The new aspect of the misery of Jerusalem is thus set forth as one of degradation and ignominy. The vision of sin is immediately followed by a scene of shame. Commentators have been divided over the question whether this picture of the humiliated woman is intended to apply to the sin of the city or only to her misfortunes. In favour of the former view, it may be remarked that uncleanness is distinctly associated with moral corruption: the connection is the more appropriate here inasmuch as a confession of sin immediately precedes. On the other hand, the attendant circumstances point to the second interpretation. It is the humiliation of the condition of the sufferer, rather than that condition itself, which is dwelt upon. Jerusalem is despised, "she sigheth," "is come down wonderfully," "hath no comforter," and is generally afflicted and oppressed by her enemies. But while we are led to regard the pitiable picture as a representation of the woful plight into which the proud city has fallen, we cannot conclude it to be an accident that this particular phase of her misery succeeds the mention of her great guilt. After all, it is only the underlying guilt that can justify a verdict which carries disgrace as well as suffering for its penalty. Even when the judgments of men are too confused to recognise this truth with regard to other people, it should be apparent to the conscience of the humiliated person himself. The humiliation which follows nothing worse than a fall into external misfortunes is but a superficial trouble, and the consciousness of innocence can enable one to submit to it without any sense of inward shame. The sting of contempt lies in the miserable consciousness that it is deserved.