v. 1-10
Unlike its predecessors, the fifth and last elegy is not an acrostic. There is little to be gained by a discussion of the various conjectures that have been put forth to account for this change of style: as that the _crescendo_ movement which reached its climax in the third elegy was followed by a _decrescendo_ movement, the conclusion of which became more prosaic; that the feelings of the poet having been calmed down during the composition of the main part of his work, he did not require the restraints of an exceptionally artificial method any longer; that such a method was not so becoming in a prayer to God as it had been in the utterance of a lament. In answer to these suggestions, it may be remarked that some of the choicest poetry in the book occurs at the close of this last chapter, that the acrostic was taken before as a sign that the writer had his feelings well under command, and that prayers appear repeatedly in the alphabetical poems. Is it not enough to say that in all probability the elegies were composed on different occasions, and that when they were put together it was natural that one in which the author had not chosen to bind himself down to the peculiarly rigorous method employed in the rest of the book should have been placed at the end? Even here we have a reminiscence of the acrostic; for the poem consists of twenty-two verses--the number of the letters in the Hebrew alphabet.
It is to be observed, further, as regards the form of this elegy, that the author now adopts the parallelism which is the characteristic note of most Hebrew poetry. The Revisers break up the poem into two-line verses. But, more strictly considered, each verse consists of one long line divided into two mutually balancing parts. Thus, while the third elegy consists of triplets, and the fourth of couplets, the fifth is still more brief, with its single line verses. In fact, while the ideas and sentiments are still elegiac and very like those found in the rest of the book, in structure this poem is more assimilated to the poetry contained in other parts of the Bible.
From beginning to end the fifth elegy is directly addressed to God. Brief ejaculatory prayers are frequent in the earlier poems, and the third elegy contains two longer appeals to God; but this last poem differs from the others in being entirely a prayer. And yet it does not consist of a string of petitions. It is a meditation in the presence of God, or, more accurately described, an account of the condition of the Jews spread out before God in order to secure His compassion. In the freedom and fulness of his utterance the poet reveals himself as a man who is not unfamiliar with the habit of prayer. It is of course only the delusion of the Pharisees to suppose that a prayer is valuable in proportion to its length. But on the other hand, it is clear that a person who is unaccustomed to prayer halts and stumbles because he does not feel at home in addressing God. It is only with a friend that we can converse in perfect freedom. One who has treated God as a stranger will be necessarily stiff and constrained in the Divine presence. It is not enough to assure such a person that God is His Father. A son may feel peculiarly uncomfortable with his own father if he has lived long in separation and alienation from his home. Freedom in the expression of confidences is a sure measure of the extent to which friendship is carried. Of course some people are more reserved than others; but still as in the same person his different degrees of openness or reserve with different people will mark his relative intimacy of friendship with them, so when a man has long accustomed himself to believe in the presence and sympathy of God, and has cultivated the habit of communing with his Father in heaven, his prayers will not be confined to set petitions; he will tell his Father whatever is in his heart. This we have already seen was what the elegist had learnt to do. But in the last of his poems he expresses more explicit and continuous confidences. He will have God know everything.