Expositor's Bible: The Book of Job. Robert Alexander Watson
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of Sabeans, the lawless part of a nation otherwise engaged in traffic; an organised attack by Chaldæans from the east, again the lawless fringe of the population of the Euphrates valley, those who, inhabiting the margin of the desert, had taken to desert ways; then, of natural causes, the lightning or the fearful hot wind which coming suddenly stifles and kills, and the whirlwind, possible enough after a thunderstorm or simoom,—all of these belong to the region in which Job lived. But the grouping of the disasters and the invariable escape of one only from each belong to the dramatic setting, and are intended to have a cumulative effect. A sense of the mysterious is produced, of supernatural power, discharging bolt after bolt in some inscrutable mood of antagonism. Job is a mark for the arrows of the Unseen. And when the last messenger has spoken, we turn in dismay and pity to look on the rich man made poor, the proud and happy father made childless, the fearer of God on whom the enemy seems to have wrought his will.
In the stately Oriental way, as a man who bows to fate or the irresistible will of the Most High, Job seeks to realise his sudden and awful deprivations. We watch him with silent awe as first he rends his mantle, the acknowledged sign of mourning and of the disorganisation of life, then shaves his head, renouncing in his grief even the natural ornament of the hair, that the sense of loss and resignation may be indicated. This done, in deep humiliation he bows and falls prone on the earth and worships, the fit words falling in a kind of solemn chant from his lips: "Naked came I forth from my mother's womb, and naked I return thereto. Jehovah gave, and Jehovah hath taken away. Let Jehovah's name be blessed." The silence of grief and of death has fallen about him. No more shall be heard the bustle of the homestead to which, when the evening shadows were about to fall, a constant stream of servants and laden oxen used to come, where the noise of cattle and asses and the shouts of camel-drivers made the music of prosperity. His wife and the few who remain, with bowed heads, dumb and aimless, stand around. Swiftly the sun goes down, and darkness falls upon the desolate dwelling.
Losses like these are apt to leave men distracted. When everything is swept away, with the riches those who were to inherit them, when a man is left, as Job says, naked, bereft of all that labour had won and the bounty of God had given, expressions of despair do not surprise us, nor even wild accusations of the Most High. But the faith of this sufferer does not yield. He is resigned, submissive. The strong trust that has grown in the course of a religious life withstands the shock, and carries the soul through the crisis. Neither did Job accuse God nor did he sin, though his grief was great. So far he is master of his soul, unbroken though desolated. The first great round of trial has left the man a believer still.
V.
THE DILEMMA OF FAITH
As the drama proceeds to unfold the conflict between Divine grace in the human soul and those chaotic influences which hold the mind in doubt or drag it back into denial, Job becomes a type of the righteous sufferer, the servant of God in the hot furnace of affliction. All true poetry runs thus into the typical. The interest of the movement depends on the representative character of the life, passionate in jealousy, indignation, grief, or ambition, pressing on exultantly to unheard-of success, borne down into the deepest circles of woe. Here it is not simply a man's constancy that has to be established, but God's truth against the Adversary's lie, the "everlasting yea" against the negations that make all life and virtue seem the mere blossoming of dust. Job has to pass through profoundest trouble, that the drama may exhaust the possibilities of doubt, and lead the faith of man towards liberty.
Yet the typical is based on the real; and the conflict here described has gone on first in the experience of the author. Not from the outside, but from his own life has he painted the sorrows and struggles of a soul urged to the brink of that precipice beyond which lies the blank darkness of the abyss. There are men in whom the sorrows of a whole people and of a whole age seem to concentrate. They suffer with their fellow-men that all may find a way of hope. Not unconsciously, but with the most vivid sense of duty, a Divine necessity brought to their door, they must undergo all the anguish and hew a track through the dense forest to the light beyond. Such a man in his age was the writer of this book. And when he now proceeds to the second stage of Job's affliction every touch appears to show that, not merely in imagination, but substantially he endured the trials which he paints. It is his passion that strives and cries, his sorrowful soul that longs for death. Imaginary, is this work of his? Nothing so true, vehement, earnest, can be imaginary. "Sublime sorrow," says Carlyle, "sublime reconciliation; oldest choral melody as of the heart of mankind." But it shows more than "the seeing eye and the mildly understanding heart." It reveals the spirit battling with terrible enemies, doubts that spring out of the darkness of error, brood of the primæval chaos. The man was one who "in this wild element of a life had to struggle onwards; now fallen, deep abased; and ever with tears, repentance, with bleeding heart, rise again, struggle again, still onwards." Not to this writer, any more than to the author of "Sartor Resartus," did anything come in his dreams.
A second scene in heaven is presented to our view. The Satan appears as before with the "sons of the Elohim," is asked by the Most High whence he has come, and replies in the language previously used. Again he has been abroad amongst men in his restless search for evil. The challenge of God to the Adversary regarding Job is also repeated; but now it has an addition: "Still he holdeth fast his integrity, although thou movedst me against him, to destroy him without cause." The expression "although thou movedst me against him" is startling. Is it an admission after all that the Almighty can be moved by any consideration less than pure right, or to act in any way to the disadvantage or hurt of His servant? Such an interpretation would exclude the idea of supreme power, wisdom, and righteousness which unquestionably governs the book from first to last. The words really imply a charge against the Adversary of malicious untruth. The saying of the Almighty is ironical, as Schultens points out: "Although thou, forsooth, didst incite Me against him." He who flings sharp javelins of detraction is pierced with a sharper javelin of judgment. Yet he goes on with his attempt to ruin Job, and prove his own penetration the keenest in the universe.
And now he pleads that it is the way of men to care more for themselves, their own health and comfort, than for anything else. Bereavement and poverty may be like arrows that glance off from polished armour. Let disease and bodily pain attack himself, and a man will show what is really in his heart. "Skin for skin, yea, all that a man hath will he give for himself. But put forth Thine hand now, and touch his bone and his flesh, and he will renounce Thee openly."
The proverb put into Satan's mouth carries a plain enough meaning, and yet is not literally easy to interpret. The sense will be clear if we translate it "Hide for skin, yea, all that a man hath will he give for himself." The hide of an animal, lion or sheep, which a man wears for clothing will be given up to save his own body. A valued article of property often, it will be promptly renounced when life is in danger the man will flee away naked. In like manner all possessions will be abandoned to keep one's self unharmed. True enough in a sense, true enough to be used as a proverb, for proverbs often express a generalisation of the earthly prudence not of the higher ideal, the saying, nevertheless, is in Satan's use of it a lie—that is, if he includes the children when he says, "all that a man hath will he give for himself." Job would have died for his children. Many a father and mother, with far less pride in their children than Job had in his, would die for them. Possessions indeed, mere worldly gear, find their real value or worthlessness when weighed against life, and human love has Divine depths which a sneering devil cannot see. The portraiture of soulless human beings is one of the recent experiments in fictitious literature, and it may have some justification. When the design is to show the dreadful issue of unmitigated selfishness, a distinctly moral purpose. If, on the other hand, "art for art's sake" is the plea, and the writer's skill in painting the vacant ribs of death is used with a sinister reflection on human nature as a whole, the approach to Satan's temper marks the degradation of literature. Christian faith clings to the hope that Divine grace may create a soul in the ghastly skeleton. The Adversary gloats over the lifeless picture of his own imagining and affirms that man can never be animated by the love of God. The problem which the Satan of Job long ago presented haunts the mind of our age. It is one of those ominous symptoms that point to times of trial in which the experience of humanity may resemble the typical affliction and desperate struggle of the man of Uz.
A grim possibility of truth lies in the taunt of Satan that, if Job's