"education...that is, the period during which I was being instructed by somebody I did not know, about something I did not want to know."

The change from childhood to boyhood, and the mysterious transformation that produces that monster the schoolboy, might be very well summed up in one small fact. To me the ancient capital letters of the Greek alphabet, the great Theta, a sphere barred across the midst like Saturn, or the great Upsilon, standing up like a tall curved chalice, have still a quite unaccountable charm and mystery, as if they were the characters traced in wide welcome over Eden of the dawn. The ordinary small Greek letters, though I am now much more familiar with them, seem to me quite nasty little things like a swarm of gnats. As for Greek accents, I triumphantly succeeded, through a long series of school-terms, in avoiding learning them at all; and I never had a higher moment of gratification than when I afterwards discovered that the Greeks never learnt them either. I felt, with a radiant pride, that I was as ignorant as Plato and Thucydides. At least they were unknown to the Greeks who wrote the prose and poetry that was thought worth studying; and were invented by grammarians, I believe, at the time of the Renaissance. But it is a simple psychological fact; that the sight of a Greek capital still fills me with happiness, the sight of a small letter with indifference tinged with dislike, and the accents with righteous indignation reaching the point of profanity. And I believe that the explanation is that I learnt the large Greek letters, as I learnt the large English letters, at home. I was told about them merely for fun while I was still a child; while the others I learnt during the period of what is commonly called education; that is, the period during which I was being instructed by somebody I did not know, about something I did not want to know.

-Autobiography (1936)

"...the most universal and catastrophic lapse of memory is that by which they have forgotten that they are living on a star."

I will only give one other example of the astronomical proofs:

'If the earth were a globe, the distance round the surface, say, at 45 degrees south latitude, could not possibly be any greater than the same latitude north; but since it is found by navigators to be twice the distance—to say the least of it—or double the distance it ought to be according to the globular theory, it is a proof that the earth is not a globe.'

This sort of thing reduces my mind to a pulp. I can faintly resist when a man says that if the earth were a globe cats would not have four legs; but when he says that if the earth were a globe cats would not have five legs I am crushed.

But, as I have indicated, it is not in the scientific aspect of this remarkable theory that I am for the moment interested. It is rather with the difference between the flat and the round worlds as conceptions in art and imagination that I am concerned. It is a very remarkable thing that none of us are really Copernicans in our actual outlook upon things. We are convinced intellectually that we inhabit a small provincial planet, but we do not feel in the least suburban. Men of science have quarrelled with the Bible because it is not based upon the true astronomical system, but it is certainly open to the orthodox to say that if it had been it would never have convinced anybody.

If a single poem or a single story were really transfused with the Copernican idea, the thing would be a nightmare. Can we think of a solemn scene of mountain stillness in which some prophet is standing in a trance, and then realize that the whole scene is whizzing round like a zoetrope at the rate of nineteen miles a second? Could we tolerate the notion of a mighty King delivering a sublime fiat and then remember that for all practical purposes he is hanging head downwards in space? A strange fable might be written of a man who was blessed or cursed with the Copernican eye, and saw all men on the earth like tintacks clustering round a magnet. It would be singular to imagine how very different the speech of an aggressive egoist, announcing the independence and divinity of man, would sound if he were seen hanging on to the planet by his boot soles.

For, despite Mr. Wardlaw Scott's horror at the Newtonian astronomy and its contradiction of the Bible, the whole distinction is a good instance of the difference between letter and spirit; the letter of the Old Testament is opposed to the conception of the solar system, but the spirit has much kinship with it. The writers of the Book of Genesis had no theory of gravitation, which to the normal person will appear a fact of as much importance as that they had no umbrellas. But the theory of gravitation has a curiously Hebrew sentiment in it—a sentiment of combined dependence and certainty, a sense of grappling unity, by which all things hang upon one thread. 'Thou hast hanged the world upon nothing,' said the author of the Book of Job, and in that sentence wrote the whole appalling poetry of modern astronomy. The sense of the preciousness and fragility of the universe, the sense of being in the hollow of a hand, is one which the round and rolling earth gives in its most thrilling form. Mr. Wardlaw Scott's flat earth would be the true territory for a comfortable atheist. Nor would the old Jews have any objection to being as much upside down as right way up. They had no foolish ideas about the dignity of man.

It would be an interesting speculation to imagine whether the world will ever develop a Copernican poetry and a Copernican habit of fancy; whether we shall ever speak of 'early earth-turn' instead of 'early sunrise,' and speak indifferently of looking up at the daisies, or looking down on the stars. But if we ever do, there are really a large number of big and fantastic facts awaiting us, worthy to make a new mythology. Mr. Wardlaw Scott, for example, with genuine, if unconscious, imagination, says that according to astronomers, 'the sea is a vast mountain of water miles high.' To have discovered that mountain of moving crystal, in which the fishes build like birds, is like discovering Atlantis: it is enough to make the old world young again. In the new poetry which we contemplate, athletic young men will set out sturdily to climb up the face of the sea. If we once realize all this earth as it is, we should find ourselves in a land of miracles: we shall discover a new planet at the moment that we discover our own. Among all the strange things that men have forgotten, the most universal and catastrophic lapse of memory is that by which they have forgotten that they are living on a star.

-The Defendant (1901)

I apologize for not having posted for a few days...I have been extremely busy the past few weeks working on a "project", so to speak (and so I have not even had time really to read my Google reader for a few weeks), and the last few days in particular I have been busy finishing it up, so as not even to post any quotes. However, now that I have finished, I should be back to normal. :-)

Last year's Easter quote. :-)

Another GKC reference by Pope Benedict.

First, I want to wish everybody a very Happy Easter! :-)

Also, just came across another instance of Pope Benedict quoting Chesterton. :-)

Without conversion, however, we cannot come to Jesus, nor arrive at the gospel. There is a paradoxical saying of Chesterton's that expresses this circumstance exactly: "A saint can be recognised by the fact that he knows himself to be a sinner."

-The Essential Pope Benedict XVI: His Central Writings and Speeches, "Meditation on the Priesthood" (p. 272)

Here is an earlier post in which I detail three other occasions where the Pope references GKC

Other references to GKC by Pope Benedict.

"All the great groups that stood about the Cross represent...the great historical truth of the time; that the world could not save itself."

All the great groups that stood about the Cross represent in one way or another the great historical truth of the time; that the world could not save itself. Man could do no more. Rome and Jerusalem and Athens and everything else were going down like a sea turned into a slow cataract. Externally indeed the ancient world was still at its strongest; it is always at that moment that the inmost weakness begins. But in order to understand that weakness we must repeat what has been said more than once; that it was not the weakness of a thing originally weak. It was emphatically the strength of the world that was turned to weakness and the wisdom of the world that was turned to folly.

In this story of Good Friday it is the best things in the world that are at their worst. That is what really shows us the world at its worst. It was, for instance, the priests of a true monotheism and the soldiers of an international civilisation....

...The mob went along with the Sadducees and the Pharisees, the philosophers and the moralists. It went along with the imperial magistrates and the sacred priests, the scribes and the soldiers, that the one universal human spirit might suffer a universal condemnation; that there might be one deep, unanimous chorus of approval and harmony when Man was rejected of men.

There were solitudes beyond where none shall follow. There were secrets in the inmost and invisible part of that drama that have no symbol in speech; or in any severance of a man from men. Nor is it easy for any words less stark and single-minded than those of the naked narrative even to hint at the horror of exaltation that lifted itself above the hill. Endless expositions have not come to the end of it, or even to the beginning. And if there be any sound that can produce a silence, we may surely be silent about the end and the extremity; when a cry was driven out of that darkness in words dreadfully distinct and dreadfully unintelligible, which man shall never understand in all the eternity they have purchased for him; and for one annihilating instant an abyss that is not for our thoughts had opened even in the unity of the absolute; and God had been forsaken of God.

-The Everlasting Man (1925)

"Hear the Stars of Morning shouting: 'Two and Two are four.' "

And I suddenly wondered why if this were so it should be quite unknown, for any modern trade to have a ritual poetry. How did people come to chant rude poems while pulling certain ropes or gathering certain fruit, and why did nobody do anything of the kind while producing any of the modern things? Why is a modern newspaper never printed by people singing in chorus? Why do shopmen seldom, if ever, sing?

If reapers sing while reaping, why should not auditors sing while auditing and bankers while banking? If there are songs for all the separate things that have to be done in a boat, why are there not songs for all the separate things that have to be done in a bank? As the train from Dover flew through the Kentish gardens, I tried to write a few songs suitable for commercial gentlemen. Thus, the work of bank clerks when casting up columns might begin with a thundering chorus in praise of Simple Addition.

"Up my lads and lift the ledgers, sleep and ease are o'er.
Hear the Stars of Morning shouting: 'Two and Two are four.'
Though the creeds and realms are reeling, though the sophists roar,
Though we weep and pawn our watches, Two and Two are Four."

"There's a run upon the Bank—
Stand away!
For the Manager's a crank and the Secretary drank, and the Upper Tooting Bank
Turns to bay!
Stand close: there is a run
On the Bank.
Of our ship, our royal one, let the ringing legend run,
That she fired with every gun
Ere she sank."

.....

And as I came into the cloud of London I met a friend of mine who actually is in a bank, and submitted these suggestions in rhyme to him for use among his colleagues. But he was not very hopeful about the matter. It was not (he assured me) that he underrated the verses, or in any sense lamented their lack of polish. No; it was rather, he felt, an indefinable something in the very atmosphere of the society in which we live that makes it spiritually difficult to sing in banks. And I think he must be right; though the matter is very mysterious. I may observe here that I think there must be some mistake in the calculations of the Socialists. They put down all our distress, not to a moral tone, but to the chaos of private enterprise. Now, banks are private; but post-offices are Socialistic: therefore I naturally expected that the post-office would fall into the collectivist idea of a chorus. Judge of my surprise when the lady in my local post-office (whom I urged to sing) dismissed the idea with far more coldness than the bank clerk had done. She seemed indeed, to be in a considerably greater state of depression than he. Should any one suppose that this was the effect of the verses themselves, it is only fair to say that the specimen verse of the Post-Office Hymn ran thus:

"O'er London our letters are shaken like snow,
Our wires o'er the world like the thunderbolts go.
The news that may marry a maiden in Sark,
Or kill an old lady in Finsbury Park."

Chorus (with a swing of joy and energy):

"Or kill an old lady in Finsbury Park."

And the more I thought about the matter the more painfully certain it seemed that the most important and typical modern things could not be done with a chorus. One could not, for instance, be a great financier and sing; because the essence of being a great financier is that you keep quiet. You could not even in many modern circles be a public man and sing; because in those circles the essence of being a public man is that you do nearly everything in private. Nobody would imagine a chorus of money-lenders. Every one knows the story of the solicitors' corps of volunteers who, when the Colonel on the battlefield cried "Charge!" all said simultaneously, "Six-and-eightpence." Men can sing while charging in a military, but hardly in a legal sense. And at the end of my reflections I had really got no further than the sub-conscious feeling of my friend the bank-clerk—that there is something spiritually suffocating about our life; not about our laws merely, but about our life. Bank-clerks are without songs, not because they are poor, but because they are sad. Sailors are much poorer. As I passed homewards I passed a little tin building of some religious sort, which was shaken with shouting as a trumpet is torn with its own tongue. They were singing anyhow; and I had for an instant a fancy I had often had before: that with us the super-human is the only place where you can find the human. Human nature is hunted and has fled into sanctuary.

-Tremendous Trifles (1909)

"The one stream of poetry which is continually flowing is slang...All slang is metaphor, and all metaphor is poetry."

The one stream of poetry which is continually flowing is slang. Every day a nameless poet weaves some fairy tracery of popular language...All slang is metaphor, and all metaphor is poetry. If we paused for a moment to examine the cheapest cant phrases that pass our lips every day, we should find that they were as rich and suggestive as so many sonnets. To take a single instance: we speak of a man in English social relations 'breaking the ice.' If this were expanded into a sonnet, we should have before us a dark and sublime picture of an ocean of everlasting ice, the sombre and baffling mirror of the Northern nature, over which men walked and danced and skated easily, but under which the living waters roared and toiled fathoms below. The world of slang is a kind of topsy-turveydom of poetry, full of blue moons and white elephants, of men losing their heads, and men whose tongues run away with them—a whole chaos of fairy tales.

-The Defendant (1901)

"...men are never individual when alone."

...and it might satisfy that school of critics who hold that every artist should be treated as a solitary craftsman, indifferent to the commonwealth and unconcerned about moral things. To write on that principle in the present case, however, would involve all those delicate difficulties, known to politicians, which beset the public defence of a doctrine which one heartily disbelieves. It is quite needless here to go into the old "art for art's sake"—business, or explain at length why individual artists cannot be reviewed without reference to their traditions and creeds. It is enough to say that with other creeds they would have been, for literary purposes, other individuals. Their views do not, of course, make the brains in their heads any more than the ink in their pens. But it is equally evident that mere brain-power, without attributes or aims, a wheel revolving in the void, would be a subject about as entertaining as ink. The moment we differentiate the minds, we must differentiate by doctrines and moral sentiments. A mere sympathy for democratic merry-making and mourning will not make a man a writer like Dickens. But without that sympathy Dickens would not be a writer like Dickens; and probably not a writer at all. A mere conviction that Catholic thought is the clearest as well as the best disciplined, will not make a man a writer like Newman. But without that conviction Newman would not be a writer like Newman; and probably not a writer at all. It is useless for the æsthete (or any other anarchist) to urge the isolated individuality of the artist, apart from his attitude to his age. His attitude to his age is his individuality: men are never individual when alone.

-The Victorian Age in Literature (1913)

Palm Sunday post. :-) So cute!

"There is more simplicity in the man who eats caviar on impulse than in the man who eats grape-nuts on principle."

One great complaint, I think, must stand against the modern upholders of the simple life--the simple life in all its varied forms...This complaint against them stands, that they would make us simple in the unimportant things, but complex in the important things. They would make us simple in the things that do not matter-- that is, in diet, in costume, in etiquette, in economic system. But they would make us complex in the things that do matter--in philosophy, in loyalty, in spiritual acceptance, and spiritual rejection. It does not so very much matter whether a man eats a grilled tomato or a plain tomato; it does very much matter whether he eats a plain tomato with a grilled mind. The only kind of simplicity worth preserving is the simplicity of the heart, the simplicity which accepts and enjoys. There may be a reasonable doubt as to what system preserves this; there can surely be no doubt that a system of simplicity destroys it. There is more simplicity in the man who eats caviar on impulse than in the man who eats grape-nuts on principle.

...The only simplicity that matters is the simplicity of the heart. If that be gone, it can be brought back by no turnips or cellular clothing; but only by tears and terror and the fires that are not quenched. If that remain, it matters very little if a few Early Victorian armchairs remain along with it. Let us put a complex entree into a simple old gentleman; let us not put a simple entree into a complex old gentleman. So long as human society will leave my spiritual inside alone, I will allow it, with a comparative submission, to work its wild will with my physical interior. I will submit to cigars. I will meekly embrace a bottle of Burgundy. I will humble myself to a hansom cab. If only by this means I may preserve to myself the virginity of the spirit, which enjoys with astonishment and fear. I do not say that these are the only methods of preserving it. I incline to the belief that there are others. But I will have nothing to do with simplicity which lacks the fear, the astonishment, and the joy alike. I will have nothing to do with the devilish vision of a child who is too simple to like toys.

The child is, indeed, in these, and many other matters, the best guide. And in nothing is the child so righteously childlike, in nothing does he exhibit more accurately the sounder order of simplicity, than in the fact that he sees everything with a simple pleasure, even the complex things. The false type of naturalness harps always on the distinction between the natural and the artificial. The higher kind of naturalness ignores that distinction. To the child the tree and the lamp-post are as natural and as artificial as each other; or rather, neither of them are natural but both supernatural. For both are splendid and unexplained. The flower with which God crowns the one, and the flame with which Sam the lamplighter crowns the other, are equally of the gold of fairy-tales. In the middle of the wildest fields the most rustic child is, ten to one, playing at steam-engines. And the only spiritual or philosophical objection to steam-engines is not that men pay for them or work at them, or make them very ugly, or even that men are killed by them; but merely that men do not play at them. The evil is that the childish poetry of clockwork does not remain. The wrong is not that engines are too much admired, but that they are not admired enough. The sin is not that engines are mechanical, but that men are mechanical.

-Heretics (1905)

"There is no clearer sign of the absence of originality among modern poets than their disposition to find new themes."

Dickens showed himself to be an original man by always accepting old and established topics. There is no clearer sign of the absence of originality among modern poets than their disposition to find new themes. Really original poets write poems about the spring. They are always fresh, just as the spring is always fresh. Men wholly without originality write poems about torture, or new religions, of some perversion of obscenity, hoping that the mere sting of the subject may speak for them. But we do not sufficiently realise that what is true of the classic ode is also true of the classic joke. A true poet writes about the spring being beautiful because (after a thousand springs) the spring really is beautiful. In the same way the true humourist writes about a man sitting down on his hat, because the act of sitting down on one's hat (however often and however admirably performed) really is extremely funny. We must not dismiss a new poet because his poem is called To a Skylark; nor must we dismiss a humourist because his new farce is called My Mother-in-law. He may really have splendid and inspiring things to say upon an eternal problem. The whole question is whether he has.

-Appreciations and Criticisms of the Works of Charles Dickens (1911)

Relationship between Power and Authority

From Bartlett's Book of Anecdotes:

Alexander Woollcott met Chesterton for lunch at a London Restaurant. Chesterton expounded on various philosophical topics, including the relationship between power and authority. "If a rhinocerous were to enter this restaurant now, there is no denying he would have great power here. But I should be the first to rise and assure him that he had no authority whatsoever."

BTW, for a passage written by Chesterton on this topic, see this link.

http://platitudesundone.blogspot.com/2011/10/tyranny-is-opposite-of-authority.html

"Because silver is sometimes more valuable than gold," said the priest mildly; "that is, in large quantities."

Speaking of the Father Brown Story "The Queer Feet", which I mentioned just recently in connection with the Master's Jacket...Here is a quote from that story.

Father Brown's figure remained quite dark and still; but in that instant he had lost his head. His head was always most valuable when he had lost it. In such moments he put two and two together and made four million. Often the Catholic Church (which is wedded to common sense) did not approve of it. Often he did not approve of it himself. But it was real inspiration--important at rare crises--when whosoever shall lose his head the same shall save it. "I think, sir," he said civilly, "that you have some silver in your pocket." The tall gentleman stared. "Hang it," he cried, "if I choose to give you gold, why should you complain?" "Because silver is sometimes more valuable than gold," said the priest mildly; "that is, in large quantities."

-The Innocence of Father Brown (1911)

"...and as people object (why I cannot imagine) to theology and animal spirits being mixed up..."

I feel vaguely impelled to apologize for my article last week, which was, as far as I remember, an incoherent rhapsody about a pig. The truth is that I had been occupied all day in writing a theological article for a heavy and correct Quarterly; and as people object (why I cannot imagine) to theology and animal spirits being mixed up, one has to take those two essential elements and turn about. The serious magazines, without having any convictions to speak of, are just sufficiently stern or bigoted to forbid irreverence. The frivolous magazines are even more stern and biogted; for they forbid reverence. They actually veto the instinctive mention of mighty and holy things. Thus the sincere journalist is kept constantly in a state of roaring inaction; having been forced to make his theology dry he plunges with ardour into pure folly; and then, having elaborately and seriously played the fool, he plunges with a far more boyish ardour into the pleasures of theology.

-May 15, 1909, Illustrated London News

Masters Jacket- Green due to a Father Brown story?

I admittedly do not watch golf and know little about it, but as a good Chestertonian, I will admit that I find this article which appeared in Golf Digest particularly interesting. It describes a "compelling theory" (as Golf Digest puts it) that the reason the Master's jacket is green is to be found in the Father Brown story "The Queer Feet" (since Bobby Jones was likely a Chesterton reader).

"Why Green" (Golf Digest)

"Trees have no dogmas. Turnips are singluarly broad-minded."

Whether the human mind can advance or not, is a question too little discussed, for nothing can be more dangerous than to found our social philosophy on any theory which is debatable but has not been debated. But if we assume, for the sake of argument, that there has been in the past, or will be in the future, such a thing as a growth or improvement of the human mind itself, there still remains a very sharp objection to be raised against the modern version of that improvement. The vice of the modern notion of mental progress is that it is always something concerned with the breaking of bonds, the effacing of boundaries, the casting away of dogmas. But if there be such a thing as mental growth, it must mean the growth into more and more definite convictions, into more and more dogmas. The human brain is a machine for coming to conclusions; if it cannot come to conclusions it is rusty. When we hear of a man too clever to believe, we are hearing of something having almost the character of a contradiction in terms. It is like hearing of a nail that was too good to hold down a carpet; or a bolt that was too strong to keep a door shut. Man can hardly be defined, after the fashion of Carlyle, as an animal who makes tools; ants and beavers and many other animals make tools, in the sense that they make an apparatus. Man can be defined as an animal that makes dogmas. As he piles doctrine on doctrine and conclusion on conclusion in the formation of some tremendous scheme of philosophy and religion, he is, in the only legitimate sense of which the expression is capable, becoming more and more human. When he drops one doctrine after another in a refined scepticism, when he declines to tie himself to a system, when he says that he has outgrown definitions, when he says that he disbelieves in finality, when, in his own imagination, he sits as God, holding no form of creed but contemplating all, then he is by that very process sinking slowly backwards into the vagueness of the vagrant animals and the unconsciousness of the grass. Trees have no dogmas. Turnips are singularly broad-minded.

-Heretics (1905)

"This man has insulted me!"

"This man has insulted me!" said Syme, with gestures of explanation.

"Insulted you?" cried the gentleman with the red rosette, "When?"

"Oh, just now," said Syme recklessly."He insulted my mother."

"Insulted your mother!" exclaimed the gentleman incredulously.

"Well, anyhow," said Syme, conceding a point, "my aunt."

"But how can the Marquis have insulted your aunt just now?" said the second gentleman with some legitimate wonder. "He has been sitting here all the time."

"Ah, it was what he said!" said Syme darkly.

"I said nothing at all," said the Marquis, "except something about the band. I only said that I liked Wagner played well."

"It was an allusion to my family," said Syme firmly. "My aunt played Wagner badly. It was a painful subject. We are always being insulted about it."

"This seems most extraordinary," said the gentleman who was decoré, looking doubtfully at the Marquis.

"Oh, I assure you," said Syme earnestly, "the whole of your conversation was simply packed with sinister allusions to my aunt’s weaknesses."

"This is nonsense!" said the second gentleman. "I for one have said nothing for half an hour except that I liked the singing of that girl with black hair."

"Well, there you are again!" said Syme indignantly. "My aunt’s was red."

"It seems to me," said the other, "that you are simply seeking a pretext to insult the Marquis."

"By George!" said Syme, facing round and looking at him, "what a clever chap you are!"

-The Man Who Was Thursday: A Nightmare (1908)

The Priest of Spring

Yes, a *very* long passage today, but....

The only two things that can satisfy the soul are a person and a story; and even a story must be about a person. There are indeed very voluptuous appetites and enjoyments in mere abstractions like mathematics, logic, or chess. But these mere pleasures of the mind are like mere pleasures of the body. That is, they are mere pleasures, though they may be gigantic pleasures; they can never by a mere increase of themselves amount to happiness. A man just about to be hanged may enjoy his breakfast; especially if it be his favourite breakfast; and in the same way he may enjoy an argument with the chaplain about heresy, especially if it is his favourite heresy. But whether he can enjoy either of them does not depend on either of them; it depends upon his spiritual attitude towards a subsequent event. And that event is really interesting to the soul; because it is the end of a story and (as some hold) the end of a person.

Now it is this simple truth which, like many others, is too simple for our scientists to see. This is where they go wrong, not only about true religion, but about false religions too; so that their account of mythology is more mythical than the myth itself. I do not confine myself to saying that they are quite incorrect when they state (for instance) that Christ was a legend of dying and reviving vegetation, like Adonis or Persephone. I say that even if Adonis was a god of vegetation, they have got the whole notion of him wrong. Nobody, to begin with, is sufficiently interested in decaying vegetables, as such, to make any particular mystery or disguise about them; and certainly not enough to disguise them under the image of a very handsome young man, which is a vastly more interesting thing. If Adonis was connected with the fall of leaves in autumn and the return of flowers in spring, the process of thought was quite different. It is a process of thought which springs up spontaneously in all children and young artists; it springs up spontaneously in all healthy societies. It is very difficult to explain in a diseased society...

...There is one piece of nonsense that modern people still find themselves saying, even after they are more or less awake, by which I am particularly irritated. It arose in the popularised science of the nineteenth century, especially in connection with the study of myths and religions. The fragment of gibberish to which I refer generally takes the form of saying "This god or hero really represents the sun." Or "Apollo killing the Python MEANS that the summer drives out the winter." Or "The King dying in a western battle is a SYMBOL of the sun setting in the west." Now I should really have thought that even the skeptical professors, whose skulls are as shallow as frying-pans, might have reflected that human beings never think or feel like this. Consider what is involved in this supposition. It presumes that primitive man went out for a walk and saw with great interest a big burning spot on the sky. He then said to primitive woman, "My dear, we had better keep this quiet. We mustn't let it get about. The children and the slaves are so very sharp. They might discover the sun any day, unless we are very careful. So we won't call it 'the sun,' but I will draw a picture of a man killing a snake; and whenever I do that you will know what I mean. The sun doesn't look at all like a man killing a snake; so nobody can possibly know. It will be a little secret between us; and while the slaves and the children fancy I am quite excited with a grand tale Of a writhing dragon and a wrestling demigod, I shall really MEAN this delicious little discovery, that there is a round yellow disc up in the air." One does not need to know much mythology to know that this is a myth. It is commonly called the Solar Myth.

Quite plainly, of course, the case was just the other way. The god was never a symbol or hieroglyph representing the sun. The sun was a hieroglyph representing the god. Primitive man (with whom my friend Dombey is no doubt well acquainted) went out with his head full of gods and heroes, because that is the chief use of having a head. Then he saw the sun in some glorious crisis of the dominance of noon on the distress of nightfall, and he' said, "That is how the face of the god would shine when he had slain the dragon," or "That is how the whole world would bleed to westward, if the god were slain at last."

No human being was ever really so unnatural as to worship Nature. No man, however indulgent (as I am) to corpulency, ever worshipped a man as round as the sun or a woman as round as the moon. No man, however attracted to an artistic attenuation, ever really believed that the Dryad was as lean and stiff as the tree. We human beings have never worshipped Nature; and indeed, the reason is very simple. It is that all human beings are superhuman beings. We have printed our own image upon Nature, as God has printed His image upon us. We have told the enormous sun to stand still; we have fixed him on our shields, caring no more for a star than for a starfish. And when there were powers of Nature we could not for the time control, we have conceived great beings in human shape controlling them. Jupiter does not mean thunder. Thunder means the march and victory of Jupiter. Neptune does not mean the sea; the sea is his, and he made it...

...About all these myths my own position is utterly and even sadly simple. I say you cannot really understand any myths till you have found that one of them is not a myth. Turnip ghosts mean nothing if there are no real ghosts. Forged bank-notes mean nothing if there are no real bank-notes....When once a god is admitted, even a false god, the Cosmos begins to know its place: which is the second place. When once it is the real God the Cosmos falls down before Him, offering flowers in spring as flames in winter. "My love is like a red, red rose" does not mean that the poet is praising roses under the allegory of a young lady. "My love is an arbutus" does not mean that the author was a botanist so pleased with a particular arbutus tree that he said he loved it. "Who art the moon and regent of my sky" does not mean that Juliet invented Romeo to account for the roundness of the moon. "Christ is the Sun of Easter" does not mean that the worshipper is praising the sun under the emblem of Christ. Goddess or god can clothe themselves with the spring or summer; but the body is more than raiment. Religion takes almost disdainfully the dress of Nature; and indeed Christianity has done as well with the snows of Christmas as with the snow-drops of spring. And when I look across the sun-struck fields, I know in my inmost bones that my joy is not solely in the spring, for spring alone, being always returning, would be always sad. There is somebody or something walking there, to be crowned with flowers: and my pleasure is in some promise yet possible and in the resurrection of the dead.

-A Miscellany of Men (1912)

"Humility is perpetually putting us back in the primal darkness. There all light is lightning, startling and instantaneous."

The great psychological discovery of Paganism, which turned it into Christianity, can be expressed with some accuracy in one phrase. The pagan set out, with admirable sense, to enjoy himself. By the end of his civilization he had discovered that a man cannot enjoy himself and continue to enjoy anything else. Mr. Lowes Dickinson has pointed out in words too excellent to need any further elucidation, the absurd shallowness of those who imagine that the pagan enjoyed himself only in a materialistic sense. Of course, he enjoyed himself, not only intellectually even, he enjoyed himself morally, he enjoyed himself spiritually. But it was himself that he was enjoying; on the face of it, a very natural thing to do. Now, the psychological discovery is merely this, that whereas it had been supposed that the fullest possible enjoyment is to be found by extending our ego to infinity, the truth is that the fullest possible enjoyment is to be found by reducing our ego to zero.

Humility is the thing which is for ever renewing the earth and the stars. It is humility, and not duty, which preserves the stars from wrong, from the unpardonable wrong of casual resignation; it is through humility that the most ancient heavens for us are fresh and strong. The curse that came before history has laid on us all a tendency to be weary of wonders. If we saw the sun for the first time it would be the most fearful and beautiful of meteors. Now that we see it for the hundredth time we call it, in the hideous and blasphemous phrase of Wordsworth, "the light of common day." We are inclined to increase our claims. We are inclined to demand six suns, to demand a blue sun, to demand a green sun. Humility is perpetually putting us back in the primal darkness. There all light is lightning, startling and instantaneous. Until we understand that original dark, in which we have neither sight nor expectation, we can give no hearty and childlike praise to the splendid sensationalism of things. The terms "pessimism" and "optimism," like most modern terms, are unmeaning. But if they can be used in any vague sense as meaning something, we may say that in this great fact pessimism is the very basis of optimism. The man who destroys himself creates the universe. To the humble man, and to the humble man alone, the sun is really a sun; to the humble man, and to the humble man alone, the sea is really a sea. When he looks at all the faces in the street, he does not only realize that men are alive, he realizes with a dramatic pleasure that they are not dead.

-Heretics (1905)

"The Church had learnt, not at the end but at the beginning of her centuries, that the funeral of God is always a premature burial."

The Church had learnt, not at the end but at the beginning of her centuries, that the funeral of God is always a premature burial.

-The Crimes of England (1916)

Father Brown: Charles Ingalls' boss? :-)

Interesting. I was not aware until this morning (after reading the ACS's Facebook page) of this 1945 radio series, starring Karl Swenson as Father Brown

The Adventures of Father Brown

So, Lars Hanson (who was played by Swenson), owner of Hanson's Mill where Charles Ingalls worked, on Little House on the Prarie was really Father Brown! lol. :-)

"What he has no right to do is to laugh at it as incomprehensible, and then criticise it as if he comprehended it."

When I went to the American consulate to regularize my passports, I was capable of expecting the American consulate to be American....The officials I interviewed were very American, especially in being very polite; for whatever may have been the mood or meaning of Martin Chuzzlewit, I have always found Americans by far the politest people in the world. They put in my hands a form to be filled up, to all appearances like other forms I had filled up in other passport offices. But in reality it was very different from any form I had ever filled up in my life....

....One of the questions on the paper was, "Are you an anarchist?" To which a detached philosopher would naturally feel inclined to answer, "What the devil has that to do with you? Are you an atheist" along with some playful efforts to cross-examine the official about what constitutes atheist. Then there was the question, "Are you in favor of subverting the government of the United States by force?" Against this I should write, "I prefer to answer that question at the end of my tour and not the beginning." The inquisitor, in his more than morbid curiosity, had then written down, "Are you a polygamist?" The answer to this is, "No such luck" or "Not such a fool," according to our experience of the other sex. But perhaps a better answer would be that given to W. T. Stead when he circulated the rhetorical question, "Shall I slay my brother Boer"--the answer that ran, "Never interfere in family matters." But among many things that amused me almost to the point of treating the form thus disrespectfully, the most amusing was the thought of the ruthless outlaw who should feel compelled to treat it respectfully. I like to think of the foreign desperado, seeking to slip into America with official papers under official protection, and sitting down to write with a beautiful gravity, "I am an anarchist. I hate you all and wish to destroy you." Or, "I intend to subvert by force the government of the United States as soon as possible, sticking the long sheath-knife in my left trouser-pocket into your President at the earliest opportunity." Or again, "Yes, I am a polygamist all right, and my forty-seven wives are accompanying me on the voyage disguised as secretaries." There seems to be a certain simplicity of mind about these answers; and it is reassuring to know that anarchists and polygamists are so pure and good that the police have only to ask them questions and they are certain to tell no lies.

Now that is the model of the sort of foreign practice, founded on foreign problems, at which a man's first impulse is naturally to laugh. Nor have I any intention of apologizing for my laughter. A man is perfectly entitled to laugh at a thing because he happens to find it incomprehensible. What he has no right to do is to laugh at it as incomprehensible, and then criticise it as if he comprehended it. The very fact of its unfamiliarity and mystery ought to set him thinking about the deeper causes that make people so different from himself, and that without merely assuming that they must be inferior to himself.

-What I Saw in America (1922)

"It is not song that is the narrow or artificial thing, it is conversation that is a broken and stammering attempt at song."

The land of heroic comedy is, as it were, a paradise of lovers, in which it is not difficult to imagine that men could talk poetry all day long. It is far more conceivable that men's speech should flower naturally into these harmonious forms, when they are filled with the essential spirit of youth, than when they are sitting gloomily in the presence of immemorial destiny. The great error consists in supposing that poetry is an unnatural form of language. We should all like to speak poetry at the moment when we truly live, and if we do not speak it, it is because we have an impediment in our speech. It is not song that is the narrow or artificial thing, it is conversation that is a broken and stammering attempt at song. When we see men in a spiritual extravaganza, like Cyrano de Bergerac, speaking in rhyme, it is not our language disguised or distorted, but our language rounded and made whole. Rhymes answer each other as the sexes in flowers and in humanity answer each other. Men do not speak so, it is true. Even when they are inspired or in love they talk inanities. But the poetic comedy does not misrepresent the speech one half so much, as the speech misrepresents the soul.

-Twelve Types (1902)