Meantime, he had been writing The Christian Year, a book of poems for the Sundays and feast days of the church year.
It appeared in 1827 and was very effective in spreading Keble's devotional and theological views.
It was intended as an aid to meditation and devotion following the services of the Prayer Book.
Though at first anonymous, its authorship soon became known, with Keble in 1831 appointed to the Chair of Poetry at Oxford, which he held until 1841.
Victorian scholar Michael Wheeler calls The Christian Year simply "the most popular volume of verse in the nineteenth century".
 In his essay on Tractarian Aesthetics and the Romantic Tradition, Gregory Goodwin claims that The Christian Year is "Keble's greatest contribution to the Oxford Movement and to English literature."
As evidence, Goodwin cites E. B. Pusey's report that 95 editions of this devotional text were printed during Keble's lifetime, and "at the end of the year following his death, the number had arisen to a hundred-and-nine".

By the time that the copyright expired in 1873, over 375,000 copies had been sold in Britain and 158 editions had been published.
Despite its widespread appeal among the Victorian readers, the popularity of Keble's The Christian Year faded in the 20th century despite the familiarity of certain well-known hymns.

At Oxford, Keble met John Coleridge who introduced him to the writings not only of his uncle, Samuel Taylor Coleridge, but also of Wordsworth.
He dedicated his Praelectiones to and greatly admired Wordsworth, who once offered to go over The Christian Year with a view to correcting the English.
To the same college friend, he was indebted for an introduction to Robert Southey, whom he found to be "a noble and delightful character," and the writings of the three, especially Wordsworth, had much to do with the formation of Keble's own mind as a poet.
Meantime, he had been writing The Christian Year, a book of poems for the Sundays and feast days of the church year. It appeared in 1827 and was very effective in spreading Keble's devotional and theological views. It was intended as an aid to meditation and devotion following the services of the Prayer Book. Though at first anonymous, its authorship soon became known, with Keble in 1831 appointed to the Chair of Poetry at Oxford, which he held until 1841. Victorian scholar Michael Wheeler calls The Christian Year simply "the most popular volume of verse in the nineteenth century".  In his essay on Tractarian Aesthetics and the Romantic Tradition, Gregory Goodwin claims that The Christian Year is "Keble's greatest contribution to the Oxford Movement and to English literature." As evidence, Goodwin cites E. B. Pusey's report that 95 editions of this devotional text were printed during Keble's lifetime, and "at the end of the year following his death, the number had arisen to a hundred-and-nine".
By the time that the copyright expired in 1873, over 375,000 copies had been sold in Britain and 158 editions had been published. Despite its widespread appeal among the Victorian readers, the popularity of Keble's The Christian Year faded in the 20th century despite the familiarity of certain well-known hymns.
At Oxford, Keble met John Coleridge who introduced him to the writings not only of his uncle, Samuel Taylor Coleridge, but also of Wordsworth. He dedicated his Praelectiones to and greatly admired Wordsworth, who once offered to go over The Christian Year with a view to correcting the English. To the same college friend, he was indebted for an introduction to Robert Southey, whom he found to be "a noble and delightful character," and the writings of the three, especially Wordsworth, had much to do with the formation of Keble's own mind as a poet.
John Keble