The Expositor's Bible: The Song of Solomon and the Lamentations of Jeremiah. Adeney Walter Frederic

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there is much which seems to point to Jeremiah as the author of these intensely pathetic elegies. They are not like MacPherson's Ossian; nobody can question their antiquity. If they were not quite contemporaneous with the scenes they describe so graphically they cannot have originated much later; for they are like the low wailings with which the storm sinks to rest, reminding us how recently the thunder was rolling and the besom of destruction sweeping over the land. Among the prophets of Israel Jeremiah was the voice crying in the wilderness of national ruin; it is natural to suppose that he too was the poet who poured out sad thoughts of memory in song at a later time when sorrow had leisure for reflection. His prophecies would lead us to conclude that no Jew of those dark days could have experienced keener pangs of grief at the incomparable woes of his nation. He was the very incarnation of patriotic mourning. Who then would be more likely to have produced the national lament? Here we seem to meet again none other than the man who exclaimed, "Oh that I could comfort myself against sorrow! my heart is faint within me"92 and again, "Oh that my head were waters, and mine eyes a fountain of tears, that I might weep day and night for the slain of the daughter of my people."93 Many points of resemblance between the known writings of Jeremiah and these poems may be detected. Thus Jeremiah's "Virgin daughter" of God's people reappears as the "Virgin daughter of Judah." In both the writer is oppressed with fear as well as grief; in both he especially denounces clerical vices, the sins of the two rival lines of religious leaders, the priests and the prophets; in both he appeals to God for retribution. There is a remarkable likeness in tone and temper throughout between the two series of writings. It would be possible to adduce many purely verbal marks of similarity; the commentator on Lamentations most frequently illustrates the meaning of a word by referring to a parallel usage in Jeremiah.

      On the other hand, several facts raise difficulties in the way of our accepting of the hypothesis of a common authorship. The verbal argument is precarious at best; it can only be fully appreciated by the specialist, and if accepted by the general reader, it must be taken on faith. Of course this last point is no valid objection to the real worth of the argument in itself; it cannot be maintained that nothing is true which may not be reduced to the level of the meanest intelligence, or the "differential calculus" would be a baseless fable. But when the specialists disagree, even the uninitiated have some excuse for holding the case to be not proved for either side; and it is thus with the resemblances and the differences between Jeremiah and Lamentations, long lists of phrases used in common being balanced with equally long lists of peculiarities found in one only of the two books in question. The strongest objection to the theory that Jeremiah was the author of the Lamentations, however, is one that can be more readily grasped. These poems are most elaborately artistic in form, not to say artificial. Now the objection which is roused by that fact is not simply due to the loose and less shapely construction of the prophecies; for it may justly be urged that the literary designs entertained by the prophet in the leisure of his later years may have led him to cultivate a style which would have been quite unsuitable for his practical preaching or for the political pamphlets he used to fling off in the heat of conflict. It originates in deeper psychological contradictions. Is it possible that the man who had shed bitterest tears, as from his very heart, in the dismal reality of misery, could play with his troubles in fanciful acrostics? Can we imagine a leading actor in the tragedy turning the events through which he had passed into materials for æsthetic treatment? Can we credit this of so intense a soul as Jeremiah? The composition of In Memoriam may be cited as an instance of the production of highly artistic poetry under the influence of keen personal sorrow. But the case is not parallel; for Tennyson was a passive mourner over the loss of a friend under circumstances with which he had no connection, while Jeremiah had contended strenuously for years on the field of action. Could a man with such a history have set himself to work up its most doleful experiences into the embroidery of a peculiarly artificial form of versification? That is the gravest difficulty. Other objections of minor weight follow. In the third elegy Jeremiah would seem to be giving more prominence to his own personality than we should have expected of the brave, unselfish prophet. In the fourth the writer appears to associate himself with those Jews who were disappointed in expecting deliverance from an Egyptian alliance, when he complains —

      "Our eyes do yet fail in looking for our vain help:

      In watching we have watched for a nation that could not save."94

      Would Jeremiah, who bade the Jews bow to the scourge of Jehovah's chastisement and look for no earthly deliverer, thus confess participation in the worldly policy which he, in common with all the true prophets, had denounced as faithless and disobedient? Then, while sharing Jeremiah's condemnation of the priests and prophets, the writer appears to have only commiseration for the fate of the poor weak king Zedekiah.95 This is very different from Jeremiah's treatment of him.96

      It is not a serious objection that our poet says of Zion,

      "Yea, her prophets find no vision from the Lord,"97

      while we know that Jeremiah had visions after the destruction of Jerusalem,98 because the general condition may still have been one characterised by the silencing of the many prophets with whose oracles the Jews had been accustomed to solace themselves in view of threatened calamities; nor that he exclaims,

      "Shall the priest and the prophet be slain in the sanctuary of the Lord?"99

      although Jeremiah makes no mention of this twofold assassination, because we have no justification for the assumption that he recorded every horror of the great tragedy; nor, again, that the author is evidently familiar with the Book of Deuteronomy, and refers frequently to the "Song of Moses" in particular, for this is just what we might have expected of Jeremiah; and yet these and other similar but even less conclusive points have been brought forward as difficulties. Perhaps it is a more perplexing in view of the traditional hypothesis, that the poet appears to have made use of the writings of Ezekiel. Thus the allusion to the prophets who have "seen visions … of vanity and foolishness,"100 points to the fuller description of these men in the writings of the prophet of the exile, where the completeness of the picture shews that the priority is with Ezekiel.101 Similarly the "perfection of beauty" ascribed to the daughter of Jerusalem in the second elegy102 reminds us of the similar phrase that occurs more than once in Ezekiel.103 Still, that prophet wrote before the time to which the Lamentations introduce us, and it cannot be affirmed that Jeremiah could not have seen his writings, or would not have condescended to echo a phrase from them. A difficulty of a broader character must be felt in the fact that the poems themselves give us no hint of Jeremiah. The appearance of the five elegies in the Hagiographa without any introductory notice is a grave objection to the theory of a Jeremiah authorship. If so famous a prophet had composed them, would not this have been recorded? Even in the Septuagint, where they are associated with Jeremiah, they are not translated by the same hand as the version of the prophet's acknowledged works. It may be that none of the objections which have been adduced against the later tradition can be called final; nor when regarded in their total force do they absolutely forbid the possibility that Jeremiah was the author of the Lamentations. But then the question is not so much one of possibility as one of probability. We must remember that we are dealing with anonymous poems that make no claim upon any particular author, and that we have no pleas whatever, special or more general, on which to defend the guesses of a much later and quite uncritical age, when people cultivated a habit of attaching every shred of literature that had come down from their ancestors to some famous name.

      Failing Jeremiah, it is not possible to hit upon any other known person with the least assurance. Some have followed

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