it be denied that the same lesson is needed in our own day? The realism that has made itself a master of a large part of popular literature reveals a state of society that perpetuates the manners of the court of Solomon, though under a thin veil of decorum. The remedy for the awful dissoluteness of large portions of society can only be found in the cultivation of such lofty ideas on the relation of the sexes that this abomination shall be scouted with horror. It is neither necessary, nor right, nor possible to contradict nature. What has to be shewn is that man's true nature is not bestial, that satyrs and fauns are not men, but degraded caricatures of men. We cannot crush the strongest passion of human nature. The moral of the Song of Solomon is that there is no occasion to attempt to crush it, because the right thing is to elevate it by lofty ideals of love and constancy.
This subject also deserves attention on its positive side. The literature of all ages is a testimony to the fact that nothing in the world is so interesting as love. What is so old as love-making? and what so fresh? At least ninety-nine novels out of a hundred have a love-story for plot; and the hundredth is always regarded as an eccentric experiment. The pedant may plant his heel on the perennial flower; but it will spring up again as vigorous as ever. This is the poetry of the most commonplace existence. When it visits a dingy soul the desert blossoms as the rose. Life may be hard, and its drudgery a grinding yoke; but with love "all tasks are sweet." "And Jacob served seven years for Rachel; and they seemed unto him but a few days, for the love he had to her."86 That experience of the patriarch is typical of the magic power of true love in every age, in every clime. To the lover it is always "the time of the singing of birds." Who shall tell the value of the boon that God has given so freely to mankind, to sweeten the lot of the toiler and shed music into his heart? But this boon requires to be jealously guarded and sheltered from abuse, or its honey will be turned into gall. It is for the toiler – the shepherd whose locks are wet with the dew that has fallen upon him while guarding his flock by night, the maiden who has been working in the vineyard; it is beyond the reach of the pleasure-seeking monarch and the indolent ladies of his court. This boon is for the pure in heart; it is utterly denied to the sensual and dissolute. Finally, it is reserved for the loyal and true as the peculiar reward of constancy.
But while a poem that contains these principles must be allowed to have an important mission in the world, it does not follow that it is suitable for public or indiscriminate reading. The fact that the key to it is not easily discovered is a warning that it is liable to be misunderstood. When it is read superficially, without any comprehension of its drift and motive, it may be perverted to mischievous ends. The antique Oriental pictures with which it abounds, though natural to the circumstances of its origin, are not in harmony with the more reserved manners of our own conditions of society. As all the books of the Bible are not of the same character, so also they are not all to be used in the same way.
THE LAMENTATIONS OF JEREMIAH
CHAPTER I
HEBREW ELEGIES
The book which is known by the title "The Lamentations of Jeremiah" is a collection of five separate poems, very similar in style, and all treating of the same subject – the desolation of Jerusalem and the sufferings of the Jews after the overthrow of their city by Nebuchadnezzar. In our English Bible it is placed among the prophetical works of the Old Testament, standing next to the acknowledged writings of the man whose name it bears. This arrangement follows the order in the Septuagint, from which it was accepted by Josephus and the Christian Fathers. And yet the natural place for such a book would seem to be in association with the Psalms and other poetical compositions of a kindred character. So thought the Rabbis who compiled the Jewish canon. In the Hebrew Bible the Book of Lamentations is assigned to the third collection, that designated Hagiographa, not to the part known as the Prophets.
In form as well as in substance this book is a remarkable specimen of a specific order of poetry. The difficulty of recovering the original pronunciation of the language has left our conception of Hebrew metres in a state of obscurity. It has been generally supposed that the rhythm was more of sight than of sound, but that it consisted essentially in neither, depending mainly on the balance of ideas. The metre, it has been stated, might strike the eye in the external aspect of the sentences; it was designed much more to charm the mind by the harmony and music of the thoughts. But while these general principles are still acknowledged, some further progress has been made in the examination of the structure of the verses, with the result that both more regularity of law and more variety of metre have been discovered. The elegy in particular is found to be shaped on special lines of its own. It has been pointed out that a peculiar metre is reserved for poems of mournful reflection.
The first feature of this metre to be noted is the unusual length of the line. In Hebrew poetry, according to the generally accepted pronunciation, the lines vary from about six syllables to about twelve. In the elegy the line most frequently runs to the extreme limit, and so acquires a slow, solemn movement.
A second feature of elegiac poetry is the breaking of the lengthy line into two unequal parts – the first part being about as long as a whole line in an average Hebrew lyric, and the second much shorter, reading like another line abbreviated, and seeming to suggest that the weary thought is waking up and hurrying to its conclusion. Sometimes this short section is a thin echo of the fuller conception that precedes, sometimes the completion of that conception. In the English version, of course, the effect is frequently lost; still occasionally it is very marked, even after passing through this foreign medium. Take, for example, the lines,
"Her princes are become like harts – that find no pasture,
And they are gone without strength – before the pursuer;"87
or again the very long line,
"It is of the Lord's mercies that we are not consumed – because His compassions fail not."88
Now although this is only a structural feature it points to inferences of deeper significance. It shews that the Hebrew poets paid special attention to the elegy as a species of verse to be treated apart, and therefore that they attached a peculiar significance to the ideas and feelings it expresses. The ease with which the transition to the elegiac form of verse is made whenever an occasion for using it occurs is a hint that this must have been familiar to the Jews. Possibly it was in common use at funerals in the dirge. We meet with an early specimen of this verse in Amos, when, just after announcing that he is about to utter a lamentation over the house of Israel, the herdsman of Tekoa breaks into elegiacs with the words,
"The virgin daughter of Israel is fallen – she shall no more rise:
She is cast down upon her land – there is none to raise her up."89
Similarly constructed elegiac pieces are scattered over the Old Testament scriptures from the eighth century B.C. onwards. Several illustrations of this peculiar kind of metre are to be found in the Psalms. It is employed ironically with terrible effect in the Book of Isaiah, where the mock lament over the death of the king of Babylon is constructed in the form of a true elegy. When the prophet made a sudden transition from his normal style to sombre funereal measures his purpose would be at once recognised, for his words would sound like the tolling bell and the muffled drums that announce the march of death; and yet it would be known that this solemn pomp was not really a demonstration of mourning or a symbol of respect, but only the pageantry of scorn and hatred and vengeance. The sarcasm would strike home with the more force since it fell on men's ears in the heavy, lingering lines of the elegy, as the exultant patriot exclaimed,
"How hath the oppressor ceased – the golden city ceased!
The Lord hath broken the staff of the wicked – the sceptre of the rulers," etc.
Gen. xxix. 20.
i. 6.
iii. 22.
Amos v. 2.
