Lamentations 2
1How the Lord in his anger has humiliated daughter Zion! He has thrown down from heaven to earth the splendor of Israel; he has not remembered his footstool in the day of his anger.
2The Lord has destroyed without mercy all the dwellings of Jacob; in his wrath he has broken down the strongholds of daughter Judah; he has brought down to the ground in dishonor the kingdom and its rulers.
3He has cut down in fierce anger all the might of Israel; he has withdrawn his right hand from them in the face of the enemy; he has burned like a flaming fire in Jacob, consuming all around.
4He has bent his bow like an enemy, with his right hand set like a foe; he has killed all in whom we took pride in the tent of daughter Zion; he has poured out his fury like fire.
5The Lord has become like an enemy; he has destroyed Israel. He has destroyed all its palaces, laid in ruins its strongholds, and multiplied in daughter Judah mourning and lamentation.
6He has broken down his booth like a garden, he has destroyed his tabernacle; the LORD has abolished in Zion festival and sabbath, and in his fierce indignation has spurned king and priest.
7The Lord has scorned his altar, disowned his sanctuary; he has delivered into the hand of the enemy the walls of her palaces; a clamor was raised in the house of the LORD as on a day of festival.
8The LORD determined to lay in ruins the wall of daughter Zion; he stretched the line; he did not withhold his hand from destroying; he caused rampart and wall to lament; they languish together.
9Her gates have sunk into the ground; he has ruined and broken her bars; her king and princes are among the nations; guidance is no more, and her prophets obtain no vision from the Lord.
10The elders of daughter Zion sit on the ground in silence; they have thrown dust on their heads and put on sackcloth; the young girls of Jerusalem have bowed their heads to the ground.
11My eyes are spent with weeping; my stomach churns; my bile is poured out on the ground because of the destruction of my people, because infants and babes faint
in the streets of the city.
12They cry to their mothers, “Where is bread and wine?” as they faint like the wounded
in the streets of the city, as their life is poured out on their mothers’ bosom.
13What can I say for you, to what compare you, O daughter Jerusalem? To what can I liken you, that I may comfort you, O virgin daughter Zion? For vast as the sea is your ruin; who can heal you?
14Your prophets have seen for you false and deceptive visions; they have not exposed your iniquity to restore your fortunes, but have seen oracles for you that are false and misleading.
15All who pass along the way clap their hands at you; they hiss and wag their heads
at daughter Jerusalem; “Is this the city that was called the perfection of beauty, the joy of all the earth?”
16All your enemies open their mouths against you; they hiss, they gnash their teeth, they cry: “We have devoured her! Ah, this is the day we longed for; at last we have seen it!”
17The Lord has done what he purposed, he has carried out his threat; as he ordained long ago, he has demolished without pity; he has made the enemy rejoice over you, and exalted the might of your foes.
18Cry aloud to the Lord! O wall of daughter Zion! Let tears stream down like a torrent day and night! Give yourself no rest, your eyes no respite!
19Arise, cry out in the night, at the beginning of the watches! Pour out your heart like water
before the presence of the LORD! Lift your hands to him for the lives of your children, who faint for hunger at the head of every street.
20Look, O LORD, and consider! To whom have you done this? Should women eat their offspring, the children they have borne? Should priest and prophet be killed in the sanctuary of the Lord?
21The young and the old are lying on the ground in the streets; my young women and my young men have fallen by the sword; in the day of your anger you have killed them, slaughtering without mercy.
22You invited my enemies from all around as if for a day of festival; and on the day of the anger of the LORD no one escaped or survived; those whom I bore and reared my enemy has destroyed.
Within these first two connected poems there are three primary figures: the narrator (or the poet), daughter Zion (Jerusalem personified) and the LORD who was once the divine protector of daughter Zion but has now become her humiliator and destroyer. In the first poem (Lamentations 1) the voice of the poem was split equally between the narrator (poet) and daughter Zion. The narrator in Lamentations one attempted to remain detached and narrate the plight of the broken relationship between daughter Zion and the LORD, while daughter Zion spoke out of the desolation of herself and her people. Ultimately throughout the poems of Lamentations the LORD remains an unspeaking figure, but that does not mean that daughter Zion’s words spoken to both the LORD and those she once believed as friends go unheard and her plight goes unobserved. In this second poem the narrator, once content with reporting on her fall, can no longer remain a detached observer. Her plight has undone him and now he steps into the space between daughter Zion and the God of Israel.
An important difference between the first and second poem is the way the narrator refers to the God of Israel. In English translations of the Hebrew Scriptures when the English word LORD is capitalized throughout the word[1] the four Hebrew consonants for the name of God (YHWH) given to Moses is behind the translation with the vowels pointed to tell the speaker to pronounce the word as ‘Adonai.’[2] Yet, if you look closely at your English translation you should notice that most of the occurrences of Lord in this poem are not capitalized throughout. There are six occurrences of the divine name, but every other time it is ‘Adonai’ which is normally translated Lord. This can be as simple as calling someone “Sir” or “master” in deference or it can be an indication of rank, but it is not the normal way the prophets, poets, and narrators of the Hebrew Scriptures refer to God. Combining this observation with the content of the poem there seems to be a gap introduced between the narrator and the LORD.
Perhaps to the poet this Lord who has become an enemy is no longer acting like the LORD the God of Israel is supposed to act. Previously this narrator pointed out the unfaithfulness of daughter Zion but looking upon her desperate plight he cannot remain silent. He is committed to raising his voice the Lord may hear him. Roughly half of the utilizations of the word ‘Zion’ in the book of Lamentations occur in this second poem. (Goldingay, 2022, p. 84) This narrator steps into the space between Zion and her Lord and demands the Lord to see the impact of his anger. Perhaps this mighty God does not realize the damage that has been done and so this poet in forceful verbs attempts to gain a hearing for daughter Zion who has been humiliated and thrown down from heaven to earth. Like a child throwing a tantrum Jerusalem (or the temple)[3] has been kicked about unremembered in the wrath of this God. This Lord has destroyed, broken down, and brought down to the ground. He cut down and removed his restraining hand from daughter Zion’s enemies, but rather than passively allowing her enemies to triumph the Lord has become her enemy, burning and consuming, drawing back his bowstring to strike, killing and pouring out his fury like fire. That which was supposed to stand forever has been carelessly dismantled like a booth or tent. Stronghold and temple, kings and priests, young and old, men and women, walls and dwellings all lay ruined. Yet, in the midst of all this devastation there is no word of the LORD coming to the prophets. God’s voice remains silent as God’s devastation leaves the elders of Zion and the young girls of Jerusalem sitting on the ground in silence. The elders and the young girls represent the two extremes of the population, and the poet wants us to see a shattered people reduced to sitting in the dust of the earth in sackcloth and mourning.
In Lamentations 1:20 daughter Zion stated that “her stomach churned within her,” and now this narrator forced to hear her plea and see her plight shares her emotional reaction. In verse eleven the poet reports that his eyes are spent with weeping; my stomach churns; my bile is poured out on the ground. The poet cannot stay detached in the face of this violence against his own people. He is one of them. The children who are dying are the future of his people. The suffering of these young children with nothing to eat and nothing to drink has turned his stomach. Mothers who are powerless to prevent the starvation of their own children fill their eyes with tears. His words may not be able to comfort daughter Zion, but perhaps they can rouse her Lord to pay attention to the damage his unrestrained wrath has done. Daughter Zion through the first poem was referred to by the narrator in third person, but now he sees, and she is now the ‘you’ of his direct address. Daughter Zion who in the previous poem was implied to be adulterous has become virgin daughter Zion, one who is suffering innocently.
The poet points to the prophets who failed by giving the people false visions that allowed them to persist in their disobedience. They covered over the failings in the relationship between the people and their God and perhaps worked against prophets like Jeremiah who attempted to speak the truth. Yet, these now silent prophets are replaced by enemies who gloat at the way they have destroyed Jerusalem. The poet knows that it is the Lord who opened his mouth and allowed this to happen. The enemies who waited for this day did not know they were participating in the premeditated act of destruction unleashed by the anger of their God.
The narrator calls for the walls of the city to cry out to the Lord as the poet himself is crying out. The identity of their God is one who sees and hears, and their only deliverance is in God turning from God’s action. This destroyed wall of Jerusalem becomes a ‘wailing wall’. (Goldingay, 2022, p. 113) The city and the poet refuse to remain silent amid their weeping and stomach-turning reality. They now stand together calling on their Lord to once again be the LORD who rescues, delivers, protects, and provides.
Kathleen O’Connor views the voice of the poem returning to daughter Zion in verse twenty (NIB VI: 1043) but the poem is not explicit about a voice change and for me retaining the entire poem in the narrator’s voice makes logical sense. This narrator who once stood observing both daughter Zion’s disobedience and punishment now has come to her side and asks the LORD (and it is the divine name used here) to look and consider if God’s actions are just or proportional. The question to whom have you done this is even more direct in Hebrew. Kathleen O’Connor indicated that even ‘who have you ever treated (‘alal) like this’ needs to be strengthened because ‘alal suggests affliction and abuse. (NIB VI: 1043) and the word for children (‘ol ale) parallels this word for affliction. Even in English the implication of the Lord being responsible for a starvation so vast that it forces women into cannibalism, creating a reality where priests and prophets are slain in the holy place of the temple and that young and old die indiscriminately is a bold claim, but it is also a claim that fits within the language of Jeremiah and the Psalms. The young men and young women have died in the streets, the future itself is dying, and it is the Lord’s fault. Instead of allowing the people to celebrate the festivals to the LORD, now it is the enemies who are invited to Jerusalem to celebrate. But the LORD, the protector, has transformed in his fury into the Lord who is now the enemy of daughter Zion, and by extension the narrator who speaks up for her.
These poems in Lamentations attempt to make sense of a reality turned on its head. Their world has collapsed. Jerusalem, the king, the priests and prophets, the temple, and the land have all been devastated. Children, men and women in their prime, and the elders have all fallen victim to starvation and the sword. As Kathleen O’Connor states eloquently:
They (the poems of Lamentations) create a rhetoric of fury, a swirling language of pain, distrust, and betrayal, both divine and human. In this language what is awry and causes unspeakable suffering is the way that God relates to humans, the way God has abandoned covenant mutuality and faithfulness. This causes profound rage. (NIB VI:1043)
Yet, even in this profound rage the poet and the city cry out to the Lord. The desire God to turn from God’s anger and see the devastation God has wrought and to repent. They may feel that God’s actions and anger have gone too far, that God has abandoned God’s covenant responsibilities just as they had done. This second acrostic poem is an exercise of attempting to bring order to a disordered world. Of utilizing words to speak of a suffering which surpasses what words can communicate. Their world, their home, their lives, and their relationship with their God is broken. They speak these words into the silence of the void waiting for an answer from their LORD which they have not received.
[1] Many printings of English bibles will use drop cap for this where the first L is in the normal font size and the ORD drops down one font size.
[2] In Hebrew the vowels were added later and are above and below the consonants. This is done to not casually pronounce the divine name in keeping with the commandment of not using the name of the LORD your God in vain.
[3] Footstool often is used to refer to the cover of the ark of the covenant and by extension the temple or Zion as a whole.
Sign of the Rose 