acrostic alphabet anger appear associated becomes Bible biblical calls caused city's complaint continues couplet destroyed destruction discourse distress divine effect emotions enemy especially evoked example exile experience expression face fact faith feel figure final force genre gives God's grief hand Hebrew hope human hurt imagery imagined implied important individual interpretation Jerusalem Judah kind Lamentations language larger literally literary look LORD lyric man's matter means Mesopotamian metaphor nature never noted NRSV once opening pain particular personified play poem poem's poet poet's poetry present provides questions reader reality reference remains response rhetorical ruins sense sequence silence specifically speech stands stanza suffering suggested symbol temple Testament theological throughout tions tradition translation turn ultimately University verb violence voice whole Zion Zion's
Page xii - Restore us to yourself, O LORD, that we may be restored; renew our days as of old — unless you have utterly rejected us, and are angry with us beyond measure.
Page 118 - I will punish their transgression with the rod and their iniquity with scourges; 33 but I will not remove from him my steadfast love, or be false to my faithfulness.
Page 33 - Physical pain does not simply resist language but actively destroys it, bringing about an immediate reversion to a state anterior to language, to the sounds and cries a human being makes before language is learned
Page 48 - No statement, theological or otherwise, should be made that would not be credible in the presence of the burning children.
Page 47 - negative evidence' is faced down by the processes of poetry itself: Still, when a poem rhymes, when a form generates itself, when a metre provokes consciousness into new postures, it is already on the side of life. When a rhyme surprises and extends the fixed relations between words, that in itself protests against necessity.
Page 13 - Langer in her book Feeling and Form, that the lyric poem is of all literary genres the one most directly dependent on verbal means — the sound and evocative power of words, meter, alliteration, rhyme, and other rhythmic devices, such as repetition, archaisms, and grammatical distortion? Her answer is that "the motif ... of a lyric is usually nothing more than a thought, a vision, a mood, or a poignant emotion, which does not offer a very robust framework for the creation of a piece of virtual history...
Page 32 - For the chastisement of the daughter of my people has been greater than the punishment...
Page 35 - ... would be functionally incomplete, not merely a talented ape who had, like some under-privileged child, unfortunately been prevented from realizing his full potentialities, but a kind of formless monster with neither sense of direction nor power of self-control, a chaos of spasmodic impulses and vague emotions (Geertz, 1962).
Page 8 - He has abandoned bk liable, his sheepfold (has been delivered} to the wind; The wild ox has abandoned his stable, his sheepfold (has been delivered) to the wind. The lord of all the lands has abandoned (his Stable), his sheepfold (has been delivered) to the wind. Enlil has abandoned . . . Nippur, his sheepfold (has been delivered) to the...