The Use of Diction Within Romantic Pieces

During the late 18th century in Europe, a movement known as Romanticism first defined by “German poet Friedrich Schlegel as […], “literature depicting emotional matter in an imaginative form,”” (Whitney) had rooted into the artistic world to fashion poets including John Keats, Percy Shelley, and in particular, Lord George Gordon Byron and William Blake. Although Blake and Byron were stark opposites in both life and literature, Blake preferring to live a more pious life utilizing poetry as entertainment and to fight against injustice in England, and Bryon leading a life of mischief and promiscuity employing writing as an escape, both had used similar writing elements that helped to further develop the emotional appeal and imaginative nature, which are characteristic of Romanticism.

At first glance, one would assume that Blake’s “London,” an outcry against the Church and State’s lack of attention to the impoverished London, and Byron’s “Written After Swimming from Sestos to Abydos,” comparing his swim across the Hellespont river to Greek legend of Leander swimming the same river, are quite the opposite in every almost respect. The subject matter and the tone of the both pieces are a black and white contrast- “London” having a somber, and even disgusted, tone pertaining to 18th century politics and life, and “Written After Swimming from Sestos to Abydos” possessing a victorious yet humble tone, abstractly glorifying Byron’s “feat.” (Line 12, Byron) Upon further analysis of “London” and “After Swimming from Sestos to Abydos,” however, one can similarities between the two pieces in terms of their structure and in particular, Byron and Blake’s use of diction.

The use of diction is an almost inevitable commonality between Blake and Byron, as many poets of varying movements use it as a means to further develop the emotional appeal and imaginative images present in the piece, particularly those classified as Romantics. The presence of strong, descriptive language is prevalent throughout both pieces. For example, Blake uses language such as, “woe,” (Line 4) “blackning,” (Line 13) and, “ [...] blights with plagues,” (Line 7, Walsh 6) to hammer home that the London Blake’s character of an anonymous man wandering through the streets is a ghastly place to live if you’re classed below the aristocrats. In using such forthright speech, Blake is enabling the reader to see and hear what the narrator, whom is walking through the streets of London, is experiencing. In doing so, Blake has tapped into the human emotions of compassion and outrage, and stirring the desire react positively to the poverty within the reader. Had Blake used less descriptive wording, “London” may have been a mere observance in the goings on of this 18th century industrial centre instead of a revolt against its institutions “Church” (Line 10) and State, (i.e. “Palace walls,” Line 12, Walsh 6) that it has renowned for today.

Similarly, Bryon uses rich diction, not unlike Blake’s, to his advantage to indirectly glorify his accomplishment by implementing relatively normal language when referring to himself, and using more ornate language when referring to the Greek god, Leander’s failed attempt to swim the Hellespont: “Leander, […]/ To cross thy stream, broad Hellespont!” (Lines 2-4, Byron) For example, when Byron describes himself and the setting of the Hellespont he uses such language as “degenerate,” (Line 9) “wretch,” (Line 9), and “[...] genial month of May.” (Line 10, Byron) When referring to Leander and the legendary setting of his fatal swim, he uses such language as, “[…] dark December,” (Line 1) “[…] broad Hellespont!” (Line 4) and “[…] wintry tempest […].” (Line 5, Byron). In doing so, Byron has conjured a glorified image of a heroic Greek god, Leander, and a second image of plain, humble Byron. It is interesting to note however, that in the last two stanzas that he juxtaposes ordinary language with the floundering Leander and maintains common language when referring to