LECTURE XXXIII.

THE POEM OF JOB NOT A PERFECT DRAMA.

The poem of Job commonly accounted dramatic; and thought by many to be of the same kind with the Greek tragedy: this opinion examined.—A plot or fable essential to a regular drama; its definition and essential qualities according to Aristotle-Demonstrated, that the poem of Job does not contain any plot its form and design more fully explained-Compared with the Oedipus Tyrannus of Sophocles; with the Oedipus Coloneus; and shewn to differ entirely from both in form and manner-It is nevertheless a most beautiful and perfect performance in its kind it approaches very near the form of a perfect drama; and, for regularity in form and arrangement, justly claims the first place among the poetical compositions of the Hebrews.

WHEN I undertook the present investigation, my principal object was to enable you to form some definite opinion concerning the poem of Job, and to assign it its proper place among the compositions of the Hebrew poets. This will possibly appear to some a superfluous and idle undertaking, as the point seems long since to have been finally determined, the majority of the critics having decidedly adjudged it to belong to the dramatic class. Since, however, the term dramatic, as I formerly had reason to remark, is in itself extremely ambiguous, the present disquisition will not be confined within the limits of a single question; for the first object of inquiry will necessarily be, what idea is affixed to the appellation by those critics who term the book of Job a dramatic poem and after we have determined this point (if it be possible to determine it, for they do not seem willing to be explicit) we may then with safety proceed to inquire whether, pursuant to that idea, the piece may be justly entitled to this appellation.

A poem is called dramatic, either in consequence of its form, the form I mean of a perfect dialogue, which is sustained entirely by the characters or personages without the intervention of the poet; and this was the definition adopted by the ancient critics or else, according to the more modern acceptation of the word, in consequence of a plot or fable being represented in it. If those who account the book of Job dramatic, adhere to the former definition, I have little inclination to litigate the point; and indeed the object of

the controversy would scarcely be worth the labour. Though a critic, if disposed to be scrupulously exact, might insist that the work, upon the whole, is by no means a perfect dialogue, but consists of a mixture of the narrative and colloquial style for the historical part, which is all composed in the person of the writer himself, is certainly to be accounted a part of the work itself, considered as a whole. Since, however, on the other hand, the historical or narrative part is all evidently written in prose, and seems to me to be substituted merely in the place of an argument or comment, for the purpose of explaining the rest, and certainly does not constitute any part of the poem, since, moreover, those short sentences, which serve to introduce the different speeches, contain very little more than the names; I am willing to allow, that the structure or form of this poem is on the whole dramatic. But this concession will, I fear, scarcely satisfy the critics in question; for they speak of the regular order and conduct of the piece, and of the dramatic catastrophe; they assert, that the interposition of the Deity is a necessary part of the machinery of the fable; they even enumerate the acts and scenes, and use the very same language in all respects, as if they spoke of a Greek tragedy; insomuch, that when they term the poem of Job dramatic, they seem to speak of that species of drama which was cultivated and improved in the theatre of Athens.1 It appears, therefore, a fair object of inquiry, whether the poem of Job be possessed of the peculiar properties of the Greek drama, and may with reason and justice be classed with the theatrical productions of that people.

We have already agreed, that the greater and more perfect drama is peculiarly distinguished from the less and more common species, inasmuch as it retains not only the dramatic form, or the perfect dialogue, but also exhibits some entire action, fable, or plot. And this is perfectly agreeable to the definition of Aristotle; for although he points out many parts or constituents in the composition of a tragedy, he assigns the first place to the plot or fable. This he says is the beginning, this the end, this is the most important part, the very soul of a tragedy, without which it is utterly undeserving of the name, and indeed cannot properly be said to exist. A plot or fable is the representation of an action or event, or of a series

1 See CALMET, Preface sur Job. HARE, Not. ad Ps. cvii. 40. CARPZOVII Introduct. in Libros Biblicos, part ii. p. 76.

2 ARIST. Poet. cap. vi.

of events or incidents tending all to one point, which are detailed with a view to a particular object or conclusion. A tragedy, says the same author, is not a representation of men, but of actions, a picture of life, of prosperity, and adversity in other words, the business of the poem is not merely to exhibit manners only, nor does the most perfect representation of manners constitute a tragedy; for in reality a tragedy may exist with little or no display of manners or character; its business is to exhibit life and action, or some regular train of actions and events, on which depends the felicity or infelicity of the persons concerned. For human happiness or prosperity consists in action; and action is not a quality, but is the end of man. According to our manners we are denominated good or bad, but we are happy or unhappy, prosperous or unsuccessful, according to actions or events. Poets therefore do not form a plot or action merely for the sake of imitating manners or character; but manners and character are added to the plot, and for the sake of it are chiefly attended to. Thus far he has accurately drawn the line between the representation of action and manners. He adds, moreover, that unity is essential to a regular plot or action, and that it must be com. plete in itself, and of a proper length.3 But to comprehend more perfectly the nature of a plot or fable, it must be observed, that there are two principal species for they are either complex or simple ;4 the former contains some unexpected vicissitude of fortune, such as the recognition of a person at first unknown, the recovery of a lost child, or a sudden change in the situation of the parties, or perhaps both; the latter contains nothing of the kind, but proceeds in one uniform and equal tenour. In every plot or fable, however, be it ever so simple, and though it contain nothing of the wonderful or unexpected, there is always a perplexity or embarrassment, as also a regular solution or catastrophe ;5 the latter must proceed from the former, and indeed must depend upon it; which cannot be the case, unless there be a certain order or connexion in the incidents and events which inclines them towards the same end, and combines them all in one termination.

On fairly considering these circumstances, I have no hesitation in affirming, that the poem of Job contains no plot or action whatever, not even of the most simple kind; it uniformly exhibits one constant state of things, not the smallest change of fortune taking

3 ARIST. Poet. ch. vii.

4 ARIST. Poet. ch. x.

5 ARIST. ch. xviii.

place from the beginning to the end; and it contains merely a representation of those manners, passions and sentiments, which might actually be expected in such a situation. Job is represented as reduced from the summit of human prosperity, to a condition the most miserable and afflicted and the sentiments of both Job and his friends are exactly such as the occasion dictates. For here a new temptation falls upon him, by which the constancy of Job is put to the severest trial; and this circumstance it is that constitutes the principal subject of the poem. Job had, we find, endured the most grievous calamities, the loss of his wealth, the deprivation of his children, and the miserable union of poverty and disease, with so much fortitude, and with so just a confidence in his own integrity, that nothing could be extorted from him in the least inconsistent with the strictest reverence for the Divine Being; he is now put to the proof, whether, after enduring all this with firmness and resignation, he can with equal patience endure to have his innocence and virtue (in which perhaps he had placed too much confidence) indirectly questioned, and even in plain terms arraigned. Job, now sinking under the weight of his misery, laments his condition with more vehemence than before. His friends reprove his impatience, and drop some dark insinuations to the apparent disparagement of his virtue and integrity, by entering into very copious declamations concerning the justice of God in proportioning his visitations to the crimes of men. Job is still more violently agitated; and his friends accuse him with less reserve. He appeals to God, and expostulates with some degree of freedom. They urge and press him in the very heat of his passion; and, by still more malignant accusations, excite his indignation and his confidence, which were already too vehement. Elihu interposes as an arbiter of the controversy; he reproves the severe spirit of the friends, as well as the presumption of Job, who trusted too much in his own righteousness. Job receives his admonitions with mildness and temper, and being rendered more sedate by his expostulation, makes no reply, though the other appears frequently to expect it. When the Almighty, however, condescends to set before him his rashness, frailty, and ignorance, he submits in perfect humility, and with sincere repentance. Here the temptation of Job concludes, in the course of which there was great reason to apprehend he would be totally vanquished at the same time the poem necessarily terminates, the state of things still remaining without any change or vicissitude whatever. The poem indeed

contains a great variety of sentiment, excellent representations of manners and character, remarkable efforts of passion, much important controversy; but no change of fortune, no novelty of incident, no plot, no action.

If indeed we rightly consider, we shall, I dare believe, find that the very nature of the subject excludes even the possibility of a plot or action. From that state of settled and unvarying misery in which Job is involved, arises the doubt of his integrity, and those insinuations and criminations which serve to exasperate him, and by which he is stimulated to expostulate with God, and to glory in his own righteousness. It was proper, therefore, that, by a continuance of the same state and condition, he should be recalled to an humble spirit, and to a proper reverence for the Almighty Providence. For it would have been altogether contrary to what is called poetical justice, if he had been restored to prosperity previous to his submission and penitence. The repentance of Job, however, we find concludes the poem. Nor was it at all necessary, that the question concerning the divine justice should be resolved in the body of the work, either by the fortunate issue of the affairs of Job, or even by the explication of the divine intentions: this, in fact, was not the primary object, nor does it at all constitute the subject of the poem ; but is subservient, or in a manner an appendage to it. The disputation which takes place upon this topic, is no more than an instrument of temptation, and is introduced in order to explain the inmost sentiments of Job, and to lay open the latent pride that existed in his soul. The Almighty, therefore, when he addresses Job, pays little regard to this point; nor indeed was it necessary, for neither the nature nor the object of the poem required a defence of the Divine Providence, but merely a reprehension of the over-confidence of Job.

If indeed we suppose any change to have taken place in the state of affairs, the nature and subject of the poem will also be changed. If we connect with the poetical part either the former or the latter part of the history, or both, the subject will then be the display of a perfect example of patience in enduring the severest outward calamities, and at length receiving an ample reward at the hands of the Almighty from this, however, the universal tenour of the poem will be found greatly to differ. It will be found to exhibit rather the impatience of Job in bearing the reproaches and abuse of his pretended friends and this appears to lead to the true object of the poem ;

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