A new colour-sense? One is struck at first by the luxuriance of Keats’s colour. When we come to analyse it we find it is very largely verbal colour. His colour-words are not epithets of colours he has seen; they are words that have appealed to his ear, that he found in books and brooded over, vague, exotic colourwords that no one would think of using in the presence of actual colour. Keats showed a miraculous mastery in the use of such colour-words; in the perception of colour he seems to have been a child. The one colour that he calls constantly by its simple name, and with genuine simple delight, is the colour that happened to be then the most popular with poets—green. He seems to have loved the green of fields and trees with the enthusiasm of a city child to whom the country is ‘green felicity’.

中文翻译：

---

十九世纪艺术和文学色彩的变化

新的色彩感？首先，济慈的色彩令人赞叹不已。当我们分析它时，我们发现它主要是语言颜色。他的颜色词不是他见过的颜色的词头；这些词吸引了他，他在书中找到了这些词，并且笼罩在模糊，奇特的色彩词中，没有人会想到在存在实际色彩时使用它们。济慈（Keats）在使用这些颜色词时表现出了奇迹般的精通；在颜色方面，他似乎还是个孩子。他经常用一种简单的名字来称呼这种颜色，并以其真正的简单愉悦来称呼，这种颜色恰好是当时最受诗人欢迎的一种颜色-绿色。他似乎以一个乡下孩子的热情爱上了田野和树木的绿色，而这个国家对这个孩子来说是“绿色幸福”。