Lamentations 3:35
Context3:35 to deprive a person 1 of his rights 2
in the presence of the Most High,
Lamentations 3:29
Context3:29 Let him bury his face in the dust; 3
perhaps there is hope.
Lamentations 5:12
Context5:12 Princes were hung by their hands;
elders were mistreated. 4
Lamentations 4:8
Contextח (Khet)
4:8 Now their appearance 5 is darker than soot;
they are not recognized in the streets.
Their skin has shriveled on their bones;
it is dried up, like tree bark.
Lamentations 4:16
Contextפ (Pe)
4:16 The Lord himself 6 has scattered them;
he no longer watches over them.
They did not honor the priests; 7
they did not show favor to the elders. 8
Lamentations 1:8
Contextח (Khet)
1:8 Jerusalem committed terrible sin; 9
therefore she became an object of scorn. 10
All who admired 11 her have despised her 12
because they have seen her nakedness. 13
She groans aloud 14
and turns away in shame. 15
Lamentations 2:19
Contextק (Qof)
2:19 Get up! Cry out in the night 16
when the night watches start! 17
Pour out your heart 18 like water
before the face of the Lord! 19
Lift up your hands 20 to him
for your children’s lives; 21
they are fainting 22
at every street corner. 23
Lamentations 2:3
Contextג (Gimel)
2:3 In fierce anger 24 he destroyed 25
the whole army 26 of Israel.
He withdrew his right hand 27
as the enemy attacked. 28
He was like a raging fire in the land of Jacob; 29
it consumed everything around it. 30
Lamentations 3:30
Context3:30 Let him offer his cheek to the one who hits him; 31
let him have his fill of insults.
Lamentations 1:2
Contextב (Bet)
1:2 She weeps bitterly at night;
tears stream down her cheeks. 32
She has no one to comfort her
among all her lovers. 33
All her friends have betrayed her;
they have become her enemies.


[3:35] 1 tn The speaking voice is still that of the גֶּבֶר (gever, “man”), but the context and line are more universal in character.
[3:35] 2 tn Heb “to turn away a man’s justice,” that is, the justice or equitable judgment he would receive. See the previous note regarding the “man.”
[3:29] 3 tn Heb “Let him put his mouth in the dust.”
[5:12] 5 tn Heb “elders were shown no respect.” The phrase “shown no respect” is an example of tapeinosis, a figurative expression of understatement: to show no respect to elders = to terribly mistreat elders.
[4:8] 7 tn Heb “their outline” or “their form.” The Hebrew noun תֹּאַר (to’ar, “outline, form”) is related to the Phoenician noun תֹּאַר (to’ar, “something gazed at”), and Aramaic verb תָּאַר (ta’ar, “to gaze at”). It is used in reference to the form of a woman (Gen 29:17; Deut 21:11; 1 Sam 25:3; Esth 2:7) and of a man (Gen 39:11; Judg 8:18; 1 Sam 16:18; 28:14; 1 Kgs 1:6; 1 Chr 17:17; Isa 52:14; 53:2). Here it is used in a metonymical sense: “appearance.”
[4:16] 9 tn Heb “the face of the
[4:16] 10 tc The MT reads the plural verb לֹא נָשָׂאוּ (lo’ nasa’u, “they did not lift up”), Qal perfect 3rd person common plural from נָשָׂא (nasa’, “to lift up” the face); however, the ancient versions (LXX, Aramaic Targum, Latin Vulgate, Syriac Peshitta) have singular verbs, reflecting a Vorlage of לֹא נָשָׂא (lo’ nasa’, “he did not lift up”), Qal perfect 3rd person masculine singular from נָשָׂא (nasa’). D. R. Hillers suggests that the MT plural is an intentional scribe change, to avoid the appearance that God brought about evil on the priests and elders. Equally possible is that consonantal לא חננו (l’ khnnv) should be revocalized as Qal passive perfect 3rd person common plural, and that כֹהֲנִים (kohanim, “the priests”) functions as the subject of a passive verb rather than the accusative direct object of an active verb: “(the faces of ) the priests were not lifted up.”
[4:16] 11 tc The MT reads the plural verb לֹא חָנָנוּ (lo’ khananu, “they did not show favor”), Qal perfect 3rd person common plural from חָנַן (khanan, “to show favor, be merciful”); however, the ancient versions (LXX, Aramaic Targum, Latin Vulgate, Syriac Peshitta) have singular verbs, reflecting a Vorlage of לֹא חָנַן (lo’ khanan, “he did not show favor”), Qal perfect 3rd person masculine singular from חָנַן (khanan). D. R. Hillers suggests that the MT plural is an intentional scribe change, to avoid the appearance that God brought about evil on the priests and elders. Equally possible is that consonantal לא חננו (l’ khnnv) should be revocalized as Qal passive perfect 3rd person common plural, and that זְקֵנִים (zÿqenim, “the elders”) functions as the subject of a passive verb rather than the accusative direct object of an active verb: “the elders were not shown favor/mercy.”
[1:8] 11 tc The MT reads חֵטְא (khet’, “sin”), but the BHS editors suggest the vocalization חָטֹא (khato’, “sin”), Qal infinitive absolute.
[1:8] 12 tn Heb “she has become an object of head-nodding” (לְנִידָה הָיָתָה, lÿniydah hayatah). This reflects the ancient Near Eastern custom of shaking the head in scorn (e.g., Jer 18:16; Ps 44:15 [HT 14]), hence the translation “object of scorn.” There is debate whether נִידָה (nidah) means (1) “object of head-shaking” from נוּד (nud, “to shake,” BDB 626-27 s.v. נוּד); (2) “unclean thing” from נָדַה (nadah, “to be impure”); or (3) “wanderer” from נָדַד (nadad, “to wander,” BDB 622 s.v. I נָדַד). The LXX and Rashi connected it to נָדַד (nadad, “to wander”); however, several important early Greek recensions (Aquila and Symmachus) and Syriac translated it as “unclean thing.” The modern English versions are split: (1) “unclean thing” (NASB); “unclean” (NIV); (2) “a mockery” (NRSV).
[1:8] 13 sn The Piel participle of כָּבֵד (kaved) is infrequent and usually translated formulaically as those who honor someone. The feminine nuance may be best represented as “her admirers have despised her.”
[1:8] 14 tn The verb הִזִּילוּהָ (hizziluha) is generally understood as a rare form of Hiphil perfect 3rd person common plural + 3rd person feminine singular suffix from I זָלַל (zalal, “to despise”): “they despise her.” This follows the I nun (ן) pattern with daghesh (dot) in zayin (ז) rather than the expected geminate pattern הִזִילּוּהָ (hizilluha) with daghesh in lamed (ל) (GKC 178-79 §67.l).
[1:8] 15 sn The expression have seen her nakedness is a common metaphor to describe the plunder and looting of a city by a conquering army, probably drawn on the ignominious and heinous custom of raping the women of a conquered city as well.
[1:8] 16 tn Heb “groan” or “sigh.” The verb אָנַח (’anakh, appearing only in Niphal) means “sigh” (BDB 58 s.v. 1) or “groan” (HALOT 70-71 s.v.) as an expression of grief (Prov 29:2; Isa 24:7; Lam 1:4, 8; Ezek 9:4; 21:11). The word גַּם (gam) is usually a particle meaning “also,” but has been shown from Ugaritic to have the meaning “aloud.” See T. McDaniel, “Philological Studies in Lamentations, I-II,” Bib 49 (1968): 31-32.
[1:8] 17 tn Heb “and turns backward.”
[2:19] 13 tc The Kethib is written בַּלַּיִל (ballayil) a defective spelling for בַּלַּיְלָה (ballaylah, “night”). The Qere reads בַּלַּיְלָה (ballaylah, “night”), which is preserved in numerous medieval Hebrew
[2:19] 14 tn Heb “at the head of the watches.”
[2:19] 15 tn The noun לֵבָב (levav, “heart”) functions here as a metonymy of association for the thoughts and emotions in the heart. The Hebrew לֵבָב (levav) includes the mind so that in some cases the translation “heart” implies an inappropriate division between the cognitive and affective. This context is certainly emotionally loaded, but as part of a series of admonitions to address God in prayer, these emotions are inextricably bound with the thoughts of the mind. The singular “heart” is retained in the translation to be consistent with the personification of Jerusalem (cf. v. 18).
[2:19] 16 tc The MT reads אֲדֹנָי (’adonay, “the Lord”) here rather than יהוה (YHWH, “the
[2:19] 17 sn Lifting up the palms or hands is a metaphor for prayer.
[2:19] 18 tn Heb “on account of the life of your children.” The noun נֶפֶשׁ (nefesh) refers to the “life” of their dying children (e.g., Lam 2:12). The singular noun נֶפֶשׁ (nefesh, “life”) is used as a collective, as the plural genitive noun that follows makes clear: “your children.”
[2:19] 19 tc The BHS editors and many commentators suggest that the fourth bicola in 2:19 is a late addition and should be deleted. Apart from the four sets of bicola in 1:7 and 2:19, every stanza in chapters 1-4 consists of three sets of bicola.
[2:19] 20 tn Heb “at the head of every street.”
[2:3] 15 tc The MT reads אַף (’af, “anger”), while the ancient versions (LXX, Syriac Peshitta, Latin Vulgate) reflect אַפּוֹ (’appo, “His anger”). The MT is the more difficult reading syntactically, while the ancient versions are probably smoothing out the text.
[2:3] 16 tn Heb “cut off, scattered.”
[2:3] 17 tn Heb “every horn of Israel.” The term “horn” (קֶרֶן, qeren) normally refers to the horn of a bull, one of the most powerful animals in ancient Israel. This term is often used figuratively as a symbol of strength, usually in reference to the military might of an army (Deut 33:17; 1 Sam 2:1, 10; 2 Sam 22:3; Pss 18:3; 75:11; 89:18, 25; 92:11; 112:9; 1 Chr 25:5; Jer 48:25; Lam 2:3, 17; Ezek 29:21) (BDB 901 s.v. 2), just as warriors are sometimes figuratively described as “bulls.” Cutting off the “horn” is a figurative expression for destroying warriors (Jer 48:25; Ps 75:10 [HT 11]).
[2:3] 18 tn Heb “he caused his right hand to turn back.” The implication in such contexts is that the
[2:3] 19 tn Heb “from the presence of the enemy.” This figurative expression refers to the approach of the attacking army.
[2:3] 20 tn Heb “he burned in Jacob like a flaming fire.”
[2:3] 21 tn Or “He burned against Jacob, like a raging fire consumes all around.”
[3:30] 17 tn Heb “to the smiter.”
[1:2] 19 tn Heb “her tears are on her cheek.”
[1:2] 20 tn Heb “lovers.” The term “lovers” is a figurative expression (hypocatastasis), comparing Jerusalem’s false gods and foreign political alliances to sexually immoral lovers. Hosea uses similar imagery (Hos 2:5, 7, 10, 13). It may also function as a double entendre, first evoking a disconcerting picture of a funeral where the widow has no loved ones present to comfort her. God also does not appear to be present to comfort Jerusalem and will later be called her enemy. The imagery in Lamentations frequently capitalizes on changing the reader’s expectations midstream.