In The Self-Written Account of the Life of Frederick Douglass, an American Slave by Frederick Douglass, “Yet Do I Marvel” by Countee Cullen and “The Man Who Was Almost a” by Richard Wright Man,” a perceptible transmogrification toward black aesthetics has occurred throughout contradictory literary periods. Douglass's slave narrative, written in the nineteenth century to describe the astringent realities of slavery in America, is indicative of the protest aesthetic in African American literature. Cullen's poetry, on the other hand, reinvigorates British Romantic poetry by emulating iambic pentameter and embodies bourgeois aesthetics, which predominantly addresses issues of class and race. Wright's story is the archetype of proletarian aesthetics, which focuses primarily on inequalities in the working class and is highly evocative of the Communist Party. Black aesthetics played a role in improving the overall fabric of African American life by distilling ethical issues, such as the evils of slavery and the unprecedented economic disadvantages, of the period that help evade racial and class bigotry. Many Americans deny slavery as a means of salvation, it is crucial to note that Douglass's The Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself is written about the authentic treacherous acts of slave owners who deceive slaves while noting that a benevolent slave owner cannot exist. During the Christmas holidays, Douglass argues that slave owners indulge in the drunkenness of their slaves to deceive the slaves into believing that the consequences of drunkenness are associated with the disaster of freedom, so by… by means of paper… ....be more religious than any other race. Next, Cullen alludes to the Bible in which Adam, the first man capable of sinning, was forged from “flesh that mirrors” (Cullen 4) God; this is a conventional element for Christians that promises hope and salvation after death; however, this is exercised allegorically in the poem as irony to embody the plight of human existence. One can view this biblical argument as a scarcity of salvation for African Americans who are perpetually disadvantaged as second-class citizens simply because of the deviation of skin color, while white skin color leads to. Additionally, another theme for Cullen's "Yet Do I Marvel" is an emotional ambivalence of being black: feelings of punishment and pride. On the one hand, the poet's black skin is included in the list of punishments: the blindness of the mole and the punishments of Tantalus and Sisyphus.