2 The Poem of Job 2:1-13 A HEBREW PHILOSOPHY

THE POEM OF JOB * * * * * HEBREW PHILOSOPHY

According to a theory which was still in vogue a few years ago, the ancient races of mankind were distinguished from each other no less by their intellectual equipment than by their physical peculiarities. Thus the Semites were supposed to be characterised, among other things, by an inborn aptitude for historical narrative and an utter lack of the mental suppleness, ingenuity, and sharp incisive vision indispensable for the study of the problems of philosophy; while their neighbours, the Aryans, devoid of historical talent, were held to be richly endowed with all the essential qualities of mind needed for the cultivation of epic poetry and abstruse metaphysics. This theory has since been abandoned, and many of the alleged facts that once seemed to support it have been shown to be unwarranted assumptions. Thus, the conclusive proof, supplied by Biblical criticism, of the untrustworthiness of the historical books of the Old

Testament, has removed one alleged difference between Aryans and Semites, while the discoveries which led to the reconstruction of the primitive poem of Job and of the treatise of Koheleth have undermined the basis of the other. For these two works deal exclusively with philosophical problems, and, together with the Books of Proverbs and Jesus Sirach, are the only remains that have come down to us of the ethical and metaphysical speculations of the ancient Hebrews whose descendants have so materially contributed to further this much-maligned branch of human knowledge. And if we may judge by what we know of these two books, we have ample grounds for regretting that numerous other philosophical treatises which were written between the fourth and the first centuries B.C. were deemed too abstruse, too irrelevant, or too heterodox to find a place in the Jewish Canon.[2] For the Book of Job is an unrivalled masterpiece, the work of one in whom poetry was no mere special faculty cultivated apart from his other gifts, but the outcome of the harmonious wholeness of healthy human nature, in which upright living, untrammelled thought, deep mental vision, and luxuriant imagination combined to form the individual. Hence the poem is a true reflex of the author’s mind: it dissolves and blends in harmonious union elements that appeared not merely heterogeneous, but wholly incompatible, and realises, with the concreteness of history, the seemingly unattainable idea which Lucretius had the mind to conceive but lacked the artistic hand to execute; in a word, it is the fruit of the intimate union of that philosophy which, reckless of results, dares to clip even angels’ wings, and of the art which possesses the secret of painting its unfading pictures with the delicate tints of the rainbow. Rich fancy and profound thought co-operate to produce a _tertium quid_--a visible proof that the beautiful is one with the true--for which neither literature nor philosophy possesses a name. It is no wonder, then, that this unique poem, which gives adequate utterance to abstract thought, truly and forcibly states the doubts and misgivings which harrow the souls of thinking men of all ages and nations, and helps them to lift a corner of the veil of delusion and get a glimpse of the darkness of the everlasting Night beyond, should appeal to the reader of the nineteenth century with much greater force than to the Jews of olden times, who were accustomed to gauge the sublimity of imaginative poetry and the depth of philosophic speculation by the standard of orthodoxy and the bias of nationality. The Book of Job, from which Pope Gregory the Great fancied he could piece together the entire system of Catholic theology, and which Thomas of Aquin regarded as a sober history, is now known to be a regular poem, but, as Tennyson truly remarked, "the greatest poem whether of ancient or modern times," and the diction of which even Luther instinctively felt to be "magnificent and sublime as no other book of Scripture." And it is exclusively in this light, as one of the masterpieces of the world’s literature, that it will be considered in the following pages. Whatever religious significance it may be supposed to possess over and above, as one of the canonical books of the Hebrew and Christian Scriptures, will, it is hoped, remain unaffected by this treatment, which is least of all controversial. The flowers that yield honey to the bee likewise delight the bee-keeper with their perfume and the poet with their colours, and there is no adequate reason why the magic verse which strikes a responsive chord in the soul of lovers of high art, and starts a new train of ideas in the minds of serious thinkers, should thereby lose any of the healing virtues it may have heretofore possessed for the suffering souls of the believing. But viewed even as a mere work of art, it would be hopeless to endeavour to press it into the frame of any one of the received categories of literary composition, as is evident from the fact that authorised and unauthorised opinion on the subject has touched every extreme, and still continues oscillating to-day. Many commentators still treat it as a curious chapter of old-world history narrated with scrupulous fidelity by the hero or an eye-witness, others as a philosophical dialogue; several scholars regard it as a genuine drama, while not a few enthusiastically aver that it is the only epic poem ever written by a Hebrew. In truth, it partakes of the nature of each and every one of these categories, and is yet circumscribed by the laws and limits of none of them. In form, it is most nearly akin to the drama, with which we should be disposed to identify it if the characters of the prologue and epilogue were introduced as _dramatis personae_ in action. But their doing and enduring are presupposed as accomplished facts, and employed merely as a foil to the dialogues, which alone are the work of the author. Perhaps the least erroneous way succinctly to describe what in fact is a _unicum_ would be to call it a psychological drama.

Koheleth, or the Preacher, is likewise a literary puzzle which for centuries has baffled the efforts of commentators and aroused the misgivings of theologians. Regarded by many as a _vade mecum_ of materialists, by some as an eloquent sermon on the fear of God, and by others as a summary of sceptical philosophy, it is impossible to analyse and classify it without having first eliminated all those numerous later-date insertions which, without improving the author’s theology, utterly obscure his meaning and entirely spoil his work. When, by the aid of text criticism, we have succeeded in weeding it of the parasitic growth of ages, we have still to allow for the changing of places of numerous authentic passages either by accident or design, the effects of which are oftentimes quite as misleading as those of the deliberate interpolations. The work thus restored, although one, coherent and logical, is still susceptible of various interpretations, according to the point of view of the reader, none of which, however, can ignore the significant fact that the sceptically ideal basis of Koheleth’s metaphysics is identical with that of Buddha, Kant, and Schopenhauer, and admirably harmonises with the ethics of Job and the pessimism of the New Testament. The Sayings of Agur, on the contrary, tell their own interesting story, without need of note or commentary, to him who possesses a fair knowledge of Hebrew grammar, and an average allowance of mother wit. The lively versifier, the keenness of whose sense of humour is excelled only by the bitterness of his satire, could ill afford to be obscure. A member of the literary fraternity which boasts the names of Lucian and Voltaire, a firm believer in the force of common sense and rudimentary logic, Agur ridicules the theologians of his day with a malicious cruelty which is explained, if not warranted, by the pretensions of omniscience and the practice of intolerance that provoked it. The unanswerable argument which Jahveh considered sufficient to silence his servant Job, Agur deems effective against the dogmatical doctors of his own day:

"Who has ascended into heaven and come down again?

* * * * * Such an one would I question about God: What is his name?"

Footnotes:

[2] Job and Ecclesiastes were inserted in the Jewish and, one may add, the Christian Canon, solely on the strength of passages which the authors of these compositions never even saw, and which flatly contradict the main theses of their works.