view which comes from his vision being beclouded by the conflict through which he is passing, as is frequently the case in the Psalms. His sin does not even consist in the inquiries, How long? and Wherefore? The Psalms in that case would abound in sin. But the sin is that he dwells upon these doubting questions, and thus attributes apparent mercilessness and injustice to God. And the friends constantly urge him on still deeper in this sin, the more persistently they attribute his suffering to his own unrighteousness. Jeremiah (in Lamentations 3), ), after similar complaints, adds: Then I repeated this to my heart, and took courage from it: the mercies of Jehovah, they have no end; His compassions do not cease, etc. Many of the Psalms that begin sorrowfully, end in the same way; faith at length breaks through the clouds of doubt. But it should be remembered that the change of spiritual condition which, e.g., in Psa 6:1-10, is condensed to the narrow limits of a lyric composition of eleven verses, is here in Job worked out with dramatical detail as a passage of his life's history: his faith, once so heroic, only smoulders under ashes; the friends, instead of fanning it to a flame, bury it still deeper, until at last it is set free from its bondage by Jehovah himself, who appears in the whirlwind. Bildad's First Speech - Job 8[1]
- ↑ We will give an example here of our and Ewald's computation of the strophes. “In the speech of Bildad, ch. 8,” says Ewald, Jahrb. ix. 35, “the first part may go to Job 8:10, and be divided into three strophes of three lines each.” This is right; but that the three strophes consist of three lines, i.e., according to Ewald's use of the word, three (Masoretic) verses, is accidental. There are three strophes, of which the first consists of six lines = stichs, the second of seven, the third again of six. “Just so them,” Ewald proceeds, “the second part, Job 8:11-19, is easily broken up into like three strophes,” viz., Job 8:11-13, Job 8:14-16, Job 8:17-19. But strophes must first of all be known as being groups of stichs forming a complete sense (Sinngruppen). They are, according to their idea, groups of measured compass, as members of a symmetrical whole. Can we, however, take Job 8:14-16 together as such a complete group? In his edition of Job of 1854, Ewald places a semicolon after Job 8:16; and rightly, for Job 8:16-19 belong inseparably together. Taking them thus, we have in the second part of the speech three groups. In the first, Job 8:11-15, the godless are likened to the reed; and his house in prosperity to a spider's web, since its perishableness, symbolized by the reed, is proved (אשׁר, Job 8:14). In the second, Job 8:16-19, follows the figure of the climbing plant which Job 8:19 (יצמחוּ) seems to indicate. In the third, Job 8:20-22, the figure is given up, and the strophe is entirely epimythionic. Of these three groups, the first consists of ten, the second of eight, and the third of six lines = stichs. The schema is therefore as we have given it above: 6. 7. 6. 10. 8. 6. We are only justified in calling these groups strophes by the predominance of the hexastich, which occurs at the beginning, middle, and close of the speech.
