Some selections from my favorite atheistic poem, City of Dreadful Night by James Thomson (the nineteenth century one, not the eighteenth century one):
From the Proem:
Lo, thus, as prostrate, "In the dust I write
My heart's deep languor and my soul's sad tears."
Yet why evoke the spectres of black night
To blot the sunshine of exultant years?
Why disinter dead faith from mouldering hidden?
Why break the seals of mute despair unbidden,
And wail life's discords into careless ears?
Because a cold rage seizes one at whiles
To show the bitter old and wrinkled truth
Stripped naked of all vesture that beguiles,
False dreams, false hopes, false masks and modes of youth;
Because it gives some sense of power and passion
In helpless innocence to try to fashion
Our woe in living words howe'er uncouth.
Surely I write not for the hopeful young,
Or those who deem their happiness of worth,
Or such as pasture and grow fat among
The shows of life and feel nor doubt nor dearth,
Or pious saints with a God above them
To sanctify and glorify and love them,
Or sages who foresee a heaven on earth.
For none of these I write, and none of tehse
Could read the writing if they deigned to try;
So may they flourish in their due degrees,
On our sweet earth and in their unplaced sky.
If any cares for the weak words here written,
It must be some one desolate, Fate-smitten,
Whose faith and hopes are dead, and who would die.
From Canto I:
The City is of Night; perchance of Death
But certainly of Night; for never there
Can come the lucid morning's fragrant breath
After the dewy dawning's cold grey air:
The moon and stars may shine with scorn or pity
The sun has never visited that city,
For it dissolveth in the daylight fair.
Dissolveth like a dream of night away;
Though present in distempered gloom of thought
And deadly weariness of heart all day.
But when a dream night after night is brough
Throughout a week, and such weeks few or many
Recur each year for several years, can any
Discern that dream from real life in aught?
For life is but a dream whose shapes return,
Some frequently, some seldom, some by night
and some by day, some night and day: we learn,
The while all change and many vanish quite,
In their recurrence with recurrent changes
A certain seeming order; where this ranges
We count things real; such is memory's might.
From Canto II:
At length he paused: a black mass in the gloom,
A tower that merged into the heavy sky;
Around, the huddled stones of grave and tomb:
Some old God's-acre now corruption's sty:
He murmured to himself with dull despair,
Here Faith died, poisoned by this charnel air.
Then turning to the right went on once more
And travelled weary roads without suspense;
And reached at last a low wall's open door,
Whose villa gleamed beyond the foliage dense:
He gazed, and muttered with a hard despair,
Here Love died, stabbed by its own worshipped pair.
Then turning to the right resumed his march,
And travelled street and lanes with wondrous strength,
Until on stooping through a narrow arch
We stood before a sqalid house at length:
He gazed, and whispered with a cold despair,
Here Hope died, starved out in its utmost lair.
When he had spoken thus, before he stirred,
I spoke, perplexed by something in the signs
Of desolation I had seen and heard
In this drear pilgrimage to ruined shrines:
Where Faith and Love and Hope are dead indeed,
Can Life still live? By what doth it proceed?
As whom his one intense thought overpowers,
He answered coldly, Take a watch, erase
The signs and figures of the circling hours,
Detach the hands, remove the dial-face;
The works proceed until run down; although
Bereft of purpose, void of use, still go.
In the memorable Canto VI, the wanderer recounts the tale of someone who attempts to enter Hell, certain that even that "positive eternity of pain" would be better than the "insufferable inane" of Limbo; but he is refused admittance. The toll for admission into Hell is hope; those who enter must have it, and abandon it. But the wanderer has already long before cast aside every hope. Because of this, he is doomed to be locked out of Heaven and Hell alike.
In XI we have a description of the inhabitants of the City:
They have much wisdom yet they are not wise,
They have much goodness yet they do not well,
(The fools we know have their own paradise,
The wicked also have their proper Hell);
They have much strength but still their doom is stronger,
Much patience but their time endureth longer,
Much valour but life mocks it with some spell.
They are most rational and yet insane:
An outward madness not to be controlled;
A perfect reason in the central brain,
Which has no power, but sitteth wan and cold,
And sees the madness, and foresees as plainly
The ruin in its path, and trieth vainly
To cheat itself refusing to behold.
Perhaps best of all, the sermon in the Cathedral of the City (Canto XIV):
And now at last authentic word I bring,
Witnessed by every dead and living thing;
Good tidings of great joy for you, for all:
There is no God; no Fiend with names divine
Made us and tortures us; if we must pine,
It is to satiate no Being's gall.
It was the dark delusion of a dream,
That living Person conscious and supreme,
Whom we must curse for cursing us with life;
Whom we must curse because the life he gave
Could not be buried in the quiet grave,
Could not be killed by poison or the knife.
This little life is all we must endure,
The grave's most holy peace is ever sure,
We fall asleep and never wake again;
Nothing is of us but the mouldering flesh,
Whose elements dissolve and merge afresh
In earth, air, water, plants, and other men.
The forceful life lesson of this atheistic sermon: End it when you will. The sermon, however, comforts less than intended. In XVI someone shrieks out in response:
The man speaks sooth, alas! the man speaks sooth:
We have no personal life beyond the grave;
There is no God; Fate knows nor wrath nor ruth:
Can I find here the comfort which I crave?
In all eternity I had one chance,
One few years' term of gracious human life:
The splendours of the intellect's advance,
The sweetness of the home with babes and wife;
[he goes on with a list of other things]
This chance was never offered me before;
For me this infinite Past is blank and dumb:
This chance recurreth never, nevermore;
Blank, blank for me the infinite To-come.
And this sole chance was frustrate from my birth,
A mockery, a delusion; and my breath
Of noble human life upon this earth
So racks me that I sigh for senseless death.
My wine of life is poison mixed with gall,
My noonday passes in a nightmare dream,
I worse than lose the years which are my all:
What can console me for the loss supreme.
Speak not of comfort where no comfort is,
Speak not at all: can words make foul things fair?
Our life's a cheat, our death a black abyss:
Hush and be mute envisaging despair.
To this the pulpit speaker agrees; life is like this, but he is comforted by the fact that it ends soon.
In the last Canto (XXI), the wanderer sees the bronze colossus of the Patroness of the City, "Melencolia" and the poem ends with the epiphany that is dawning in her face:
To sense that every struggle brings defeat
Because Fate holds no prize to crown success;
That all the oracles are dumb or cheat
Because they have no secret to express;
That none can pierce the vast black veil uncertain
Because there is no light beyond the curtain;
That all is vanity and nothingness.
Titanic from her high throne in the north,
That City's sombre Patroness and Queen,
In bronze sublimity she gazes forth
Over her Capital of teen and threne,
Over the river with its isles and bridges,
The marsh and moorland, to the stern rock-ridges,
Confronting them with a coeval mien.
The moving moon and stars from east to west
Circle before her in the sea of air;
Shadows and gleams glide round her solemn rest.
Her subjects often gaze up to her there:
The strong to drink new strength of iron endurance,
The weak new terrors; all, renewed assurance
And confirmation of the old despair.
I have something of a taste for the Gothic, of which this poem is an eminent example.