Depending exclusively on internal evidence, John Barnard has shown how Byron used Endymion as a point of departure in Don Juan Canto I. In respect of Canto IV, however, we know that by 1821 he had indeed read Lamia, Isabella, The Eve of St Agnes, and other Poems (1820), as witness his comment to John Murray that ‘Hyperion is a fine monument and will keep his name’.1 Three points of Canto IV testify to a use of Keatsian material, and also, incidentally, to a change of heart from the contempt that, according to Barnard, is encrypted in the first. Here is the tableau of the sleeping lovers in Stanza 29:

中文翻译：

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济慈和唐璜：三点联系

完全依靠内部证据，约翰巴纳德展示了拜伦如何在唐璜大歌 I 中使用恩底弥翁作为出发点。然而，关于大歌四，我们知道，到 1821 年，他确实阅读了拉米亚、伊莎贝拉、圣前夜。艾格尼丝和其他诗歌（1820 年），作为见证人，他对约翰默里的评论是“海波里昂是一座精美的纪念碑，将保留他的名字”。 1 康托 IV 的三点证明使用了济慈的材料，顺便说一句，根据巴纳德的说法，在第一个加密的蔑视中改变了主意。这是第 29 节中沉睡的恋人的画面：