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By Harold Bloom (Editor)
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Additional info for G. K. Chesterton (Bloom's Modern Critical Views)
2. 8. , p. ” 9. Autobiography, pp. 30, 31, 127. 10. Ward, p. 164. 11. ” There are no changes in rhyme; Chesterton’s facility made it unnecessary for him to write for a rhyme. The metric changes are all in the direction of irregularity, to keep the ballad’s loose and vigorous form. A number of false touches are eliminated, including these stanzas: His spear was broken in his hand But his belt bore a sword; His heart was broken in his breast But he cried unto Our Lord. He cried to Our Lady and Our Lord Seven times in the sun And the boar and the black wolf answered him And the tears began to run.
The colours are intoxicatingly lovely; but the shapes are mean and bad—deliberately mean and bad. I have seen wicked things in a Turkey carpet.... They are letters and symbols in a language I do not know; but I know they stand for evil words.... ’” 32. The Man Who Was Thursday, p. 329. 33. Autobiography, p. 289. G A R RY W I L L S Rhyme and Reason C hesterton’s favorite reading from childhood was the poets—Isaias and Job and the psalms, Shakespeare and Browning and Swinburne. His taste was catholic, including Pope as well as Shelley, though he was always faintly irritated by Milton’s inhuman epic.
It is in obedience to this principle that “St. Francis, in praising all good, could be a more shouting optimist than Walt Whitman; St. ”28 Saints may contradict one another’s virtues and be right, because saints live in a fallen world. The best man develops only a corner of his potential virtue; he is but a fragment of the unfallen Adam. Following from and completing this idea is the corollary conception of good men everywhere seemingly at odds, breaking each other’s heads in the name of good, yet ultimately ﬁghting all on the same side, the warring members of the cosmic man.
G. K. Chesterton (Bloom's Modern Critical Views) by Harold Bloom (Editor)