I will defer the question of whether the democracy knows how to answer questions until the oligarchy knows how to ask them.

-Fancies Versus Fads (1923)

Notre Dame is not a myth. Notre Dame is not a theory. Its interest does not spring from ignorance but from knowledge; from a culture complicated with a hundred controversies and revolutions. It is not featureless, but carved into an incredible forest and labyrinth of fascinating features, any one of which we could talk about for days. It is not great because there is little of it, but great because there is a great deal of it [...] Notre Dame, on its merely human side, is mediaeval civilization.

-Fancies Versus Fads (1923)

But again, since the crank has not a true creed, but only an intellectual itch, he cares much more to be up and doing than to understand what he has done.

-Fancies Versus Fads (1923)

[...] every "reform" to-day is a treaty between the two most influential modern figures- the great capitalist and the small faddist.

-Fancies Versus Fads (1923)

Let a man have what ideal [..] he likes. That ideal must still consist of elements in a certain proportion; and if that proportion is disturbed the ideal is destroyed [...] Progress, in the good sense, does not consist in looking for a direction in which one can go on indefinitely. For there is no such direction, unless it be in quite transcendental things, like the love of God.

 -Fancies versus Fads (1923)

The fatal metaphor of progress, which means leaving things behind us, has utterly obscured the real idea of growth, which means leaving things inside us. The heart of the tree remains the same, however many rings are added to it; and a man cannot leave his heart behind by running hard with his legs.

-Fancies Versus Fads (1923)

"When they talk of making new roads, they are only making new ruts."

The wild theorists of our time are quite unable to wander. When they talk of making new roads, they are only making new ruts.

-Fancies Versus Fads (1923)

For after all, blame is itself a compliment. It is a compliment because it is an appeal; and an appeal to a man as a creative artist making his soul. To say to a man, "rascal" or "villain" in ordinary society may seem abrupt; but it is also elliptical. It is an abbreviation of a sublime spiritual apostrophe for which there may be no time in our busy social life. When you meet a millionaire, the cornerer of many markets, out at dinner in Mayfair, and greet him (as is your custom) with the exclamation "Scoundrel!" you are merely shortening for convenience some such expression as: "How can you, having the divine spirit of man that might be higher than the angels, drag it down so far as to be a scoundrel?" When you are introduced at a garden party to a Cabinet Minister who takes tips on Government contracts, and when you say to him in the ordinary way "Scamp!" you are merely using the last word of a long moral disquisition; which is in effect, "How pathetic is the spiritual spectacle of this Cabinet Minister, who being from the first made glorious by the image of God, condescends so far to lesser ambitions as to allow them to turn him into a scamp." It is a mere taking of the tail of a sentence to stand for the rest; like saying 'bus for omnibus. It is even more like the case of that seventeenth century Puritan whose name was something like "If-Jesus-Christ-Had-Not-Died-For-Thee-Thou-Hadst-Been-Damned, Higgins"; but who was, for popular convenience, referred to as "Damned Higgins." But it is obvious, anyhow, that when we call a man a coward, we are in so doing asking him how he can be a coward when he could be a hero. When we rebuke a man for being a sinner, we imply that he has the powers of a saint.

-Fancies Versus Fads (1923)

For my part I do feel very strongly about the frivolity and irresponsibility of the press. It seems impossible to exaggerate the evil that can be done by a corrupt and unscrupulous press. If drink directly ruins the family, it only indirectly ruins the nation. But bad journalism does directly ruin the nation, considered as a nation; it acts on the corporate national will and sways the common national decision. It may force a decision in a few hours that will be an incurable calamity for hundreds of years. It may drive a whole civilization to defeat, to slavery, to bankruptcy, to universal famine.

-Fancies Versus Fads (1923)

Just a few short quotes from Chesterton's book Fancies Versus Fads (1923)

"... a potato is a poem; it is even an ascending scale of poems; beginning at the root, in subterranean grotesques in the Gothic manner, with humps like the deformities of a goblin and eyes like a beast of Revelation, and rising up through the green shades of the earth to a crown that has the shape of stars and the hue of Heaven."

"It is human to err; and the only final and deadly error, among all our errors, is denying that we have ever erred."

"In truth there are only two kinds of people; those who accept dogmas and know it, and those who accept dogmas and don't know it."

[Finally, Chesterton rhetorically questioning those who blindly scorn past generations:]

"If you cannot see Man, divine and democratic, under the disguises of all the centuries, why on earth should you suppose you will be able to see him under the disguises of all the nations and tribes?"

"...it is the mark of our time...that it goes by associations and not by arguments..."

...I note it as typical of the time that the indignation should fail on the side of intelligence. For it is the mark of our time, above almost everything else, that it goes by associations and not by arguments; that is why it has a hundred arts and no philosophy.

-Fancies Versus Fads (1923)

"Good criticism...combines the subtle pleasure in a thing being done well with the simple pleasure in it being done at all."

A good critic should be like God in the great saying of a Scottish mystic. George Macdonald said that God was easy to please and hard to satisfy. That paradox is the poise of all good artistic appreciation. Without the first part of the paradox appreciation perishes, because it loses the power to appreciate. Good criticism, I repeat, combines the subtle pleasure in a thing being done well with the simple pleasure in it being done at all. It combines the pleasure of the scientific engineer in seeing how the wheels work together to a logical end with the pleasure of the baby in seeing the wheels go round. It combines the pleasure of the artistic draughtsman in the fact that his lines of charcoal, light and apparently loose, fall exactly right and in a perfect relation with the pleasure of the child in the fact that the charcoal makes marks of any kind on the paper. And in the same fashion it combines the critic's pleasure in a poem with the child's pleasure in a rhyme.

-Fancies Versus Fads (1923)

"Free love is the direct enemy of freedom. It is the most obvious of all the bribes that can be offered by slavery."

Free love is the direct enemy of freedom. It is the most obvious of all the bribes that can be offered by slavery. In servile societies a vast amount of sexual laxity can go on in practice, and even in theory...the new Servile State would settle down into the sleepy resignation of the old Servile State; the old pagan repose in slavery, as it was before Christianity came to trouble and perplex the world with ideals of liberty and chivalry. One of the conveniences of that pagan world is that, below a certain level of society, nobody really need bother about pedigree or paternity at all. A new world began when slaves began to stand on their dignity as virgin martyrs. Christendom is the civilization that such martyrs made; and slavery is its returning enemy. But of all the bribes that the old pagan slavery can offer, this luxury and laxity is the strongest; nor do I deny that the influences desiring the degradation of human dignity have here chosen their instrument well.

-Fancies Versus Fads (1923)

Laws

Any one of the strange laws we suffer is a compromise between a fad and a vested interest.

-Fancies Versus Fads (1923)

"Art is born when the temporary touches the eternal; the shock of beauty is when the irresistible force hits the immovable post."

All the most subtle truths of literature are to be found in legend. There is no better test of the truth of serious fiction than the simple truths to be found in a fairy tale or an old ballad. Now, in the whole of folk-lore there is no such thing as free love. There is such a thing as false love. There is also another thing, which the old ballads always talk of as true love. But the story always turns on the keeping of a bond or the breaking of it; and this quite apart from orthodox morality in the matter of the marriage bond. The love may be in the strict sense sinful, but it is never anarchical. There was quite as little freedom for Lancelot as for Arthur...It may have been unlawful love, but it certainly was not lawless love.... But there is neither triumph nor tragedy in the idea of avowedly transient love; and no literature will ever be made out of it, except the very lightest literature of satire. And even the satire must be a satire on fickleness, and therefore involve an indirect ideal of fidelity. But you cannot make any enduring literature out of love conscious that it will not endure. Even if this mutability were working as morality, it would still be unworkable as art.

The decadents used to say that things like the marriage vow might be very convenient for common-place public purposes, but had no place in the world of beauty and imagination. The truth is exactly the other way. The truth is that if marriage had not existed it would have been necessary for artists to invent it. The truth is that if constancy had never been needed as a social requirement, it would still have been created out of cloud and air as a poetical requirement. If ever monogamy is abandoned in practice, it will linger in legend and in literature. When society is haunted by the butterfly flitting from flower to flower, poetry will still be describing the desire of the moth for the star; and it will be a fixed star. Literature must always revolve round loyalties; for a rudimentary psychological reason, which is simply the nature of narrative. You cannot tell a story without the idea of pursuing a purpose and sticking to a point. You cannot tell a story without the idea of the Quest, the idea of the Vow; even if it be only the idea of the Wager.

Perhaps the most modern equivalent to the man who makes a vow is the man who makes a bet. But he must not hedge on a bet; still less must he welsh, or do a bolt when he has made a bet. Even if the story ends with his doing so, the dramatic emotion depends on our realizing the dishonesty of his doing so. That is, the drama depends on the keeping or breaking of a bond, if it be only a bet. A man wandering about a race-course, making bets that nobody took seriously, would be merely a bore. And so the hero wandering through a novel, making vows of love that nobody took seriously, is merely a bore. The point here is not so much that morally it cannot be a creditable story, but that artistically it cannot be a story at all. Art is born when the temporary touches the eternal; the shock of beauty is when the irresistible force hits the immovable post.

-Fancies Versus Fads (1923)

"The spirit, I mean, strictly speaking, does not take things for granted. It takes them as if they had not been granted."

It may roughly be described as the spirit of taking things for granted. But, indeed, oddly enough, the very form of this phrase rather misses its own meaning. The spirit, I mean, strictly speaking, does not take things for granted. It takes them as if they had not been granted. It takes them as if it held them by something more autocratic than a right; by a cold and unconscious occupation, as stiff as a privilege and as baseless as a caprice. As a fact, things generally are granted, ultimately by God, but often immediately by men. But this type of man is so unconscious of what he has been given that he is almost unconscious of what he has got; not realizing things as gifts, he hardly realizes them as goods.

-Fancies Versus Fads (1923)