The mourner sits _in the night_, while the world around lies in the peace of sleep. The darkness has fallen, yet she does not stir, for day and night are alike to her--both dark. She is statuesque in sorrow, petrified by pain, and yet unhappily not dead; benumbed, but alive in every sensitive fibre of her being and terribly awake. In this dread night of misery her one occupation is weeping. The mourner knows how the hidden fountains of tears which have been sealed to the world for the day will break out in the silent solitude of night; then the bravest will "wet his couch with his tears." The forlorn woman "weepeth sore"; to use the expressive Hebraism, "weeping she weepeth." "Her tears are on her cheeks"; they are continually flowing; she has no thought of drying them; there is no one else to wipe them away. This is not the frantic torrent of youthful tears, soon to be forgotten in sudden sunshine, like a spring shower; it is the dreary winter rain, falling more silently, but from leaden clouds that never break. The Hebrew poet's picture is illustrated with singular aptness by a Roman coin, struck off in commemoration of the destruction of Jerusalem by the army of Titus, which represents a woman seated under a palm tree with the legend _Judæa capta_. Is it too much to imagine that some Greek artist attached to the court of Vespasian may have borrowed the idea for the coin from the Septuagint version of this very passage? The woe of Jerusalem is intensified by reason of its contrast with the previous splendour of the proud city. She had not always appeared as a lonely widow. Formerly she had held a high place among the neighbouring nations--for did she not cherish memories of the great days of her shepherd king and Solomon the magnificent? Then she ruled provinces; now she is herself tributary. She had lovers in the old times--a fact which points to faults of character not further pursued at present. How opposite is the utterly deserted state into which she is now sunk! This thought of a tremendous fall gives the greatest force to the portrait. It is Rembrandtesque; the black shadows on the foreground are the deeper because they stand sharply out against the brilliant radiance that streams in from the sunset of the past. The pitiableness of the comfortless present lies in this, that there had been lovers whose consolations would now have been a solace; the bitterness of the enmity now experienced is its having been distilled from the dregs of poisoned friendship. Against the protests of her faithful prophets Jerusalem had courted alliance with her heathen neighbours, only to be cruelly deserted in her hour of need. It is the old story of friendship with the world, keenly accentuated in the life of Israel, because this favoured people had already seen glimpses of a rich, rare privilege, the friendship of Heaven. This is the irony of the situation; it is the tragic irony of all Hebrew history. Why were