Richard Ritenbaugh, continuing his excursion through the Book of Lamentations, observes that the expressions of sorrow in the Psalms far outnumber expressions of praise, indicating that the Hebrew culture has almost made the lamentation an art form. An organizational pattern useful in the examination of these lamentations is Elisabeth Kubler Ross's grief-model, positing five stages of grief: 1.) denial and isolation, 2.) anger, 3.) bargaining, 4.) depression, and finally 5.) acceptance. These five stages of grief processing seem to be universal, even though outward manifestations may vary from person to person. In Lady Jerusalem's case, isolation, anger and blaming, and inconsolable depression seems to dominate in the first two chapters of Lamentations. She is a long way from acknowledging her own fault, a confession which would lead to the peaceful acceptance of her lot. To this point, she has not even expressed a credible Mea Culpa. In chapter 2, the priests and prophets come under intense scrutiny for relying on their own feelings rather than God's counsel, proclaiming lies rather than truth. The narrator also chastens the people for enabling the false ministers by insisting on their comfort zone, believing they were God's people because they had Solomon's temple in their midst, while at the same time they tacitly accepted the 'pleasures' of sin. In chapter 2, Lady Jerusalem, wallowing in ocean currents of grief, still points an accusing finger at God.
Richard Ritenbaugh warns that these laments contain little that is jovial or uplifting, but instead are saturated in despair, sorrow, mourning, and even recrimination against God on the part of a personified Jerusalem, whom God depicts as a grieving widow, blaming others for her troubles while overlooking her own sins as the real cause of her sorrows. Solomon instructs us that the house of mourning contains more insight and serves as a better cathartic than the house of mirth. The reality of death imparts to us a sense of sobriety and wisdom about how to conduct our lives. We need to take the time to think about somber things and how they relate to the purpose of life. Godly sorrow, as opposed to worldly sorrow, leads to repentance, cleansing, change, and salvation. The proper effect of the Book of Lamentations is to motivate us to change. When we realize that God's punishment of Jerusalem was justified, we can apply the same godly standards to ourselves to determine if we are as culpable as ancient Judah. In Lamentations, following the Narrator's dire description of Judah's demise, Lady Jerusalem, in a self-centered protest, blames everybody (including her lovers and God Almighty) but herself. Even though God has left her there to think about the consequences of her sins, she does not properly introspect, but, rather, blames others, excusing herself. As God's called-out ones, we must carefully compare our own self-deceptions with her self-deceptions, lest we suffer the same fate. Like ancient Judah, if we embrace sin, God will craft a yoke made of our transgressions, bringing unfathomable burden and grief.
Prior to the study of Lamentations, John Ritenbaugh explores the topic of visions and dreams from the biblical point of view. Visions and dreams, used very rarely by God to communicate to people (God does not play around with people's minds), must be corroborated by scripture or God's law to establish their veracity. The second chapter of Lamentations, preceding the first chapter in time sequence, describes the stunning and disorienting shock of seeing the total systematic devastation and utter destruction of something formerly considered indestructible, and realizing that God was responsible for the devastation. The prophets and the religious leaders bear the greatest blame for this destruction by providing a quasi-religion (with smooth and feel-good teachings condoning sin) and not teaching the Law of God.
Prior to the study of Lamentations, John Ritenbaugh, focusing on the subject of alleged out-of-body experiences, provides scriptural corroboration of their impossibility. In the opening chapter of Lamentations, Jerusalem, personified as a widow who has had to endure watching the destruction of her family, must also endure the mocking, derisive scorn from the captors. Although the United States, like Jerusalem of old (indicted for committing spiritual harlotry), has piously presented itself as the guardian of righteousness, it has, through its perverted media, exported more sin around the world than any other culture. Its humiliation and sudden fall will ultimately be apparent to even the basest pagan and most degenerate heathen. Trusting in adulterous political alliances or technology instead of God will bring devastating humiliation.
John Ritenbaugh contends that while Scripture does allow for individuals to share their faults with one another for encouragement and brotherly advice, no man has the power to forgive sins or grant absolution, a prerogative retained by Christ and God the Father alone. Trusting human allies rather than God to also seems to be a main theme of Lamentations. An acrostic poem with highly structured multiple meters, Lamentations mimics the agitated talk of someone uncontrollably sobbing or crying. Personified as a grieved widow, Jerusalem recounts her sins as a nation, depending on her own strength or on her lovers (political alliances representing spiritual harlotry) rather than upon God, her Husband. Like Ezekiel, Lamentations also applies to modern Israel, which also has the faithless tendency to form adulterous political alliances with other nations rather than rely upon God, bringing the curse of captivity and mocking scorn.
The Berean: Daily Verse and Comment
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