Plato's Form of the Good — the highest Form, the source of being and intelligibility for all other Forms — underlies much philosophical poetry that treats the beautiful as a manifestation of the Good, from Dante's vision of the divine in Beatrice to Keats's "Beauty is truth, truth beauty"; In Aristotle's ethics, the Good (eudaimonia, flourishing) is not a Platonic abstraction but the fullest realization of human capacities, and poets in the Aristotelian tradition treat the good life as something embodied, active, and particular; A poet writing about the experience of genuine goodness — an act of kindness witnessed, a moment of justice achieved — faces the philosophical challenge of making goodness as interesting and complex as evil, against the common aesthetic claim that evil is more dramatically compelling; Murdoch's philosophical account of moral goodness — as attention, the just and loving perception of the particular reality of another person — provides a framework for reading the lyric's close attention as itself a moral act, the poem's perception of the world as a form of ethical goodness; The philosophical problem of moral relativism — the view that "good" is always relative to a cultural framework and has no universal reference — is a challenge that religious, humanist, and even naturalist poets must address when they make implicit or explicit claims about the good; Blake's prophetic books engage with the concept of the Good through a radical reversal — conventional morality's "good" is Blake's oppressive law, while genuine good is found in energy, imagination, and the liberation of desire from the constraints of "Urizen's" moral code