May we go one step further? Is not every true and deep regret a prophecy of restoration? There is an irrecoverable past, it must be owned. That is to say, the days that are gone cannot return, nor can deeds once done ever be undone; the future will never be an exact repetition of the past. But all this does not forbid the assurance that there may be genuine restoration. Jerusalem restored was very unlike the city whose fate the elegist bewailed; nevertheless she was restored, and that with her essential characteristics more pronounced than ever. Henceforth she was to be most completely what her earlier history had only faintly adumbrated—the typical seat of religion. Thus, though the Lamentations are not at all cheering or prophetic in tone, or even in intention, but the very reverse, wholly mournful and despondent, we may still detect, in the very intensity and persistence of the sorrow they portray, gleams of hope for better days. There is no hope in stolid indifference; it is in the penitent's tears that we discover the prospect of his amendment. Repentance weeps for the past, but at the same time it looks forward with a changed mind that is the promise of better things to come. Why should not we apply these ideas that spring from a consideration of the five Hebrew elegies to other elegies—to the dirges that mourn the loved and dead? If we could willingly let the departed drop out of thought we might have little ground for believing we should ever see them again. But sorrow for the dead immortalises them in memory. In a materialistic view of the universe that might mean nothing but the perpetuity of a sentiment. But then it may by itself help us to perceive the superficiality, the utter falseness of such a view. Thus Tennyson sees the answer to the crushing doubts of materialism and the assurance of immortality for the departed in the strength of the love with which they are cherished:
"What is it all if we all of us end but in being our own corpse coffins at last,
Swallowed in Vastness, lost in Silence, drowned in the deeps of a meaningless Past!
What but a murmur of gnats in the gloom, or a moment's anger of bees in their hive?
. . . . . . . .
Peace, let it be! for I loved him, and love him for ever. The dead are not dead, but alive."
CHAPTER IV
DESOLATION
i. 1-7.
The first elegy is devoted to moving pictures of the desolation of Jerusalem and the sufferings of her people. It dwells upon these disasters themselves, with fewer references to the causes of them or the hope of any remedy than are to be found in the subsequent poems, simply to express the misery of the whole story. Thus it is in the truest sense of the word a "Lamentation." It naturally divides itself into two parts—one with the poet speaking in his own person,[108] the other representing the deserted city herself appealing to passing strangers and neighbouring nations, and lastly to God, to take note of her woes.[109]