THE ANALYSIS OF FAME
long side. Professor Rice of the Peabody Museum gets (or perhaps
one should say takes) 108 lines: by the way, he achieves what appears
to be a record in the matter of club memberships, listing 22 (as against
the mere 16 of Will Hays). Harry Elmer Barnes has 106; Irving
Fisher 89 (as against H. A. L. Fisher's humble 42). That is three
American "centenarians" : among other nationals I can find but one
—Monsieur Bouchor, French artist (102); and in the ranks of the far
more numerous British I can only trace seven.
By way of contrast with these long entries we find that even Mr
H. G. Wells's formidable list of publications (he does not, however,
cite his articles) only gives him 84 lines, while Shaw has 65; Mussolini
and General Smuts are content with 32, the Rockefellers, Sen. and
Jun., with 29 and 18 respectively, Lloyd George with 21, Franklin
Roosevelt with 18. However, for real restraint give me Stalin. Let
me quote his entry in full:
STALIN, Joseph Vissarionovich Djugashirli [surely, by the way,
this is one of Whtfs Who's rare misprints: should it not be Djuga-
shvili?], b. Gori, Tiflis Province, 1879; m- Nadejda Sergeyevna
AUcluya (d. 1932); two c. Address: The Kremlin, Moscow,
I suppose, however, this entry is an editorial production. For
personal modesty give me Professor Griquard, who, though he once
divided the Nobel Prize for Chemistry, takes up but 5 lines. I like
too his publication:—"Traitc de Chimie Organiquc (10 vols.), com-
mcnccra a paraitrc en 1934."
No, the correspondence between length of entry and degree of
eminence is not high. It is, however, doubtless positive: I should
put the cocilicicnt of correlation at about 0-2, perhaps 0-3.
One curious point is the stern, almost puritanical, attitude taken
up by the Editors to the theatre and the screen. Charlie Chaplin and
Douglas Fairbanks get reasonable entries. The only producers I can
find are Alexander Korda and Jesse Lasky. Mary Pickford and
George Arliss receive 8 lines each, and the Garbo 5; but Marlcne
Dietrich, Norma Shearer, Marion Davies, Jean Harlow, Katharine
Hepburn, and even Mae West arc absent, as arc Clark Gable, Gilbert,
Cagney, and all four of the Marx Brothers. Even on the stage, and
the British stage at that, there arc curious gaps: for instance, I can't
find Leslie Howard, Diana Wynyard, or Elsa Lanchester.
This is the only general criticism I have of this very great work.
No one can, or at least ought to, deny that Norma Shearer, Cecil de
Milje, or Harpo Marx are most definitely WHO, much more so than