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_.