The triplet of verses 19 to 21 serves as a transition to the picture of the other side of the Divine action. It begins with prayer. Thus a new note is struck. The sufferer knows that God is not at heart his enemy. So he ventures to beseech the very Being concerning whose treatment of him he has been complaining so bitterly, to remember his affliction and the misery it has brought on him, the wormwood, the gall of his hard lot. Hope now dawns on him out of his own recollections. What are these? The Authorised Version would lead us to think that when he uses the expression, "This I recall to my mind,"[181] the poet is referring to the encouraging ideas of the verses that immediately follow in the next section. But it is not probable that the last line of a triplet would thus point forward to another part of the poem. It is more consonant with the method of the composition to take this phrase in connection with what precedes it in the same triplet, and a perfectly permissible change in the translation of the 20th verse gives good sense in that connection. We may read this:
"Thou (O God) wilt surely remember, for my soul is bowed down within me."
Thus the recollection that God too has a memory and that He will remember His suffering servant becomes the spring of a new hope.
[181] iii. 21.
iii. 22-4
Although the elegist has prepared us for brighter scenes by the more hopeful tone of an intermediate triplet, the transition from the gloom and bitterness of the first part of the poem to the glowing rapture of the second is among the most startling effects in literature. It is scarcely possible to conceive of darker views of Providence, short of a Manichaean repudiation of the God of the physical universe as an evil being, than those which are boldly set forth in the opening verses of the elegy; we shudder at the awful words, and shrink from repeating them, so near to the verge of blasphemy do they seem to come. And now those appalling utterances are followed by the very choicest expression of confidence in the boundless goodness of God! The writer seems to leap in a moment out of the deepest, darkest pit of misery into the radiance of more than summer sunlight. How can we account for this extraordinary change of thought and temper?
It is not enough to ascribe the sharpness of the contrast either to the clumsiness of the author in giving utterance to his teeming fancies just as they occur to him, without any consideration for their bearings one upon another; or to his art in designedly preparing an awakening shock. We have still to answer the question, How could a man entertain two such conflicting currents of thought in closest juxtaposition?
In their very form and structure these touching elegies reflect the mental calibre of their author. A wooden soul could never have invented their movements. They reveal a most sensitive spirit, a spirit that resembles a finely strung instrument of music, quivering in response to impulses from all directions. People of a mercurial temperament live in a state of perpetual oscillation between the most contrary moods, and the violence of their despair is always ready to give place to the enthusiasm of a new hope. We call them inconsistent; but their inconsistency may spring from a quick-witted capacity to see two sides of a question in the time occupied by slower minds with the contemplation of one. As a matter of fact, however, the revulsion in the mind of the poet may not have been so sudden as it appears in his work. We can scarcely suppose that so elaborate a composition as this elegy was written from beginning to end at a single sitting. Indeed, here we seem to have the mark of a break. The author composes the first part in an exceptionally gloomy mood, and leaves the poem unfinished, perhaps for some time. When he returns to it on a subsequent occasion he is in a totally different frame of mind, and this is reflected in the next stage of his work. Still the point of importance is the possibility of the very diverse views here recorded.