THE BOOK OF JOB. INTRODUCTORY REMARKS. THIS book receives its title from the person described in its pages. It has been questioned, however, by biblical scholars, whether the name of Job refers to a real personage. That it does not, is maintained by Maimonides, LeClerc, Michaelis, Semler, Stock, and others. That there is reference to a real personage is supported by Calmet, Heidegger, Spanheim, Moldenhawer, Schultens, Carpzof, Magee, Lowth, Kennicott, Hales, Taylor, and by evangelical divines generally. The improbability that Satan would be represented as accusing Job, the inconsis tency of the idea that God should permit such grievous temptations and sufferings to be experienced by a just man, and the artificial regularity of the numbers used in describing the patriarch's possessions, are presented as proofs that the name does not indicate a real personage. On the other hand, the manner in which different inspired writers have spoken of Job (cf. Eze. xiv. 14; James v. 11, etc.), and the fact that he is expressly mentioned as a real personage by various ancient historians, leave but little doubt that such a man existed. The learned Dr. Hales has shown by astronomical calculations that Job's trial must have occurred 818 years after the deluge, 184 before the birth of Abraham, and 689 before the exodus of the Israelites from Egypt, or B. C. 2337 (2130 according to the usual computation). The fact that the exodus is not mentioned in the book of Job, nor the destruction of Sodom and Gomorrah, the great length of the patriarch's life, the allusion to Sabianism, one of the most ancient superstitions, also the fact that all of the speakers use the Hebrew language, though Idumæans or Arabians, and other considerations, confirm the great antiquity of the poem, and critics and commentators agree that it is the most ancient book extant. The scene of this composition is laid in Uz, which seems to have been Idumæa (cf. Lam. iv. 21), located between Egypt and Philistia (cf. Jer. xxv. 20). The poem contains a description of a great sufferer. Though Job was a just man, he was lamentably afflicted with a loathsome disease, as well as with the loss of his property and friends. He was an Emir or Arabian prince of great wealth, authority, and distinction, and probably his friends Eliphaz, Bildad, and Zophar were Emirs of important cities. It is believed that the Patriarch had the Elephantiasis or leprosy of the Arabians, which the ancient medical writer, Paul of Ægineta, characterized as an universal ulcer. It was named Elephantiasis by the Greeks, because it rendered the skin like that of an elephant, scabrous, dark colored, furrowed with tubercles, and extremely loathsome to the patient as well as to others. The good man seemed to be reduced to the lowest depths of human misery, and his mournful condition called forth the strongest feelings of the heart, and suggested the highest kind of poetic numbers. That the Book of Job was composed by a single author is evident from the remarkable unity which is apparent throughout its pages, and from the references in the peroration to the exordium and to other parts of the poem. There is a difference of opinion, however, in reference to the question, who that author was? It must have been either Job himself, or a contemporary of his. Had it been Moses, as some suppose, there would undoubtedly have been frequent allusions to the customs, manners, and history of the Israelites; but there is not one such reference. The grand object presented to our contemplation, is the example of a devotedly pious man, suddenly precipitated from the highest pinnacle of earthly prosperity to the most abject misery and ruin, yet sustaining his bereavements and sorrows with entire resignation to the divine will. The book is a kind of elegiac drama. Bishop Lowth considers it, "to some extent, a dramatic poem, as the parties are introduced as speaking with great fidelity of character, and as it deviates from strict historical accuracy for the sake of effect." But this is questioned by others. The book has been called by different critics, a didactic, an ethic, an epic, and a dramatic poem. It may have some of the qualities of all. It is unique in its character, differing in some respects from all the other specimens of poetry in the sacred Scriptures. The circumstances under which it was composed are exciting in the highest degree. A mortal is suddenly reduced from princely affluence to the most distressing poverty and misery imaginable-enduring, without a murmur, apparently more than human nature could bear-his relatives, of great influence and power, visiting him for the avowed purpose of consolation, but reproaching him, and uttering unjust suspicions in reference to the motives by which he was actuated-Job in his wretchedness appealing to the Almighty, and the Eternal, from his throne, condescending to hold conversation with him. This accumulation of mournful circumstances is adapted to arouse all the energies of the soul, and produce, in the mind, the sublimest emotions. The power of lifelike description here exhibited is far superior to that of any other of the sacred poets. As we read, we feel that we are in the midst of the wild sublimities of nature, where the lightnings play and the thunders roll. We see the parched desert, and then the dashing, whirling tempest. We hear the tiger's growl and the lion's roar. We behold nature in her simplest, roughest, and yet grandest form; we seem to be grappling with the terrific war-horse, the monster behemoth, and the powerful leviathan; and then we are listening to the strange, wild music of nature. How vivid is Eliphaz's description. of a vision of the night. Darkness surrounds him. He is alone on his bed. Suddenly a shuddering comes over him. A kind of indefinite shadow moves before him. He fears and trembles until every bone shakes. At length he perceives, more distinctly, a spirit passing. His hair is erect. It is a form without a marked outline-a messenger from another world-and then a still, small voice is heard. "How can man be more just than God, or mortal man more just than his Maker?" This is a masterly description, excelling even Milton's representation of chaos. The whole poem is full of oriental rudeness, beauty, and grandeur. Elegiac, as well as lyric poetry, was often accompanied by plaintive music. Some of the Psalms of David are sacred elegies, and their recital was doubtless accompanied by plaintive notes from his enchanting harp. The original recital of the book of Job was not probably accompanied by either instrumental or vocal music, as the occasion did not seem to require it. Its metrical arrangement, however, is adapted to musical accompaniments. The commencement and close of the book are written in prose. The exordium contains a description of Job's wealth, domestic prosperity and happiness. Then follows an account of a remarkable conversation between the Great Creator and the arch-Deceiver of mankind, in refer ence to a just man called Job. Jehovah directs the attention of Satan to him as "perfect and upright above any other person upon the earth." The Deceiver replies, and utters the suspicion that Job exhibits apparent piety from the fact that he had been continually blessed and never afflicted. Then God permits him to sift the good man, as wheat, that his faith may be thoroughly tried. The Devil retires from the presence of the Lord, and the sad tidings are speedily brought to the old patriarch that his oxen and asses had been carried away by the Sabæans, and that some of his servants had been slain. Next, his sheep, and other servants are consumed by fire from heaven. Then his camels are captured by the Chaldæans, and finally it is announced that his sons are buried beneath the ruins of the house in which they had assembled. These accumulated and terrible afflictions deeply afflicted the man of God; but he did not murmur. He arose, rent his mantle, shaved his head, and falling upon the earth, worshipped God, exclaiming, in plaintive, poetic strains, "Naked came I out of my mother's womb, And naked shall I return thither: The Lord gave, and the Lord hath taken away; Vid. Job i. 21. The second chapter of the book is written in prose, in the first part of which is found a continuation of the conversation between Deity and Satan. Jehovah descants upon the perseverance of the patriarch in his integrity though in so great distress, while the latter intimates, that if the good man should be attacked by disease, he would curse his Maker. God permits the Devil to afflict him still more severely, and the fiend smites him with sore |