A Brighter Day Begins with His Word.

Watson, Robert A. (Robert Alexander) • SECTION 38

_The Things Eliphaz Had Seen._

← Expositor's Bible: The Book of Job

Now, here is the motive of the long controversy which is the main subject of the poem. And, in tracing it, we are to see Job, although racked by pain and distraught by grief--sadly at disadvantage because he seems to be a living example of the truth of their ideas--rousing himself to the defence of his integrity and contending for that as the only grip he has of God. Advance after advance is made by the three, who gradually become more dogmatic as the controversy proceeds. Defence after defence is made by Job, who is driven to think himself challenged not only by his friends, but sometimes also by God Himself through them.

Eliphaz, Bildad, and Zophar agree in the opinion that Job has done evil and is suffering for it. The language they use and the arguments they bring forward are much alike. Yet a difference will be found in their way of speaking, and a vaguely suggested difference of character. Eliphaz gives us an impression of age and authority. When Job has ended his complaint, Eliphaz regards him with a disturbed and offended look. "How pitiful!" he seems to say; but also, "How dreadful, how unaccountable!" He desires to win Job to a right view of things by kindly counsel; but he talks pompously, and preaches too much from the high moral bench. Bildad, again, is a dry and composed person. He is less the man of experience than of tradition. He does not speak of discoveries made in the course of his own observation; but he has stored the sayings of the wise and reflected upon them. When a thing is cleverly said he is satisfied, and he cannot understand why his impressive statements should fail to convince and convert. He is a gentleman, like Eliphaz, and uses courtesy. At first he refrains from wounding Job's feelings. Yet behind his politeness is the sense of superior wisdom--the wisdom of ages, and his own. He is certainly a harder man than Eliphaz. Lastly, Zophar is a blunt man with a decidedly rough, dictatorial style. He is impatient of the waste of words on a matter so plain, and prides himself on coming to the point. It is he who ventures to say definitely: "Know therefore that God exacteth of thee less than thine iniquity deserveth,"--a cruel speech from any point of view. He is not so eloquent as Eliphaz, he has no air of a prophet. Compared with Bildad he is less argumentative. With all his sympathy--and he, too, is a friend--he shows an exasperation which he justifies by his zeal for the honour of God. The differences are delicate, but real, and evident even to our late criticism. In the author's day the characters would probably seem more distinctly contrasted than they appear to us. Still, it must be owned, each holds virtually the same position. One prevailing school of thought is represented and in each figure attacked.

It is not difficult to imagine three speakers differing far more from each other. For example, instead of Bildad we might have had a Persian full of the Zoroastrian ideas of two great powers, the Good Spirit, Ahuramazda, and the Evil Spirit, Ahriman. Such a one might have maintained that Job had given himself to the Evil Spirit, or that his revolt against providence would bring him under that destructive power and work his ruin. And then, instead of Zophar, one might have been set forward who maintained that good and evil make no difference, that all things come alike to all, that there is no God who cares for righteousness among men; assailing Job's faith in a more dangerous way. But the writer has no such view of making a striking drama. His circle of vision is deliberately chosen. It is only what might appear to be true he allows his characters to advance. One hears the breathings of the same dogmatism in the three voices. All is said for the ordinary belief that can be said. And three different men reason with Job that it may be understood how popular, how deeply rooted is the notion which the whole book is meant to criticise and disprove. The dramatising is vague, not at all of our sharp, modern kind like that of Ibsen, throwing each figure into vivid contrast with every other. All the author's concern is to give full play to the theory which holds the ground and to show its incompatibility with the facts of human life, so that it may perish of its own hollowness.

Public domain in the USA; original historical text digitized by Project Gutenberg.

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