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" "What embitters the world is not excess of criticism, but absence of self-criticism.
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".
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The Church never said that wrongs could not or should not be righted; or that commonwealths could not or should not be made happier; or that it was not worth while to help them in secular and material things; or that it is not a good thing if manners become milder, or comforts more common, or cruelties more rare. But she did say that we must not count on the certainty even of comforts becoming more common or cruelties more rare; as if this were an inevitable social trend towards a sinless humanity; instead of being as it was a mood of man, and perhaps a better mood, possibly to be followed by a worse one. We must not hate humanity, or despise humanity, or refuse to help humanity; but we must not trust humanity; in the sense of trusting a trend in human nature which cannot turn back to bad things.
For fear of the newspapers politicians are dull, and at last they are too dull even for the newspapers. The speeches in our time are more careful and elaborate, because they are meant to be read, and not to be heard. And exactly because they are more careful and elaborate, they are not so likely to be worthy of a careful and elaborate report. They are not interesting enough. So the moral cowardice of modern politicians has, after all, some punishment attached to it by the silent anger of heaven. Precisely because our political speeches are meant to be reported, they are not worth reporting. Precisely because they are carefully designed to be read, nobody reads them.
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Just as we all like love tales because there is an instinct of sex, we all like astonishing tales because they touch the nerve of the ancient instinct of astonishment. This is proved by the fact that when we are very young children we do not need fairy tales: we only need tales. Mere life is interesting enough. A child of seven is excited by being told that Tommy opened a door and saw a dragon. But a child of three is excited by being told that Tommy opened a door. Boys like romantic tales; but babies like realistic tales — because they find them romantic. In fact, a baby is about the only person, I should think, to whom a modern realistic novel could be read without boring him.