No more pathetic subject ever inspired a poet than that which became the theme of the Lamentations. Wave after wave of invasion had swept over Jerusalem, until at length the miserable city had been reduced to a heap of ruins. After the decisive defeat of the Egyptians at the great battle of Carchemish during the reign of Jehoiakim, Nebuchadnezzar broke into Jerusalem and carried off some of the sacred vessels from the temple, leaving a disorganised country at the mercy of the wild tribes of Bedouin from beyond the Jordan. Three months after the accession of Jehoiakin, the son of Jehoiakim, the Chaldaeans again visited the city, pillaged the temple and the royal palace, and sent the first band of captives, consisting of the very elite of the citizens, with Ezekiel among them, into captivity at Babylon. This was only the beginning of troubles. Zedekiah, who was set up as a mere vassal king, intrigued with Pharaoh Hophra, a piece of folly which called down upon himself and his people the savage vengeance of Nebuchadnezzar. Jerusalem now suffered all the horrors of a siege, which lasted for a year and a half. Famine and pestilence preyed upon the inhabitants; and yet the Jews were holding out with a stubborn resistance, when the invaders effected an entrance by night, and were encamped in the temple court before the astonished king was aware of their presence. Zedekiah then imitated the secrecy of his enemies. With a band of followers he crept out of one of the eastern gates, and fled down the defile towards the Jordan; but he was overtaken near Jericho, and conveyed a prisoner to Riblah; his sons were killed in his very presence, his eyes were burnt out, and the wretched man sent in chains to Babylon. The outrages perpetrated against the citizens at Jerusalem as well as the sufferings of the fugitives were such as are only possible in barbarous warfare. Finally the city was razed to the ground and her famous temple burnt.
The Lamentations bewail the fall of a city. In this respect they are unlike the normal type of elegiac poetry. As a rule, the elegy is personal in character and individualistic, mourning the untimely death of some one beloved friend of the writer. It is the revelation of a private grief, although with a poet's privilege its author calls upon his readers to share his sorrow. In the classic model of this order of verse Milton justifies the intrusion of his distress upon the peace of nature by exclaiming--
"For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer. Who would not sing for Lycidas?"
And Shelley, while treating his theme in an ethereal, fantastic way, still represents Alastor, the Spirit of Solitude, in the person of one who has just died, when he cries--
"But thou art fled, Like some frail exhalation which the dawn Robes in its golden beams,--ah! thou hast fled! The brave, the gentle, and the beautiful, The child of grace and genius."
Gray's well-known elegy, it is true, is not confined to the fate of a single individual; the churchyard suggests the pathetic reflections of the poet on the imaginary lives and characters of many past inhabitants of the village. Nevertheless these cross the stage one by one; the village itself has not been destroyed, like Goldsmith's "Sweet Auburn." Jeremiah's lamentation on the death of Josiah must have been a personal elegy; so was the scornful lament over the king of Babylon in Isaiah. But now we have a different kind of subject in the Book of Lamentations. Here it is the fate of Jerusalem, the fate of the city itself as well as that of its citizens, that is deplored. To rouse the imagination and awaken the sympathy of the reader Zion is personified, and thus the poetry is assimilated in form to the normal elegy. Still it is important for us to take note of this distinguishing trait of the Lamentations; they bewail the ruin of a city.