“The founder and builder of the city”

The vow is a voluntary loyalty; and the marriage vow is marked among ordinary oaths of allegiance by the fact that the allegiance is also a choice. The man is not only a citizen of the city, but also the founder and builder of the city. . .

It is not hard to see why the vow made most freely is the vow kept most firmly. There are attached to it, by the nature of things, consequences so tremendous that no contract can offer any comparison. There is no contract, unless it be what said to be signed in blood, that can call spirits from the vastly deep, or bring cherubs (or goblins) to inhabit a small modern villa. There is no stroke of the pen which creates real bodies and souls, or makes the characters in a novel come to life. The institution that puzzles intellectuals so much can be explained by the mere material fact (perceptible even to intellectuals) that children are, generally speaking, younger than their parents. “Till death do us part” is not an irrational formula, for those will almost certainly die before they see more than half of the amazing (or alarming) thing they have done.

— The Superstition of Divorce (1920).

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Propaganda

“And why does Mr. Chesterton drag Catholic propaganda even into detective stories?” — From a very indulgent reviewer

Under that blue Italian dome,
Men throned the Thunderer in the sky
And still his priests creep forth from Rome
And walk Sub Divo on the sly:
And painters, under priestly strictures,
Must drag the sky into their pictures.

Priests in the School; each astral chart
Must show the sun on pain of sin:
Priests in the Home; in rooms apart
Some windows drag the daylight in
And private portraits still are made
Of cunning blends of light and shade.

Since Jupiter Capitoline
Was set above the storms on high,
No landscape-painter yet has dared
To paint the land above the sky.
Since dead religions will not die,
What of abolishing the sky?

— (1926).

The vow

The idea, or at any rate the ideal, of the thing called a vow is fairly obvious. It is to combine the fixity that goes with finality with the self-respect that only goes with freedom.

 — The Superstition of Divorce (1920).

The family in the state

The ideal for which it stands in the state is liberty. It stands for liberty for the very simple reason with which this rough analysis started. It is the only one of these institutions that is at once necessary and voluntary. It is the only check on the state that is bound to renew itself as eternally as the state, and more naturally than the state. Every sane man recognises that unlimited liberty is anarchy, or rather is nonentity. The civic idea of liberty is to give the citizen a province of liberty; a limitation within which a citizen is a king. This is the only way in which truth can ever find refuge from public persecution, and the good man survive the bad government. But the good man by himself is no match for the city. There must be balanced against it another ideal institution, and in that sense an immortal institution. So long as the state is the only ideal institution the state will call on the citizen to sacrifice himself, and therefore will not have the smallest scruple in sacrificing the citizen. The state consists of coercion; and must always be justified from its own point of view in extending the bounds of coercion; as, for instance, in the case of conscription. The only thing that can be set up to check or challenge this authority is a voluntary law and a voluntary loyalty. That loyalty is the protection of liberty, in the only sphere where liberty can fully dwell.

— The Superstition of Divorce (1920).

A Second Childhood

When all my days are ending
And I have no song to sing,
I think that I shall not be too old
To stare at everything;
As I stared once at a nursery door
Or a tall tree and a swing.

Wherein God’s ponderous mercy hangs
On all my sins and me,
Because He does not take away
The terror from the tree
And stones still shine along the road
That are and cannot be.

Men grow too old for love, my love,
Men grow too old for wine,
But I shall not grow too old to see
Unearthly daylight shine,
Changing my chamber’s dust to snow
Till I doubt if it be mine.

Behold, the crowning mercies melt,
The first surprises stay;
And in my dross is dropped a gift
For which I dare not pray:
That a man grow used to grief and joy
But not to night and day.

Men grow too old for love, my love,
Men grow too old for lies;
But I shall not grow too old to see
Enormous night arise,
A cloud that is larger than the world
And a monster made of eyes.

Nor am I worthy to unloose
The latchet of my shoe;
Or shake the dust from off my feet
Or the staff that bears me through
On ground that is too good to last,
Too solid to be true.

Men grow too old to woo, my love,
Men grow too old to wed;
But I shall not grow too old to see
Hung crazily overhead
Incredible rafters when I wake
And I find that I am not dead.

A thrill of thunder in my hair:
Though blackening clouds be plain,
Still I am stung and startled
By the first drop of the rain:
Romance and pride and passion pass
And these are what remain.

Strange crawling carpets of the grass,
Wide windows of the sky;
So in this perilous grace of God
With all my sins go I:
And things grow new though I grow old,
Though I grow old and die.

— (1916-21).