Catholic Commentary
Opening Plea: "Remember, O Lord"
1Remember, Yahweh, what has come on us. Look, and see our reproach.
Lamentations 5:1 opens with an urgent plea to God to remember the suffering that has befallen Jerusalem and its people after the city's destruction. The Hebrew imperative for "remember" carries the force of divine intervention and action rather than mere mental recall, summoning God to re-engage with His afflicted people and fulfill His covenant obligations.
God's remembering is not a cognitive act but divine intervention—when we cry "Remember," we are calling Him to act on our behalf.
The use of the divine name Yahweh — the covenant name revealed to Moses (Ex 3:14–15) — is itself a theological argument. The poet does not cry to El (God generically) or to a remote deity. He invokes the God of the covenant, the God who swore fidelity to Israel and bound Himself to this people. The suffering is not merely political catastrophe; it is the shattering of a covenantal relationship. By invoking the covenant name, the poet implicitly appeals to God's own faithfulness: You bound yourself to us; now look at what has happened. This is prayer as covenant litigation — not accusation, but an appeal to the very terms of the relationship.
Catholic tradition reads this verse within the broader theology of lament as prayer, which the Catechism of the Catholic Church recognizes as a legitimate and even necessary dimension of the spiritual life. The Catechism, in its treatment of prayer, notes that the Psalms and prayers of the Old Testament express the full range of human experience before God, including abandonment and desolation (CCC 2589). Lamentations 5:1 stands as one of the most concentrated examples of this tradition.
The Church Fathers saw in the communal lament of the exiled Jerusalem a type (typos) of the Church herself in her earthly pilgrimage. St. Augustine, in The City of God, understood the suffering of the holy city as a figure of the Church militant, which groans under the weight of sin and awaits the full revelation of the heavenly Jerusalem. The plea "Remember, O Lord" is thus not only Israel's cry but the Church's perpetual cry through history — voiced most fully in the liturgy of Holy Week, when the Church stands, as it were, at the ruins of its own self-offering.
Pope Benedict XVI, in Spe Salvi, taught that Christian hope does not suppress lament but transforms it: "It is not the evasion of suffering, nor the flight from it, but the capacity to accept tribulation and thus to mature and find meaning through union with Christ" (§37). The imperative zəḵōr — "remember" — thus finds its ultimate fulfillment in the Eucharist, in which the Church does the anamnesis (memorial) of Christ's passion, and Christ in turn "remembers" His Body. The divine remembrance and the human cry meet at the altar.
St. Bonaventure and the Franciscan mystical tradition saw in this verse an image of the soul in the via negativa — stripped of all consolation and compelled to cry out from pure poverty of spirit. This aligns with the Beatitude "Blessed are the poor in spirit" (Mt 5:3): the community of Lamentations has nothing left but the Name of God to invoke.
Lamentations 5:1 offers contemporary Catholics a model for prayer in seasons of communal crisis — pandemic, war, institutional scandal, or personal desolation. The verse resists two common modern temptations: the temptation to deny suffering by forcing premature consolation, and the temptation to despair by concluding that God is absent or indifferent.
Instead, it models what the tradition calls oratio ex angustia — prayer born from anguish. Catholic parishes and families navigating grief, illness, or the felt silence of God are invited by this verse to begin prayer not with praise they cannot feel, but with the blunt cry: Look at this, Lord. Remember us. This is not faithlessness — it is faith stripped of performance.
Practically, a Catholic might use this verse as the opening of a personal or communal examination before the Blessed Sacrament: placing before God, without embellishment, the exact weight of whatever suffering is present. The catechetical insight is simple but demanding — God can bear your honesty. The cry "Remember" is itself an act of trust that He is still there to remember.
Commentary
Lamentations 5:1 — "Remember, Yahweh, what has come on us."
The Hebrew imperative zəḵōr ("remember") is the structural and theological fulcrum of the entire verse, and indeed of the whole fifth poem. In the ancient Near Eastern world, to be "remembered" by a king or deity was not merely a cognitive act — it was an act of intervention. To remember was to act. This precise force is felt throughout the Hebrew Bible: when God "remembered" Noah (Gen 8:1), the flood receded; when He "remembered" Rachel (Gen 30:22), she conceived. The plea here, then, is not simply that God recall the fact of Jerusalem's destruction, but that He re-engage, that He turn His sovereign attention back toward His afflicted people and act on their behalf.
The object of remembrance is pointedly vague and comprehensive: "what has come upon us" (meh-hāyāh lānû). The poet does not yet enumerate the specific catastrophes — the loss of land, the slavery, the famine, the rape, the desecration of the Temple — those come in the verses that follow. The opening verse functions as a summoning gesture: look at all of this. The deliberate pause before the enumeration creates a rhetorical space of waiting, of holding out the totality of suffering before God before naming any of its parts. It is an act of liturgical boldness.
This verse also marks a decisive shift in the structure of Lamentations as a whole. Chapters 1–4 are acrostic poems — each verse beginning with successive letters of the Hebrew alphabet — a literary form that implies a kind of completeness, the exhausting of all possible ways to describe grief "from A to Z." Chapter 5, by contrast, has twenty-two verses (matching the number of Hebrew letters) but abandons the acrostic. The form mirrors the content: the orderly structures of language and covenant have broken down. What remains is raw address. The poet steps out from behind the elaborate poetic architecture of the earlier chapters and simply speaks directly to God. This nakedness of address is itself theologically significant.
The shift from the third-person lament of chapters 1–4 ("She weeps bitterly in the night" — 1:2) to the second-person address of chapter 5 ("Remember, Yahweh") marks a transition from speaking about God to speaking to God. The community has moved from grief to prayer, from lamentation to petition. This is not resignation but an act of faith: only a God who is personal, who hears, who can be appealed to, is worth addressing. The very act of crying out to Yahweh amid ruin presupposes continued belief in His existence, His attention, and His power to change things.