I am not using my own computer at the moment, so all of my poetry is not immediately at hand, but I shall try to post some soon. I regret that I have not written that much lately, but then again, I do consciously write in an archaic idiom, which makes things take longer. My last completed work (which still requires some editing) is a sestina-form troubadouric song. I have tried to incorporate various rhetorical devices and word-plays into my poetry recently, possibly because of a recent surge of interest in classical rhetoric. I have also found that many of my poems have subtle sexual imagery. Also, like you, I have a fondness for antithesis. However, my poems are more influenced by mediaeval and renaissance poets than Romantic ones, although I cannot deny that Romantic poetry has not had a strong influence on me. My main influences have been the Provençal troubadours (especially Bernard of Ventadorn), later mediaeval poets like Dante, Petrarch, Machaut, and Pisan, and Renaissance poets like Wyatt, Howard, Sidney, and Spenser (England) and Bellay, Ronsard, and other poets of the Pléiade circle (France). There is also a strong chivalric tone in my poetry which simply comes from my love of knightly romance.
My diction is somewhat closer to Old and Middle English, owing to my favour of paratactic sentences (as opposed to the hypotactic Ciceronian sentences favoured in the Renaissance and beyond) and short Anglo-Saxon words with a sprinkling of some derived from Old Norse and Old French as well. I do not dislike Latinate or Hellenic words, but I seem to a serious Anglo-Saxon diction of monosyllabic words to the more playful and philosophical diction which uses more complicated polysyllabic words derived from Latin and Greek.
Some time ago I began a ballad, whose first few lines are:
Abide, my fair mermaid if so thee list,
That fain my tongue may play a blissful rhyme,
Though these my hands the harp have missed
To wit in cunning youth’s unstinting time.
I have also tried writing alliterative Old-English-style verse, both in my archaic idiom and in Old English itself, but I have yet to produce a real poem in it.
One thing which I noticed about your poem which I like is your use of enjambment, which causes the reader to pause as if the speaker were beckoning him or her to listen by forcing pauses (and brief moments of silence).
I also seem to remember that you had composed some poems on something about Apollonian versus Dionysian spirituality and/or ethics/morals and/or religious institution. Recently, I have become curious about this, since a Canadian band which I like, called Rush, have some songs rooted in this. One is a musical drama of Apollo as a god of reason and Dionysus as a god of love struggling for control over humanity. I confess that I am not knowledgeable in this area, but it seems that you are. Might you be able to illuminate me a little?