Chesterton essays text
In addition to the essays, he wrote verse, plays, fiction, biography, history, studies in literary criticism, politics, philosophy, and theology. The essays selected in this volume date roughly from to the time of his death. It may be a matter of opinion whether the views which he expresses in them are right or wrong, but at least he is consistent.
A Piece of Chalk
In a time of divergent and changing opinions he was predominantly a man who knew his own mind and was not afraid to ex- press his independent convictions. He is frankly, even childishly, enthusiastic in a period of cynicism and sophistication; he writes of his belief in the import- ance of romance and fairy tales in an age of aggres- sive realism, of his belief in God in a time when atheism and agnosticism are fashionable; he believed in ritual and pageantry and fine crafts- manship in a time which tolerates free-thinking, eccentric unfinished artistic work, and tawdry mass- produced commodities.
The poetry inspired by cocktails is timid and tortuous and self-conscious and indirect. In the age of jazz and cocktails, men either write songs that could not possibly be sung, or leave off writing songs and write frag- ments of a demented diary instead. He was rarely cynical or sentimental and his humour is consequently of fine quality, robust and traditional, springing as does the greater part of true comedy from the essential incongruities of human life — directly or by infer- ence it reflects a profound truth.
Paradoxical as it may sound, this was partly a natural outcome of his ability to think clearly, and partly a reaction against what he regarded as the limitations of pure reason. Fantasy, nonsense, and fairy tales, as will be seen from many of the essays and stories in this volume, were to Chesterton of extreme importance.
The incident of Chesterton lifting the iron lid of a coal-hole in the pavement, and gazing down to see beneath his feet a dark blue sky studded with stars, is unforgettable. These produce a constant piquancy and unexpected- ness in his style, particularly where he is writing as a controversialist, and do much to refresh with new light and colour the traditional doctrines of which he wrote. When they talk of making new roads they are only making new ruts. Despite 9ie fact that he was occasionally tempted into creating paradoxes that were shallow, showy rather than effective, it is nevertheless true that on the whole he succeeded in fusing new life into many truisms.
Apart from the qualities already discussed, his writing is vigorous, robust and provocative.
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Chesterton himself describes the incident as one of the most terrible things that ever happened to him. It is written with unusual sensitiveness, and a vivid impression of horror that is quite absent from his other essays. For once, too, there is no attempt at humour. The essay is valuable in that it shows us, if only for a brief moment, a side to his nature which he rarely exposed. Chesterton once compared Hilaire Belloc to Dr.
Both men, by the scope of their interests and intellect, absorbed and reflected in characteristic form many aspects of the life of their times. Both had rigid, if personal, ideas on religion and morality. Both tended to be dogma- tic and impatient of fools, though this latter characteristic appeared less as a limitation rhan as an added strength and colour to their personalities. Both had a deep-rooted respect for common sense and orthodoxy. Both loved children. It is true also to say that both men were lacking to a certain extent in sensitivity, in appreciation of the more sensuous forms of expression such as music.
In appearance there were also similarities — a massive frame and a shambling bear-like untidiness. It would be pointless to. Chesterton would certainly have agreed heartily with Dr. John Guest. It is because artists do not practice. Chesterton is not a humourist: no. But I do resent his saying that I am not a Cockney. That envenomed arrow, I admit, went home. If I were a humourist, I should certainly be a Cockney humourist; if I were a saint, I should certainly be a Cockney saint. I need not recite the splendid catalogue of Cockney saints who have written their names on our noble old City churches.
I need not trouble you with the long list of the Cockney humourists who have discharged their bills or failed to discharge them m our noble old City taverns. We can weep together over the pathos of the poor Yorkshireman, whose county has never produced some humour not intelligible to the rest of the world. Chaucer was a Cockney; he had his house close to the Abbey. Dickens was a Cockney; he said he could not think without the London streets. Even in our own time it may be noted that the most vital and genuine humour is still written about London. Of this type is the mild and humane irony which marks Mr.
It displeases him that some journalists feel the necessity to praise the wealthy when the reality is they may not have done very much and most likely inherited their wealth. It is not on merit that flattery is being given but rather an illusion of greatness is being created by the journalists. With each journalist considering those who are wealthy to be better than they are.
He does not consider it to be appropriate at all.
Alarms and Discursions by G.K. Chesterton
There is a sense of artificiality in the manner that the journalists address the wealthy when they are writing about them. It is as though they attempt to disconnect the wealthy from others to make them out to be something that they are not.
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What is also interesting about the essay is that Chesterton appears to have the same dislike for the wealthy as he does the journalists. Which may leave some critics to suggest that Chesterton is painting with a broad brush. The journalist perhaps needing the wealthy in order that they can exist and likewise the wealthy praising journalists for such good writing or character sketches. If anything the reader does not learn much from the character sketches that are written by the journalists and which Chesterton reproduces.
All three words would in fact most likely be the opposite of what a wealthy person may be. Similarly with the over glorification of a person to the point that it is unrealistic. This serves to please just one person, the wealthy man or woman. Having exaggerations used to praise their character must surely be pleasing. However a more calming approach is more appropriate rather than build an individual up to greatness when greatness has not been achieved.
Chesterton might also be suggesting that ordinary people should not fall for the words of the journalists as the wealthy, apart from their wealth, are no different to them. The adolescent goes on to describe his affinity for "the quality of brownness in paper" and compares the hue of his canvas to that of "October woods" 1. G S Gabriel Sutton Author. Add to cart.
edutoursport.com/libraries/2020-03-14/2132.php Abstract English writer G. Sign in to write a comment. Read the ebook. Electrotechnology Modeling, Control and Fault Analysis Chesterton's 'The Wisdom Mathematik - Analysis Der topologische Begriff des Zusammen