Question

Chapter 2
The Divine Image
A poem by William Blake
To Merey, Pity, Peace, and Love,
All pray in their distress;
And to these virtues of delight
Return their thankfulness.
For Mercy, Pity, Peace, and Love
Is God, our father dear,
And Mercy, Pity, Peace, and Love
Is Man, his child and care.
For Mercy has a human heart,
Pity a human face,
And Love, the human form divine,
And Peace, the human dress.
Then every man, of every clime,
That prays in his distress,
Prays to the human form divine,
Love, Mercy, Pity, Peace.
And all must love the human form,
In heathen, Turk, or Jew;
Where Mercy, Love, and Pity dwell,
There God is dwelling too.



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Full explain please
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Answer 1

Answer:

To Mercy, Pity, Peace, and Love

All pray in their distress;

And to these virtues of delight

Return their thankfulness.

For Mercy, Pity, Peace, and Love

Is God, our father dear,

And Mercy, Pity, Peace, and Love

Is Man, his child and care.

For Mercy has a human heart,

Pity a human face,

And Love, the human form divine,

And Peace, the human dress.

Then every man, of every clime,

That prays in his distress,

Prays to the human form divine,

Love, Mercy, Pity, Peace.

And all must love the human form,

In heathen, Turk, or Jew;

Where Mercy, Love, and Pity dwell

There God is dwelling too.

Explanation:

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Answer 2

Answer:

The summary ....

The personified figures of Mercy, Pity, Peace, and Love are listed as the four “virtues of delight.” The speaker states that all people pray to these in times of distress and thank them for blessings because they represent “God, our father dear.” They are also, however, the characteristics of Man: Mercy is found in the human heart, Pity in the human face; Peace is a garment that envelops humans, and Love exists in the human “form” or body. Therefore, all prayers to Mercy, Pity, Peace, and Love are directed not just to God but to “the human form divine,” which all people must love and respect regardless of their religion or culture.

The poem does not explicitly mention Christ, but the four virtues that Blake assigns alternately to man and God are the ones conventionally associated with Jesus. Because Christ was both God and man, he becomes the vehicle for Blake’s mediation between the two. But the fact that he is given an abstract rather than a human figuration underscores the elaborate intellectualization involved in Christian doctrine. Blake himself favors a more direct identification between what is human and what is divine. Thus the companion poem in Songs of Experience, “The Human Abstract,” goes further toward exposing the elaborate institutions of religion as mental confabulations that obscure rather than honor the true identity of God and man.

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