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
Following up his general exhortation to return to God, the elegist
adds a particular one, in which the process of the new movement is
described. It takes the form of a prayer from the heart. The
resolution is to lift up the heart with the hands. The erect posture,
with the hands stretched out to heaven, which was the Hebrew attitude
in prayer, had often been assumed in meaningless acts of formal
worship before there was any real approach to God or any true
penitence. Now the repentance will be manifested by the reality of the
prayer. Let the heart also be lifted up. The true approach to God is
an act of the inner life, to which in its entirety--thought,
affection, and will--the Jewish metaphor of the heart points.
Lastly, the poet furnishes the returning penitents with the very
language of the heart's prayer, which is primarily confession. The
doleful fact that God has not pardoned His people is directly stated,
but not in the first place. This statement is preceded by a clear and
unreserved confession of sin. Repentance must be followed by
confession. It is not a private matter concerning the offender alone.
Since the offence was directed against another, the amendment must
begin with a humble admission of the wrong that has been done. Thus,
immediately the prodigal son is met by his father he sobs out his
confession;[211] and St. John assigns confession as an essential
preliminary to forgiveness, saying: "If we confess our sins, He is
faithful and righteous to forgive us our sins, and to cleanse us from
all unrighteousness."[212]
[211] Luke xv. 21.
[212] 1 John i. 9.
CHAPTER XVI
_GRIEVING BEFORE GOD_
iii. 43-54
As might have been expected, the mourning patriot quickly forsakes the
patch of sunshine which lights up a few verses of this elegy. But the
vision of it has not come in vain; for it leaves gracious effects to
tone the gloomy ideas upon which the meditations of the poet now
return like birds of the night hastening back to their darksome
haunts. In the first place, his grief is no longer solitary. It is
enlarged in its sympathies so as to take in the sorrows of others.
Purely selfish trouble tends to become a mean and sordid thing. If we
are not yet freed from our own pain some element of a nobler nature
will be imported into it when we can find room for the larger thoughts
that the contemplation of the distresses of others arouses. But a
greater change than this has taken place. The "man who hath seen
affliction" now feels himself to be in the presence of God. Speaking
for others as well as for himself he pours out his lamentations before
God. In the first part of the elegy he had only mentioned the Divine
name as that of his great Antagonist; now it is the name of his close
Confidant.
Public-domain text, read in full here on John Shaqi.
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