The appeal to all who pass by is most familiar to us in its later association with our Lord's sufferings on the cross. But this is not in any sense a Messianic passage; it is confined in its purpose to the miseries of Jerusalem. Of course there can be no objection to illustrating the grief and pain of the Man of Sorrows by using the classic language of an ancient lament if we note that this is only an illustration. There is a kinship in all suffering, and it is right to consider that He who was tried in all points as we are tried passed through sorrows which absorbed all the bitterness even of such a cup of woe as that which was drunk by Jerusalem in the extremity of her misfortunes. If never before there had been sorrow like unto her sorrow, at length that was matched, nay, surpassed at Gethsemane and Golgotha. Still it would be a mistake to confine these words to their secondary application—not only an exegetical mistake, but one of deeper significance. Jesus Christ restrained the wailing of the women who offered Him their compassion on His way to the cross, bidding them weep not for Him, but for themselves and their children.[116] Much more when His passion is long past and He is reigning in glory must it be displeasing to Him for His friends to be wasting idle tears over the sufferings of His earthly life. The morbid sentimentality which broods over the ancient wounds of Christ, the nail prints and the spear thrust, but ignores the present wounds of society—the wounds of the world for which He bled and died, or the wounds of the Church which is His body now, must be wrong in His sight. He would rather we gave a cup of cold water to one of His brethren than an ocean of tears to the memory of Calvary. If then we would make use of the ruined city's appeal for sympathy by applying it to some later object it would be more in agreement with the mind of Christ to think of the miseries of mankind in our own day, and to consider how a sympathetic regard for them may point to some ministry of alleviation.
In order to impress the magnitude of her miseries on the minds of the strangers whose attention she would arrest, the city, now personified as a suppliant, describes her dreadful condition in a series of brief, pointed metaphors. Thus the imagination is excited; and the imagination is one of the roads to the heart. It is not enough that people know the bald facts of a calamity as these may be scheduled in an inspector's report. Although this preliminary information is most important, if we go no further the report will be replaced in its pigeon-hole, and lie there till it is forgotten. If it is to do something better than gather the dust of years it must be used as a foundation for the imagination to work upon. This does not imply any departure from truth, any false colouring or exaggeration; on the contrary, the process only brings out the truth which is not really seen until it is imagined. Let us look at the various images under which the distress of Jerusalem is here presented.
It is like a fire in the bones.[117] It burns, consumes, pains with intolerable torment; it is no skin-deep trouble, it penetrates to the very marrow. This fire is overmastering; it is not to be quenched, neither does it die out; it "prevaileth" against the bones. There is no getting such a fire under.
It is like a net.[118] The image is changed. We see a wild creature caught in the bush, or perhaps a fugitive arrested in his flight and flung down by hidden snares at his feet. Here is the shock of surprise, the humiliation of deceit, the vexation of being thwarted. The result is a baffled, bewildered, helpless condition.
It is like faintness.[119] The desolate sufferer is ill. It is bad enough to have to bear calamities in the strength of health. Jerusalem is made sick and kept faint all the day—with a faintness that is not a momentary collapse, but a continuous condition of failure.
It is like a yoke[120] which is wreathed upon the neck—fixed on, as with twisted withes. The poet is here more definite. The yoke is made out of the transgressions of Jerusalem. The sense of guilt does not lighten its weight; the band that holds it most closely is the feeling that it is deserved. It is natural that the sinful sufferer should exclaim that God, who has bound this terrible yoke upon her, has made her strength to fail. As there is nothing so invigorating as the assurance that one is suffering for a righteous cause, so there is nothing so wretchedly depressing as the consciousness of guilt.
Lastly, it is like a winepress.[121] This image is elaborated with more detail, although at the expense of unity of design. God is said to have called a "solemn assembly" to oppress the Jews, by an ironical reversal of the common notion of such an assembly. The language recalls the idea of one of the great national festivals of Israel. But now instead of the favoured people their enemies are summoned, and the object is not the glad praise of God for his bounties in harvest or vintage, but the crushing of the Jews. They are to be victims, not guests as of old. They are themselves the harvest of judgment, the vintage of wrath. The wine is to be made, but the grapes crushed to produce it are the people who were accustomed to feast and drink of the fruits of God's bounty in the happy days of their prosperity. So the mighty men are set at nought, their prowess counting as nothing against the brutal rush of the enemy; and the young men are crushed, their spirit and vigour failing them in the great destruction.
The most terrible trait in these pictures, one that is common to all of them, is the Divine origin of the troubles. It was God who sent fire into the bones, spread the net, made the sufferer desolate and faint. The yoke was bound by His hands. It was He who set at nought the mighty men, and summoned the assembly of foes to crush His people. The poet even goes so far as to make the daring statement that it was the Lord Himself who trod the virgin daughter of Judah as in a winepress. It is a ghastly picture—a dainty maiden trampled to death by Jehovah as grapes are trampled to squeeze out their juice! This horrible thing is ascribed to God! Yet there is no complaint of barbarity, no idea that the Judge of all the earth is not doing right. The miserable city does not bring any railing accusation against her Lord; she takes all the blame upon herself. We must be careful to bear in mind the distinction between poetic imagery and prosaic narrative. Still it remains true that Jerusalem here attributes her troubles to the will and action of God. This is vital to the Hebrew faith. To explain it away is to impoverish the religion of Israel, and with it the Old Testament revelation. That revelation shews us the absolute sovereignty of God, and at the same time it brings out the guilt of man, so that no room is allowed for complaints against the Divine justice. The grief is all the greater because there is no thought of rebellion. The daring doubts that struggle into expression in Job never obtrude themselves here to check the even flow of tears. The melancholy is profound, but comparatively calm, since it does not once give place to anger. It is natural that the succession of images of misery conceived in this spirit should be followed by a burst of tears. Zion weeps because the comforter who should refresh her soul is far away, and she is left utterly desolate.[122]
Here the supposed utterance of Jerusalem is broken for the poet to insert a description of the suppliant making her piteous appeal.[123] He shews us Zion spreading out her hands, that is to say, in the well-known attitude of prayer. She is comfortless, oppressed by her neighbours in accordance with the will of her God, and treated as an unclean thing; she who had despised the idolatrous Gentiles in her pride of superior sanctity has now become foul and despicable in their eyes!
The semi-dramatic form of the elegy is seen in the reappearance of Jerusalem as speaker without any formula of introduction. After the poet's brief interjection describing the suppliant, the personified city continues her plaintive appeal, but with a considerable enlargement of its scope. She makes the most distinct acknowledgment of the two vital elements of the case—God's righteousness and her own rebellion.[124] These carry us beneath the visible scenes of trouble so graphically illustrated earlier, and fix our attention on deep-seated principles. It cannot be supposed that the faith and penitence unreservedly confessed in the elegy were truly experienced by all the fugitive citizens of Jerusalem, though they were found in the devout "remnant" among whom the author of the poem must be reckoned. But the reasonable interpretation of these utterances is that which accepts them as the inspired expressions of the thoughts and feelings which Jerusalem ought to possess, as ideal expressions, suitable to those who rightly appreciate the whole situation. This fact gives them a wide applicability. The ideal approaches the universal. Although it cannot be said that all trouble is the direct punishment of sin, and although it is manifestly insincere to make confession of guilt one does not inwardly admit, to be firmly settled in the conviction that God is right in what he does even when it all looks most wrong, that if there is a fault it must be on man's side, is to have reached the centre of truth. This is very different from the admission that God has the right of an absolute sovereign to do whatever He chooses, like mad Caligula when intoxicated with his own divinity; it even implies a denial of that supposed right, for it asserts that He acts in accordance with something other than His will, viz., righteousness.