However we define genius, power and originality are inseparable from it. A genius often has more faults than the merely talented or competent. But power of thought and expression, and originality (not to be confused with novelty which can be manufactured) are always there. Now in Shaw’s words ‘Chesterton was a man of colossal genius’. Though he had many faults, in power and originality few writers have surpassed him. In some cases genius grows slowly: in others it develops suddenly late in life: in a few cases, such as Mozart, Keats, and Dickens, it emerges at once. Chesterton’s genius, his thought and style, was born complete in his earliest work. It matured; but there was no great increase of power, and the originality of style was there from the start. Perhaps the upheaval that took place in late adolescence, when he entered a period of doubt and depression and emerged triumphant, was the flame that fired the train of his genius; for his work was intimately bound up with his character—unlike so many men of genius whose characters are in pitiable contrast to their work, Chesterton’s mind and work were all of a piece.

The humility and charity and love of life that distinguished him, and impressed all who met him, were integrally one with his work. His humility, his sense of thankfulness for all creation, gave him a clarity of vision that can exist only when the ego is reduced to the fine point needed for sharp focus.