G. K. Chesterton

G. K. Chesterton

Summary

Portrait of G. K. Chesterton G. K. Chesterton The Mirror of Death (1925)

Don't you know that everything has, for an artist, one aspect or angle that is exactly right? A tree, a cow, and a cloud—in a certain relation only, mean something; as three letters, in one order only, mean a word. Well, the view of that illuminated garden from that unfinished bridge was the right view of it. It was as unique as the fourth dimension. It was a sort of fairy foreshortening; it was like looking down at heaven and seeing all the stars growing on trees and that luminous pond like a moon fallen flat on the fields in some happy nursery tale.
Source: Wikisource

Portrait of G. K. Chesterton G. K. Chesterton The Mirror of Death (1925)

The trial of Osric Orm for the murder of Sir Humphrey Gwynne, which filled the newspapers for so many weeks, really turned entirely on the same crux as that little talk under the lamp-post, when the gray-green dawn was breaking about the dark streets and gardens. Everything came back to the enigma of those two empty hours between the time when Buller saw Orm going in at the garden gate, and the time when Father Brown found him apparently still lingering in the garden. He had certainly had the time to commit six murders, and might almost have committed them for want of something to do
Source: Wikisource

Portrait of G. K. Chesterton G. K. Chesterton The Mirror of Death (1925)

A queer thing is a mirror; a picture frame that holds hundreds of different pictures—all vivid and all vanished for ever. Yet there was something specially strange about the glass that hung at the end of that gray corridor under that green palm. It is as if it was a magic glass and had a different fate from others, as if its picture could somehow survive it, hanging in the air of that twilight house like a spectre—or at least like an abstract diagram, the skeleton of an argument. We could, at least, conjure out of the void the thing that Sir Arthur Travers saw.
Source: Wikisource

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