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When any genuine and excellent work makes its appearance, the chief
difficulty in its way is the amount of bad work it finds already in
possession of the field, and accepted as though it were good. And
then if, after a long time, the new comer really succeeds, by a hard
struggle, in vindicating his place for himself and winning reputation,
he will soon encounter fresh difficulty from some affected, dull,
awkward imitator, whom people drag in, with the object of calmly
setting him up on the altar beside the genius; not seeing the
difference and really thinking that here they have to do with another
great man. This is what Yriarte means by the first lines of his
twenty-eighth Fable, where he declares that the ignorant rabble always
sets equal value on the good and the bad:
_Siempre acostumbra hacer el vulgo necio
De lo bueno y lo malo igual aprecio_.
So even Shakespeare's dramas had, immediately after his death, to give
place to those of Ben Jonson, Massinger, Beaumont and Fletcher, and to
yield the supremacy for a hundred years. So Kant's serious philosophy
was crowded out by the nonsense of Fichte, Schelling, Jacobi, Hegel.
And even in a sphere accessible to all, we have seen unworthy
imitators quickly diverting public attention from the incomparable
Walter Scott.
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