Relevant bibliographies by topics / Love poetry, English

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Love poetry, English'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Love poetry, English"

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Hancock, Tim. "‘THESE ROMANTIC IRRITATIONS’: T. S. ELIOT AND LOVE POETRY." English 64, no. 247 (December 2015): 339–59. http://dx.doi.org/10.1093/english/efv028.

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Sharma, Dr Lok Raj. "Exploring Birds as Glorified in the Romantic Poetry." Global Academic Journal of Linguistics and Literature 4, no. 2 (April 4, 2022): 24–27. http://dx.doi.org/10.36348/gajll.2022.v04i02.001.

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English Romantic poetry contributes profound love and genuine reverence of the poets to nature. Birds constitute a part of nature, and love for nature is one of the perpetual features and themes of the Romantic poetry. This article, which aims at exploring birds how English Romantic poets glorify them in their poetry, comprises five poems of four celebrated English Romantic poets, namely Wordsworth, Coleridge, Shelley and Keats. This article concludes that the Romantic poets glorify birds as a blithe spirit, a light-winged fairy, an ethereal minstrel, a blithe new-comer, a wandering voice, a darling of the spring, Christian soul and so on.
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Acim, Rachid. "THE UNTRANSLATABILITY OF SHAKESPEARE’S POETRY ON LOVE." Vertimo studijos 10, no. 10 (January 18, 2018): 45. http://dx.doi.org/10.15388/vertstud.2017.10.11276.

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Translating Shakespeare’s poetry has been one of the most arduous questions that has pained many translators, researchers and academics worldwide. As this poetry involves many rhetorical devices, alternating between the use of keen imagery and intertextuality, it not only lends itself to ambiguity but also to untranslatability; moreover, the use of figures of speech such as similes, synecdoche and metaphors accord this poetry a discursive power that does not recede despite the evolution of the English language and the death of the poet many centuries ago. And while this poetry addresses a whole galaxy of themes, it projects Shakespeare himself as a cosmopolitan figure not limited to time or even space. The present study seeks to assess and evaluate the translation solutions given as concerns Shakespeare’s poetry on the theme of “love”. To achieve this aim, I suggest employing a contrastive analysis between the English and Arabic poetic text, with a view to exploring whether or not the core of this poetry has been preserved. My assumption is that the stylistic aspects and aesthetic properties of the original poetic text are lost due to the intentional or unintentional intervention of the translator.
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Rowland, A. "Love and Masculinity in the Poetry of Carol Ann Duffy." English 50, no. 198 (September 1, 2001): 199–218. http://dx.doi.org/10.1093/english/50.198.199.

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Thu, Ho Trinh Quynh, and Phan Van Hoa. "A Cultural Study on Linguistic Metaphors of Love in Poetry." Communication, Society and Media 2, no. 3 (July 9, 2019): p106. http://dx.doi.org/10.22158/csm.v2n3p106.

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Language is one of the cultural factors. Love, an abstract concept is mainly interpreted by metaphors which are considered as part of culture. It is consequently inevitable that the linguistic metaphors of love are under the influence of culture. In this research, we centre on investigating cultural factors in linguistic metaphors of romantic love in Vietnamese modern poetry, and then compare them to those in English. It is shown in our findings that linguistic metaphors of romantic love are considerably influenced by lifestyles, habits and customs and geographical conditions. Therefore, there are many variations in the ways of expressing romantic love between Vietnamese and English although the conceptualization is chiefly similar.
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Nurhamidah, Idha. "Teen’s Anxiety Through Poetry: Love or Dream?" Dinamika Bahasa dan Budaya 13, no. 2 (October 30, 2018): 43–51. http://dx.doi.org/10.35315/bb.v13i2.6456.

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Teens are identical with instability and anxiety for which they need to express as their individual self-actualization. So far there have been no such efforts to accommodate their needs through literary works. The current study explores the dictions employed in English poems written by the students (identified as teens) of English Letters Study Program to find about how far a poem can be as a means for teens to express their feelings. The subjects were assigned to write poems of their interests. The 32 poems were then analyzed and interpreted to find out how most students expressed their anxieties in terms of love to parents, love to boy/girlfriends, friendship, hope, admiration, disappointment, encouragement, divinity and educational goals. The findings indicate that they turn out to be able to write poems when they are emotionally touched. In particular, they employed a limited range of lexical items to express their love to their parents, boy/girlfriends, in addition to love to their college in pursuit of their educational goals. As the general practice of teaching literature ending up with the students’ analyzing literary works, it is high time that they were assigned to write poems to express their feelings. Keywords: anxieties, poem, love, emotionally touched
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Fan, Weina. "Love, Death and Memories: On Dennis Haskell’s Rhonda Poems." Asiatic: IIUM Journal of English Language and Literature 13, no. 2 (January 13, 2020): 70–88. http://dx.doi.org/10.31436/asiatic.v13i2.1690.

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Dennis Haskell’s Rhonda poems are undoubtedly the most brilliant and important part of his poetry in the sense that he wrote passionately about love, death and memories in relation to Rhonda in them. As Haskell’s wife and lifelong love, Rhonda not only played a central part in his life and writing, but shaped and deepened his perception of humanity and human relationships. Despite the great impact of Modernism on modern and contemporary English poetry, Haskell’s poetry is strikingly personal, accessible and lyrical. In his work, Haskell seeks to present the approximately genuine pictures of aspects of human relationships in terms of love, death and memories and ultimately, strives to make sense of the dynamics of love in our mundane life.
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Ketaren, Serefina Veronika, and Emma Martina Br. Pakpahan. "METAPHORICAL EXPRESSION USED IN POETRY IN ENGLISH TEXTBOOK ENTITLED "PATHWAY TO ENGLISH"." PROJECT (Professional Journal of English Education) 4, no. 3 (May 11, 2021): 469. http://dx.doi.org/10.22460/project.v4i3.p469-479.

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The aims of this research are to find out the types and meaning of metaphor in poetry in English textbook entitled “Pathway to English”. The main data of this research are 9 poetry in the English textbook entitled “The Seasons”, “The Little Rose Tree”, “Alpine Glow”, “From Alcuin”, “A Man Young and Old: Human Dignity”, “Love and Friendship”, “Mountain”, “My Star”, and “I Wandered Lonely as a Cloud”. In this research the researcher applied descriptive qualitative method to analyze the data. The researcher used theory of Parera to classify the types of metaphor and also used the metaphor identification procedure proposed by Pragglejaz to identify the metaphors contained in the poetry. The result showed that there are 22 lines that used metaphor, which 16 lines are anthropomorphic metaphor, 3 lines are synesthetic metaphor, 2 lines are metaphor abstract to concrete and 1 line is animal metaphor. The meaning of all these poetry is about life. By using metaphor the poet can also express their feelings to the reader to understand the implicit message contained in the poetry through the depiction or comparison made by the poet.
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Talavira, N. M. "Verbalization of love in modern English poetry: constructional approach." Literature and Culture of Polissya 95, no. 12f (2019): 142–49. http://dx.doi.org/10.31654/2520-6966-2019-12f-95-142-149.

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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (June 2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.

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This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.
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Dissertations / Theses on the topic "Love poetry, English"

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Zapoluch, Katie. "Love and Failure in the Flyover States." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/580.

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Clarke, Joseph Kelly. "The Praeceptor Amoris in English Renaissance Lyric Poetry: One Aspect of the Poet's Voice." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331007/.

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This study focuses on the praeceptor amoris, or teacher of love, as that persona appears in English poetry between 1500 and 1660. Some attention is given to the background, especially Ovid and his Art of Love. A study of the medieval praeceptor indicates that ideas of love took three main courses: a bawdy strain most evident in Goliardic verse and later in the libertine poetry of Donne and the Cavaliers; a short-lived strain of mutual affection important in England principally with Spenser; and the love known as courtly love, which is traced to England through Dante and Petrarch and which is the subject of most English love poetry. In England, the praeceptor is examined according to three functions he performs: defining love, propounding a philosophy about it, and giving advice. Through examining the praeceptor, poets are seen to define love according to the division between body and soul, with the tendency to return to older definitions in force since the troubadours. The poets as a group never agree what love is. Philosophies given by the praeceptor follow the same division and are physically or spiritually oriented. The rise and fall of Platonism in English poetry is examined through the praeceptor amoris who teaches it, as is the rise of libertinism. Shakespeare and Donne are seen to have attempted a reconciliation of the physical and spiritual. Advice, the major function of the praeceptor, is widely variegated. It includes moral suasion, advice on how to court, how to start an affair, how to maintain one, how to end one, and how to cure oneself of love. Advice also includes warnings. The study concludes that English poets stayed with older ideas of love but added new dimensions to the praeceptor amoris, such as adding definition and philosophical discussion to what Ovid had done. They also added to the use of persona as speaker, particularly with Donne's dramatic monologues.
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Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.

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McCarthy, Penny. "Muses, mistresses and patrons : the direction and indirection of English renaissance love poetry." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361359.

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Kohlhepp, Adam John. ""Tis nature's law to change" : the Earl of Rochester in the hands of his readers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Murray, Ellen J. "“How Silence Best Can Speak”: The Distrust of Speech in George Meredith's Modern Love." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/94.

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The scarcity of speech in George Meredith’s Modern Love creates a deeply psychological narrative, reflecting a distrust of speech and the effectiveness of language in general. The narrator of the poem exists in a space of ambiguity, both blaming and yearning for speech; in his confusion, he remains largely silent. His silence does not only emphasize the distance between husband and wife but also between language and meaning. Furthermore, the narrator’s distrust of language ultimately exposes a breakdown in his certainty of self and truth.
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Vergara, Cynthia P. "Gypsie." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/83.

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Many of these poems deal with childhood, love, art, and the search for meaning. Most of the poems have a female voice that is hopeful and acceptant. The format of the thesis goes from adulthood to childhood and works as a return to the familial.
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Grodd, Elizabeth Stafford. "The Love Poems of John Clare and John Keats: A Comparative Study." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4907.

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This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.
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Connolly, Margaret. "An edition of 'Contemplations of the dread and love of God'." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/2786.

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This thesis presents an edition of Contemplations of the Dread and Love of God, a late Middle English devotional prose text for which no critical edition is currently available. I have transcribed and collated the text from all sixteen extant manuscripts and the 1506 printed edition. An investigation of the errors and variants according to the classical method of textual criticism has yielded little in the way of conclusive results, and it has therefore not proved possible to construct a stemma of manuscripts from the corpus of evidence as it now exists. My edition therefore uses one manuscript (Maidstone MS Museum 6) as a base; I emend the text of Maidstone where necessary, and cite variants from all the other witnesses to show all differences of substance. A full critical apparatus is provided, comprising: the text with variants, textual notes and glossary. The introduction includes a full description of all the manuscripts and the two early printed editions, an outline of the methods of textual criticism applied and their results, and an explanation of the choice of base manuscript; information about the language of the Maidstone manuscript and the date of the text are also provided, as is an outline of my editorial principles. The thesis also contains two appendices. The first of these deals briefly with the twenty-two instances where individual chapters of Contemplations appear in other manuscript compilations; the second discusses the English and Latin prayers which follow the full text in some manuscripts.
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Guenther, Ben. "oPPOSITE dAY." Ohio University Art and Sciences Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1265385993.

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Books on the topic "Love poetry, English"

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Company, Perfection Form, ed. Classic love poetry. Des Moines, Iowa: Perfection Form Co., 1991.

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Emile, Capouya, ed. Classic English love poems. New York: Hippocrene Books, 1998.

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K, Sareen S., and Kapoor Kapil, eds. South Asian love poetry. New Delhi: Affiliated East-West Press, 1994.

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Greenhalgh, Margaret A. Love and inspiration: Sentimental poetry. [S.l.]: Rosebud Publications, 2003.

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Browning, Elizabeth Barrett. Love sonnets. New York: Barnes & Noble Books, 1993.

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Griffiths, Steve. Late love poems. Blaenau Ffestiniog, Gwynedd [Wales]: Cinnamon Press, 2015.

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Gillian, Beer, ed. Modern love. London: Syrens, 1995.

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George, Meredith. Modern love. Harmondsworth: Penguin, 1995.

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George, Meredith. Modern love. Peterborough: Daisy, 1988.

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Mahmood, Karimi-Hakak, ed. Love emergencies: Poems in English and Persian. Merrick, NY: Cross-Cultural Communications, 2010.

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Book chapters on the topic "Love poetry, English"

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Henderson, Diana E. "Love Poetry." In A Companion to English Renaissance Literature and Culture, 378–91. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch34.

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Henderson, Diana E. "Love Poetry." In A New Companion to English Renaissance Literature and Culture, 249–63. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch58.

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Evans, Malcolm. "‘In Love with Curious Words’: Signification and Sexuality in English Petrarchism." In Jacobean Poetry and Prose, 119–50. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19590-9_8.

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Sareen, Shruti. "Food, Love and the Self in Indian Women’s Poetry in English." In Food Culture Studies in India, 49–58. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5254-0_6.

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Estes, Sharon. "‘The American Tennyson’ and ‘The English Longfellow’: Inverted Audiences and Popular Poetry." In Transatlantic Literature and Author Love in the Nineteenth Century, 75–98. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32820-1_4.

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Cefalu, Paul. "States of Exception and Pauline Love in John Donne’s Sermons and Poetry." In English Renaissance Literature and Contemporary Theory:, 33–67. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607491_2.

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Cefalu, Paul. "Infinite Love and the Limits of Neo-Scholasticism in the Poetry and Prose of Thomas Traherne." In English Renaissance Literature and Contemporary Theory:, 141–79. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607491_5.

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Critten, Rory G. "Love Visions and Love Poetry." In The Oxford History of Poetry in English, 282–99. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198839682.003.0017.

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Abstract This chapter surveys developments in fifteenth-century love poetry. It shows how poetry in this form invites contemplation of women’s experiences of love, evinces frustration with traditional expressions of male desire, and seeks to develop new modes of writing that are capable of encompassing women’s wants, including the possibility of women’s same-sex desire. It assesses the influence of Gower’s Confessio amantis on the development of these attitudes, and examines Lydgate’s Complaint of a Black Knight and Temple of Glass; the Kingis Quair; Richard Roos’s translation of Alain Chartier’s Belle dame sans merci; the Isle of Ladies; the Flower and the Leaf; and the Assembly of Ladies. The final part of the chapter considers the variety of shorter love lyrics and the invention of the amorous verse sequence in Charles d’Orléans’s English Book of Love and the Fairfax Sequence. Throughout the innovative aspects, fifteenth-century love poetry are stressed.
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Hyman, Wendy Beth. "Poetry and Matter in the English Renaissance." In Impossible Desire and the Limits of Knowledge in Renaissance Poetry, 27–52. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198837510.003.0001.

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Chapter 1, “Poetry and Matter in the English Renaissance” traces the crucial relationship between poetics and philosophical materialism in the early modern period, explaining why erotic verse so readily lent itself to confronting questions about the nature of being and of knowledge. This chapter shows that for Renaissance poets—informed by Lucretius’ great analogy between atoms and alphabetic letters—there is poetic form in elemental matter. The writing of poetry was therefore often understood as a physical practice, while poetry itself was understood as ontologically complex and efficacious. As terms such as “figuration” reveal, poetic making has both metaphorical and literal elements, which come especially to the fore in the ubiquitous blazons depicting the face of the beloved. Within the syntax of materialist poetics, foretelling the decay of the love object is therefore tantamount to a kind of deconstruction or unmaking—making poetry actually “do” the work of time. Multiple traditions, from Aristotelian hylomorphism to idealizing Petrarchism, had prepared the way for the female body to function as a proxy for embodied matter which poets could “figure,” “make,” or “undo.” This chapter presents the object of erotic poetry becoming just that: a fictional construct subjected to the recombinatory shaping of the godlike poet. As later chapters will develop, the paradoxical loneliness of the carpe diem invitation emerges from this troubling strategy, for it is an invitational form addressed to an entity it has forever exiled as metaphysically other. This chapter thus provides both a theoretical framework and historical background for the project’s larger claims.
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Miller, Nina. "“Our Younger Negro (Women) Artists’’ Gwendolyn Bennett and Helene Johnson." In Making Love Modern, 209–41. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195116045.003.0009.

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Abstract In introducing her valuable 1989 anthology, Shadowed Dreams: Women’s Poetry of the Harlem Renaissance, Maureen Honey explores the reasons for Romantic poetry’s evident aptness to the literary expression of African American women in the 1920s. After noting the largely forgotten fact that nearly as many poems by women as by men appeared in Crisis and Opportunity in the renaissance years-and to good critical response-Honey asserts that women’s embrace of an apparently white-identified aesthetics, and of such apolitical subjects as love and nature, was, in fact, a conscious refutation of black inferiority. Taking inspiration from the English Roman­ tics, renaissance women saw nature as a source of value in an acquisitive and industrialized white world, and the passion of love as elevating-in particular, as defying the slave-holding society’s assault on black emotional bonds. Drawing simultaneously on their peculiarly modernist faith in the power of art, women poets (like their male counterparts) believed that art would bridge the divided races and force a recognition of black worth.’ Gloria T. Hull’s Color, Sex, and Poetry-the 1987 study that launched the current wave of interest in renaissance women writers-takes a more materialist approach to this question of genre. Hull points out that “lyric poetry has long been considered the proper genre for women,” and, accordingly, the women of the renaissance “both kept themselves and were kept in their lyric sphere.”2
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Conference papers on the topic "Love poetry, English"

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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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