The Expositor's Bible: The Song of Solomon and the Lamentations of JeremiahAdeney, Walter F. (Walter Frederic)
Religion
The Expositor's Bible: The Song of Solomon and the Lamentations of Jeremiah
Adeney, Walter F. (Walter Frederic)
Bible. Lamentations -- Commentaries; Bible. Song of Solomon -- Commentaries
On the other hand, it is to be observed that the general title "Lord"
(_Adonai_) is also employed in the very next verse in the direct call
to prayer. The heart, too, is mentioned again there as it is here, and
that to express the inner being and deepest feelings of the afflicted
city. It seems unlikely that the elegist would mention a heart-cry of
the enemies and describe this as addressed to "The Lord."
Probably then we should apply this opening clause to the Jews,
although they had not been named in the near context, a construction
favoured by the abrupt transitions in which the elegist indulges
elsewhere. It is the heart of the Jews that cried unto the Lord. Now
the question arises, How shall we take this assertion in view of the
words that follow? The common reading supposes that it introduces the
immediately succeeding sentences. The heart of the Jews calls to the
wall of the daughter of Zion, and bids it arise and pray. But with
this construction we should look for another word (such as "saying")
to introduce the appeal, because the Hebrew word rendered "cried" is
usually employed absolutely, and not as the preface to quoted speech.
Besides, the ideas would be strangely involved. Some people,
indefinitely designated "they," exhort the wall to weep and pray! How
can this exhortation to a wall be described as a calling to the Lord?
The complication is increased when the prayer follows sharply on the
anonymous appeal without a single connecting or explanatory clause.
A simpler interpretation is to follow Calvin in rendering the first
clause absolutely, but still applying it to the Jews, who, though they
are not named here, are supposed to be always in mind. We may not
agree with the stern theologian of Geneva in asserting that the cry
thus designated is one of impatient grief flowing not "from a right
feeling or from the true fear of God, but from the strong and turbid
impulse of nature." The elegist furnishes no excuse for this somewhat
ungracious judgment. After his manner, already familiar to us, the
poet interjects a thought--viz., that the distressed Jews cried to
God. This suggests to him the great value of the refuge of prayer, a
topic on which he forthwith proceeds to enlarge first by making an
appeal to others, and then by himself breaking out into the direct
language of petition.
Public-domain text, read in full here on John Shaqi.
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