 Bridge 's view of " Ode to a Nightingale " was taken up by H. W. Garrod in his 1926 analysis of Keats 's poems . Like Albert Gerard would argue later in 1944 , Garrod believed that the problem within Keats 's poem was his emphasis on the rhythm and the language instead of the main ideas of the poem . When describing the fourth stanza of the poem , Maurice Ridley , in 1933 , claimed , " And so comes the stanza , with that remarkable piece of imagination at the end which feels the light as blown by the breezes , one of those characteristic sudden flashes with which Keats fires the most ordinary material . " He later declared of the seventh stanza : " And now for the great stanza in which the imagination is fanned to yet <unk> heat , the stanza that would , I suppose , by common consent be taken , along with Kubla Khan , as offering us the <unk> <unk> of ' Romanticism ' " . He concluded on the stanza that " I do not believe that any reader who has watched Keats at work on the more exquisitely finished of the stanzas in The Eve of St. Agnes , and seen this craftsman slowly elaborating and refining , will ever believe that this perfect stanza was achieved with the easy fluency with which , in the draft we have , it was obviously written down . " In 1936 , F. R. Leavis wrote , " One remembers the poem both as recording , and as being for the reader , an indulgence . " Following Leavis , <unk> Brooks and Robert Penn Warren , in a 1938 essay , saw the poem as " a very rich poem . It contains some complications which we must not <unk> over if we are to appreciate the depth and significance of the issues engaged . " Brooks would later argue in The Well @-@ <unk> Urn ( 1947 ) that the poem was thematically unified while <unk> many of the negative criticisms lodged against the poem . 
