In view of the whole situation so graphically portrayed by means of the double line of illustrations the poet concludes this part of his elegy with a device that reminds us of the function of the chorus in the Greek drama. We see the kings of all other nations in amazement at the fate of Jerusalem.[250] The mountain city had the reputation of being an impregnable fortress, at least so her fond citizens imagined. But now she has fallen. It is incredible! The news of this wholly unexpected disaster is supposed to send a shock through foreign courts. We are reminded of the blow that stunned St. Jerome when a rumour of the fall of Rome reached the studious monk in his quiet retreat at Bethlehem. Men can tell that a severe storm has been raging out in the Atlantic if they see unusually great rollers breaking on the Cornish crags. How huge a calamity must that be the mere echo of which can produce a startling effect in far countries! But could these kings really be so astonished seeing that Jerusalem had been captured twice before? The poet's language rather points to the overweening pride and confidence of the Jews, and it shows how great the shock to them must have been since they could not but regard it as a wonder to the world. Such then is the picture drawn by our poet with the aid of the utmost artistic skill in bringing out its striking effects. Now before we turn away from it let us ask ourselves wherein its true significance may be said to be. This is a study in black and white. The very language is such; and when we come to consider the lessons that language sets forth with so much sharpness and vigour, we shall see that they too partake of the same character. [250] iv. 12.