II. In the second strophe cursing is exchanged for wailing, fruitless reproach of a long past day for a touching chant in praise of the grave. If his birth had to be, why could he not have passed at once into the shades? The lament, though not so passionate, is full of tragic emotion. The phrases of it have been woven into a modern hymn and used to express what Christians may feel; but they are pagan in tone, and meant by the writer to embody the unhopeful thought of the race. Here is no outlook beyond the inanition of death, the oblivion and silence of the tomb. It is not the extreme of unfaith, but rather of weakness and misery.
"_Wherefore hastened the knees to meet me, And why the breasts that I should suck? For then, having sunk down, would I repose, Fallen asleep there would be rest for me. With kings and councillors of the earth Who built them solitary piles; Or with princes who had gold, Who filled their houses with silver; Or as a hidden abortion I had not been, As infants who never saw light. There the wicked cease from raging, And there the outworn rest. Together the prisoners are at ease, Not hearing the call of the task-master. Small and great are there the same, The slave set free from his lord._"
It is beautiful poetry, and the images have a singular charm for the dejected mind. The chief point, however, for us to notice is the absence of any thought of judgment. In the dim under-world, hid as beneath heavy clouds, power and energy are not. Existence has fallen to so low an ebb that it scarcely matters whether men were good or bad in this life, nor is it needful to separate them. For the tyrant can do no more harm to the captive, nor the robber to his victim. The astute councillor is no better than the slave. It is a kind of existence below the level of moral judgment, below the level either of fear or joy. From the peacefulness of this region none are excluded; as there will be no strength to do good there will be none to do evil. "The small and great are there the same." The stillness and calm of the dead body deceive the mind, willing in its wretchedness to be deceived.
When the writer put this chant into the mouth of Job, he had in memory the pyramids of Egypt and tombs, like those of Petra, carved in the lonely hills. The contrast is thus made picturesque between the state of Job lying in loathsome disease and the lot of those who are gathered to the mighty dead. For whether the rich are buried in their stately sepulchres, or the body of a slave is hastily covered with desert sand, all enter into one painless repose. The whole purpose of the passage is to mark the extremity of hopelessness, the mind revelling in images of its own decay. We are not meant to rest in that love of death from which Job vainly seeks comfort. On the contrary, we are to see him by-and-by roused to interest in life and its issues. This is no halting-place in the poem, as it often is in human thought. A great problem of Divine righteousness hangs unsolved. With the death of the prisoner and the down-trodden slave whose worn-out body is left a prey to the vulture--with the death of the tyrant whose evil pride has built a stately tomb for his remains--all is not ended. Peace has not come. Rather has the unravelling of the tangle to begin. The All-righteous has to make His inquisition and deal out the justice of eternity. Modern poetry, however, often repeats in its own way the old-world dream, mistaking the silence and composure of the dead face for a spiritual deliverance:--