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7 " Between the extreme limits of this series would find a place all the forms of prestige resulting from the different elements composing a civilisation -- sciences, arts, literature, &c. -- and it would be seen that prestige constitutes the fundamental element of persuasion. Consciously or not, the being, the idea, or the thing possessing prestige is immediately imitated in consequence of contagion, and forces an entire generation to adopt certain modes of feeling and of giving expression to its thought. This imitation, moreover, is, as a rule, unconscious, which accounts for the fact that it is perfect. The modern painters who copy the pale colouring and the stiff attitudes of some of the Primitives are scarcely alive to the source of their inspiration. They believe in their own sincerity, whereas, if an eminent master had not revived this form of art, people would have continued blind to all but its naïve and inferior sides. Those artists who, after the manner of another illustrious master, inundate their canvasses with violet shades do not see in nature more violet than was detected there fifty years ago; but they are influenced, "suggestioned," by the personal and special impressions of a painter who, in spite of this eccentricity, was successful in acquiring great prestige. Similar examples might be brought forward in connection with all the elements of civilisation.

It is seen from what precedes that a number of factors may be concerned in the genesis of prestige; among them success was always one of the most important.
Every successful man, every idea that forces itself into recognition, ceases, ipso facto, to be called in question. The proof that success is one of the principal stepping-stones to prestige is that the disappearance of the one is almost always followed by the disappearance of the other. The hero whom the crowd acclaimed yesterday is insulted to-day should he have been overtaken by failure. The re-action, indeed, will be the stronger in proportion as the prestige has been great. The crowd in this case considers the fallen hero as an equal, and takes its revenge for having bowed to a superiority whose existence it no longer admits. "

Gustave Le Bon , سيكولوجية الجماهير