An interesting article from www.ucg.org/brp about the readings during the Fall of the Temples. This follows this post analyzing the Ten Commandments. This follows this post about Liberty. For more interesting stories like this click here to follow this blog.
Introduction to Lamentations (Lamentations )
The author of Lamentations is not named in the book, but it is traditionally attributed to the prophet Jeremiah. "In fact, some copies of the ancient Greek Septuagint translation begin the book with these words: 'And it came to pass, after Israel [i.e., the remnant of Israel—Judah] had been carried captive, and Jerusalem became desolate, that Jeremiah sat weeping, and lamented this lamentation over Jerusalem.' Crediting Lamentations to Jeremiah is based on the following considerations: (1) Jeremiah was known as a composer of laments (see 2 Chr. 35:25). (2) Jeremiah was the prophet who mourned, 'Oh, that my head were waters, and my eyes a fountain of tears, that I might weep day and night for the slain of the daughter of my people!' (see Jer. 9:1). (3) In [Lamentations] 3:1, the author seems to identify himself with Jeremiah when he says, 'I am the man who has seen affliction by the rod of His wrath.' (4) There are many linguistic similarities between Lamentations and Jeremiah" (The Nelson Study Bible, introductory notes on Lamentations.)
"In the Talmud (Baba Bathra 15a), this book is called qinot ('Lamentations')... The name commonly used in Hebrew, however, is ekah ('How'), the first word of the first, second, and fourth laments [that is, chapters 1, 2 and 4]. In the Hebrew canon it stands in the Writings as the third of the Megilloth, or Scrolls, between Ruth and Ecclesiastes" (Expositor's Bible Commentary, introductory notes on Lamentations). We are reading it now to keep it in the context of its writing in the wake of the destruction of Jerusalem and the temple.
"The five chapters of Lamentations are five poems with ch[apter] 3 as the midpoint or climax. Accordingly, the first two chapters build an 'ascent,' or crescendo, to the climax, the grand confession of 3:23, 24: 'Great is your faithfulness. The Lord is my portion.' The last two chapters are a 'descent,' or decrescendo, from the pinnacle of ch[apter] 3... The poetry of the book enhances its purpose and structure. Chapters 1 through 4 are composed as acrostics of the twenty-two letters of the Hebrew alphabet. Each verse or group of verses begins with a word whose initial letter carries on the sequence of letters in the Hebrew alphabet. This would be similar to an English poem in which the first line begins with A; the second begins with B, and so on. One purpose of this device was probably to aid in memorization of the passage. The acrostic also suggests that the writer has thought things through and is giving a complete account of the subject" (Nelson Study Bible, introductory notes on Lamentations).
While chapter 1 is a perfect acrostic, chapters 2-4 are slightly imperfect, and oddly enough for the same reason. In each case the 16th and 17th letters of the Hebrew alphabet (ayin and pe) are swapped—for what significance we don't know. The acrostic in chapter 3 comes in groups of three—that is, each of the first three verses begins with the first Hebrew letter aleph, each of the second three with the second letter beth, etc. (see Expositor's, introductory notes on Lamentations). And then there is the mysterious chapter 5, intriguingly not an acrostic even though it still seems to divide up into 22 verses. "That chapter 5 has twenty-two verses has caused some to suggest that the laments were first written in normal verse and then rewritten to include the acrostic. This idea is ingenious but unprovable" (same note).
Other laments are written in various books like the book of Psalms, but this is the only book solely devoted to lamenting. Orthodox Jewish custom requires that this book be read aloud on the fast of Tisha b'Av, the ninth day of the Hebrew month of Ab—the traditional day on which the temple of Solomon was destroyed in 586 B.C. and on which the second temple was destroyed by the Roman army in A.D. 70. Jeremiah was present at the destruction of Solomon's temple as Jerusalem was overrun and sacked by the Babylonian armies. He saw the horrifying imagery described in the book. And yet the terrible suffering portrayed seems to reflect even more than what occurred at that time. It evidently anticipates suffering that was, and still is, yet to come—for the judgment described here is what is to befall "all the dwelling places of Jacob...every horn of Israel" (Lamentations 2:2-3), not just Judah. The book, as we will see, calls for the coming of the Day of the Lord and the final judgment on Israel's enemies. Yet there is no question that the ancient anguish and suffering of Judah is also vividly revealed in the pages of this deeply emotional account.
In its introductory notes on the book, The Bible Reader's Companion (Lawrence Richards, 1991) states: "Lamentations does maintain a consistent theological outlook: Judah's [and later all Israel's] loss can be traced to God's sovereignty, His justice, and His commitment to a morality which His people abandoned. Yet Lamentations is primarily a book that plumbs the depths of human sorrow, not from an individual's perspective, but from the perspective of an entire people. Reading the book we experience something of the overwhelming sense of despair that can grip communities and even whole nations. Even the prayers recorded in Lamentations are desperate prayers; cries of anguish rather than affirmations of hope. It is terrible as well as wonderful to be human. It is terrible indeed if we surrender to our human bent to sin. The day must come when we will look back on our lost opportunities, and realize that the misery we endure now is a consequence of our own chronic craving for sin. If nothing else, reading the Book of Lamentations reminds us the pleasures of sin are at best momentary, the painful consequences lasting and deep."
Coninued here
Schumann: Fantasie in C, Op. 17 – Maurizio Pollini
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Jul 29, 2018 | Provided to YouTube by Universal Music Group Schumann:
Fantasie in C, Op. 17 - I. Durchaus fantastisch und leidenschaftlich
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