Jerry A. Gladson, «Postmodernism and the Deus absconditus in Lamentations 3», Vol. 91 (2010) 321-334
Lamentations reflects the silence of God. God seemingly does not act or speak. To some, this detachment represents an absence of God; to others, a «hiddenness» of God (Deus absconditus). Analysis of Lam 3,55-57, the crux interpretum for the divine silence, suggests the q strophe may break this oppressive silence. The strophe reflects an awareness of God who speaks. God stands in the background of the whole of life for this poet, emerging only fleetingly and in ways oblique. This perspective is similar to the ambiguous, indeterminate approach to reality in postmodernism. The divine Voice thus joins other voices in Lamentations.
324 JERRY A. GLADSON
Downward once more goes the poem, as the poet insists Yhwh
bring retribution upon his tormentors in the ç through the t
strophes (3,61-66). With this, the poem comes to rest alphabetically
and theologically, a “prolonged plea to God†14.
The third poem balances an acute awareness that the horrible
calamity befallen the city has come from the “mouth of the Most
High â€, with the urgent need to submit penitently to divine mercy,
the ultimate Source of hope 15. This poem acknowledges the cause
of suffering, interprets it as a pedagogical theodicy, and points
hopefully to a future redemptive act. “The dsj of YHWH never
,
ceases †(3,22).
Although the poem follows a demanding acrostic structure, it
contains several “voicesâ€. The identity of these voices has so far
resisted definitive clarification 16. The I-voice in vv. 1-24 may be
that of an anonymous masculine sufferer, the rbg (3,1) a “shamed
and humiliated captive†17, possibly even the poet of the poem.
Earlier scholars frequently identified this voice with Jeremiah 18,
although this view has been largely abandoned. Hillers respects
anonymity and identifies this voice as that of a “typical sufferer,†a
person “who represents what any man may feel when it seems that
God is against him†19. On the other hand, the “I†may be taken as
a collective; thus the people or even Jerusalem speak(s) 20. The
theology of hope in vv. 25-39 may well be attributed to the same
voice, or to the poet, if the two are not identical. Carleen Mandolfo
locates what she calls the Didactic Voice (DV) in Lam 3,22-24, a
“ normative voice†to “counter balance†that of 3,1-21 and also the
first two poems of the book (Lam 1–2). This DV is centralized
F. DOBBS-ALLSOP, Lamentations (Louisville, KY 2002) 127.
14
Lam 3,21-23.25-30.33-36.38.40-42.
15
N. GOTTWALD, “Lamentationsâ€, Harper’s Bible Commentary (ed.
16
J. MAYS) (San Francisco, CA 1988) 650. Deciphering the voices in Lam 3 is
but a part of the larger problem of the entire book. As noted above, there is no
consensus on how many voices speak in Lamentations.
K. O’CONNOR, “Book of Lamentationsâ€, 1020.
17
So P. VERMIGLI, “Commentary on the Lamentations of the Prophet
18
Jeremiah â€, The Peter Martyr Library (trans. D. SHUTTE) (Sixteenth Century
Essays & Studies 55; Kirksville, MO 2002) VI, 146.
HILLERS, Lamentations, 64.
19
“ Here Jerusalem says of itself: ‘I am this sufferer’†— O. EISSFELDT,
20
The Old Testament. An Introduction (New York 1965) 503 (italics Eissfeldt).