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FameFameisverymuchlikeananimalchasingitsowntailwho,whenhecapturesit,doesnotknowwhatelsetodobuttocontinuechasingit.Fameandtheexhilaratingcelebritythataccompaniesit,forcethefamouspersontoparticipateinhisorherowndestruction.Ironicisn’tit?声誉就像一直不断追逐自己尾巴的动物,当抓住自己的尾巴时,它也不知道除了继续追逐之外他还能做什么.声誉和令人兴奋的名望相伴,促使着名人们走向毁灭.很讽刺,不是么?Thosewhogainfamemostoftengainitasaresultofpossessingasingletalentorskill:singing,dancing,painting,orwriting,etc.Thesuccessfulperformerdevelopsastylethatismarketedaggressivelyandgainssomepopularity,anditisthispopularitythatusuallyconvincestheperformertocontinueperforminginthesamestyle,sincethatiswhatthepublicseemstowantandtoenjoy.Butintime,theperformerbecomesboredsingingthesamesongsinthesamewayyearafteryear,orthepainterbecomesboredpaintingsimilarscenesorportraits,ortheactoristiredofplayingthesamecharacterrepeatedly.Thedemandofthepublicholdstheartisthostagetohisorherownsuccess,fame.Iftheartistattemptstochangehisorherstyleofwritingordancingorsinging,etc.,theaudiencemayturnawayandlooktoconferfleetingficklefameonanotherandthen,intime,onanother,andsoonandsoon.那些声名鹊起的人通常是因为他们具有某项天赋或者掌握了某样技能:唱歌,跳舞,绘画或者写作等.一个成功的表演者因为发展了一种激进的市场表演风格而倍受欢迎.也正是这种名气促使他保持着这种表演艺术.因为这是观众想要的和喜欢的.但是到最后,歌手会因为年复一年的唱着同样的歌而感到厌烦.画家会因为一直画着同样的风景和肖像而感到无趣.演员会因为长期表演同样的角色而感到厌倦.公众的需求掌握着艺术家们的获得声誉与否的关键.如果艺术家们想要去改变他们书法风格,唱腔或者舞步等的时候,观众们就有可能离开,把那些转瞬即逝的名誉授予他人.然后接着,给另一个再另一个再另一个…….WhocannotrecognizeaTennesseeWilliamsplayoranovelbyJohnUpdikeorErnestHemingwayorapoembyRobertFrostorW.H.AudenorT.S.Eliot?ThesameistrueofpainterslikeMonet,Renoir,DaliorPicassoanditistrueofmoviemakerslikeHitchcock,Fellini,Spielberg,ChenKai-georZhangYimou.Theirdistinctivestylesmarkedasignificantchangeinthetraditionformsandgrantedthemfameandfortune,buttheywerenotfreetodevelopotherstylesorformsbecausetheiraudiencedemandedofeachofthemwhattheyoriginallypresented.HemingwaycannotevennowbeconfusedwithHenryJamesoranyoneelse,norcanFrostbeconfusedwithYeats,etc.Theuniqueformseachofthemcreated,createdthem.Noartistorperformercanentirelyescapethelureoffameanditspromiseofendlessadmirationandrespect,butthereisaheavypriceonemustpayforit.谁不认识田纳西.威廉斯的戏剧/约翰·厄普代克和欧纳斯特.海明威的小说/罗伯特.弗罗斯特/W.H.奥登和托.史.艾略特的诗歌?同样的还有画家莫奈,雷诺阿,达利或者毕加索,还有电影制作节家希契科克,费里尼,斯皮尔伯格,陈凯歌或者张艺谋.他们与众不同的风格标志着传统形式的重大变革,从而授予他们声望和财富.但是他们没有发展其他风格或模式的自由,因为他们的观众需要的是他们最先呈现的形式.即使现在,海明威还被混淆为亨利·詹姆斯或者其他的什么人;弗洛斯特也没有被混淆为耶茨.他们创造的独一无二的风格成就了他们.没有任何一个艺术家或表演者能够完全逃脱声誉的诱惑,因为声誉能给他们带来无止境的赞美和尊重.但是想要获得声誉就一定要付出沉重的代价.Famebringscelebrityandhighregardfromadoringandloyalfansineachfieldofendeavoranditisheadystuff.Aperformercaneasilycometobelievethatheorsheisasgoodashisorherpress.Butmostpeople,mostartistsdonotfainfameandfortune.Whataboutthoseperformerswhofail,oranyonewhofails?Curiouslyenough,failureoftenseversasitsownrewardformanypeople!Itbringssympathyfromotherswhoaredelightednottobeyou,anditallowsfamilyandfriendstolowertheirexpectationsofyousothatyouneednotcompetewiththosewhohavemoretalentandwhosucceed.Andtheyfindexcusedandexplanationsforyourinabilitytosucceedandbecomefamous:youaretoosensitive,youarenotinterestedinmoney,youarenotinterestedinthepowerthatfamebringsandyouarenotinterestedinthelossofprivacyitdemands,etc.—allexcused,butcomfortingtothosewhofailandthosewhopretendnottonoticethefailure.在每个领域里,声望都能够带来名气,能够在那些满怀崇敬之心的忠实的粉丝里受到高度关注.但是它是是个容易使人沉醉的东西.一个表演者很容易相信自己的成就与舆论者称赞一样.但是很多人,很多艺术家并没有获得声誉和财富.那些失败者的表演者,或者其他失败了的人呢?说来也奇怪,对于很多人来说,失败却常常是对他们的失败的补偿.它招来那些庆幸自己不是你的人的怜悯;它使得你的家人,朋友降低对你的期望,从而你不必再与那些比你有天赋,比你成功的人攀比.他们为你不能成功成名的无能寻找各种各样的借口和解释:你太容易受伤,你对金钱不感兴趣,你不屑于那些伴随名誉而来的权利,你也不喜欢因为出名而使隐私受到侵犯,等等.所有的借口,只是为了安慰是那些失败了的人,或者那些假装不在意失败的人罢了.Historyhasamplyproventhatsomefailureforsomepeopleatcertaintimesintheirlivesdoesindeedmotivatethemtostriveevenhardertosucceedandtocontinuebelievinginthemselves.ThomasWolfe,theAmericannovelist,hadhisfirstnovelLookHomeward,Angelrejected39timesbeforeitwasfinallypublishedandlaunchedhiscareerandcreatedhisfame.Beethovenovercamehistyrannicalfatherandgrudgingacceptanceasamusiciantobecomethegreatest,mostfamousmusicianintheworld,andPestalozzi,thefamousItalianeducatorinthe19thcentury,failedateveryjobheeverhaduntilhecameupontheideaifteachingchildrenanddevelopingthefundamentaltheoriestoproduceanewformofeducation.ThomasEdisonwasthrownoutofschoolinfourthgrade,ataboutage10,becauseheseemedtotheteachertobequitedullandunruly.Manyothercasesmaybefoundofpeoplewhofailedandusedthefailuretomotivatethemtoachieve,tosucceed,andtobecomefamous.But,unfortunately,formostpeoplefailureistheendoftheirstruggle,notthebeginning.Therearefew,ifany,famousfailures.历史已经充分证明了有些人在他们生命的某些时间里遭遇的失败确实会激励他们为取得成功而更加努力奋斗并且继续相信自己.美国小说家托马斯沃.尔夫的第一篇小说向家乡看吧,安琪儿被拒绝了39次才最终得以发表,从而开启了他的事业,为他创造了名誉.贝多芬不向他专横的父亲低头,也忍气吞声的做过乐师,但他最终还是成为了举世闻名的音乐家.十九世纪意大利著名的教育家裴斯塔洛齐在他决定从事儿童教育事业并且为之建立起一套新的基本教育体系之前,在各行各业一无所成.托马斯.爱迪生在十岁读四年级的时候因为被老师认为愚笨任性而逐出学校.另外,也有很多最初失败的人以失败为动力,发愤图强,最终取得成功.但是,很不幸,对于很多人来说失败就是他们奋斗的终点,而不是起点.成功的失败者即使有,也很少.Wellthen,whydoesanyonewantfame?Doyou?Doyouwanttobeknowntomanypeopleandadmiredbythem?Doyouwantthemoneythatusuallycomeswithfame?Doyouwantthemediatonoticeeverythingyoudoorsaybothinpublicandinprivate?Doyouwantthemhoundi