Lam 1 | KD | STEP | The poem begins with a doleful meditation on the deeply degraded state into which Jerusalem has fallen; and in the first half ( ), lament is made over the sad condition of the unhappy city, which, forsaken by all her friends, and persecuted by enemies, has lost all her glory, and, finding no comforter in her misery, pines in want and disesteem. In the second half ( ), the city herself is introduced, weeping, and giving expression to her sorrow over the evil determined against her because of her sins. Both portions are closely connected. On the one hand, we find, even in and , tones of lamentation, like signs from the city, coming into the description of her misery, and preparing the way for the introduction of her lamentation in ; on the other hand, her sin is mentioned even so early as in and as the cause of her misfortune, and the transition thus indicated from complaint to the confession of guilt found in the second part. This transition is made in by means of a kind of meditation on the cheerless and helpless condition of the city. The second half of the poem is thereby divided into two equal portions, and in such a manner that, while in the former of these ( ) it is complaint that prevails, and the thought of guilt comes forward only in , in the latter ( ) the confession of God's justice and of sin in the speaker becomes most prominent; and the repeated mention of misery and oppression rises into an entreaty for deliverance from the misery, and the hope that the Lord will requite all evil on the enemy. Doleful consideration and description of the dishonour that has befallen Jerusalem. In these verses the prophet, in the name of the godly, pours out his heart before the Lord. The dreadful turn that things have taken is briefly declared in in two clauses, which set forth the fall of Jerusalem from its former glory into the depths of disgrace and misery, in such a way that the verse contains the subject unfolded in the description that follows. We have deviated from the Masoretic pointing, and arranged the verse into three members, as in the succeeding verses, which nearly throughout form tristichs, and have been divided into two halves by means of the Athnach; but we agree with the remark of Gerlach, "that, according to the sense, היתה למס and not היתה כּאלמנה is the proper antithesis to רבּתי בגּוים." איכה is here, as in ; , an expression of complaint mingled with astonishment; so in ; . "She sits solitary" (cf. ) is intensified by "she has become like a widow." Her sitting alone is a token of deep sorrow (cf. ), and, as applied to a city, is a figure of desolation; cf. . Here, however, the former reference is the main one; for Jerusalem is personified as a woman, and, with regard to its numerous population, is viewed as the mother of a great multitude of children. רבּתי is a form of the construct state, lengthened by Yod compaginis , found thrice in this verse, and also in , elegiac composition; such forms are used, in general, only in poetry that preserves and affects the antique style, and reproduces its peculiar ring. (Note: On the different views regarding the origin and meaning of this Yod compaginis , cf. Fr. W. M. Philippi, Wesen u. Ursprung des Status constr. im Hebr . S. 96ff. This writer (S. 152ff.) takes it to be the remnant of a primitive Semitic noun-inflexion, which has been preserved only in a number of composite proper names of ancient origin e.g., מלכּיחדק, etc.]; in the words אב, אח, and חם, in which it has become fused with the third radical into a long vowel; and elsewhere only between two words standing in the construct relation see Ges. §90; Ewald, §211.) According to the twofold meaning of רב ( Much and Great ), רבּתי in the first clause designates the multiplicity, multitude of the population; in the second, the greatness or dignity of the position that Jerusalem assumed among the nations, corresponding to the שׂרתי במּדינות, "a princess among the provinces." מדינה, from דּין (properly, the circuit of judgment or jurisdiction), is the technical expression for the provinces of the empires in Asia (cf. , , etc.), and hence, after the exile, was sued of Judah, ; , and in of the districts in the kingdom of Israel. Here, however, המּדינות are not the circuits or districts of Judah (Thenius), but the provinces of the heathen nations rendered subject to the kingdom of Israel under David and Solomon (corresponding to הגּויים), as in . Jerusalem was formerly a princess among the provinces, during the flourishing period of the Jewish kingdom under David and Solomon. The writer keeps this time before his mind, in order to depict the contrast between the past and present. The city that once ruled over nations and provinces has now become but dependent on others. מס (the derivation of which is disputed) does not mean soccage or tribute, but the one who gives soccage service, a soccager; see on and . The words, "The princess has become a soccager," signify nothing more than, "She who once ruled over peoples and countries has now fallen into abject servitude," and are not (with Thenius) to be held as "referring to the fact that the remnant that has been left behind, or those also of the former inhabitants of the city who have returned home, have been set to harder labour by the conquerors." When we find the same writer inferring from this, that these words presuppose a state of matters in which the country round Jerusalem has been for some time previously under the oppression of Chaldean officers, and moreover holding the opinion that the words "how she sits..." could only have been written by one who had for a considerable period been looking on Jerusalem in its desolate condition, we can only wonder at such an utter want of power to understand poetic language.

Lamentations 1

Sorrow and Wailing over the Fall of Jerusalem and Judah

(Note: Keil has attempted, in his German translation of this and the next three chapters, to reproduce something of the alphabetic acrosticism of the original (see above, p. 466); but he has frequently been compelled, in consequence, to give something else than a faithful reproduction of the Hebrew. It will be observed that his example has not been followed here; but his peculiar renderings have generally been given, except where these peculiarities were evidently caused by the self-imposed restraint now mentioned. He himself confesses, in two passages omitted from the present translation (pp. 591 and 600 of the German original), that for the sake of reproducing the alphabeticism, he has been forced to deviate from a strict translation of the ideas presented in the Hebrew. - Tr.)

1 Alas! how she sits alone, the city that was full of people!

She has become like a widow, that was great among the nations;

The princess among provinces has become a vassal.

2 She weeps bitterly through the night, and her tears are upon her cheek;

She has no comforter out of all her lovers:

All her friends have deceived her; they have become enemies to her.

3 Judah is taken captive out of affliction, and out of much servitude;

She sitteth among the nations, she hath found no rest;

All those who pursued her overtook her in the midst of her distresses.

4 The ways of Zion mourn, for want of those who went up to the appointed feast;

All her gates are waste; her priests sigh;

Her virgins are sad, and she herself is in bitterness.

5 Her enemies have become supreme; those who hate her are at ease;

For Jahveh hath afflicted her because of the multitude of her transgressions:

Her young children have gone into captivity before the oppressor.

6 And from the daughter of Zion all her honour has departed;

Her princes have become like harts [that] have found no pasture,

And have gone without strength before the pursuer.

7 In the days of her affliction and her persecutions,

Jerusalem remembers all her pleasant things which have been from the days of old:

When her people fell by the hand of the oppressor, and there was none to help her,

Her oppressors saw her, - they laughed at her times of rest.

8 Jerusalem hath sinned grievously, therefore she hath become an abomination:

All those who honoured her despise her, because they have seen her nakedness;

And she herself sighs, and turns backward.

9 Her filth is on her flowing skirts; she remembered not her latter end;

And so she sank wonderfully: she has no comforter.

"O Jahveh, behold my misery!" for the enemy hath boasted.

10 The oppressor hath spread out his hand upon all her precious things;

For she hath seen [how] the heathen have come into her sanctuary,

[Concerning] whom Thou didst command that they should not enter into Thy community.

11 All her people [have been] sighing, seeking bread;

They have given their precious things for bread, to revive their soul.

See, O Jahveh, and consider that I am become despised.

12 [Is it] nothing to you, all ye that pass along the way?

Consider, and see if there be sorrow like my sorrow which is done to me,

Whom Jahveh hath afflicted in the day of the burning of His anger.

13 From above He sent fire in my bones, so that it mastered them;

He hath spread a net for my feet, He hath turned me back;

He hath made me desolate and ever languishing.

14 The yoke of my transgressions hath been fastened to by His hand;

They have interwoven themselves, they have come up on my neck; it hath made my strength fail:

The Lord hath put me into the hands of [those against whom] I cannot rise up.

15 The Lord hath removed all my strong ones in my midst;

He hath proclaimed a festival against me, to break my young men in pieces:

The Lord hath trodden the wine-press for the virgin daughter of Judah.

16 Because of these things I weep; my eye, my eye runneth down [with] water,

Because a comforter is far from me, one to refresh my soul;

My children are destroyed, because the enemy hath prevailed.

17 Zion stretcheth forth her hands, [yet] there is none to comfort her;

Jahveh hath commanded concerning Jacob; his oppressors are round about him:

Jerusalem hath become an abomination among them.

18 Jahveh is righteous, for I have rebelled against His mouth.

Hear now, all ye peoples, and behold my sorrow;

My virgins and my young men are gone into captivity.

19 I called for my lovers, [but] they have deceived me;

My priests and my elders expired in the city,

When they were seeking bread for themselves, that they might revive their spirit.

20 Behold, O Jahveh, how distressed I am! my bowels are moved;

My heart is turned within me, for I was very rebellious:

Without, the sword bereaveth [me]; within, [it is] like death.

21 They have heard that I sigh, I have no comforter:

All mine enemies have heard of my trouble; they are glad because Thou hast done it.

Thou bringest the day [that] Thou hast proclaimed, that they may be like me.

22 Let all their wickedness come before Thee,

And do to them as Thou hast done to me because of all my transgressions;

For my sighs are many and my heart is faint.

The poem begins with a doleful meditation on the deeply degraded state into which Jerusalem has fallen; and in the first half (Lam 1:1-11), lament is made over the sad condition of the unhappy city, which, forsaken by all her friends, and persecuted by enemies, has lost all her glory, and, finding no comforter in her misery, pines in want and disesteem. In the second half (Lam 1:12-22), the city herself is introduced, weeping, and giving expression to her sorrow over the evil determined against her because of her sins. Both portions are closely connected. On the one hand, we find, even in Lam 1:9 and Lam 1:11, tones of lamentation, like signs from the city, coming into the description of her misery, and preparing the way for the introduction of her lamentation in Lam 1:12-22; on the other hand, her sin is mentioned even so early as in Lam 1:5 and Lam 1:8 as the cause of her misfortune, and the transition thus indicated from complaint to the confession of guilt found in the second part. This transition is made in Lam 1:17 by means of a kind of meditation on the cheerless and helpless condition of the city. The second half of the poem is thereby divided into two equal portions, and in such a manner that, while in the former of these (Lam 1:12-16) it is complaint that prevails, and the thought of guilt comes forward only in Lam 1:14, in the latter (Lam 1:18-22) the confession of God's justice and of sin in the speaker becomes most prominent; and the repeated mention of misery and oppression rises into an entreaty for deliverance from the misery, and the hope that the Lord will requite all evil on the enemy.

Doleful consideration and description of the dishonour that has befallen Jerusalem. In these verses the prophet, in the name of the godly, pours out his heart before the Lord. The dreadful turn that things have taken is briefly declared in Lam 1:1 in two clauses, which set forth the fall of Jerusalem from its former glory into the depths of disgrace and misery, in such a way that the verse contains the subject unfolded in the description that follows. We have deviated from the Masoretic pointing, and arranged the verse into three members, as in the succeeding verses, which nearly throughout form tristichs, and have been divided into two halves by means of the Athnach; but we agree with the remark of Gerlach, "that, according to the sense, היתה למס and not היתה כּאלמנה is the proper antithesis to רבּתי בגּוים." איכה is here, as in Lam 2:1; Lam 4:1-2, an expression of complaint mingled with astonishment; so in Jer 48:17; Isa 1:21. "She sits solitary" (cf. Jer 15:17) is intensified by "she has become like a widow." Her sitting alone is a token of deep sorrow (cf. Neh 1:4), and, as applied to a city, is a figure of desolation; cf. Isa 27:10. Here, however, the former reference is the main one; for Jerusalem is personified as a woman, and, with regard to its numerous population, is viewed as the mother of a great multitude of children. רבּתי is a form of the construct state, lengthened by Yod compaginis, found thrice in this verse, and also in Isa 1:21, elegiac composition; such forms are used, in general, only in poetry that preserves and affects the antique style, and reproduces its peculiar ring.

(Note: On the different views regarding the origin and meaning of this Yod compaginis, cf. Fr. W. M. Philippi, Wesen u. Ursprung des Status constr. im Hebr. S. 96ff. This writer (S. 152ff.) takes it to be the remnant of a primitive Semitic noun-inflexion, which has been preserved only in a number of composite proper names of ancient origin e.g., מלכּיחדק, etc.]; in the words אב, אח, and חם, in which it has become fused with the third radical into a long vowel; and elsewhere only between two words standing in the construct relation see Ges. §90; Ewald, §211.)

According to the twofold meaning of רב (Much and Great), רבּתי in the first clause designates the multiplicity, multitude of the population; in the second, the greatness or dignity of the position that Jerusalem assumed among the nations, corresponding to the שׂרתי במּדינות, "a princess among the provinces." מדינה, from דּין (properly, the circuit of judgment or jurisdiction), is the technical expression for the provinces of the empires in Asia (cf. Est 1:1, Est 1:22, etc.), and hence, after the exile, was sued of Judah, Ezr 2:1; Neh 7:6, and in 1Ki 20:17 of the districts in the kingdom of Israel. Here, however, המּדינות are not the circuits or districts of Judah (Thenius), but the provinces of the heathen nations rendered subject to the kingdom of Israel under David and Solomon (corresponding to הגּויים), as in Ecc 2:8. Jerusalem was formerly a princess among the provinces, during the flourishing period of the Jewish kingdom under David and Solomon. The writer keeps this time before his mind, in order to depict the contrast between the past and present. The city that once ruled over nations and provinces has now become but dependent on others. מס (the derivation of which is disputed) does not mean soccage or tribute, but the one who gives soccage service, a soccager; see on Exo 1:11 and 1Ki 4:6. The words, "The princess has become a soccager," signify nothing more than, "She who once ruled over peoples and countries has now fallen into abject servitude," and are not (with Thenius) to be held as "referring to the fact that the remnant that has been left behind, or those also of the former inhabitants of the city who have returned home, have been set to harder labour by the conquerors." When we find the same writer inferring from this, that these words presuppose a state of matters in which the country round Jerusalem has been for some time previously under the oppression of Chaldean officers, and moreover holding the opinion that the words "how she sits..." could only have been written by one who had for a considerable period been looking on Jerusalem in its desolate condition, we can only wonder at such an utter want of power to understand poetic language.