Enlarging the area of her appeal, no longer content to snatch at the casual pity of individual travellers on the road, Jerusalem now calls upon all the "peoples"—i.e., all neighbouring tribes—to hear the tale of her woes.[125] This is too huge a tragedy to be confined to private spectators; it is of national proportions, and it claims the attention of whole nations. It is curious to observe that foreigners, whom the strict Jews sternly exclude from their privileges, are nevertheless besought to compassionate their distresses. These uncircumcised heathen are not now thrust contemptuously aside; they are even appealed to as sympathisers. Perhaps this is meant to indicate the vastness of the misery of Jerusalem by the suggestion that even aliens should be affected by it; when the waves spread far in all directions there must have been a most terrible storm at the centre of disturbance. Still it is possible to find in this widening outlook of the poet a sign of the softening and enlarging effects of trouble. The very need of much sympathy breaks down the barriers of proud exclusiveness, and prepares one to look for gracious qualities among people who have been previously treated with churlish indifference or positive animosity. Floods and earthquakes tame savage beasts. On the battlefield wounded men gratefully accept relief from their mortal enemies. Conduct of this sort may be self-regarding, perhaps weak and cowardly; still it is an outcome of the natural brotherhood of all mankind, any confession of which, however reluctant, is a welcome thing.
The appeal to the nations contains three particulars. It deplores the captivity of the virgins and young men; the treachery of allies—"lovers" who have been called upon for assistance, but in vain; and the awful fact that men of such consequence as the elders and priests, the very aristocracy of Jerusalem, had died of starvation after an ineffectual search for food—a lurid picture of the horrors of the siege.[126] The details repeat themselves with but very slight variations. It is natural for a great sufferer to revolve his bitter morsel continuously. The action is a sign of its bitterness. The monotony of the dirge is a sure indication of the depth of the trouble that occasions it. The theme is only too interesting to the mourner, however wearisome it may become to the listener.
In drawing to a close the appeal goes further, and, rising altogether above man, seeks the attention of God.[127] It is not enough that every passing traveller is arrested, nor even that the notice of all the neighbouring nations is sought; this trouble is too great for human shoulders to bear. It will absorb the largest mass of sympathy, and yet thirst for more. Twice before in the first part of the elegy the language of the poet speaking in his own person was interrupted by an outcry of Jerusalem to God.[128] Now the elegy closes with a fuller appeal to Heaven. This is an utterance of faith where faith is tried to the uttermost. It is distinctly recognised that the calamities bewailed have been sent by God; and yet the stricken city turns to God for consolation. And the appeal is not at all in the form of a cry to a tormentor for mercy; it seeks friendly sympathy and avenging actions. Nothing could more clearly prove the consciousness that God is not doing any wrong to His people. Not only is there no complaint against the justice of His acts; in spite of them all He is still regarded as the greatest Friend and Helper of the victims of His wrath.
This apparently paradoxical position issues in what might otherwise be a contradiction of thought. The ruin of Jerusalem is attributed to the righteous judgment of God, against which no shadow of complaint is raised; and yet God is asked to pour vengeance on the heads of the human agents of His wrath! These people have been acting from their own evil, or at all events their own inimical motives. Therefore it is not held that they deserve punishment for their conduct any the less on account of the fact that they have been the unconscious instruments of Providence. The vengeance here sought for cannot be brought into line with Christian principles; but the poet had never heard the Sermon on the Mount. It would not have occurred to him that the spirit of revenge was not right, any more than it occurred to the writers of maledictory Psalms.
There is one more point in this final appeal to God which should be noticed, because it is very characteristic of the elegy throughout. Zion bewails her friendless condition, declaring, "there is none to comfort me."[129] This is the fifth reference to the absence of a comforter.[130] The idea may be merely introduced in order to accentuate the description of utter desolation. And yet when we compare the several allusions to it the conclusion seems to be forced upon us that the poet has a more specific intention. In some cases, at least, he seems to have one particular comforter in mind, as, for example, when he says, "The comforter that should refresh my soul is far from me."[131] Our thoughts instinctively turn to the Paraclete of St. John's Gospel. It would not be reasonable to suppose that the elegist had attained to any definite conception of the Holy Spirit such as that of the ripe Christian revelation. But we have his own words to witness that God is to him the supreme Comforter, is the Lord and Giver of life who refreshes his soul. It would seem, then, that the poet's thought is like that of the author of the twenty-second Psalm, which was echoed in our Lord's cry of despair on the cross.[132] When God our Comforter hides the light of His countenance the night is most dark. Yet the darkness is not always perceived, or its cause recognised. Then to miss the consolations of God consciously, with pain, is the first step towards recovering them.
CHAPTER VII
GOD AS AN ENEMY
ii. 1-9