Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is: what will a healthy man do with a fantastic world? The problems of the modern novel is: what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.
The more we are proud that the Bethlehem story is plain enough to be understood by the shepherds, and almost by the sheep, the more do we let ourselves go, in dark and gorgeous imaginative frescoes or pageants about the mystery and majesty of the Three Magian Kings.
The woman does not work because the man tells her to work and she obeys. On the contrary, the woman works because she has told the man to work and he hasn’t obeyed.
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.
Then I only wondered who put the toys in the stocking; now I wonder who put the stocking by the bed, and the bed in the room, and the room in the house, and the house on the planet, and the great planet in the void.
The modern city is ugly not because it is a city but because it is not enough of a city, because it is a jungle, because it is confused and anarchic, and surging with selfish and materialistic energies.
of being strong and brave. The strong can not be brave. Only the weak can be brave; and yet again, in practice, only those who can be brave can be trusted, in time of doubt, to be strong.
The timidity of the child or the savage is entirely reasonable; they are alarmed at this world, because this world is a very alarming place. They dislike being alone because it is verily and indeed an awful idea to be alone. Barbarians fear the unknown for the same reason that Agnostics worship it - because it is a fact.
Architecture is the alphabet of giants; it is the largest set of symbols ever made to meet the eyes of men. A tower stands up like a sort of simplified stature, of much more than heroic size.
What the world wants, what the world is waiting for, is not Modern Poetry or Classical Poetry or Neo-Classical Poetry - but Good Poetry. And the dreadful disreputable doubt, which stirs in my own skeptical mind, is doubt about whether it would really matter much what style a poet chose to write in, in any period, as long as he wrote Good poetry.
It may be a mere patriotic bias, though I do not think so, but it seems to me that the English aristocracy is not only the type, but is the crown and flower of all actual aristocracies; it has all the oligarchical virtues as well as all the defects. It is casual, it is kind, it is courageous in obvious matters; but it has one great merit that overlaps even these. The great and very obvious merit of the English aristocracy is that nobody could possibly take it seriously.