G. K. CHESTERTON 2J illuminating new sense. Sometimes it was merely a para- doxical way of saying what everybody else would say straightforwardly. Sometimes he blundered into down- right nonsense. His very fecundity prevented him from being a sure critic of his own epigrams. Undoubtedly an effect of his style was to make many readers take him less seriously than he would have wished. For it is not everyone who can distinguish between the solemn and the serious. But, of course, though form may be a matter of taste, those critics did Chesterton very much less than justice who thought that he indulged in tricks of words through per- versity or a desire to show off. He wrote thus because he thought thus. He wrote thus because he could not write otherwise. He wrote in paradoxes because he thought that the ultimate nature of truth lay in paradoxes, and above all in the supreme Christian paradox by which the Creator of the Universe was a little baby, lying in a manger, the child of a human mother. 'Credo quia impossible/ To an open house in the evening Home shall men come, To an older place than Eden And a taller tower than Rome, To die end of the way of the wandering star, To the things that cannot be and that are, To the place where God was homeless And all men are at home.