
"Henceforward it behoves that thou brace thyself thus," said the Master; "for not by sitting on feathers does one come into fame, nor under quilts; without the which whoso consumes his life leaves such trace on earth of himself as smoke in air or its froth on water."
[tr. Butler (1885)]
"Henceforth 'tis fitting thou shouldst shake off sloth,"
The master cried, "since idly lapt in down
'Neath coverlets, for him Fame never groweth.
Who so his life consumes without renown.
Leaves such a vestige of himself on earth,
As it were froth on air or water blown."
[tr. Minchin (1885)]
“Now it behoves thee thus to put off sloth,” said the Master, “for, sitting upon down or under quilt, one attains not fame, without which he who consumes his life leaves of himself such trace on earth as smoke in air, or in water the foam."
[tr. Norton (1892)]
"'Tis thus that thou must now shake thyself free from sloth," my Master said, "for seated on down, or under coverlet, man cometh not to fame; unattended by which whoso doth spend his days, leaveth such traces of himself on earth, as smoke in air or foam on water."
[tr. Sullivan (1893)]
"Thus must thou ever shake off sloth henceforward;"
The Master said, " for sitting upon feathers
Man cometh not to fame, nor under quilting;
Which lacking, whosoe'er consumes his life-time
Leaves of himself on earth just such a vestige
As smoke doth leave in air, and foam in water."
[tr. Griffith (1908)]
"Now must thou thus cast off all sloth," said the Master "for sitting on down or under blankets none comes to fame, and without it he that consumes his life leaves such trace of himself on earth as smoke in air or foam on water."
[tr. Sinclair (1939)]
"Now it behoveth lassitude to leave,"
The Master said, "for softly on down reclined
Or under coverlet, none can fame achieve,
Without which he who dallieth leaves behind
Such vestige of himself on earth imprest
As foam in water or smoke upon the wind."
[tr. Binyon (1943)]
"Put off this sloth," the master said, "for shame!
Sitting on feather-pillows, lying reclined
Beneath the blanket is no way to fame --
Fame, without which man's life wastes out of mind,
Leaving on earth no more memorial
Than foam in water or smoke upon the wind."
[tr. Sayers (1949)]
"Up on your feet! This is no time to tire!"
my Master cried. "The man who lies asleep
will never waken fame, and his desire
and all his life drift past him like a dream,
and the traces of his memory fade from time
like smoke in the air, or ripples on a stream."
[tr. Ciardi (1954)]
“Now it behooves you thus to cast off sloth,” said my master, “for sitting on down or under coverlet, no one comes to fame, without which whoso consumes his life leaves such vestige of himself on earth as smoke in air or foam on water."
[tr. Singleton (1970)]
"Come on, shake off the covers of this sloth,"
the master said, "for sitting softly cushioned,
or tucked in bed, is no way to win fame;
and without it man must waste his life away,
leaving such traces of what he was on earth
as smoke in wind and foam upon the water."
[tr. Musa (1971)]
“Now you must cast aside your laziness,”
my master said, “for he who rests on down
or under covers cannot come to fame;
and he who spends his life without renown
leaves such a vestige of himself on earth
as smoke bequeaths to air or foam to water."
[tr. Mandelbaum (1980)]
"Now is the time for you to rouse yourself,"
The master said; "for sitting on a cushion
Is not the way to fame, nor staying in bed;
And without fame, a man must spend his life
Only to leave such traces upon earth
As smoke leaves in the air, or foam in the water."
[tr. Sisson (1981)]
"To cast off sloth
Now well behooves you," said my master then:
"For resting on soft down, or underneath
The blanket's cloth, is not how fame is won --
Without which, one spends life to leave behind
As vestige of himself on earth the sign
Smoke leaves on air, or foam on water."
[tr. Pinsky (1994), l. 46ff]
“From now on you will have to cast off sloth in this way,” said my master, “for one does not gain fame sitting on down cushions, or while under coverlets;
and whoever consumes his life without fame leaves a mark of himself on earth like smoke in the air or foam in water."
[tr. Durling (1996)]
Now, you must free yourself from sloth: men do not achieve fame, sitting on down, or under coverlets; fame, without which whoever consumes his life leaves only such trace of himself, on earth, as smoke does in the air, or foam on water.
[tr. Kline (2002)]
"Now you must needs," my teacher said, "shake off
your wonted indolence. No fame is won
beneath the quilt or sunk in feather cushions.
Whoever, fameless, wastes his life away,
leaves of himself no greater mark on earth
than smoke in air or froth upon the wave."
[tr. Kirkpatrick (2006)]
'Now must you cast off sloth,' my master said.
'Sitting on feather cushions or stretched out
under comforters, no one comes to fame.
Without fame, he who spends his time on earth
leaves only such a mark upon the world
as smoke does on the air or foam on water.'
[tr. Hollander/Hollander (2007)]
“Now you must,”
My Guide said, “quell the slothful urge to rest.
A swansdown seat and a soft blanket just
Keep you from fame, without which no one who
Consumes his life leaves more trace in the world
Than smoke in air and foam on water do."
[tr. James (2013)]
Every man’s last day is fixed.
Lifetimes are brief and not to be regained,
For all mankind. But by their deeds to make
Their fame last: that is labor for the brave.[Stat sua cuique dies, breve et inreparabile tempus
Omnibus est vitae; sed famam extendere factis,
Hoc virtutis opus.]Virgil (70-19 BC) Roman poet [b. Publius Vergilius Maro; also Vergil]
The Aeneid [Ænē̆is], Book 10, l. 467ff (10.467-69) [Jove] (29-19 BC) [tr. Fitzgerald (1981)]
(Source)
Jove, to Alcides (Hercules), comforting him on the pending, but brave, death of Pallas.
(Source (Latin)). Alternate translations:
Each hath his fate; Short and irreparable time
Man's life enjoyes: But by brave deeds to clime
To honour's height, this they by valour gain.
[tr. Ogilby (1649)]
Short bounds of life are set to mortal man.
'Tis virtue's work alone to stretch the narrow span.
[tr. Dryden (1697)]
To every one his day is fixed: a short and irretrievable term of life is given to all: but by deeds to lengthen out fame, this is virtue's task.
[tr. Davidson/Buckley (1854)]
Each has his destined time: a span
Is all the heritage of man:
'Tis virtue's part by deeds of praise
To lengthen fame through after days.
[tr. Conington (1866)]
To every one his day
Stands fixed by fate. The term of mortal life
Is brief, and irretrievable to all.
But to extend the period of its fame
By noble actions, this is virtue's work.
[tr. Cranch (1872), l. 615ff]
Each hath his own appointed day; short and irrecoverable is the span of life for all: but to spread renown by deeds is the task of valour.
[tr. Mackail (1885)]
His own day bideth every man; short space that none may mend
Is each man's life: but yet by deeds wide-spreading fame to send,
Man's valour hath this work to do.
[tr. Morris (1900)]
Each hath his day; irreparably brief
Is mortal life, and fading as the leaf.
'Tis valour's part to bid it bloom anew
By deeds of fame.
[tr. Taylor (1907), st. 63, l. 562ff]
To each his day is given. Beyond recall
man's little time runs by: but to prolong
life's glory by great deeds is virtue's power.
[tr. Williams (1910)]
Each has his day appointed; short and irretrievable is the span of life to all: but to lengthen fame by deeds -- that is valour's task.
[tr. Fairclough (1918)]
Every man, my son,
Has his appointed time; life’s day is short
For all men; they can never win it back,
But to extend it further by noble deeds
Is the task set for valor.
[tr. Humphries (1951)]
Every man's hour is appointed. Brief and unalterable
For all, the span of life. To enlarge his fame by great deeds
Is what the brave man must aim at.
[tr. Day-Lewis (1952)]
Each has his day; there is, for all, a short,
irreparable time of life; the task
of courage: to prolong one's fame by acts.
[tr. Mandelbaum (1971), l. 648ff]
Each man has his allotted day. All life is brief and time once past can never be restored. But the task of the brave man is to enlarge his fame by his actions.
[tr. West (1990)]
Every man has his day, the course
of life is brief and cannot be recalled: but virtue’s task
is this, to increase fame by deeds.
[tr. Kline (2002)]
Each man has his day, and the time of life
is brief for all, and never comes again.
But to lengthen out one’s fame with action,
that’s the work of courage.
[tr. Fagles (2006), l. 553ff]
The day of death awaits all men; their time is brief and comes just once. But they can prolong their fame by action. This is the task of valor.
[tr. Bartsch (2021)]
The noble-minded worry about their lack of ability, not about people’s failure to recognize their ability.
[君子病無能焉、不病人之不己知也]
Confucius (c. 551- c. 479 BC) Chinese philosopher, sage, politician [孔夫子 (Kǒng Fūzǐ, K'ung Fu-tzu, K'ung Fu Tse), 孔子 (Kǒngzǐ, Chungni), 孔丘 (Kǒng Qiū, K'ung Ch'iu)]
The Analects [論語, 论语, Lúnyǔ], Book 15, verse 19 (15.19) (6th C. BC – AD 3rd C.) [tr. Hinton (1998)]
(Source)
(Source (Chinese)). See also 1.16, 4.14, 14.30. Legge and other early translators numbered this, as shown below, 15.18. Alternate translations:
The superior man is distressed by his want of ability. He is not distressed by men's not knowing him.
[tr. Legge (1861), 15.18]
The trouble of the superior man will be his own want of ability: it will be no trouble to him that others do not know him.
[tr. Jennings (1895), 15.18]
A wise and good man should be distressed that he has no ability ; he should never be distressed that men do not take notice of him.
[tr. Ku Hung-Ming (1898), 15.18]
The noble man is pained over his own incompetency, he is not pained that others ignore him.
[tr. Soothill (1910), 15.18]
The proper man is irritated by his incapacities, not irritated by other people not recognizing him.
[tr. Pound (1933), 15.18]
A gentleman is distressed by his own lack of capacity; he is never distressed at the failure of others to recognize his merits.
[tr. Waley (1938), 15.18]
The perfect gentleman complains about his own inabilities; not about people’s ignorance of himself.
[tr. Ware (1950)]
The gentleman is troubled by his own lack of ability, not by the failure of others to appreciate him.
[tr. Lau (1979)]
The gentleman is pained at the lack of ability within himself; he is not pained at the fact that others do not appreciate him.
[tr. Dawson (1993)]
A gentleman resents his incompetence; he does not resent his obscurity.
[tr. Leys (1997)]
The gentleman worries about his incapability; he does not worry about men not knowing him.
[tr. Huang (1997)]
A gentleman worries about that he does not have the ability, does not worry about that others do not understand him.
[tr. Cai/Yu (1998), #403]
Exemplary persons (junzi) are distressed by their own lack of ability, not by the failure of others to acknowledge them.
[tr. Ames/Rosemont (1998)]
The gentleman takes it as a fault if he is incapable of something; he does not take it as a fault if others do not know him.
[tr. Brooks/Brooks (1998)]
The gentleman is distressed by his own inability, rather than the failure of others to recognize him.
[tr. Slingerland (2003)]
The gentleman is troubled by his own lack of ability. He is not troubled by the fact that others do not understand him.
[tr. Watson (2007)]
The gentleman is worried about his own lack of ability and not about the fact that others do not appreciate him.
[tr. Chin (2014)]
A Jun Zi is disappointed about his own incompetency. He is not distressed that he is not known by others.
[tr. Li (2020)]
Don’t worry about not being recognized by others; worry about not having any reason for them to recognize you.
[不患人之不己知、患其不能也]
Confucius (c. 551- c. 479 BC) Chinese philosopher, sage, politician [孔夫子 (Kǒng Fūzǐ, K'ung Fu-tzu, K'ung Fu Tse), 孔子 (Kǒngzǐ, Chungni), 孔丘 (Kǒng Qiū, K'ung Ch'iu)]
The Analects [論語, 论语, Lúnyǔ], Book 14, verse 30 (14.30) (6th C. BC – AD 3rd C.) [tr. Ames/Rosemont (1998)]
(Source)
(Source (Chinese)). Originally numbered by Legge as 14.32, but identified in modern translations as 14.30; the distinction is noted below. See also 1.16, 4.14, 15.19. Alternate translations:
I will not be concerned at men's not knowing me; I will be concerned at my own want of ability.
[tr. Legge (1861), 14.32]
My great concern is, not that men do not know me, but that they cannot.
[tr. Jennings (1895), 14.32; Jennings notes the unclear phrase could also mean "but that here is want of ability (in me to know them)."]
Be not concerned that men do not know you =; be concerned that you have no ability.
[tr. Ku Hung-Ming (1898), 14.32]
(A wise man) is not distressed that people do not know him, he is distressed at his own lack of ability.
[tr. Soothill (1910), 14.32]
Not worried that others don't know me, worried by my incapacities.
[tr. Pound (1933), 14.32]
(A gentleman) does not grieve that people do not recognize his merits; he grieves at his own incapacities.
[tr. Waley (1938), 14.32]
Be not concerned over men’s not knowing of you; be concerned rather over your inabilities.
[tr. Ware (1950)]
It is not the failure of others to appreciate your abilities that should trouble you, but rather your own lack of them.
[tr. Lau (1979), 14.30]
One does not worry about the fact that other people do not appreciate one. One worries about the fact that one is incapable.
[tr. Dawson (1993), 14.30]
It is not your obscurity that should distress you, but your incompetence.
[tr. Leys (1997), 14.30]
Do not worry about men not knowing you; rather, worry about your incapability.
[tr. Huang (1997), 14.30]
I do not worry about that others do not understand me, just worry about that i have no talent.
[tr. Cai/Yu (1998), 14.30, #370]
He does not worry about others not knowing him; he worries about whether he is capable.
[tr. Brooks/Brooks (1998), 14:30; they consider this a later interpolation, with 4:14 being the actual Confucian saying.]
Don't grieve when people fail to recognize your ability. Grieve for your lack of ability instead.
[tr. Hinton (1998), 14.30]
Do not worry that you are not recognized by others; worry rather that you yourself lack ability.
[tr. Slingerland (2003), 14.30]
Don’t worry about others’ not understanding you. Worry about your own lack of ability.
[tr. Watson (2007), 14.30]
Do not worry that other people do not know you. Be concerned about your own lack of ability.
[tr. Chin (2014), 14.30]
I am not concerned with not being known by others. I am concerned with my lack of ability.
[tr. Li (2020), 14.30]
I am not concerned that other people do not understand me. I worry that I do not understand other people.
[不患人之不己知、患不知人也]
Confucius (c. 551- c. 479 BC) Chinese philosopher, sage, politician [孔夫子 (Kǒng Fūzǐ, K'ung Fu-tzu, K'ung Fu Tse), 孔子 (Kǒngzǐ, Chungni), 孔丘 (Kǒng Qiū, K'ung Ch'iu)]
The Analects [論語, 论语, Lúnyǔ], Book 1, verse 16 (1.16) (6th C. BC – AD 3rd C.) [tr. Li (2020)]
(Source)
(Source (Chinese)). See also 4.14, 14.30, 15.19. Alternate translations:
I will not be afflicted at men's not knowing me; I will be afflicted that I do not know men.
[tr. Legge (1861)]
It does not greatly concern me that men do not know me; my great concern is, my not knowing them.
[tr. Jennings (1895)]
One should not be concerned not to be understood of men; one should be concerned not to understand men.
[tr. Ku Hung-Ming (1898)]
I will not grieve that men do not know me; I will grieve that I do not know men.
[tr. Soothill (1910)]
Not worried that men do not know me, but that I do not understand men.
[tr. Pound (1933)]
[The good man] does not grieve that other people do not recognize his merits. His only anxiety is lest he should fail to recognize theirs.
[tr. Waley (1938)]
I am not concerned that people do not know of me; I am concerned that I do not know of them.
[tr. Ware (1950)]
It is not the failure of others to appreciate your abilities that should trouble you, but rather your failure to appreciate theirs.
[tr. Lau (1979)]
One does not worry about the fact that other people do not appreciate one. One worries about not appreciating other people.
[tr. Dawson (1993)]
Don't worry if people don't recognize your merits; worry that you may not recognize theirs.
[tr. Leys (1997)]
Do not worry about men not knowing you; rather, worry about incapability and ignorance.
[tr. Huang (1997)]
Do not worry about that others do not understand me, just worry about that I do not understand others.
[tr. Cai/Yu (1998)]
Don't worry about not being acknowledged by others; worry about failing to acknowledge them.
[tr. Ames/Rosemont (1998)]
He does not worry that others do not know him; he worries that he does not know others.
[tr. Brooks/Brooks (1998)]
Don't grieve when people fail to recognize your ability. Grieve when you fail to recognize theirs.
[tr. Hinton (1998)]
Do not be concerned about whether or not others know you; be concerned about whether or not you know others.
[tr. Slingerland (2003)]
Don’t worry about whether other people understand you. Worry about whether you understand other people.
[tr. Watson (2007)]
Do not worry that other people do not know you. But be concerned that you do not know them.
[tr. Annping Chin (2014)]
People are egregiously mistaken if they think they ever can attain to permanent popularity by hypocrisy, by mere outside appearances, and by disguising not only their language but their looks. True popularity takes deep root and spreads itself wide; but the false falls away like blossoms; for nothing that is false can be lasting.
[Quodsi qui simulatione et inani ostentatione et ficto non modo sermone, sed etiam voltu stabilem se gloriam consequi posse rentur, vehementer errant. Vera gloria radices agit atque etiam propagatur, ficta omnia celeriter tamquam flosculi decidunt, nee simulatum potest quicquam esse diuturnum.]
Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
De Officiis [On Duties; On Moral Duty; The Offices], Book 2, ch. 12 (2.12) / sec. 43 (44 BC) [tr. Edmonds (1865)]
(Source)
(Source (Latin)). Alternate translation:
Those people therefore are highly mistaken, who think of obtaining a solid reputation by vain shows and hypocritical pretences; by composed countenances and studied forms of words: for true glory takes deep root, and grows and flourishes more and more; but that which is only in show and mere outside, quickly decays and withers like flowers; nor can anything be lasting that is only counterfeit.
[tr. Cockman (1699)]
But if any suppose, that they can obtain a stable reputation by pretences, empty ostentation, hypocritical conversation, and even artificial looks, they are extremely mistaken. True fame takes deep root, and extends its shoots. Every counterfeit appearance, like blossoms, quickly falls off; and no pretense can be lasting.
[tr. McCartney (1798)]
If there be those who think to obtain enduring fame by dissembling and empty show, and by hypocrisy, not only of speech, but of countenance also, they are utterly mistaken. True fame strikes its roots downward, and sends out fresh shoots; all figments fall speedily, like blossoms, nor can anything feigned be lasting.
[tr. Peabody (1883)]
It is a delusion to suppose that glory can be founded on dissimulation, vain ostentation, and studied words and looks. True glory strikes root and spreads, everything unreal soon falls like the blossoms, a lie cannot last.
[tr. Gardiner (1899)]
True glory strikes roots, and grows: ill-founded reputations, like flowers, soon wither, nor can anything last long which is based on pretence.
[ed. Harbottle (1906)]
For if anyone thinks that he can win lasting glory by pretence, by empty show, by hypocritical talk and looks, he is very much mistaken. True glory strikes deep root and spreads its branches wide; but all pretences soon fall to the ground like fragile flowers, and nothing counterfeit can be lasting.
[tr. Miller (1913)]
If anyone thinks he can attain lasting glory by mimicry, by empty shows, by pretense in his looks and his conversation, he is far from correct. Genuine glory puts down roots and even sends out new growth; any pretense dies down quickly, like fragile flowers. Nothing simulated can be long-lasting.
[tr. Edinger (1974)]
If his inmost heart could have been laid open, there would have been discovered that dream of undying fame, which, dream as it is, is more powerful than a thousand realities.
Even here
Worth wins her due, and there are tears to flow,
And human hearts to feel for human woe.[Sunt hic etiam sua praemia laudi,
Sunt lacrimae rerum et mentem mortalia tangunt.]Virgil (70-19 BC) Roman poet [b. Publius Vergilius Maro; also Vergil]
The Aeneid [Ænē̆is], Book 1, l. 461ff (1.461-462) (29-19 BC) [tr. Taylor (1907), st. 61, l. 543ff]
(Source)
Aeneas, on seeing murals of the Trojan Wars in Carthage. (Source (Latin)). Alternate translations:
Lo! Priam here, reward here vertue finds;
Troy teares, and humane sufferings pittying minds.
[tr. Ogilby (1649)]
Ev'n the mute walls relate the warrior's fame,
And Trojan griefs the Tyrians' pity claim.
[tr. Dryden (1697)]
Even here praiseworthy deeds meet with due reward: here are tears for misfortunes, and the breasts are touched with human woes.
[tr. Davidson/Buckley (1854)]
Aye, praise waits on worth
E'en in this corner of the earth;
E'en here the tear of pity springs,
And hearts are touched by human things.
[tr. Conington (1866)]
Worthy deeds e'en here are praised.
And mortal sufferings move their thoughts and tears.
[tr. Cranch (1872), l. 601ff]
Here too is the meed of honour, here mortal estate touches the soul to tears.
[tr. Mackail (1885)]
And even here belike deed hath its own reward.
Lo here are tears for piteous things that touch men's hearts anigh.
[tr. Morris (1900)]
Virtue's wage is given --
O even here! Here also there be tears
for what men bear, and mortal creatures feel
each other's sorrow.
[tr. Williams (1910)]
Here, too, virtue has its due rewards; here, too, there are tears for misfortune and mortal sorrows touch the heart.
[tr. Fairclough (1916)]
Look! even here there are rewards for praise,
There are tears for things, and what men suffer touches
The human heart.
[tr. Humphries (1951)]
Here too we find virtue somehow rewarded.
Tears in the nature of things, hearts touched by human transience.
[tr. Day Lewis (1952)]
Here, too, the honorable finds its due
and there are tears for passing things; here, too,
things mortal touch the mind.
[tr. Mandelbaum (1971), l. 654ff]
Even so far away
Great valor has due honor; they weep here
For how the world goes, and our life that passes
Touches their hearts.
[tr. Fitzgerald (1981), l. 627ff]
Here too there is just reward for merit, there are tears for suffering and men's hearts are touched by what man has to bear.
[tr. West (1990)]
Here too virtue has its rewards, here too
there are tears for events, and mortal things touch the heart.
[tr. Kline (2002)]
Here, too, honor matters;
Here are the tears of the ages, and minds touched
By human suffering.
[tr. Lombardo (2005)]
Even here, merit will have its true reward ...
even here, the world is a world of tears
and the burdens of mortality touch the heart.
[tr. Fagles (2006)]
Here too, glory has its rewards; the world weeps, and mortal matters move the heart.
[tr. Bartsch (2021)]
It is advantageous to an author, that his book should be attacked as well as praised. Fame is a shuttlecock. If it be struck at one end of the room, it will soon fall to the ground. To keep it up, it must be struck at both ends.
Samuel Johnson (1709-1784) English writer, lexicographer, critic
Comment (11-19 Nov 1793), in James Boswell, Journey of a Tour to the Hebrides (1785)
(Source)
Even if glory has nothing in itself to justify seeking it, yet it follows virtue like a shadow.
[Etsi enim nihil habet in se gloria cur expetatur, tamen virtutem tamquam umbra sequitur.]
Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
Tusculan Disputations [Tusculanae Disputationes], Book 1, ch. 45 (1.45) / sec. 109 (45 BC) [tr. Douglas (1985)]
(Source)
(Source (Latin)). Alternate translations:
For though Glory have nothing in it self, why it should be pursu'd, yet it follows Vertue as its shadow.
[tr. Wase (1643)]
For although there be nothing in glory to make it desirable, yet it follows virtue like a shadow.
[tr. Main (1824)]
Glory follows virtue as it it were its shadow.
[Source (1826)]
For even if glory contain nothing for which it is desirable of itself, yet it follows as the shadow of virtue.
[tr. Otis (1839)]
For although there be nothing in glory to make it desirable, yet it follows virtue as its shadow.
[tr. Yonge (1853)]
Though as to fame, there is nothing in it that should make it an object of desire; but it follows virtue like its shadow.
[tr. Peabody (1886)]
Glory, though it have in itself nothing for which we should desire it, attends virtue like its shadow.
[tr. Black (1889)]
Although glory is not to be sought for its own sake, it follows virtue like a shadow.
[tr. Habinek (1996)]
Even if glory has nothing in it to justify our seeking it, yet it follows virtue like a shadow.
[tr. Davie (2017)]
The reward of art is not fame or success but intoxication: that is why so many bad artists are unable to give it up.
Cyril Connolly (1903-1974) English intellectual, literary critic and writer.
The Unquiet Grave (1944)
Under normal circumstances, the name a human being bears is no more than the band is to a cigar: a means of identification, a superficial, almost unimportant thing that is only loosely related to the real subject, the true ego. In the event of a success the name begins to swell, so to say. It loosens itself from the human being that bears it and becomes a power in itself, a force, an independent thing, an article of commerce, a capital asset; and psychologically again with strong reaction it becomes a force which tends to influence, to dominate, to transform the person who bears it.
Stefan Zweig (1881-1942) Austrian novelist, playwright, journalist, biographer
The World of Yesterday [Die Welt von Gestern], ch. 13 (1942)
(Source)
Fame and wealth without understanding are not stable possessions.
[Δόξα καὶ πλοῦτος ἄνευ ξυνέσιος οὐκ ἀσφαλέα κτήματα.]
Democritus (c. 460 BC - c. 370 BC) Greek philosopher
Frag. 77 (Diels) [tr. @sententiq (2018)]
(Source)
Original Greek. Diels citation "77. (78 N.) DEMOKRATES. 42."; collected in Joannes Stobaeus (Stobaios) Anthologium 3, 4, 82. Bakewell lists this under "The Golden Sayings of Democritus." Freeman notes this as one of the Gnômae, from a collection called "Maxims of Democratês," but because Stobaeus quotes many of these as "Maxims of Democritus," they are generally attributed to the latter. Alternate translations:
- "Fame and wealth without wisdom are unsafe possessions." [tr. Bakewell (1907)]
- "Fame and wealth without intelligence are dangerous possessions." [tr. Freeman (1948)]
- "Reputation and wealth without intelligence are unsafe possessions." [tr. Taylor]
- "Fame and wealth without understanding are not secure possessions." [Source]
Celebrity is just obscurity biding its time.
It takes very little fire to make a great deal of smoke nowadays, and notoriety is not real glory.
Ah, woe is me, through all my days
Wisdom and wealth I both have got,
And fame and name and great men’s praise;
But Love, ah, Love! I have it not.H. C. Bunner (1855-1896) American novelist and poet [Henry Cuyler Bunner]
“The Way to Arcady” (1892)
(Source)
Being a star has made it possible for me to get insulted in places where the average Negro could never hope to go and get insulted.
Sammy Davis, Jr. (1925-1990) American singer, dancer, actor, comedian
Yes I Can, Part 3, ch. 3 (1965)
(Source)
Dearer is love than life, and fame than gold;
But dearer than them both, your faith once plighted hold.Edmund Spenser (c. 1552-1599) English poet
The Faerie Queene, Book 5, Canto 11, st. 63 (1589-96)
(Source)
If I should labor through daylight and dark,
Consecrate, valorous, serious, true,
Then on the world I may blazon my mark;
And what if I don’t, and what if I do?
He who would acquire fame must not show himself afraid of censure. The dread of censure is the death of genius.
William G. Simms (1806-1870) American writer and politician
Egeria, Or Voices of Thought and Counsel, for the Woods and Wayside, “Ambition” (1853)
(Source)
When they went down to the bunkhouse for dinner the vaqueros seemed to treat them with a certain deference but whether it was the deference accorded the accomplished or that accorded to mental defectives they were unsure.
Cormac McCarthy (1933-2023) American novelist, playwright, screenwriter
All the Pretty Horses (1992)
(Source)
Success is like reaching an important birthday and finding you’re exactly the same.
Audrey Hepburn (1929-1993) Belgian-English actress
Quoted in Yann-Brice Dherbier and Pierre-Henri Verlhac, Audrey Hepburn : A Life in Pictures (2007)
There’s nothing noble about dying. Not even if you die for honor. Not even if you die the greatest hero the world ever saw. Not even if you’re so great your name will never be forgotten and who’s that great? The most important thing is your life, little guys. You’re worth nothing dead except for speeches. Don’t let them kid you any more. Pay no attention when they tap you on the shoulder and say come along we’ve got to fight for liberty, or whatever their word is. There’s always a word.
Dalton Trumbo (1905-1976) American screenwriter and novelist [James Dalton Trumbo]
Johnny Got His Gun (1938)
(Source)
Some years ago, I was lucky enough invited to a gathering of great and good people: artists and scientists, writers and discoverers of things. And I felt that at any moment they would realise that I didn’t qualify to be there, among these people who had really done things.
On my second or third night there, I was standing at the back of the hall, while a musical entertainment happened, and I started talking to a very nice, polite, elderly gentleman about several things, including our shared first name. And then he pointed to the hall of people, and said words to the effect of, “I just look at all these people, and I think, what the heck am I doing here? They’ve made amazing things. I just went where I was sent.”
And I said, “Yes. But you were the first man on the moon. I think that counts for something.”
And I felt a bit better. Because if Neil Armstrong felt like an imposter, maybe everyone did. Maybe there weren’t any grown-ups, only people who had worked hard and also got lucky and were slightly out of their depth, all of us doing the best job we could, which is all we can really hope for.
Talent is God-given; be humble. Fame is man-given; be thankful. Conceit is self-given; be careful.
Be more concerned with your character than your reputation, because your character is what you really are, while your reputation is merely what others think you are.
John Wooden (1910-2010) American basketball player and coach
They Call Me Coach, ch. 9, epigram (1972)
(Source)
HENRY: This story shall the good man teach his son;
And Crispin Crispian shall ne’er go by
From this day to the ending of the world,
But we in it shall be remember’d, —
We few, we happy few, we band of brothers.
For he to-day that sheds his blood with me,
Shall be my brother; be he ne’er so vile,
This day shall gentle his condition:
And gentlemen in England, now a-bed,
Shall think themselves accurs’d, they were not here,
And hold their manhoods cheap, whiles any speaks,
That fought with us upon Saint Crispin’s day.William Shakespeare (1564-1616) English dramatist and poet
Henry V, Act 4, sc. 3, l. 58ff (4.3.58-69) (1599)
(Source)
PISTOL: Knocks go and come. God’s vassals drop and die,
And sword and shield,
In bloody field,
Doth win immortal fame.BOY: Would I were in an alehouse in London! I would
give all my fame for a pot of ale, and safety.PISTOL: And I.
William Shakespeare (1564-1616) English dramatist and poet
Henry V, Act 3, sc. 2, l. 9ff (3.2.9-14) (1599)
(Source)
Yet soft, my books, no haste, nor hurry fate;
If fame must wait on death, then let it wait.[Vos tamen o nostri ne festinate libelli:
Si post fata venit gloria, non propero.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 5, epigram 10 (5.10.11-12) (AD 90) [tr. Pott & Wright (1921)]
(Source)
Compare to Epigram 1.25.
"To Regulus." (Source (Latin)). Alternate translations:
But haste not you (my Bookes) for Fame, to whom
Tis soone enough if after death it come.
[tr. May (1629)]
Let others to the Printing Presse run fast.
Since after death comes glory, Ile not haste.
[tr. Herrick (1648)]
O my small books, ne'er hasten to go out:
If praise come after death, I'll not go on.
[tr. Fletcher (1656)]
Yet you (my Bookes!) hast not to much, I pray:
If fame come not till after death, I'll stay.
[British Library MS Add. 27343]
With patience then, my Muse, to glory hy:
If after death she come, I shall not dy.
[tr. Elphinston (1782), 3.62]
Do not, however, you little books of mine, be in haste for fame:
if glory comes only after death, I am in no hurry for it.
[tr. Bohn's Classical (1859)]
If I gain fame after my death, I am content to wait.
[tr. Paley/Stone (1890), ep. 221]
Therefore, little books of mine,
Haste not; if glory comes but after death,
I'll wait awhile for glory.
[ed. Harbottle (1897)]
Pray, my impatient Muse, don't worry.
If death's due first, I'm in no hurry.
[tr. Francis & Tatum (1924), ep. 221]
Impatient little books of verse
For the plaudits of the universe,
If fame comes only after death,
Let's pause and rest, and catch our breath.
[tr. Marcellino (1968)]
But there's no cause, my little books, to worry:
If glory must be posthumous, why hurry?
[tr. Michie (1972)]
So, little books, let's not rush to our fate.
Since death comes before glory, let's be late.
[tr. Matthews (1992)]
So be calm, my Muse -- no need to rush or fret:
If death must precede fame, I'll not be famous yet.
[tr. Ericsson (1995)]
If I must die to get my fame,
I gladly will put off the same.
[tr. Wills (2007)]
Then be content, my books, to be slow paced;
Death before glory means -- no need for haste.
[tr. Pitt-Kethley (2008)]
But you, my little books, don’t hurry:
if glory comes only after death, I will not rush.
[tr. Robinson (2022)]
If glory comes after death, I hurry not.
[tr. Rush]
Ever since I had dinner with Lou Reed I’ve tried to avoid meeting the people who would make me feel starstruck. It was a great dinner but by the end of it Lou Reed was no longer my hero, and I don’t have many heroes. I resolutely avoided meeting David Bowie, which became harder when I became friends with Duncan Jones, his son, and then got even harder when I moved to Woodstock and he lived around the corner. But I love the fact that the Bowie that I have is the Bowie in my head: a strange, evolving, absolutely fictional Bowie who became my hero when I was 11.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
“This Much I Know,” The Guardian (5 Aug 2017)
(Source)
There’s nothing like studying the bestseller lists of bygone years for teaching an author humility. You’ve heard of the ones that got filmed, normally. Mostly you realize that today’s bestsellers are tomorrow’s forgotten things.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
“This Much I Know,” The Guardian (5 Aug 2017)
(Source)
Why fight off fame now beating at your door?
What other writers dare to promise more?
You must make immortality start now,
Not make it wait to give your corpse a bow.[Ante fores stantem dubitas admittere Famam
Teque piget curae praemia ferre tuae?
Post te victurae per te quoque vivere chartae
Incipiant: cineri gloria sera venit.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, epigram 25 (1.25.5-8) (AD 85-86) [tr. Wills (2007)]
(Source)
"To Faustinus." (Source (Latin)). Some early writers number this as ep. 26, as noted. Alternate translations:
Wilt not admit fame standing at thy doore?
And take the fruit of all thy paines before?
Fame to the Urne comes late; let those Books live
With thee, which after life to thee must give.
[tr. May (1629), 1.26]
Dost doubt t'admit Fame standing at thy gate?
Thy labour's just reward to bear, dost hate?
That which will after, in thy time let live:
Too late men praise unto our ashes give.
[tr. Killigrew (1695)]
Fame at your portal waits; the door why barr'd?
Why loth to take your labour's just reward?
Let works live with you, which will long survive;
For honours after death too late arrive.
[tr. Hay (1755), 1.26]
Admit fair fame, who dances at thy door;
And dain to reap thyself thy toil's reward.
The strains that shall survive thee, give to soar;
Nor to thine ashes leave the late record.
[tr. Elphinston (1782), 2.34]
Do you hesitate to let in Fame when standing for admittance before your threshold, and does it grieve you to reap the rewards of your own diligence? May your poems, which will survive you, begin to live by your means. The glory which is shed upon ashes arrives full late.
[tr. Amos (1858), 1.26 "Posthumous Works"]
Do you hesitate to admit Fame, who is standing before your door; and does it displease you to receive the reward of your labour? Let the writings, destined to live after you, begin to live through your means. Glory comes too late, when paid only to our ashes.
[tr. Bohn's Classical (1859)]
If after thee thy verses are to live,
Let them begin whilst thou'rt alive. Too late
The glory that illumines but they tomb.
[ed. Harbottle (1897)]
Do you hesitate to admit Fame that stands before your doors, and shrink from winning the reward of your care? Let writings that will live after you by your adi also begin to live now; to the ashes of the dead glory comes too late.
[tr. Ker (1919)]
Nay, doth it irk you that reward is nigh?
Why bar out fame who standeth at the gate?
Give birth to what must live, before you die,
For honour paid to ashes comes too late.
[tr. Pott & Wright (1921)]
Fame stands before your threshold, let her in;
Are you ashamed your meed of praise to win?
Your books will long outlive you in their fame;
Come then, begin, for ashes have no name.
[tr. Francis & Tatum (1924), #14]
Tell me why you hesitate;
Fame is standing at your door.
Take the prize she long has offered,
Long has held for you in store!
Let works that will survive you after
You have trod the path so dread
Live now, while you still are living.
Fame comes too late to the dead.
[tr. Marcellino (1968)]
Fame is at the door,
and you keep her waiting.
You can't bring yourself to accept
the reward of your worry?
Hurry!
Let those pages begin to live -- show your face.
They will live on after you're gone in any case.
[tr. Bovie (1970)]
Do you hesitate to let Fame in when she stands at your door? Are you reluctant to take the reward for your pains? Your pages will live after you; let them also begin to live through you. Glory comes late to the grave.
[tr. Shackleton Bailey (1993)]
Amos (above) provides a number of examples where the last line has inspired other writers. Byron wrote, in the same vein, in "Martial, Lib. I, Epig. I" (c. 1821):
He unto whom thou art so partial,
O reader! is the well-known Martial,
The Epigrammatist: while living
Give him the fame thou wouldst be giving;
So shall he hear, and feel, and know it --
Post-obits rarely reach a poet.
After all, vanity is as much a virtue as a vice. It is easy to recite copy-book maxims against its sinfulness, but it is a passion that can move us to good as well as to evil. Ambition is only vanity ennobled. We want to win praise and admiration — or Fame as we prefer to name it — and so we write great books, and paint grand pictures, and sing sweet songs; and toil with willing hands in study, loom, and laboratory.
Jerome K. Jerome (1859-1927) English writer, humorist [Jerome Klapka Jerome]
“On Vanity and Vanities,” The Idle Thoughts of an Idle Fellow (1889)
(Source)
Not in the clamor of the crowded street,
Not in the shouts and plaudits of the throng,
But in ourselves, are triumph and defeat.
Henry Wadsworth Longfellow (1807-1882) American poet
“The Poets,” Atlantic Monthly (Jul 1878)
(Source)
We all live in a televised goldfish bowl.
Kingman Brewster, Jr. (1919-1988) American educator, diplomat
Lecture, St George’s Chapel, Windsor, England (5 May 1978)
It is a sad fate for a man to die
Too well known to everybody else,
And still unknown to himself.[Illi mors gravis incubate
Qui notus nimis omnibus
Ignotus moritur sibi.]
Seneca the Younger (c. 4 BC-AD 65) Roman statesman, philosopher, playwright [Lucius Annaeus Seneca]
Thyestes, ll. 401-403 [tr. Bacon]
Lines from the Chorus translated by Francis Bacon, in "Of Great Place," Essays, Part 11. Sometimes incorrectly attributed to Bacon.
The main advantage of being famous is that when you bore people at dinner parties they think it is their fault.
Henry Kissinger (b. 1923) German-American diplomat
(Attributed)
Quoted by James Naughtie in The Spectator (1 Apr 1995).
Do you wish people to think well of you? Don’t speak well of your-self.
[Voulez-vous qu’on croie du bien de vous? N’en dites point.]
Blaise Pascal (1623-1662) French scientist and philosopher
Pensées, # 4 (1670)
Alt. trans.:
- "If you want people to think well of you, do not speak well of yourself."
- "Do you want people to think well of you? Don't say a word about it."
When ye build yer triumphal arch to yer conquerin’ hero, Hinnisssey, build it out of bricks so the people will have somethin’ convanient to throw at him as he passes through.
Finley Peter Dunne (1867-1936) American humorist and journalist
“Fame”
Seven cities warr’d for Homer, being dead;
Who, living, had no roof to shroud his head.Thomas Heywood (1570s-1641) English playwright, actor, author
The Hierarchie of the Blesed Angells (1635)
