Gilbert Keith Chesterton

Gilbert Keith Chesterton

Summary

Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Ball and the Cross — XX: Dies Irae (1909)

The towers and domes of the oppressive smoke seemed high and far enough to drown distant planets in a London fog. But if we exhausted all frantic similes for that frantic scene, the main impression about the fire would still be its ranked upstanding rigidity and a sort of roaring stillness. It was literally a wall of fire.
"Father," cried MacIan, once more, "come out of it and save us all!" Turnbull was staring at him as he cried.
The tall and steady forest of fire must have been already a portent visible to the whole circle of land and sea.
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Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Ball and the Cross — XX: Dies Irae (1909)

The doctors will leave this place; the keepers will leave this place. They will leave us in charge of the machinery and the machine-guns at the windows. But we, the lunatics, will wait to be burned alive if only we may see them go."
"How do you know we shall go?" asked Hutton, fiercely.
"You believe nothing," said MacIan, simply, "and you are insupportably afraid of death."
"So this is suicide," sneered the doctor; "a somewhat doubtful sign of sanity."
"Not at all--this is vengeance," answered Turnbull, quite calmly; "a thing which is completely healthy."
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Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Ball and the Cross — XX: Dies Irae (1909)

When James Turnbull saw this he suddenly put out a hand and seemed to support himself on the strong shoulder of Madeleine Durand. Then after a moment's hesitation he put his other hand on the shoulder of MacIan. His blue eyes looked extraordinarily brilliant and beautiful. In many sceptical papers and magazines afterwards he was sadly or sternly rebuked for having abandoned the certainties of materialism. All his life up to that moment he had been most honestly certain that materialism was a fact.
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