Stefan Zweig Quote
In itself all publicity disturbs a man’s natural equilibrium. In normal circumstances your name means no more than the band on a cigar—a means of recognition, an outward object of little importance that is only loosely linked to the real subject, the Self. But in the case of success that name, so to speak, swells to a larger dimension. It frees itself from the man who bears it and becomes a power, a force, something independent, a commodity, capital. And then, with a violent backlash, it turns in on its bearer as a force that begins to influence, dominate and change him. Happy, self-confident natures unconsciously start identifying themselves with the influence they exert. A title, a position, a medal or decoration, and the publicity that now goes with their names can enhance their self-confidence, tempting them to feel that special recognition is their right in contemporary society and their country, and they instinctively puff themselves up to make themselves personally influential in the outside world. However, a man who naturally distrusts himself tends to feel that outward success of any kind makes it his duty, in what to him is a difficult situation, to change as little as possible.
In itself all publicity disturbs a man’s natural equilibrium. In normal circumstances your name means no more than the band on a cigar—a means of recognition, an outward object of little importance that is only loosely linked to the real subject, the Self. But in the case of success that name, so to speak, swells to a larger dimension. It frees itself from the man who bears it and becomes a power, a force, something independent, a commodity, capital. And then, with a violent backlash, it turns in on its bearer as a force that begins to influence, dominate and change him. Happy, self-confident natures unconsciously start identifying themselves with the influence they exert. A title, a position, a medal or decoration, and the publicity that now goes with their names can enhance their self-confidence, tempting them to feel that special recognition is their right in contemporary society and their country, and they instinctively puff themselves up to make themselves personally influential in the outside world. However, a man who naturally distrusts himself tends to feel that outward success of any kind makes it his duty, in what to him is a difficult situation, to change as little as possible.
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About Stefan Zweig
Zweig was raised in Vienna, Austria-Hungary. He wrote historical studies of famous literary figures, such as Honoré de Balzac, Charles Dickens, and Fyodor Dostoevsky in Drei Meister (1920; Three Masters), and decisive historical events in Decisive Moments in History (1927). He wrote biographies of Joseph Fouché (1929), Mary Stuart (1935) and Marie Antoinette (Marie Antoinette: The Portrait of an Average Woman, 1932), among others. Zweig's best-known fiction includes Letter from an Unknown Woman (1922), Amok (1922), Fear (1925), Confusion of Feelings (1927), Twenty-Four Hours in the Life of a Woman (1927), the psychological novel Ungeduld des Herzens (Beware of Pity, 1939), and The Royal Game (1941).
In 1934, as a result of the Nazi Party's rise in Germany and the establishment of the Ständestaat regime in Austria, Zweig emigrated to England and then, in 1940, moved briefly to New York and then to Brazil, where he settled. In his final years, he would declare himself in love with the country, writing about it in the book Brazil, Land of the Future. Nonetheless, as the years passed Zweig became increasingly disillusioned and despairing at the future of Europe, and he and his wife Lotte were found dead of a barbiturate overdose in their house in Petrópolis on 23 February 1942; they had died the previous day. His work has been the basis for several film adaptations. Zweig's memoir, Die Welt von Gestern (The World of Yesterday, 1942), is noted for its description of life during the waning years of the Austro-Hungarian Empire under Franz Joseph I and has been called the most famous book on the Habsburg Empire.