Expositor's Bible: The Book of Job. Robert Alexander Watson
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Expositor's Bible: The Book of Job
PROLOGUE
I.
THE AUTHOR AND HIS WORK
The Book of Job is the first great poem of the soul in its mundane conflict, facing the inexorable of sorrow, change, pain, and death, and feeling within itself at one and the same time weakness and energy, the hero and the serf, brilliant hopes, terrible fears. With entire veracity and amazing force this book represents the never-ending drama renewed in every generation and every genuine life. It breaks upon us out of the old world and dim muffled centuries with all the vigour of the modern soul and that religious impetuosity which none but Hebrews seem fully to have known. Looking for precursors of Job we find a seeming spiritual burden and intensity in the Accadian psalms, their confessions and prayers; but if they prepared the way for Hebrew psalmists and for the author of Job, it was not by awaking the cardinal thoughts that make this book what it is, nor by supplying an example of the dramatic order, the fine sincerity and abounding art we find here welling up out of the desert. The Accadian psalms are fragments of a polytheistic and ceremonial world; they spring from the soil which Abraham abandoned that he might found a race of strong men and strike out a new clear way of life. Exhibiting the fear, superstition, and ignorance of our race, they fall away from comparison with the marvellous later work and leave it unique among the legacies of man's genius to man's need. Before it a few notes of the awakening heart, athirst for God, were struck in those Chaldæan entreaties, and more finely in Hebrew psalm and oracle: but after it have come in rich multiplying succession the Lamentations of Jeremiah, Ecclesiastes, the Apocalypse, the Confessions of Augustine, the Divina Commedia, Hamlet, Paradise Regained, the Grace Abounding of Bunyan, the Faust of Goethe and its progeny, Shelley's poems of revolt and freedom, Sartor Resartus, Browning's Easter Day and Rabbi Ben Ezra, Amiel's Journal, with many other writings, down to "Mark Rutherford" and the "Story of an African Farm." The old tree has sent forth a hundred shoots, and is still full of sap to our most modern sense. It is a chief source of the world's penetrating and poignant literature.
But there is another view of the book. It may well be the despair of those who desire above all things to separate letters from theology. The surpassing genius of the writer is seen not in his fine calm of assurance and self-possession, nor in the deft gathering and arranging of beautiful images, but in his sense of elemental realities and the daring with which he launches on a painful conflict. He is convinced of Divine sovereignty, and yet has to seek room for faith in a world shadowed and confused. He is a prophet in quest of an oracle, a poet, a maker, striving to find where and how the man for whom he is concerned shall sustain himself. And yet, with this paradox wrought into its very substance, his work is richly fashioned, a type of the highest literature, drawing upon every region natural and supernatural, descending into the depths of human woe, rising to the heights of the glory of God, never for one moment insensible to the beauty and sublimity of the universe. It is literature with which theology is so blended that none can say, Here is one, there the other. The passion of that race which gave the world the idea of the soul, which clung with growing zeal to the faith of the One Eternal God as the fountain of life and equally of justice, this passion in one of its rarest modes pours through the Book of Job like a torrent, forcing its way towards the freedom of faith, the harmony of intuition with the truth of things. The book is all theology, one may say, and all humanity no less. Singularly liberal in spirit and awake to the various elements of our life, it is moulded, notwithstanding its passion, by the artist's pleasure in perfecting form, adding wealth of allusion and ornament to strength of thought. The mind of the writer has not hastened. He has taken long time to brood over his torment and seek deliverance. The fire burns through the sculpture and carved framework and painted windows of his art with no loss of heat. Yet, as becomes a sacred book, all is sobered and restrained to the rhythmic flow of dramatic evolution, and it is as if the eager soul had been chastened, even in its fieriest endeavour, by the regular procession of nature, sunrise and sunset, spring and harvest, and by the sense of the Eternal One, Lord of light and darkness, life and death. Built where, before it, building had never been reared in such firmness of structure and glow of orderly art, with such design to shelter the soul, the work is a fresh beginning in theology as well as literature, and those who would separate the two must show us how to separate them here, must explain why their union in this poem is to the present moment so richly fruitful. An origin it stands by reason of its subject no less than its power, sincerity, and freedom.
A phenomenon in Hebrew thought and faith—to what age does it belong? No record or reminiscence of the author is left from which the least hint of time may be gathered. He, who by his marvellous poem struck a chord of thought deep and powerful enough to vibrate still and stir the modern heart, is uncelebrated, nameless. A traveller, a master of his country's language, and versed no less in foreign learning, foremost of the men of his day whensoever it was, he passed away as a shadow, though he left an imperishable monument. "Like a star of the first magnitude," says Dr. Samuel Davidson, "the brilliant genius of the writer of Job attracts the admiration of men as it points to the Almighty Ruler chastening yet loving His people. Of one whose sublime conceptions, (mounting the height where Jehovah is enthroned in light, inaccessible to mortal eye), lift him far above his time and people—who climbs the ladder of the Eternal, as if to open heaven—of this giant philosopher and poet we long to know something, his habitation, name, appearance. The very spot where his ashes rest we desire to gaze upon. But in vain." Strange, do we say? And yet how much of her great poet, Shakespeare, does England know? It is not seldom the fate of those whose genius lifts them highest to be unrecognised by their own time. As English history tells us more of Leicester than of Shakespeare, so Hebrew history records by preference the deeds of its great King Solomon. A greater than Solomon was in Israel, and history knows him not. No prophet who followed him and wrought sentences of his poem into lamentation or oracle, no chronicler of the exile or the return, preserving the names and lineage of the nobles of Israel, has mentioned him. Literary distinction, the praise of service to his country's faith could not have been in his mind. They did not exist. He was content to do his work, and leave it to the world and to God.
And yet the man lives in his poem. We begin to hope that some indication of the period and circumstances in which he wrote may be found when we realise that here and there beneath the heat and eloquence of his words may be heard those undertones of personal desire and trust which once were the solemn music of a life. His own, not his hero's, are the philosophy of the book, the earnest search for God, the sublime despondency, the bitter anguish, and the prophetic cry that breaks through the darkness. We can see that it is vain to go back to Mosaic or pre-Mosaic times for life and thought and words like his; at whatever time Job lived, the poet-biographer deals with the perplexities of a more anxious world. In the imaginative light with which he invests the past no distinct landmarks of time are to be seen. The treatment is large, general, as if the burden of his subject carried the writer not only into the great spaces of humanity, but into a region where the temporal faded into insignificance as compared with the spiritual. And yet, as through openings in a forest, we have glimpses here and there, vaguely and momentarily showing what age it was the author knew. The picture is mainly of timeless patriarchal life; but, in the foreground or the background, objects and events are sketched that help our inquiry. "His troops come together and cast up their way against me." "From out of the populous city men groan, and the soul of the wounded crieth out." "He looseth the bond of kings, and bindeth their loins with a girdle; He leadeth priests away spoiled, and overthroweth the mighty.... He increaseth the nations and destroyeth them; He spreadeth the nations abroad and bringeth them in." No quiet patriarchal life in a region sparsely peopled, where the years went slow and placid, could have supplied these elements of the picture. The writer has seen the woes of the great city in which the tide of prosperity flows over the crushed and dying. He has seen, and, indeed, we are almost sure has suffered in, some national disaster like those to which he refers. A Hebrew, not of the age after the return from exile,—for the style of his writing, partly through the use of Arabic and Aramaic forms, has more of rude vigour and spontaneity on the whole than fits so late a date,—he appears to have felt all the sorrows of his people when the conquering armies of Assyria or of Babylon overran their land.
The scheme of the book helps to fix the time of the composition. A drama so elaborate could not have been produced until literature had