“If God made everything, did He make the Devil?' This is the kind of embarrassing question which any child can ask before breakfast, and for which no neat and handy formula is provided in the Parents' Manual…Later in life, however, the problem of time and the problem of evil become desperately urgent, and it is useless to tell us to run away and play and that we shall understand when we are older. The world has grown hoary, and the questions are still unanswered.”

“In the terms in which you set it, the problem is unanswerable; but in the Kingdom of Heaven, those terms do not apply. You have asked the question in a form that is much too limited; the 'solution' must be brought in from outside your sphere of reference altogether.”

“The only ethical principle which has made science possible is that the truth shall be told all the time. If we do not penalize false statements made in error, we open up the way for false statements by intention. And a false statement of fact, made deliberately, is the most serious crime a scientist can commit.”

“What do we find God 'doing about' this business of sin and evil?...God did not abolish the fact of evil; He transformed it. He did not stop the Crucifixion; He rose from the dead.”

“To the average man, life presents itself, not as material malleable to his hand, but as a series of problems…which he has to solve…And he is distressed to find that the more means he can dispose of—such as machine-power, rapid transport, and general civilized amenities, the more his problems grow in hardness and complexity….Perhaps the first thing he can learn form the artists is that the only way of 'mastering' one's material is to abandon the whole conception of mastery and to co-operate with it in love: whosoever will be a lord of life, let him be its servant. ”

“We shall know what things are of overmastering importance when they have overmastered us.”

“This recognition of the truth we get in the artist’s work comes to us as a revelation of new truth. I want to be clear about that. I am not referring to the sort of patronizing recognition we give a writer by nodding our heads and observing, “Yes, yes, very good, very true—that’s just what I’m always saying.” I mean the recognition of a truth that tells us something about ourselves that we had not been always saying, something that puts a new knowledge of ourselves withint our grasp. It is new, startling, and perhaps shattering, and yet it comes to us with a sense of familiarity. We did not know it before, but the moment the poet has shown it to us, we know that, somehow or other, we had always really known it.”