The modern analogue in literature is the philosophic novel. But Job is far more intense, more operatic, as Ewald says, and the elements are even simpler. Isolation is secured. Life is bared to its elements. The personality is entangled in disaster with the least possible machinery or incident. The dramatising altogether is singularly abstract. And thus we are enabled to see, as it were, the very thought of the author, lonely, resolute, appealing, under the widespread Arabian sky and the Divine infinitude.
CHAP. i. 6-12.
With the presentation of the scene in heaven, the genius, the pious daring, and fine moral insight of the writer at once appear--in one word, his inspiration. From the first we feel a sure yet deeply reverent touch, a spirit composed in its high resolve. The thinking is keen, but entirely without strain. In no mere flash did the over-world disclose itself and those decrees that shape man's destiny. There is constructive imagination. Wherever the idea of the heavenly council was found, whether in the vision Micaiah narrated to Jehoshaphat and Ahab, or in the great vision of Isaiah, it certainly was not unsought. Through the author's own study and art the inspiration came that made the picture what it is. The calm sovereignty of God, not tyrannical but most sympathetic, is presented with simple felicity. It was the distinction of Hebrew prophets to speak of the Almighty with a confidence which bordered on familiarity yet never lost the grace of profound reverence; and here we find that trait of serious naïveté. The writer ventures on the scene he paints with no consciousness of daring nor the least air of difficult endeavour, but quietly, as one who has the thought of the Divine government of human affairs constantly before his mind and glories in the majestic wisdom of God and His friendliness to men. In a single touch the King is shown, and before Him the hierarchies and powers of the invisible world in their responsibility to His rule. Centuries of religious culture are behind the words, and also many years of private meditation and philosophic thought. To this man, because he gave himself to the highest discipline, revelations came, uplifting, broad, and deep.
In contrast to the Almighty we have the figure of the Adversary, or Satan, depicted with sufficient clearness, notably coherent, representing a phase of being not imaginary but actual. He is not, as the Satan of later times came to be, the head of a kingdom peopled with evil spirits, a nether world separated from the abode of the heavenly angels by a broad, impassable gulf. He has no distinctive hideousness, nor is he painted as in any sense independent, although the evil bent of his nature is made plain, and he ventures to dispute the judgment of the Most High. This conception of the Adversary need not be set in opposition to those which afterwards appear in Scripture as if truth must lie entirely there or here. But we cannot help contrasting the Satan of the Book of Job with the grotesque, gigantic, awful, or despicable fallen angels of the world's poetry. Not that the mark of genius is wanting in these; but they reflect the powers of this world and the accompaniments of malignant human despotism. The author of Job, on the contrary, moved little by earthly state and grandeur, whether good or evil, solely occupied with the Divine sovereignty, never dreams of one who could maintain the slightest shadow of authority in opposition to God. He cannot trifle with his idea of the Almighty in the way of representing a rival to Him; nor can he degrade a subject so serious as that of human faith and well-being by painting with any touch of levity a superhuman adversary of men.
Dante in his _Inferno_ attempts the portraiture of the monarch of hell:--
"That emperor who sways The realm of sorrow, at mid-breast from the ice Stood forth; and I in stature, am more like A giant than the giants are to his arms.... ... If he were beautiful As he is hideous now, and yet did dare To scowl upon his Maker, well from him May all our misery flow."