with God is as terrible as it is pitiable. It is terrible, because he uplifts himself, Titan-like, against God; and pitiable, because the God against which he fights is not the God he has known, but a God that he is unable to recognise, - the phantom which the temptation has presented before his dim vision instead of the true God. This phantom is still the real God to him, but in other respects in no way differing from the inexorable ruling fate of the Greek tragedy. As in this the hero of the drama seeks to maintain his personal freedom against the mysterious power that is crushing him with an iron arm, so Job, even at the risk of sudden destruction, maintains the stedfast conviction of his innocence, in opposition to a God who has devoted him, as an evil-doer, to slow but certain destruction. The battle of freedom against necessity is the same as in the Greek tragedy. Accordingly one is obliged to regard it as an error, arising from simple ignorance, when it has been recently maintained that the boundless oriental imagination is not equal to such a truly exalted task as that of representing in art and poetry the power of the human spirit, and the maintenance of its dignity in the conflict with hostile powers, because a task that can only be accomplished by an imagination formed with a perception of the importance of recognising ascertained phenomena.[1]
In treating this subject, the book of Job not only attains to, but rises far above, the height attained by the Greek tragedy: for, on the one hand, it brings this conflict before us in all the fearful earnestness of a death-struggle; on the other, however, it does not leave us to the cheerless delusion that an absolute caprice moulds human destiny. This tragic conflict with the divine necessity is but the middle, not the beginning nor the end, of the book; for this god of fate is not the real God, but a delusion of Job's temptation. Human freedom does not succumb, but it comes forth from the battle,
- ↑ Vid., Arnold Ruge, Die Academie, i. S. 29.
