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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.