“It was not the house that grew dull, but I that grew dull in it. My wife was better than all women, and yet I could not feel it.”

“I had tried to be happy by telling myself that man is an animal, like any other which sought its meat from God. But now I really was happy, for I had learnt that man is a monstrosity. I had been right in feeling all things as odd, for I myself was at once worse and better than all things. The optimist's pleasure was prosaic, for it dwelt on the naturalness of everything; the Christian pleasure was poetic, for it dwelt on the unnaturalness of everything in the light of the supernatural. The modern philosopher had told me again and again that I was in the right place, and I had still felt depressed even in acquiescence. But I had heard that I was in the wrong place, and my soul sang for joy, like a bird in spring. The knowledge found out and illuminated forgotten chambers in the dark house of infancy. I knew now why grass had always seemed to me as queer as the green beard of a giant, and why I could feel homesick at home.”

“Adventures happen on dull days, and not on sunny ones. When the chord of monotony is stretched most tight, then it breaks with a sound like song.”

“Among the rich you will never find a really generous man even by accident. They may give their money away, but they will never give themselves away; they are egotistic, secretive, dry as old bones. To be smart enough to get all that money you must be dull enough to want it.”

“Can you not see," I said, "that fairy tales in their essence are quite solid and straightforward; but that this everlasting fiction about modern life is in its nature essentially incredible? Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is—what will a healthy man do with a fantastic world? The problem of the modern novel is—what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.”

“It is always simple to fall; there are an infinity of angles at which one falls, only one at which one stands. To have fallen into any one of the fads from Gnosticism to Christian Science would indeed have been obvious and tame. But to have avoided them all has been one whirling adventure; and in my vision the heavenly chariot flies thundering through the ages, the dull heresies sprawling and prostrate, the wild truth reeling but erect.”

“Is that all?" asked Flambeau after a long pause. "Have we got to the dull truth at last?""Oh, no," said Father Brown.As the wind died in the most distant pine woods with a long hoot as of mockery Father Brown, with an utterly impassive face, went on:"I only suggested that because you said one could not plausibly connect snuff with clockwork or candles with bright stones. Ten false philosophies will fit the universe; ten false theories will fit Glengyle Castle. But we want the real explanation of the castle and the universe. But are there no other exhibits?"Craven laughed, and Flambeau rose smiling to his feet and strolled down the long table. [Ch.6]”