St. Francis, in praising all good, could be a more shouting optimist than Walt Whitman. St. Jerome, in denouncing all evil, could paint the world blacker than Schopenhauer. Both passions were free because both were kept in their place. The optimist could pour out all the praise he liked on the gay music of the march, the golden trumpets, and the purple banners going into battle. But he must not call the fight needless. The pessimist might draw as darkly as he chose the sickening marches or the sanguine wounds. But he must not call the fight hopeless. So it was with all the other moral problems, with pride, with protest, and with compassion. By defining its main doctrine, the Church not only kept seemingly inconsistent things side by side, but, what was more, allowed them to break out in a sort of artistic violence otherwise possible only to anarchists. Meekness grew more dramatic than madness. Historic Christianity rose into a high and strange coup de theatre of morality — things that are to virtue what the crimes of Nero are to vice. The spirits of indignation and of charity took terrible and attractive forms, ranging from that monkish fierceness that scourged like a dog the first and greatest of the Plantagenets, to the sublime pity of St. Catherine, who, in the official shambles, kissed the bloody head of the criminal. Poetry could be acted as well as composed.
— Orthodoxy (1908).