James Thomson's "The City of Dreadful Night" is analyzed as a masterpiece of Victorian pessimism, chronicling a speaker's journey through a surreal desert embodying absolute despair. The initial refrain, "No hope could have no fear," signifies a stoicism born from complete desolation. A crucial turning point emerges with a woman, a paradox of "Desolation" and "grace," representing love inextricably tied to eternal suffering. Her appearance shatters the speaker's nihilism but leads to a profound psychological fragmentation of self and a devastatingly lonely, excluded existence, concluding with the desolate question: "But I, what do I here?". This poem also resonates with Marxist critiques of urban alienation.
In contrast, James Clarence Mangan's "Dark Rosaleen" is analyzed as a fervent declaration of love and loyalty, where "Dark Rosaleen" is a transparent metaphor for Ireland. It expresses unwavering devotion and sacrifice for the national cause, portraying the relationship between patriots and Ireland as "erotic, not filial". Despite suffering, the poem conveys passionate hope and defiance, with the speaker vowing to "rear your throne again in golden sheen" and envisioning a triumphant future for Ireland. Mangan's speaker acts as an active agent driven by enduring hope, making the poem a direct allegory for Irish Nationalism.

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