CHAPTER XI
THE MAN THAT HATH SEEN AFFLICTION
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 poem falling 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's Dramatis 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 particular that 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 prophetic meaning 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 anguish
Forced 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, "I am the man," etc., sets the speaker in imagination before our eyes. The addition "who has seen" (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 into awe 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 "His wrath" and "He hath 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 too common 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."