English author and Christian apologist (1874–1936)
Gilbert Keith Chesterton (29 May 1874 – 14 June 1936) was a British writer whose prolific and diverse output included works of philosophy, ontology, poetry, play writing, journalism, public lecturing and debating, literary and art criticism, biography, Christian apologetics (particularly for Catholicism), and fiction, including fantasy and detective fiction. He has been called the "prince of paradox".
From: Wikiquote (CC BY-SA 4.0)
Native Name:
Gilbert Keith Chesterton
Alternative Names:
František Kafka
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Kafka
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Gilbert K. Chesterton
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Gilbert Chesterton
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G.K. Chesterton
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G. K. C.
From Wikidata (CC0)
The simplest truth about man is that he is a very strange being; almost in the sense of being a stranger on the earth. In all sobriety, he has much more of the external appearance of one bringing alien habits from another land than of a mere growth of this one.
He cannot sleep in his own skin; he cannot trust his own instincts. He is at once a creator moving miraculous hands and fingers and a kind of cripple. He is wrapped in artificial bandages called clothes; he is propped on artificial crutches called furniture. His mind has the same doubtful liberties and the same wild limitations. Alone among the animals, he is shaken with the beautiful madness called laughter; as if he had caught sight of some secret in the very shape of the universe hidden from the universe itself. Alone among the animals he feels the need of averting his thought from the root realities of his own bodily being; of hiding them as in the presence of some higher possibility which creates the mystery of shame.
Through all this ordeal his root horror had been isolation, and there are no words to express the abyss between isolation and having one ally. It may be conceded to the mathematicians that four is twice two. But two is not twice one; two is two thousand times one. That is why, in spite of a hundred disadvantages, the world will always return to monogamy.
"Angels can fly because they can take themselves lightly. This has been always the instinct of Christendom, and especially the instinct of Christian art. Remember how Fra Angelico represented all his angels, not only as birds, but almost as butterflies. Remember how the most earnest mediaeval art was full of light and fluttering draperies, of quick and capering feet. It was the one thing that the modern Pre-raphaelites could not imitate in the real Pre-raphaelites. Burne-Jones could never recover the deep levity of the Middle Ages. In the old Christian pictures the sky over every figure is like a blue or gold parachute. Every figure seems ready to fly up and float about in the heavens. The tattered cloak of the beggar will bear him up like the rayed plumes of the angels. But the kings in their heavy gold and the proud in their robes of purple will all of their nature sink downwards, for pride cannot rise to levity or levitation. Pride is the downward drag of all things into an easy solemnity. One "settles down" into a sort of selfish seriousness; but one has to rise to a gay self-forgetfulness. A man "falls" into a brown study; he reaches up at a blue sky. Seriousness is not a virtue. It would be a heresy, but a much more sensible heresy, to say that seriousness is a vice. It is really a natural trend or lapse into taking one's self gravely, because it is the easiest thing to do. It is much easier to write a good Times leading article than a good joke in Punch. For solemnity flows out of men naturally; but laughter is a leap. It is easy to be heavy: hard to be light. Satan fell by the force of gravity."
Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.
Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear.