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.
326 JERRY A. GLADSON
past experience as a precedent for hope, or deliverance contempo-
raneous with the present?
The q strophe continues a sequence begun in v. 52, where
tormentors are said to have flung the poet into a r/B (v. 53),
here no doubt a euphemism for the place or sphere of the
dead 24. Water surges over his head 25. He cries, “I am cut offâ€
(v. 54). In the q strophe, which picks up the metaphor of r/B,
the poet cries out to YHWH and finally hears, “Do not fear!â€
(vv. 55-57). The next strophe, and perhaps the following three
(vv. 58-66), appear to respond. “You have taken up my cause, O
Lord, / you have redeemed my life†(v. 58). Some type of
deliverance is recalled. Whether in the past or in the present
remains the question.
Given that verbal action in the Semitic languages in general, and
Hebrew in particular, signal only a “general temporal orientationâ€
and not a true tense or temporal aspect 26, the syntax of the q strophe
offers little help in resolving this question. Let us consider the
following alternative renditions to discover whether some light can
be shed upon this temporal issue.
If the controlling verbs in vv. 55-57, arq, [mv, brq, and rma,
respectively, be taken as perfectives of complete-action, designating
an action now complete 27, and reading the two imperfectives (μl[t
[v. 56], arqa [v. 57]) in accord with their controlling perfectives, the
following rendition results:
Thus, if this is a metaphor for the destruction and exile of Jerusalem, it
24
symbolizes a kind of death. Cf. W. REYBURN, A Handbook on Lamentations
(United Bible Society Handbook Series; New York 1992) 100. Cf. Ps 88,6.
Reyburn proposes a dynamic rendering as “From the deepest hole, Lord, I
called out to you for helpâ€, or “From the bottom of the pit I cried out, ‘Lord,
help me’â€. Cf. also H.-J. KRAUS, Klagelieder (Threni) (BKAT 22; Neukirchen
1956) 62.
This expression may be metaphorical for overwhelming trouble or evil.
25
See Pss 18,4-5 (Heb: 5-6); 69,1-2.15 (Heb: 2-3.16); 124,4. Psalm 69,15[16]
refers to this under the same image as Lamentations: a rab.
P. KORCHIN, Markedness in Canaanite and Hebrew Verbs (HSS 58;
26
Winona Lake, IN 2008) 77. A Hebrew verb in the perfective form may
express perfective, progressive or even future aspect, cf. B. WALTKE –
M. O’CONNOR, An Introduction to Biblical Hebrew Syntax (Winona Lake, IN
1990) § 20.2c.
R. WILLIAMS, Williams’ Hebrew Syntax (Toronto 32007) § 162.
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