“All those ideal figures”

The world cannot keep its own ideals. The secular order cannot make secure any one of its own noble and natural conceptions of secular perfection. That will be found, as time goes on, the ultimate argument for a Church independent of the world and the secular order. What has become of all those ideal figures from the Wise Man of the Stoics to the democratic Deist of the eighteenth century? What has become of all that purely human hierarchy of chivalry, with its punctilious pattern of the good knight, its ardent ambition in the young squire? The very name of knight has come to represent the petty triumph of a profiteer, and the very word squire the petty tyranny of a landlord. What has become of all that golden liberality of the Humanists, who found on the high tablelands of the culture of Hellas the very balance of repose in beauty that is most lacking in the modern world? The very Greek language that they loved has become a mere label for snuffy and snobbish dons, and a mere cock-shy for cheap and half-educated utilitarians, who make it a symbol of superstition and reaction. We have lived to see a time when the heroic legend of the Republic and the Citizen, which seemed to Jefferson the eternal youth of the world, has begun to grow old in its turn. We cannot recover the earthly estate of knighthood, to which all the colours and complications of heraldry seemed as fresh and natural as flowers. We cannot re-enact the intellectual experiences of the Humanists, for whom the Greek grammar was like the song of a bird in spring. The more the matter is considered the clearer it will seem that these old experiences are now only alive, where they have found a lodgment in the Catholic tradition of Christendom, and made themselves friends for ever. St. Francis is the only surviving troubadour. St. Thomas More is the only surviving Humanist. St. Louis is the only surviving knight.

— What I Saw In America (1921).

“Insolent, like a dogma”

Architecture is a very good test of the true strength of a society, for the most valuable things in a human state are the irrevocable things—marriage, for instance. And architecture approaches nearer than any other art to being irrevocable, because it is so difficult to get rid of. You can turn a picture with its face to the wall; it would be a nuisance to turn that Roman cathedral with its face to the wall. You can tear a poem to pieces; it is only in moments of very sincere emotion that you tear a town-hall to pieces. A building is akin to dogma; it is insolent, like a dogma. Whether or no it is permanent, it claims permanence like a dogma.

— Tremendous Trifles (1909).

Cobbett and Johnson

Cobbett had a prejudice against Johnson; which is all the more amusing because it was exactly the sort of prejudice that Johnson might have had against him. Cobbett regarded Johnson as a mere pedantic pensioner; and Johnson would very possibly have regarded Cobbett as he regarded Wilkes, more or less in the abstract as a dirty demagogue. So many things united these two great Englishmen, and not least their instinctive embodiment of England; they were alike in their benevolent bullying, in something private and practical, and very much to the point in their individual tenderness, in their surly sympathy for the Catholic tradition, in their dark doubts of the coming time.

— William Cobbett (1925).