In form strong and fair, perfect in physical development as the Hercules of Grecian art, radiant with love, glorious in self-reliant power; with lips bent firm to resist oppression, and melting into soft curves of passion and of pity; with deep, far-seeing eyes, gazing piercingly into the secrets of the unknown, and resting lovingly on the beauties around him; with hands strong to work in the present; with heart full of hope which the future shall realise; making earth glad with his labour and beautiful with his skill this, this is the Ideal Man, enshrined in the Atheist's heart.
"But don't you make any mistake about the annihilation that comes after death. That is the atheist's notion; but, if you are reckoning upon anything of that kind, to save you from punishment for your misdeeds in this present life, you are going to be badly undeceived; make no mistake about that."
They rather approve Punch and the other comic journals, even when these satirise living persons who feel the sting. Why, then, do they object to ridicule in religion? Simply because they still feel that there is something sacred about it. Now I insist that on the Atheist's principles there can be no such sacredness, and I decline to recognise it.
In either case, it is equivalent to Atheism, and dependent on one or other of the various theories which have been applied to the defence of the Atheist's creed. It is worthy of remark, in this connection, how frequently those who are the most daring and decided advocates of Atheism or Pantheism do nevertheless ascribe to Nature many of the attributes which belong to God only.
His true self was the self of the moment and it would only be real for a time if his colors did not blur into the colors of everything else but then one did not live without interacting and diluting. Was not his sojourn here, this atheist's retreat, futile if he did not interact with others and mix himself in them, hoping to learn and be enhanced beyond his musty, circumscribed domain?
And from a similar state of mind came the inspiration of the sonnet entitled "The Atheist's Prayer," which is included in my Rosario de Sonetos Líricos, and closes with these lines: Sufro yo a tu costa, Dios no existiente, pues si tú existieras existiería yo también de veras. Yes, if God the guarantor of our personal immortality existed, then should we ourselves really exist.
Bircham rose and bowed rather formally, motioned her to a seat, and swung round his own seat so that they faced one another. Then he scanned her from head to foot with the sort of appraising glance to which she was only too well accustomed a glance which said as plainly as words: "Oh! So you are that atheist's daughter are you?" But whatever impression Erica made upon Mr.
I spoke at the poor young Atheist's grave, and concluded my address with the following prayer, "May trust in God, and the hope of a better life, and the love of truth and virtue, and delight in doing good, remain with all who have them, and come to all who have them not. Amen."
He had been vexed that his father should suffer on behalf of such a man, had been half inclined to put down the scorn and contempt and anger of the narrow-minded to the atheist's account. The feeling had perhaps been natural, but all was changed now; he only revered his father all the more for having suffered in an unpopular cause.
Whether they were as part of the action or as allusions, as in Webster's two great plays, in which there occurs poisoning by means of the leaves of a book, poisoning by the poisoned lips of a picture, poisoning by a helmet, poisoning by the pommel of a saddle; crimes were multiplied by means of subordinate plots and unnecessary incidents, like the double vengeance of Richardetto and of Hippolita in Ford's "Giovanni and Annabella," where both characters are absolutely unnecessary to the main story of the horrible love of the hero and heroine; like the murders of Levidulcia and Sebastian in Tourneur's "Atheist's Tragedy," and the completely unnecessary though extremely pathetic death of young Marcello in Webster's "White Devil;" until the plays were brought to a close by the gradual extermination of all the principal performers, and only a few confidants and dummies remained to bury the corpses which strewed the stage.