This superlative self-esteem strikes one, to say the truth, as part of Landor's abiding boyishness. It is only in schoolboy themes that we are still inclined to talk about the devouring love of fame. Grown-up men look rightly with some contempt upon such aspirations. What work a man does is really done in, or at least through, his own generation; and the posthumous fame which poets affect to value means, for the most part, being known by name to a few antiquarians, schoolmasters, or secluded students. When the poet, to adopt Landor's metaphor, has become a luminous star, his superiority to those which have grown dim by distance is indeed for the first time clearly demonstrated. We can still see him, though other bodies of his system have vanished into the infinite depths of oblivion. But he has also ceased to give appreciable warmth or light to ordinary human beings. He is a splendid name, but not a living influence. There are, of course, exceptions and qualifications to any such statements, but I have a suspicion that even Shakespeare's chief work may have been done in the Globe Theatre, to living audiences, who felt what they never thought of criticising, and were quite unable to measure; and that, spite of all æsthetic philosophers and minute antiquarians and judicious revivals, his real influence upon men's minds has been for the most part declining as his fame has been spreading. To defend or fully expound this heretical dogma would take too much space. The 'late-dinner' theory, however, as held by Wordsworth and Landor, is subject to one less questionable qualification. It is an utterly untenable proposition that great men have been generally overlooked in their own day.