CHAPTER XI

"She must weep or she will die."

Nevertheless, an unchecked rush of feeling, not followed by any action, cannot but evince weakness; it has no lifting power. Although, if the emotion is distressful, such an expression may give relief to its subject, it is certainly very depressing to the spectator.For this reason the Book of Lamentations strikes us as the most depressing part of the Bible—would it not be just to say, as theonlypart that can be so described? But it would not be fair to this Book to suppose that it did nothing beyond realising the significance of its title. It contains more than a melancholy series of laments. In the passage before us the poet raises his voice to a higher strain.

This new and more elevated turn in the elegy is itself suggestive. The transition from lamentation to prayer is always good for the sufferer. The first action may relieve his pent-up emotions; it cannot destroy the source from which they flow. But prayer is more practical, for it aims at deliverance. That, however, is its least merit. In the very act of seeking help from God the soul is brought into closer relations with Him, and this condition of communion is a better thing than any results that can possibly follow in the form of answers to the prayer, great and helpful as these may be. The trouble that drives us to prayer is a blessing because the state of a praying soul is a blessed state.

Like themuezzinon his minaret, the elegist calls to prayer. But his exhortation is addressed to a strange object—to thewallof the daughter of Zion. This wall is to let its tears flow like a river. It is so far personified that mention is made of the apple of its eye; it is called upon to arise, to pour out its heart, to lift up its hands. The license of Eastern poetry permits the unflinching application of a metaphor to an extent that would be considered extravagant and even absurd in our own literature. It is only in a travesty of melodrama that Shakespeare permits the Thisbe ofA Midsummer Night's Dreamto address awall. Browning has an exquisitely beautiful little poem apostrophising an old wall; but this is not done so as to leave out of account the actual form and nature of his subject. Walls can not only be beautiful and even sublime, as Mr. Ruskin has shewn in hisStones of Venice; they may also wreathe their severe outlines in a multitude of thrilling associations. This is especially so when, as in the present instance, it is the wall of a city that we are contemplating. Not a new piece of builder's work, neat and clean and bald, bare of all associations, as meaningless as in too many cases it is ugly, but an old wall, worn by the passing to and fro of generations that have turned to dust long years ago, bearing the bruises of war on its battered face, crumbling to powder, or perhaps half buried in weeds—such a wall is eloquent in its wealth of associations, and there is pathos in the thought of its mere age when this is considered in relation to the many men and women and children who have rested beneath its shadow at noon, or sheltered themselves behind its solid masonry amid the terrors of war. The walls that encircle the ancient English city of Chester and keep alive memories of mediæval life, the bits of the old London wall that are left standing among the warehouses and offices of the busy mart of modern commerce, even the remote wall of China for quite different reasons, and many another famous wall, suggest to us multitudinous reflections. But the walls of Jerusalem surpass them all in the pathos of the memories that cling to their old grey stones. It does not require a great stretch of imagination to picture these walls as once glowing and throbbing with an intense life, and now dreaming over the unfathomable depths of age-long memories.

In personifying the wall of Zion, however, the Hebrew poet does not indulge in reflections such as these, which are more in harmony with the mild melancholy of Gray'sElegythan with the sadder mood of the mourning patriot. He names the wall to give unity and concreteness to his appeal, and to clothe it in an atmosphere of poetic fancy. But his sober thought in the background is directed towards the citizens whom that historic wall once enclosed. Herein is his justification for carrying his personification so far. This is more than a wild apostrophe, the outburst of an excited poet's fancy. The imaginative conceit wings the arrow of a serious purpose.

Let us look at the appeal in detail. First the elegist encourages a free outflow of grief, that tears should run like a river, literally, like a torrent—the allusion being to one of those steep watercourses which, though dry in summer, become rushing floods in the rainy season. This introduction shews that the call to prayer is not intended in any sense as a rebuke for the natural expression of grief, nor as a denial of its existence. The sufferers cannot say that the poet does not sympathise with them. It might seem needless to give this assurance. But anybody who has attempted to offer exhortation to a person in trouble must have discovered how delicate his task is. Let him approach the subject as carefully as he may, it is almost certain that he will chafe the quivering nerves he desires to soothe, so sensitive is the soul in pain to any interference from without. Under these circumstances, the one method by which it is at all possible to smooth the way of approach is an expression of genuine sympathy.

There may be a deeper reason for this encouragement of the expression of grief as a preliminary to acall to prayer. The helplessness which it so eloquently proclaims is just the condition in which the soul is most ready to cast itself on the mercy of God. Calm fortitude must always be better than an undisciplined abandonment to grief. But before this has been attained there may come an apathy of despair, under the influence of which the feelings are simply benumbed. That apathy is the very opposite to drying up the fountain of grief as it may be dried in the sunshine of love; it is freezing it. The first step towards deliverance will be to melt the glacier. The soul must feel before it can pray. Therefore the tears are encouraged to run like torrents, and the sufferer to give himself no respite, nor let the apple of his eye cease from weeping.

Next the poet exhorts the object of his sympathy—this strange personification of the "wall of the daughter of Zion," under the image of which he is thinking of the Jews—to arise. The weeping is but a preliminary to more promising acts. The sufferer is not to spend the long night in an unbroken flow of grief, like the psalmist "watering his couch with his tears."[159]The very opposite attitude is now suggested. Grief must not be treated as a normal condition, to be acquiesced in or even encouraged. The victim is tempted to cherish his sorrow as a sacred charge, to feel hurt if any mitigation of it is suggested, or ashamed of confessing that relief has been received. When he has reached this condition it is obvious that the substance of grief has passed; the ghost of it that remains is fast becoming a harmless sentiment. If, however, the trouble should be still maintaining the tightness of its grip onthe heart, there is positive danger in permitting it to be indulged without intermission. The sufferer must be roused if he is to be saved from the disease ofmelancholia.

He must be roused also if he would pray. True prayer is a strenuous effort of the soul, requiring the most wakeful attention and taxing the utmost energy of will. The Jew stood up to pray with hands outstretched to heaven. The relaxed and feeble devotions of a somnolent worshipper must fall flat and fruitless. There is no value in the length of a prayer, but there is much in its depth. It is the weight of its earnestness, not the comprehensiveness of its topics, that gives it efficacy. Therefore we must gird up our loins to pray just as we would to work, or run, or fight.

Now the awakened soul is urged to cry out in the night, and in the beginning of the night watches—that is to say, not only at the commencement of the night, for this would require no rousing, but at the beginning of each of the three watches into which the Hebrews divided the hours of darkness—at sunset, at ten o clock, and at two in the morning. The sufferer is to keep watch with prayer—observing his vespers, his nocturns, and his matins, not of course to fulfil forms, but because, since his grief is continuous, his prayer also must not cease. This is all assigned to the night, perhaps because that is a quiet, solemn season for undisturbed reflection, when therefore the grief that requires the prayer is most acutely felt; or perhaps because the time of sorrow is naturally pictured as a night, as a season of darkness.

Proceeding with our consideration of the details of this call to prayer, we come upon the exhortation to pour out the heart like water before the face of theLord. The image here used is not without parallel in scripture. Thus a psalmist exclaims—

"I am poured out like water,And all my bones are out of joint;My heart is like wax;It is melted in the midst of my bowels."[160]

But the ideas are not just the same in the two cases. While the psalmist thinks of himself as crushed and shattered, as though his very being were dissolved, the thought of the elegist has more action about it, with a deliberate intention and object in view. His image suggests complete openness before God. Nothing is to be withheld. It is not so much that the secrets of the soul are to be disclosed. The end aimed at is not confession, but confidence. Therefore what the writer would urge is that the sufferer should tell the whole tale of his grief to God, quite freely, without any reserve, trusting absolutely to the Divine sympathy.

This confidence is a primary requisite in prayer. Until we can trust our Father it is useless to petition for his aid; we could not avail ourselves of it if it were offered us. Indeed, the soul must come into relations of sympathy with God before any real prayer is at all possible.

We may go further. The attitude of soul that is here recommended is in itself the very essence of prayer. The devotions that consist in a series of definite petitions are of secondary worth, and superficial in comparison with this outpouring of the heart before God. To enter into relations of sympathy and confidence with God is to pray in the truest, deepest way possible, or even conceivable. Prayer in the heartof it is not petition; that is the beggar's resort. It is communion—the child's privilege. We must often be as beggars, empty of everything before God; yet we may also enjoy the happier relationship of sonship with our Father. Even in the extremity of need perhaps the best thing we can do is to spread out the whole case before God. It will certainly relieve our own minds to do so, and everything will appear changed when viewed in the light of the Divine presence. Perhaps we shall then cease to think ourselves aggrieved and wronged; for what are our deserts before the holiness of God? Passion is allayed in the stillness of the sanctuary, and the indignant protest dies upon our lips as we proceed to lay our case before the eyes of the All-Seeing. We cannot be impatient any longer; He is so patient with us, so fair, so kind, so good. Thus when we cast our burden upon the Lord we may be surprised with the discovery that it is not so heavy as we supposed. There are times when it is not possible for us to go any further. We do not know what relief to ask for, or even whether we should request to be in any way delivered from a load which it may be our duty to bear, or the endurance of which may be a most wholesome discipline for us. These possibilities must always put a restraint upon the utterance of positive petitions. But they do not apply to the prayer that is a simple act of confidence in God. The secret of failure in prayer is not that we do not ask enough; it is that we do not pour out our hearts before God, the restraint of confidence rising from fear or doubt simply paralysing the energies of prayer. Jesus teaches us to pray not only because He gives us a model prayer, but much more because He is in Himself so true and full and winsome a revelation of God,that as we come to know and follow Him our lost confidence in God is restored. Then the heart that knows its own bitterness, and that shrinks from permitting the stranger even to meddle with its joy—how much more then with its sorrow?—can pour itself out quite freely before God, for the simple reason that He is no longer a stranger, but the one perfectly intimate and absolutely trusted Friend.

It is to be noted that the elegist points to a definite occasion for the outpouring of the heart before God. He singles out specifically the sufferings of the starving children—a terrible subject that appears more than once in this elegy, shewing how the horror of it has fastened on the imagination of the poet. This was the most heart-rending and mysterious ingredient in the bitter cup of the woes of Jerusalem. If we may bring any trouble to God we may bring the worst trouble. So this becomes the main topic of the prayer that follows. Here the cases of the principal victims are cited. Priest and prophet, notwithstanding the dignity of office, young man and maiden, old man and little child—all alike have fallen victims. The ghastly incident of a siege, where hunger has reduced human beings to the level of savage beasts, women devouring their own children, is here cited, and its cause, as well as that of all the other scenes of the great tragedy, boldly ascribed to God. It is God who has summoned His Terrors as at other times He had summoned His people to the festivals of the sacred city. But if God mustered the whole army of calamities it seems right to lay the story of the havoc they have wrought before His face; and the prayer reads almost like an accusation, or at least an expostulation, a remonstrance. It is not such, however; for we haveseen that elsewhere the elegist makes full confession of the guilt of Jerusalem and admits that the doom of the wretched city was quite merited. Still if the dire chastisement is from the hand of God it is God alone who can bring deliverance. That is the final point to be reached.

iii. 1-21

Whether we regard it from a literary, a speculative, or a religious point of view, the third and central elegy cannot fail to strike us as by far the best of the five. The workmanship of this poem is most elaborate in conception and most finished in execution, the thought is most fresh and striking, and the spiritual tone most elevated, and, in the best sense of the word, evangelical. Like Tennyson, who is most poetic when he is most artistic, as in his lyrics, and like all the great sonneteers, the author of this exquisite Hebrew melody has not found his ideas to be cramped by the rigorous rules of composition. It would seem that to a master the elaborate regulations that fetter an inferior mind are no hindrances, but rather instruments fitted to his hand, and all the more serviceable for their exactness. Possibly the artistic refinement of form stimulates thought and rouses the poet to exert his best powers; or perhaps—and this is more probable—he selects the richer robe for the purpose of clothing his choicer conceptions. Here we have the acrostics worked up into triplets, so that they now appear at the beginning of every line, each letter occurring three times successively as an initial, and the whole poemfalling into sixty-six verses or twenty-two triplets. Yet none of the other four poems have any approach to the wealth of thought or the uplifting inspiration that we meet with in this highly finished product of literary art.

This elegy differs from its sister poems in another respect. It is composed, for the most part, in the first person singular, the writer either speaking of his own experience or dramatically personating another sufferer. Who is this "man that hath seen affliction?" On the understanding that Jeremiah is the author of the whole book, it is commonly assumed that the prophet is here revealing his own feelings under the multitude of troubles with which he has been overwhelmed. But if, as we have seen, this hypothesis is, to say the least, extremely dubious, of course the assumption that has been based upon it loses its warranty. No doubt there is much in the touching picture of the afflicted person that agrees with what we know of the experience of the great prophet. And yet, when we look into it, we do not find anything of so specific a character as to settle us in the conclusion that the words could have been spoken by no one else. There is just the possibility that the poet is not describing himself at all; he may be representing somebody well known to his contemporaries—perhaps even Jeremiah, or just a typical character, in the manner of Browning'sDramatis Personæ.

While some mystery hangs over the personality of this man of sorrows the power and pathos of the poem are certainly heightened by the concentration of our attention upon one individual. Few persons are moved by general statements. Necessarily the comprehensive is all outline. It is by the supply of the particularthat we fill up the details; and it is only when these details are present that we have a full-bodied picture. If an incident is typical it is illustrative of its kind. To know one such fact is to know all. Thus the science lecturer produces his specimen, and is satisfied to teach from it without adding a number of duplicates. The study of abstract reports is most important to those who are already interested in the subjects of these dreary documents; but it is useless as a means of exciting interest. Philanthropy must visit the office of the statistician if it would act with enlightened judgment, and not permit itself to become the victim of blind enthusiasm; but it was not born there, and the sympathy which is its parent can only be found among individual instances of distress.

In the present case the speaker who recounts his own misfortunes is more than a casual witness, more than a mere specimen picked out at random from the heap of misery accumulated in this age of national ruin. He is not simply a man who has seen affliction, one among many similar sufferers; he is the man, the well-known victim, one pre-eminent in distress even in the midst of a nation full of misery. Yet he is not isolated on a solitary peak of agony. As the supreme sufferer, he is also the representative sufferer. He is not selfishly absorbed in the morbid occupation of brooding over his private grievances. He has gathered into himself the vast and terrible woes of his people. Thus he foreshadows our Lord in His passion. We cannot but be struck with the aptness of much in this third elegy when it is read in the light of the last scenes of the gospel history. It would be a mistake to say that these outpourings from the heart of the Hebrew patriot were intended to convey a propheticmeaning with reference to another Sufferer in a far-distant future. Nevertheless the application of the poem to the Man of Sorrows is more than a case of literary illustration; for the idea of representative suffering which here emerges, and which becomes more definite in the picture of the servant of Jehovah in Isa. liii., only finds its full realisation and perfection in Jesus Christ. It is repeated, however, with more or less distinctness wherever the Christ spirit is revealed. Thus in a noble interpretation of St. Paul, the Apostle is represented as experiencing—

"Desperate tides of the whole world's anguishForced through the channel of a single heart."[161]

The portrait of himself drawn by the author of this elegy is the more graphic by reason of the fact that the present is linked to the past. The striking commencement, "Iamthe man," etc., sets the speaker in imagination before our eyes. The addition "whohasseen" (or rather, experienced) "affliction" connects him with his present sufferings. The unfathomable mystery of personal identity here confronts us. This is more than memory, more than the lingering scar of a previous experience; it is, in a sense, the continuance of that experience, its ghostly presence still haunting the soul that once knew it in the glow of life. Thus we are what we have thought and felt and done, and our present is the perpetuation of our past. The man who has seen affliction does not only keep the history of his distresses in the quiet chamber of memory. His own personality has slowly acquired a depth, a fulness, a ripeness that remove him far from the raw and superficial character he once was. We are silenced intoawe before Job, Jeremiah, and Dante, because these men grew great by suffering. Is it not told even of our Lord Jesus Christ that He was made perfect by the things that He suffered?[162]Unhappily it cannot be said that every hero of tragedy climbs to perfection on the rugged steps of his terrible life-drama; some men are shattered by discipline which proves to be too severe for their strength. Christ rose to His highest glory by means of the cruelty of His enemies and the treason of one of His trusted disciples; but cruel wrongs drove Lear to madness, and a confidant's treachery made a murderer of Othello. Still all who pass through the ordeal come out other than they enter, and the change is always a growth in some direction, even though in many cases we must admit with sorrow that this is a downward direction.

It is to be observed that here in his self-portraiture—just as elsewhere when describing the calamities that have befallen his people—the elegist attributes the whole series of disastrous events to God. This characteristic of the Book of Lamentations throughout is nowhere more apparent than in the third chapter. So close is the thought of God to the mind of the writer, he does not even think it necessary to mention the Divine name. He introduces his pronouns without any explanation of their objects, saying "Hiswrath" and "Hehath led me," and so on through the succeeding verses. This quiet assumption of a recognised reference of all that happens to one source, a source that is taken to be so well known that there is no occasion to name it, speaks volumes for the deep-seated faith of the writer. He is at the antipodes of the toocommon position of those people who habitually forget to mention the name of God because He is never in their thoughts. God is always in the thoughts of the elegist, and that is why He is not named. Like Brother Lawrence, this man has learnt to "practise the presence of God."

In amplifying the account of his sufferings, after giving a general description of himself as the man who has experienced affliction, and adding a line in which this experience is connected with its cause—the rod of the wrath of Him who is unnamed, though ever in mind—the stricken patriot proceeds to illustrate and enforce his appeal to sympathy by means of a series of vivid metaphors. This is the most crisp and pointed writing in the book. It hurries us on with a breathless rush of imagery, scene after scene flashing out in bewildering speed like the whirl of objects we look at from the windows of an express train.

Let us first glance at the successive pictures in this rapidly moving panorama of similes, and then at the general import and unit of the whole.

The afflicted man was under the Divine guidance; he was not the victim of blind self-will; it was not when straying from the path of right that he fell into this pit of misery. The strange thing is that God led him straight into it—led him into darkness, not into light as might have been expected with such a Guide.[163]The first image, then, is that of a traveller misled. The perception of the terrible truth that is here suggested prompts the writer at once to draw an inference as to the relation in which God stands to him, and the nature and character of the Divine treatment of himthroughout. God, whom he has trusted implicitly, whom he has followed in the simplicity of ignorance, God proves to be his Opponent! He feels like one duped in the past, and at length undeceived as he makes the amazing discovery that his trusted Guide has been turning His hand against him repeatedly all the day of his woful wanderings.[164]For the moment he drops his metaphors, and reflects on the dreadful consequences of this fatal antagonism. His flesh and skin, his very body is wasted away; he is so crushed and shattered, it is as though God had broken his bones.[165]Now he can see that God has not only acted as an enemy in guiding him into the darkness; God's dealings have shewn more overt antagonism. The helpless sufferer is like a besieged city, and God, who is conducting the assault, has thrown up a wall round him. With that daring mixture of metaphors, or, to be more precise, with that freedom of sudden transition from the symbol to the subject symbolised which we often meet with in this Book, the poet calls the rampart with which he has been girdled "gall and travail,"[166]for he has felt himself beset with bitter grief and weary toil.[167]

Then the scene changes. The victim of Divine wrath is a captive languishing in a dungeon, which is as dark as the abodes of the dead, as the dwellings of those who have beenlongdead.[168]The horror of this metaphor is intensified by the idea of the antiquity of Hades. How dismal is the thought of being plunged into a darkness that is already aged—a stagnant darkness,the atmosphere of those who long since lost the last rays of the light of his life! There the prisoner is bound by a heavy chain.[169]He cries for help; but he is shut down so low that his prayer cannot reach his Captor.[170]

Again we see him still hampered, though in altered circumstances. He appears as a traveller whose way is blocked, and that not by some accidental fall of rock, but of set purpose, for he finds the obstruction to be of carefully prepared masonry, "hewn stones."[171]Therefore he has to turn aside, so that his paths become crooked. Yet more terrible does the Divine enmity grow. When the pilgrim is thus forced to leave the highroad and make his way through the adjoining thickets his Adversary avails Himself of the cover to assume a new form, that of a lion or a bear lying in ambush.[172]The consequence is that the hapless man is torn as by the claws and fangs of beasts of prey.[173]But now these wild regions in which the wretched traveller is wandering at the peril of his life suggest the idea of the chase. The image of the savage animals is defective in this respect, that man is their superior in intelligence, though not in strength. But in the present case the victim is in every way inferior to his Pursuer. So God appears as the Huntsman, and the unhappy sufferer as the poor hunted game. The bow is bent, and the arrow directed straight for its mark.[174]Nay, arrow after arrow has already been let fly, and the dreadful Huntsman, too skilful ever to miss His mark, has been shooting "the sons of His quiver" into the very vitals of the object of His pursuit.[175]

Here the poet breaks away from his imagery for a second time to tell us that he has become an object of derision to all his people, and the theme of their mocking songs.[176]This is a striking statement. It shews that the afflicted man is not simply one member of the smitten nation of Israel, sharing the common hardships of the race whose "badge is servitude." He not merely experiences exceptional sufferings. He meets with no sympathy from his fellow-countrymen. On the contrary, these people so far dissociate themselves from his case that they can find amusement in his misery. Thus, while even a misguided Don Quixote is a noble character in the rare chivalry of his soul, and while his very delusions are profoundly pathetic, many people can only find material for laughter in them, and pride themselves in their superior sanity for so doing, although the truth is, their conduct proves them to be incapable of understanding the lofty ideals that inspire the object of their empty derision; thus Jeremiah was mocked by his unthinking contemporaries, when, whether in error, as they supposed, or wisely, as the event shewed, he preached an apparently absurd policy; and thus a greater than Jeremiah, One as supreme in reasonableness as in goodness, was jeered at by men who thought Him at best a Utopian dreamer, because they were grovelling in earthly thoughts far out of reach of the spiritual world in which He moved.

Returning to imagery, the poet pictures himself as a hardly used guest at a feast. He is fed, crammed, sated; but his food is bitterness, the cup has been forced to his lips, and he has been made drunk—not with pleasant wine, however, but with wormwood.[177]Gravel has been mixed with his bread, or perhaps the thought is that when he has asked for bread stones have been given him. He has been compelled to masticate this unnatural diet, so that his teeth have been broken by it. Even that result he ascribes to God, saying, "He hath broken my teeth."[178]It is difficult to think of the interference with personal liberty being carried farther than this. Here we reach the extremity of crushed misery.

Reviewing the whole course of his wretched sufferings from the climax of misery, the man who has seen all this affliction declares that God has cast him on from peace.[179]The Christian sufferer knows what a profound consolation there is in the possession of the peace of God, even when he is passing through the most acute agonies—a peace which can be maintained both amid the wildest tempests of external adversity and in the presence of the fiercest paroxysms of personal anguish. Is it not the acknowledged secret of the martyrs' serenity? Happily many an obscure sufferer has discovered it for himself, and found it better than any balm of Gilead. This most precious gift of heaven to suffering souls is denied to the man who here bewails his dismal fate. So too it was denied to Jesus in the garden, and again on the cross. It is possible that the dark day will come when it will be denied to one or another of His people. Then the experience of the moment will be terrible indeed. But it will be brief. An angel ministered to the Sufferer in Gethsemane. The joy of the resurrection followed swiftly on the agonies of Calvary. In the elegy we are now studying a burst of praise and glad confidence breaksout almost immediately after the lowest depths of misery have been sounded, shewing that, as Keats declares in an exquisite line—

"There is a budding morrow in midnight."

It is not surprising, however, that, for the time being, the exceeding blackness of the night keeps the hope of a new day quite out of sight. The elegist exclaims that he has lost the very idea of prosperity. Not only has his strength perished, his hope in God has perished also.[180]Happily God is far too good a Father to deal with His children according to the measure of their despair. He is found by those who are too despondent to seek Him, because He is always seeking His lost children, and not waiting for them to make the first move towards Him.

When we come to look at the series of pictures of affliction as a whole we shall notice that one general idea runs through them. This is that the victim is hindered, hampered, restrained. He is led into darkness, besieged, imprisoned, chained, driven out of his way, seized in ambuscade, hunted, even forced to eat unwelcome food. This must all point to a specific character of personal experience. The troubles of the sufferer have mainly assumed the form of a thwarting of his efforts. He has not been an indolent, weak, cowardly creature, succumbing at the first sign of opposition. To an active man with a strong will resistance is one of the greatest of troubles, although it will be accepted meekly, as a matter of course, by a person of servile habits. If the opposition comes from God, may it not be that the severity of the trouble isjust caused by the obstinacy of self-will? Certainly it does not appear to be so here; but then we must remember the writer is stating his own case.

Two other characteristics of the whole passage may be mentioned. One is thepersistenceof the Divine antagonism. This is what makes the case look so hard. The pursuer seems to be ruthless; He will not let his victim alone for a moment. One device follows sharply on another. There is no escape. The second of these characteristics of the passage is a gradualaggravationin the severity of the trials. At first God is only represented as a guide who misleads; then He appears as a besieging enemy; later like a destroyer. And correspondingly the troubles of the sufferer grow in severity, till at last he is flung into the ashes, crushed and helpless.

All this is peculiarly painful reading to us with our Christian thoughts of God. It seems so utterly contrary to the character of our Father revealed in Jesus Christ. But then it is not a part of the Christian revelation, nor was it uttered by a man who had received the benefits of that highest teaching. That, however, is not a complete explanation. The dreadful thoughts about God that are here recorded are almost without parallel even in the Old Testament. How contrary they are to such an idea as that of the pitiful Father in Psalm ciii.! On the other hand, it should be remembered that if ever we have to make allowance for the personal equation we must be ready to do so most liberally when we are listening to the tale of his wrongs as this is recounted by the sufferer himself. The narrator may be perfectly honest and truthful, but it is not in human nature to be impartial under such circumstances. Even when, as in the presentinstance, we have reason to believe that the speaker is under the influence of a Divine inspiration, we have no right to conclude that this gift would enable him to take an all-round vision of truth. Still, can we deny that the elegist has presented to our minds but one facet of truth? If we do not accept it as intended for a complete picture of God, and if we confine it to an account of the Divine action under certain circumstances as this appears to one who is most painfully affected by it, without any assertion concerning the ultimate motives of God—and this is all we have any justification for doing—it may teach us important lessons which we are too ready to ignore in favour of less unpleasant notions. Finally it would be quite unfair to the elegist, and it would give us a totally false impression of his ideas, if we were to go no further than this. To understand him at all we must hear him out. The contrast between the first part of this poem and the second is startling in the extreme, and we must not forget that the two are set in the closest juxtaposition, for it is plain that the one is intended to balance the other. The harshness of the opening words could be permitted with the more daring, because a perfect corrective to any unsatisfactory inferences that might be drawn from it was about to be immediately supplied.

The triplet of verses 19 to 21 serves as a transition to the picture of the other side of the Divine action. It begins with prayer. Thus a new note is struck. The sufferer knows that God is not at heart his enemy. So he ventures to beseech the very Being concerning whose treatment of him he has been complaining so bitterly, to remember his affliction and the misery it has brought on him, the wormwood, the gall of his hard lot. Hope now dawns on him out of his ownrecollections. What are these? The Authorised Version would lead us to think that when he uses the expression, "This I recall to my mind,"[181]the poet is referring to the encouraging ideas of the verses that immediately follow in the next section. But it is not probable that the last line of a triplet would thus point forward to another part of the poem. It is more consonant with the method of the composition to take this phrase in connection with what precedes it in the same triplet, and a perfectly permissible change in the translation of the 20th verse gives good sense in that connection. We may read this:

"Thou (O God) wilt surely remember, for my soul is bowed down within me."

Thus the recollection that God too has a memory and that He will remember His suffering servant becomes the spring of a new hope.

iii. 22-4

Although the elegist has prepared us for brighter scenes by the more hopeful tone of an intermediate triplet, the transition from the gloom and bitterness of the first part of the poem to the glowing rapture of the second is among the most startling effects in literature. It is scarcely possible to conceive of darker views of Providence, short of a Manichæan repudiation of the God of the physical universe as an evil being, than those which are boldly set forth in the opening verses of the elegy; we shudder at the awful words, and shrink from repeating them, so near to the verge of blasphemy do they seem to come. And now those appalling utterances are followed by the very choicest expression of confidence in the boundless goodness of God! The writer seems to leap in a moment out of the deepest, darkest pit of misery into the radiance of more than summer sunlight. How can we account for this extraordinary change of thought and temper?

It is not enough to ascribe the sharpness of the contrast either to the clumsiness of the author in giving utterance to his teeming fancies just as they occur to him, without any consideration for their bearings one upon another; or to his art in designedly preparing anawakening shock. We have still to answer the question, How could a man entertain two such conflicting currents of thought in closest juxtaposition?

In their very form and structure these touching elegies reflect the mental calibre of their author. A wooden soul could never have invented their movements. They reveal a most sensitive spirit, a spirit that resembles a finely strung instrument of music, quivering in response to impulses from all directions. People of a mercurial temperament live in a state of perpetual oscillation between the most contrary moods, and the violence of their despair is always ready to give place to the enthusiasm of a new hope. We call them inconsistent; but their inconsistency may spring from a quick-witted capacity to see two sides of a question in the time occupied by slower minds with the contemplation of one. As a matter of fact, however, the revulsion in the mind of the poet may not have been so sudden as it appears in his work. We can scarcely suppose that so elaborate a composition as this elegy was written from beginning to end at a single sitting. Indeed, here we seem to have the mark of a break. The author composes the first part in an exceptionally gloomy mood, and leaves the poem unfinished, perhaps for some time. When he returns to it on a subsequent occasion he is in a totally different frame of mind, and this is reflected in the next stage of his work. Still the point of importance is the possibility of the very diverse views here recorded.

Nor is this wholly a matter of temperament. Is it not more or less the case with all of us, that since absorption with one class of ideas entirely excludes their opposites, when the latter are allowed to enter the mind they will rush in with the force of a pent-upflood? Then we are astonished that we could ever have forgotten them. We build our theories in disregard of whole regions of thought. When these occur to us it is with the shock of a sudden discovery, and in the flash of the new light we begin at once to take very different views of our universe. Possibly we have been oblivious of our own character, until suddenly we are awakened to our true state, to be overwhelmed with shame at an unexpected revelation of sordid meanness, of despicable selfishness. Or perhaps the vision is of the heart of another person, whose quiet, unassuming goodness we have not appreciated, because it has been so unvarying and dependable that we have taken it as a matter of course, like the daily sunrise, never perceiving that this very constancy is the highest merit. We have been more grateful for the occasional lapses into kindness with which habitually churlish people have surprised us. Then there has come the revelation, in which we have been made to see that a saint has been walking by our side all the day. Many of us are very slow in reaching a similar discovery concerning God. But when we begin to take a right view of His relations to us we are amazed to think that we had not perceived them before, so rich and full and abounding are the proofs of His exceeding goodness.

Still it may seem to us a strange thing that this most perfect expression of a joyous assurance of the mercy and compassion of God should be found in the Book of Lamentations of all places. It may well give heart to those who have not sounded the depths of sorrow, as the author of these sad poems had done, to learn that even he had been able to recognise the merciful kindness of God in the largest possible measure. A littlereflection, however, should teach us that it is not so unnatural a thing for this gem of grateful appreciation to appear where it is. We do not find, as a rule, that the most prosperous people are the foremost to recognise the love of God. The reverse is very frequently the case. If prosperity is not always accompanied by callous ingratitude—and of course it would be grossly unjust to assert anything so harsh—at all events it is certain that adversity is far from blinding our eyes to the brighter side of the revelation of God. Sometimes it is the very means by which they are opened. In trouble the blessings of the past are best valued, and in trouble the need of God's compassion is most acutely felt. But this is not all. The softening influence of sorrow seems to have a more direct effect upon our sense of Divine goodness. Perhaps, too, it is some compensation for melancholy, that persons who are afflicted with it are most responsive to sympathy. The morbid, despondent poet Cowper has written most exquisitely about the love of God. Watts is enthusiastic in his praise of the Divine grace; but a deeper note is sounded in the Olney hymns, as, for example, in that beginning with the line—

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