iii. 55-66
As this third elegy--the richest and the most elaborate of the five that constitute the Book of Lamentations--draws to a close it retains its curious character of variability, not aiming at any climax, but simply winding on till its threefold acrostics are completed by the limits of the Hebrew alphabet, like a river that is monotonous in the very succession of its changes, now flowing through a dark gorge, then rippling in clear sunlight, and again plunging into gloomy caverns. The beauty and brightness of this very variegated poem is found at its centre. Sadder thoughts follow. But these are not so wholly complaining as the opening passages had been. There is one thread of continuity that may be traced right through the series of changes which occupy the latter part of the poem. The poet having once turned to the refuge of prayer never altogether forsakes it. The meditations as much as the petitions that here occur are all directed to God.
A peculiarity of the last portion of the elegy that claims special attention is the interesting reminiscence with which the poet finds encouragement for his present prayers. He is recalling the scenes of that most distressing period of his life, the time when he had been cast into a flooded dungeon. If ever he had come near to death it must have been then; though his life was spared the misery of his condition had been extreme. While in this most wretched situation the persecuted patriot cried to God for help, and as he now recollects for his present encouragement, he received a distinct and unmistakable answer. The scene is most impressive. As it shapes itself to his memory, the victim of tyranny is in _the lowest dungeon_. This phrase suggests the thought of the awful Hebrew Sheol. So dark was his experience, and so near was the sufferer to death, it seems to him as though he had been indeed plunged down into the very abode of the dead. Yet here he found utterance for prayer. It was the prayer of utter extremity, almost the last wild cry of a despairing soul, yet not quite, for that is no prayer at all, all prayer requiring some real faith, if only as a grain of mustard seed. Moreover, the poet states that he called upon the _name_ of God. Now in the Bible the name always stands for the attributes which it connotes. To call on God's name is to make mention of some of His known and revealed characteristics. The man who will do this is more than one "feeling after God;" he has a definite conception of the nature and disposition of the Being to whom he is addressing himself. Thus it happens that old, familiar ideas of God, as He had been known in the days of light and joy, rise up in the heart of the miserable man, and awaken a longing desire to seek the help of One so great and good and merciful. Just in proportion to the fulness of the meaning of the name of God as it is conceived by us, will our prayers win definiteness of aim and strength of wing. The altar to "an unknown god" can excite but the feeblest and vaguest devotion. Inasmuch as our Lord has greatly enriched the contents of the name of God by His full revelation of the Divine Father, to us Christians there has come a more definite direction and a more powerful impulse for prayer. Even though this is a prayer _de profundis_ it is an enlightened prayer. We may believe that, like a star seen from the depths of a well which excludes the glare of day, the significance of the sacred Name shone out to the sufferer with a beauty never before perceived when he looked up to heaven from the darkness of his pit of misery.