In the following essay, Goldberg examines Keats's use of Indian imagery in both Endymion and The Fall of Hyperion. Goldberg also looks at the prevalence of Indian exoticism in writings of the Romantic period.

In the following essay, Faflak asserts that the Hyperion poems indicate how Romanticism invents, as opposed to prefigures, psychoanalysis. Faflak concentrates on the poems' construction of abject identity through an analysis that develops from Lacanian and Kristevan theoretical positions.

In the following essay, Brinks considers the construction of masculinity and homoeroticism as part of a Gothic subtext in Hyperion and The Fall of Hyperion.

In the following essay, Plasa discusses the relationship between Hyperion, The Fall of Hyperion, and Milton's Paradise Lost. Plasa considers Keats's work as a re-envisioning of poetics that attempts to repress the Miltonic past.

In the following essay, Ross examines the presence of patriarchal language in Endymion and Hyperion. Ross asserts Keats recognized his continued imitation of patrilineal discourse in Hyperion and, in an attempt to subvert this tendency, shifted to an obtuse private language.

In the following essay, Sherwin considers Keats's poetic reactions to Milton. He concentrates on Hyperion, noting both Milton's influence on its style, formal design, and mythological structure and Keats's attempt to create a poem of progress that subverts Milton's moral view.

In the following essay, Ober and Thomas examine the implications of Keats's use of Pan in The Fall of Hyperion. They asserting that the character operates figuratively as the Romantic Imagination.

In the following essay, Bate discusses the influence of Milton's Paradise Lost on Hyperion and The Fall of Hyperion. Bate focuses on Keats's repeated attempts to compose a more politically progressive, less Miltonic Hyperion.

In the following essay, Chayers considers Keats's thematic and stylistic use of the composition of poetry in The Fall of Hyperion. Chayers focuses on the dialogue between the first-person narrator and the priestess Moneta, as well as the passage which reflects on the poet versus dreamer, as a representative example.

In the following essay, Sheats asserts that the style of The Fall of Hyperion utilizes a restrained use of imagery combined with intensity of sensation, which demonstrates Keats's growth and artistic discipline.

In the following essay, Taylor looks at depictions of divine speech in Hyperion. The critic also focuses on the use of silence and figurative language in Keats's reworking of mythology within the Romantic period.

In the following essay, Bode analyzes Hyperion and The Fall of Hyperion as part of a consistent, rather than a continuous, expression of Keats's poetics. Bode sees the poems as marking the development of Keats's thoughts on “negative capability.”

Sperry, Stuart M. “Tragic Irony in The Fall of Hyperion.” In English Romantic Poets: Modern Essays in Criticism, edited by M. H. Abrams, pp. 470-85. London: Oxford University Press, 1975. In the following essay, Sperry asserts The Fall of Hyperion is an expression of tragic irony. The critic also considers Adam and his dream as an allegory for poets and poetry.

In the following essay, Bernstein considers the impact of subjectivity in Hyperion, drawing from theoretical debates about modernism and postmodernism.

In the following essay, Bewell suggests that Hyperion reflects Keats's uncertainty of his own political voice, and should instead be read as a poem concerned with the aesthetics of sculptural form.

In the following essay, Miller asserts that Keats left Hyperion incomplete because he could not resolve the philosophical dilemma created through his profession that the world will inherently improve over time and his uncertainty regarding universal fate and individual will.