Gilbert Keith Chesterton

Gilbert Keith Chesterton

Summary

Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Flying Inn — Chapter XI (1914)

Joan Brett had been thoughtful for the last few days. It was partly due to the scene in the turret, where she had struck a sensitive and artistic side of Philip Ivywood she had never seen before, and partly to disturbing news of her mother's health, which, though not menacing, made her feel hypothetically how isolated she was in the world. On all previous occasions she had merely enjoyed the mad lecturer now at the reading-desk. Today she felt a strange desire to analyse him, and imagine how a man could be so connected and so convinced and yet so wildly wide of the mark.
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Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Flying Inn — Chapter XI (1914)

I shall always give a high place, as Islam has always given a high place, to that figure, mythical or no, which we find presiding over the foundations of Christianity. I cannot doubt that the fable, incredible and revolting otherwise, which records the rush of swine into the sea, was an allegory of his early realisation that a spirit, evil indeed, does reside in all animals in so far as they tempt us to devour them.
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Portrait of Gilbert Keith Chesterton Gilbert Keith Chesterton The Flying Inn — Chapter XI (1914)

Misysra Ammon knew, what next to none of the English present knew, that Richard III was called a "boar" by an eighteenth century poet and a "hog" by a fifteenth century poet. What he did not know was the habit of sport and of heraldry. He did not know (what Joan knew instantly, though she had never thought of it before in her life) that beasts courageous and hard to kill are noble beasts, by the law of chivalry. Therefore, the boar was a noble beast, and a common crest for great captains. Misysra tried to show that Richard had only been called a pig after he was cold pork at Bosworth.
Source: Wikisource

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