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G.K. Chesterton

G.K. Chesterton


Gilbert Keith Chesterton was one of the most influential English writers of the 20th century. His prolific and diverse output included journalism, philosophy, poetry, biography, Christian apologetics, fantasy and detective fiction.

Chesterton has been called the "prince of paradox". Time magazine, in a review of a biography of Chesterton, observed of his writing style: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out.
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You might, from your appearance, be the wife of Lucifer," said Miss Pross, in her breathing. "Nevertheless, you shall not get the better of me. I am an Englishwoman.
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It does not take a long time," said madame, "for an earthquake to swallow a town. Eh well! Tell me how long it takes to prepare the earthquake?
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It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness,it was the spring of hope...
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Let me explain a little: Certain things are bad so far as they go, such as pain, and no one, not even a lunatic, calls a tooth-ache good in itself; but a knife which cuts clumsily and with difficulty is called a bad knife, which it certainly is not. It is only not so good as other knives to which men have grown accustomed. A knife is never bad except on such rare occasions as that in which it is neatly and scientifically planted in the middle of one's back. The coarsest and bluntest knife which ever broke a pencil into pieces instead of sharpening it is a good thing in so far as it is a knife. It would have appeared a miracle in the Stone Age. What we call a bad knife is a good knife not good enough for us; what we call a bad hat is a good hat not good enough for us; what we call bad cookery is good cookery not good enough for us; what we call a bad civilization is a good civilization not good enough for us. We choose to call the great mass of the history of mankind bad, not because it is bad, but because we are better. This is palpably an unfair principle. Ivory may not be so white as snow, but the whole Arctic continent does not make ivory black.
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Humility is the luxurious art of reducing ourselves to a point, not to a small thing or a large one, but to a thing with no size at all, so that to it all the cosmic things are what they really are — of immeasurable stature. That the trees are high and the grasses short is a mere accident of our own foot-rules and our own stature. But to the spirit which has stripped off for a moment its own idle temporal standards the grass is an everlasting forest, with dragons for denizens; the stones of the road are as incredible mountains piled one upon the other; the dandelions are like gigantic bonfires illuminating the lands around; and the heath-bells on their stalks are like planets hung in heaven each higher than the other.
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When some English moralists write about the importance of having character, they appear to mean only the importance of having a dull character.
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The fierce poet of the Middle Ages wrote, "Abandon hope, all ye who enter here," over the gates of the lower world. The emancipated poets of to-day have written it over the gates of this world. But if we are to understand the story which follows, we must erase that apocalyptic writing, if only for an hour. We must recreate the faith of our fathers, if only as an artistic atmosphere. If, then, you are a pessimist, in reading this story, forego for a little the pleasures of pessimism. Dream for one mad moment that the grass is green. Unlearn that sinister learning that you think is so clear, deny that deadly knowledge that you think you know. Surrender the very flower of your culture, give up the very jewel of your pride, abandon hopelessness, all ye who enter here.
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Try before you trust.
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None of us clearly know to whom or to what we are indebted in this wise, until some marked stop in the whirling wheel of life brings the right perception with it.
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No sir, I make it a rule of mine: the more it looks like Queer Street, the less I ask.
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The time was to come, when that wine too would be spilled on the street-stones, and when the stain of it would be red upon many there.
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Precious things are for those that can prize them.
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A man treats his own faults as original sin and supposes them scattered everywhere with the seed of Adam. He supposes that men have then added their own foreign vices to the solid and simple foundation of his own private vices. It would astound him to realize that they have actually, by their strange erratic path, avoided his vices as well as his virtues.
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The whole imaginative effort of Walt Whitman was really an effort to absorb and animate these multitudinous modern repetitions; and Walt Whitman would be quite capable of including in his lyric litany of optimism a list of the nine hundred and ninety-nine identical bathrooms.
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Flippancy is a flower whose roots are often underground in the subconsciousness.
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Ah! poetry makes life what light and music do the stage—strip the one of the false embellishments, and the other of its illusions, and what is there real in either to live or care for?
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They are constantly colonists and emigrants ; they have the name of being at home in every country. But they are in exile in their own country. They are torn between love of home and love of something else; of which the sea may be the explanation or may be only the symbol. It is also found in a nameless nursery rhyme which is the finest line in English literature and the dumb refrain of all English poems, 'Over the hills and far away.
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Though there was nothing very airy about Miss Murdstone, she was a perfect Lark in point of getting up. She was up (and, as I believe to this hour, looking for that man) before anybody in the house was stirring. Peggotty gave it as her opinion that she even slept with one eye open; but I could not concur in this idea; for I tried it myself after hearing the suggestion thrown out, and found it couldn’t be done.
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Mr. Vholes's office, in disposition retiring and in situation retired, is squeezed up in a corner and blinks at a dead wall.
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He is of what is called the old school — a phrase generally meaning any school that seems never to have been young — and wears knee-breeches tied with ribbons, and gaiters or stockings.
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