At the end of the previous chapter I indicated that Keats’s reputation has gradually become established in the galaxy of great English poets. His work has been subject to (and sometimes victim of) modulations in literary opinion and literary theory. These modulations have focused on differing elements in the verse as succeeding generations have opened it up to new viewpoints and theoretical positions. To get some idea of the changing critical landscape, I would like to look in brief at the views of four influential critics, each from a different period, noting the characteristic features of these views. They are Matthew Arnold, H. W. Garrod, F. R. Leavis, and Susan J. Wolfson.
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