Expositor's Bible: The Song of Solomon Part 20

In conclusion, as we follow out the course of the elegy, we find the same views maintained that were presented earlier. The idea of ignominy is still harped upon. The Jews complain that they are under the rule of servants.[279] Satraps were really the Great King's slaves, often simply household favourites promoted to posts of honour.

Possibly the Jews were put in the power of inferior servants. The petty tyranny of such persons would be all the more persistently annoying, if, as often happens, servility to superiors had bred insolence in bullying the weak; and there was no appeal from the vexatious tyranny. This complaint would seem to apply to the people left in the land, for it is the method of the elegist to bring together scenes from different places as well as scenes from different times in one picture of concentrated misery. The next point is that food is only procured at the risk of life "because of the sword of the wilderness;"[280] which seems to mean that the country is so disorganised that hordes of Bedouins hover about and attack the peasants when they venture abroad to gather in their harvest. The fever of famine is seen on these wretched people; their faces burn as though they had been scorched at an oven.[281] Such is the general condition of the Jews, Such is the scene on which G.o.d is begged to look down!

[279] v. 8.

[280] v. 9.

[281] v. 10.

CHAPTER XXIII

_SIN AND SHAME_

v. 11-18

The keynote of the fifth elegy is struck in its opening verse when the poet calls upon G.o.d to remember the _reproach_ that has been cast upon His people. The preceding poems dwelt on the sufferings of the Jews; here the predominant thought is that of the humiliations to which they have been subjected. The shame of Israel and the sin which had brought it on are now set forth with point and force. If, as some think, the literary grace of the earlier compositions is not fully sustained in the last chapter of Lamentations--although in parts of it the feeling and imagination and art all touch the high-water mark--it cannot be disputed that the spiritual tone of this elegy indicates an advance on the four earlier poems. We have sometimes met with wild complaints, fierce recriminations, deep and terrible curses that seem to require some apology if they are to be justified. Nothing of the kind ruffles the course of this faultless meditation. There is not a single jarring note from beginning to end, not one phrase calling for explanation by reference to the limited ideas of Old Testament times or to the pa.s.sion excited by cruelty, insult, and tyranny, not a line that reads painfully even in the clear light of the teachings of Jesus Christ.

The vilest outrages are deplored; and yet, strange to say, no word of vindictiveness towards the perpetrators escapes the lips of the mourning patriot! How is this? The sin of the people has been confessed before as the source of all their misery; but since with it shame is now a.s.sociated as the princ.i.p.al item in their affliction, we can see in this fresh development a decided advance towards higher views of the whole position.

May we not take this characteristic of the concluding chapter of the Book of Lamentations to be an indication of progress in the spiritual experience of its author? Perhaps it is to be partially explained by the fact that the poem throughout consists of a prayer addressed directly to G.o.d. The wildest, darkest pa.s.sions of the soul cannot live in the atmosphere of prayer. When men say of the persecutor, "Behold he prayeth," it is certain that he cannot any longer be "breathing threatening and slaughter." Even the feelings of the persecuted must be calmed in the presence of G.o.d. The serenity of the surroundings of the mercy-seat cannot but communicate itself to the feverish soul of the suppliant. To draw near to G.o.d is to escape from the tumults of earth and breathe the still, pure air of heaven. He is Himself so calm and strong, so completely sufficient for every emergency, that we begin to enter into His rest as soon as we approach His presence. All unawares, perhaps unsought, the peace of G.o.d steals into the heart of the man who brings his troubles to his Father in prayer.

Then the reflections that accompany prayer tend in the same direction.

In the light of G.o.d things begin to a.s.sume their true proportions. We discover that our first fierce outcries were unreasonable, that we had been simply maddened by pain so that our judgment had been confused.

A psalmist tells us how he understood the course of events which had previously perplexed him by taking his part in the worship of the sanctuary, when referring to his persecutors, the prosperous wicked, he exclaims, "Then understood I their end."[282] In drawing near to G.o.d we learn that vengeance is G.o.d's prerogative, that He will repay; therefore we can venture to be still and leave the vindication of our cause in His unerring hands. But, further, the very thirst for revenge is extinguished in the presence of G.o.d, and that in several ways: we see that the pa.s.sion is wrong in itself; we begin to make some allowance for the offender; we learn to own kinship with the man while condemning his wickedness; above all, we awake to a keen consciousness of our own guilt.

[282] Psalm lxxiii. 17.

This, however, is not a sufficient explanation of the remarkable change in tone that we have observed in the fifth elegy. The earlier poems contain prayers, one of which degenerates into a direct imprecation.[283] If the poet had wholly given himself to prayer in that case as he has done here very possibly his tone would have been mollified. Still, we must look to other factors for a complete explanation. The writer is himself one of the suffering people. In describing their wrongs he is narrating his own, for he is "the man who has seen affliction." Thus he has long been a pupil in the school of adversity. There is no school at which a docile pupil learns so much. This man has graduated in sorrow. It is not surprising that he is not just what he was when he matriculated. We must not press the a.n.a.logy too far, because, as we have seen, there is good reason to believe that none of the elegies were written until some time after the occurrence of the calamities to which they refer, that therefore they all represent the fruit of long brooding over their theme. And yet we may allow an interval to have elapsed between the composition of the earlier ones and that of the poem with which the book closes.

This period of longer continued reflection may have been utilised in the process of clearing and refining the ideas of the poet. It is not merely that the lessons of adversity impart fresh knowledge or a truer way of looking at life and its fortunes. They do the higher work of education--they develop culture. This, indeed, is the greatest advantage to be gained by the stern discipline of sorrow. The soul that has the grace to use it aright is purged and pruned, chastened and softened, lifted to higher views, and at the same time brought down from self-esteem to deep humiliation. Here we have a partial explanation of the mystery of suffering. This poem throws light on the terrible problem by its very existence, by the spirit and character which it exhibits. The calmness and self-restraint of the elegy, while it deepens the pathos of the whole scene, helps us to see as no direct statement would do, that the chastis.e.m.e.nt of Israel has not been inflicted in vain. There must be good even in the awful miseries here described in such patient language.

[283] Lam. iii. 65.

The connection of shame with sin in this poem is indirect and along a line which is the reverse of the normal course of experience. The poet does not pa.s.s from sin to shame; he proceeds from the thought of shame to that of sin. It is the humiliating condition in which the Jews are found that awakens the idea of the shocking guilt of which this is the consequence. We often have occasion to acknowledge the fatal hindrance of pride to the right working of conscience. A lofty conception of one's own dignity is absolutely inconsistent with a due feeling of guilt. A man cannot be both elated and cast down at the same moment. If his elation is sufficiently sustained from within it will effectually bar the door to the entrance of those humbling thoughts which cannot but accompany an admission of sin. Therefore when this barrier is first removed, and the man is thoroughly humbled, he is open to receive the accusations of conscience. All his fortifications have been flung down. There is nothing to prevent the invading army of accusing thoughts from marching straight in and taking possession of the citadel of his heart.

The elegy takes a turn at the eleventh verse. Up to this point it describes the state of the people generally in their sufferings from the siege and its consequences. But now the poet directs attention to separate cla.s.ses of people and the different forms of cruelty to which they are severally subjected in a series of intensely vivid pictures.

We see the awful fate of matrons and maidens, princes and elders, young men and children. Women are subjected to the vilest abuse, neither reverence for motherhood nor pity for innocence affording the least protection. Men of royal blood and n.o.ble birth are killed and their corpses hung up in ignominy--perhaps impaled or crucified in accordance with the vile Babylonian custom. There is no respect for age or office. Neither is there any mercy for youth. In the East grinding is women's work; but, like Samson among the Philistines, the young men of the Jews are put in charge of the mills. The poet seems to indicate that they have to carry the heavy mill-stones in the march of the returning army with the spoils of the sacked city. The children are set to the slave task of Gibeonites. The Hebrew word here translated _children_ might stand for young people who had reached adult years.[284] But in the present case the condition is that of immature strength, for the burden of wood they are required to bear is too heavy for them and they stumble under it. This is the scene--outrage for the girls and women, slaughter for the leading men, harsh slavery for the children.

[284] v. 13.

Next, pa.s.sing from these exact details, the poet again describes the condition of the people more generally, and this time under the image of an interrupted feast, which is introduced by one more reference to the changes that have come upon certain cla.s.ses. The elders are no longer to be seen at the gate administering the primitive forms of law entrusted to them. The young men are no longer to be heard performing on their musical instruments.[285] Still speaking for the people, the poet declares that the joy of their heart has ceased. Then the aspect of all life must be changed to them. Instead of the gay pictures of dancers in their revelry we have the waiting of mourners. The guest at a feast would be crowned with a garland of flowers. Such was once the appearance of Jerusalem in her merry festivities. But now the garland has fallen from her head.[286]

[285] v. 14.

[286] v. 15, 16.

This imagery is a relief after the terrible realism of the immediately preceding pictures. We cannot bear to look continuously at scenes of agony, nor is it well that we should attempt to do so, because if we could succeed it would only be by becoming callous. Then the final result would be not to excite deeper sympathy, but the very reverse, and at the same time a distinctly lowering and coa.r.s.ening effect would be produced in us. And yet we may not smother up abuses in order to spare our own feelings. There are evils that must be dragged out to the light in order that they may be execrated, punished, and destroyed. _Uncle Tom's Cabin_ broke the back of American slavery before President Lincoln attacked it. Where, then, shall we find the middle position between repulsive realism and guilty negligence? We have the model for this in the Biblical treatment of painful subjects.

Scripture never gloats over the details of crimes and vices; yet Scripture never flinches from describing such things in the plainest possible terms. If these subjects are ever to become the theme of art--and art claims the whole of life for her domain--imagination must carry us away to the secondary effects rather than vivify the hideous occurrences themselves. The pa.s.sage before us affords an excellent ill.u.s.tration of this method. With a few keen, clear strokes the poet sketches in the exact situation. But he shows no disposition to linger on ghastly details. Though he does not shrink from setting them before us in unmistakable truth of form and colour, he hastens to a more ideal treatment of the subject, and relieves us with the imaginary picture of the spoiled banquet. Even Spenser sometimes excites a feeling of positive nausea when he enlarges on some most loathsome picture. It would be unendurable except that the great Elizabethan poet has woven the witchery of his dainty fancy into the fabric of his verse. Thus things can be said in poetry which would be unbearable in prose, because poetry refines with the aid of imagination the tale that it does not shrink from telling quite truly and most forcibly.

The change in the poet's style prepares for another effect. While we are contemplating the exact details of the sufferings of the different cla.s.ses of outraged citizens, the insult and cruelty and utter abomination of these scenes rouse our indignation against the perpetrators of the foulest crimes, and leave nothing but pity for their victims. It is not in the presence of such events that the sins of Israel can be brought home to the people or even called to mind.

The attempt to introduce the thought of them there would seem to be a piece of heartless officiousness. And yet it is most important to perceive the connection between all this misery and the previous misconduct of the Jews which was its real cause. Accordingly intermediate reflections, while they let the scenes of blood and terror recede, touch on the general character of the whole in a way that permits of more heart-searching self-examination. Thus out of the brooding melancholy of this secondary grief we are led to a distinct confession of sin on the part of the people.[287]

[287] v. 16.

This is the main result aimed at throughout the whole course of chastis.e.m.e.nt. Until it has been reached little good can be effected.

When it is attained the discipline has already wrought its greatest work. As we saw at the outset, it is the shame of the situation that awakens a consciousness of guilt. Humbled and penitent, the chastened people are just in the position at which G.o.d can meet them in gracious pardon. Strictly speaking, perhaps we should say that this is the position to which the elegist desires to lead them by thus appearing as their spokesman. And yet we should not make too sharp a distinction between the poet and his people. The elegy is not a didactic work; the flavour of its gentle lines would be lost directly they lent themselves to pedagogic ends. It is only just to take the words before us quite directly, as they are written in the first person plural, for a description of the thoughts of at least the group of Jews with whom their author was a.s.sociated.

The confession of sin implies in the first place a recognition of its existence. This is more than a bare, undeniable recollection that the deed was done. It is possible by a kind of intellectual jugglery even to come to a virtual denial of this fact in one's own consciousness.

But to admit the deed is not to admit the sin. The casuistry of self-defence before the court of self-judgment is more subtle than sound, as every one who has found out his own heart must be aware. In this matter "the heart is deceitful above all things."[288] Now it is not difficult to take part in a decorous service where all the congregation are expected to denominate themselves miserable offenders, but it is an entirely different thing to retreat into the silent chamber of our own thought, and there calmly and deliberately, with full consciousness of what the words mean, confess to ourselves, "We have sinned." The sinking of heart, the stinging humiliation, the sense of self-loathing which such an admission produces, are the most miserable experiences in life. The wretchedness of it all is that there is no possibility of escaping the accuser when he is self. We can do nothing but let the shame of the deed burn in the conscience without any mollifying salve--until the healing of Divine forgiveness is received.

[288] Jer. xvii. 9.

But, in the second place, confession of sin goes beyond the secret admission of it by the conscience, as in a case heard _in camera_.

Chiefly it is a frank avowal of guilt before G.o.d. This is treated by St. John as an essential condition of forgiveness by G.o.d, when He says, "If we confess our sins, He is faithful and righteous to forgive us our sins, and to cleanse us from all unrighteousness."[289] How far confession should also be made to our fellow-men is a difficult question. In bidding us confess our "faults one to another,"[290] St.

James may be simply requiring that when we have done anybody a wrong we should own it to the injured person. The harsh discipline of the white sheet is not found in apostolic times, the brotherly spirit of which is seen in the charity which "covereth a mult.i.tude of sins."[291] And yet, on the other hand, the true penitent will always shrink from sailing under false colours. Certainly public offences call for public acknowledgment, and all sin should be so far owned that whether the details are known or not there is no actual deception, no hypocritical pretence at a virtue that is not possessed, no willingness to accept honours that are quite unmerited. Let a man never pretend to be sinless, nay, let him distinctly own himself a sinner, and, in particular, let him not deny or excuse any specific wickedness with which he is justly accused; and then for the rest, "to his own lord he standeth or falleth."[292]

[289] 1 John i. 9.

[290] James v. 16.

[291] 1 Peter iv. 8.

[292] Rom. xiv. 4.

When the elegist follows his confession of sin with the words, "For this our heart is faint," etc.,[293] it is plain that he attributes the sense of failure and impotence to the guilt that has led to the chastis.e.m.e.nt. This faintness of heart and the dimness of sight that accompanies it, like the condition of a swooning person, suggest a very different situation from that of the hero struggling against a mountain of difficulties, or that of the martyr triumphing over torture and death. The humiliation is now accounted for, and the explanation of it tears to shreds the last rag of pride with which the fallen people might have attempted to hide it. The abject wretchedness of the Jews is admitted to be the effect of their own sins. No thought can be more depressing. The desolation of Mount Zion, where jackals prowl undisturbed as though it were the wilderness,[294] is a standing testimony to the sin of Israel. Such is the degradation to which the people whom the elegist here represents are reduced. It is a condition of utter helplessness; and yet in it will rise the dawn of hope; for when man is most empty of self he is most ready to receive G.o.d. Thus it is that from the deepest pit of humiliation there springs the prayer of trust and hope with which the Book of Lamentations closes.

[293] v. 17.

[294] ver. 18.

Chapter XXIV

_THE EVERLASTING THRONE_

v. 19-22

We have lingered long in the valley of humiliation.

At the eleventh hour we are directed to look up from this scene of weary gloom to heavenly heights, radiant in sunlight. It is not by accident that the new att.i.tude is suggested only at the very end of the last elegy. The course of the thought and the course of experience that underlies it have been preparing for the change. On entering the valley the traveller must look well to his feet; it is not till he has been a denizen of it for some time that he is able to lift up his eyes to other and brighter realms.

Thus at last our attention is turned from earth to heaven, from man to G.o.d. In this change of vision the mood which gave rise to the Lamentations disappears. Since earthly things lose their value in view of the treasures in heaven, the ruin of them also becomes of less account. Thus we read in the _Imitatio_:

"The life of man is always looking on the things of time, Pleased with the pelf of earth, Gloomy at loss, p.r.i.c.ked by the least injurious word; Life touched by G.o.d looks on the eternal,-- With it no cleaving unto time, No frown when property is lost, No sneer when words are harsh,-- Because it puts its treasure and its joy in heaven, Where nothing fades."