对于济慈的评论大致可分为三个阶段,即最初的唯美主义者,到说教主义者,直至现在的政治性诗人。19世纪初期,评论家多关注济慈的唯美特征,讨论其诗歌的奢华与美丽。唯美主义运动者们更是以济慈为典范,“美即真,真即美”也被奉为信条。从马修·阿诺德开始,评论家们开始讨论其诗歌中的深层寓意。这类评论主要集中于20世纪60年代以前,主要从诗歌中寻找超越现世的普世真理。所以 Keats's comments can be broadly divided into three stages, from the initial aestheticists to the preachers and the political poets up to now. In the early 19th century, critics focused more on Keats's aesthetic features and discussed the luxury and beauty of his poems. Aestheticism is Keats more as a model, “beauty is real, that is, the United States ” is also credited as a credo. Beginning with Matthew Arnold, critics began to discuss the deep meaning of his poetry. Such comments mainly focus on the universal truth beyond poetry before the 1960s. and so