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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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The swing of his nature took him from extreme languor to devouring energy; and as I knew well, he was never so truly formidable as when, for days on end, he had been lounging in his armchair amid his improvisations and his black-letter editions. Then it was that the lust of the chase would suddenly come upon him, and that his brilliant reasoning power would rise to the level of intuition, until those who were unacquainted with his methods would look askance at him as on a man whose knowledge was not that of other mortals. When I saw him that afternoon so enwrapped in the music of St. James's Hall I felt that an evil time might be coming upon those whom he had set himself to hunt down.
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I do not admit that theological points are small points. Theology is only thought applied to religion; and those who prefer a thoughtless religion need not be so very disdainful of others with a more rationalistic taste. The old joke that the Greek sects only differed about a single letter is about the lamest and most illogical joke in the world. An atheist and a theist only differ by a single letter; yet theologians are so subtle as to distinguish definitely between the two.
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(On finding love later in life) "Let's be a comfortable couple, and take care of each other! And if we should get deaf, or lame, or blind, or bed-ridden, how glad we shall be that we have somebody we are fond of, always to talk to and sit with! Let's be a comfortable couple. Now do, my dear!
topics: mature-love  
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Such is hope, heaven's own gift to struggling mortals...
topics: inspirational  
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He that is neither one thing nor the other has no friends.
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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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We are three very old friends, Lanyon; we shall not live to make others.
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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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If he be Mr. Hyde," he had thought, "Then I shall be Mr. Seek.
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The last burst carried the mail to the summit of the hill. The horses stopped to breathe again, and the guard got down to skid the wheel for the descent, and open the coach-door to let the passengers in.
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Staram się unikać zadawania pytań, które zbyt mocno przywodzą na myśl dzień sądu ostatecznego. Pytanie jest jak kamień wywołujący lawinę. Siedzisz spokojnie na szczycie wzgórza, a kamień spada w dół, poruszając inne, i wreszcie jakiś niepozorny dziadyga, o którym nawet przez moment nie myślałeś, dostaje w łeb w swoim ogródku za domem, i cała szanowana dotąd rodzina musi szybko zmieniać nazwisko. O nie, mój drogi, stworzyłem własne prawo: im niezwyklejsza wydaje się sprawa, tym mniej o nią pytam.
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I am unfortunate in using a word which may convey a meaning—and evidently does—quite opposite to my intention.
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Utterson became so used to the unvarying character of these reports, that he fell off little by little in the frequency of his visits.
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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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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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Therefore I see no wrong in riding with the Nightmare to-night; she whinnies to me from the rocking tree-tops and the roaring wind; I will catch her and ride her through the awful air. Woods and weeds are alike tugging at the roots in the rising tempest, as if all wished to fly with us over the moon, like that wild, amorous cow whose child was the Moon-Calf. We will rise to that mad infinite where there is neither up nor down, the high topsy-turveydom of the heavens. I will ride on the Nightmare; but she shall not ride on me.
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