Lamentations

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Lamentations,

book of the Bible, placed immediately after Jeremiah, to whose author it has been ascribed since ancient times. It was probably composed by several authors. It is a series of five poems mourning the destruction of Jerusalem by Babylon. Each of the the first four poems is an alphabetical acrostic, the third having three verses to the letter, instead of one. The book begins with dirges, followed by a psalm of lament with expressions of trust. The psalm is followed by another dirge expressing grief and longing for divine intervention. It concludes with a lament and a prayer for the restoration of the fortunes of Jerusalem.

Bibliography

See study by D. R. Hillers (rev. ed. 1992). See also bibliography under Old TestamentOld Testament,
Christian name for the Hebrew Bible, which serves as the first division of the Christian Bible (see New Testament). The designations "Old" and "New" seem to have been adopted after c.A.D.
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References in periodicals archive ?
The books at the centre of this collection comprise one Lectionary for the Lamentations of Jeremiah (F335), the kyriale/antiphoner (F327), and two Mass books- a Graduale de Tempore (F349) and a Kyriale-troper (F351).
Vox Humana featured Tudor music for Passiontide, including William Byrd's Mass for Four Voices and the Lamentations of Jeremiah by Thomas Tallis.
1727), again in French and English; an excerpt from the "Paris Ceremonial" (Caeremoniale Parisiense) of 1662, on the use of the organ during services, given in English; the lessons from the first nocturne of matins for Maundy Thursday (the Lamentations of Jeremiah, for Couperin's Lecons de tenebres), given in Latin and English; brief descriptions of dance types used by Couperin; and a facsimile of Couperin's table of ornaments from the first book of Pieces de clavecin (1713).
Kirkendale discusses Cavalieri's surviving compositions--the Lamentations of Jeremiah, other responsories, and the Anima e corpo--in some detail, and examines closely the evidence for Cavalieri's lost pastorales, which he identifies as the earliest works that might bear the term opera.
I want to argue here that the "prophetic" work "Howl" most resembles is the Lamentations of Jeremiah.