the Israelitish Chokma, that by Canticles and the book of Job, its two generic manifestations, it has enriched the national poesy with this new form of poetic composition. The book of Job is, though not altogether, yet substantially, a drama, and one consisting of seven divisions: (1) ch. 1-3, the opening; (2) ch. 4-14, the first course of the controversy, or the beginning entanglement; (3) ch. 15-21, the second course of the controversy, or the increasing entanglement; (4) ch. 22-26, the third course of the controversy, or the increasing entanglement at its highest; (5) ch. 27-31, the transition from the entanglement (δέσις) to the unravelling (λύσις): Job's monologues; (6) ch. 38-42:6, the consciousness of the unravelling; (7) Job 42:7., the unravelling in outward reality. In this we have left Elihu'a speeches (ch. 32-37) out of consideration, because it is very questionable whether they are a part of the original form of the book, and not, on the contrary, the introduction of another poet. If we include them, the drama has eight divisions. The speeches of Elihu form an interlude in the transition from the δέσις to the λύσις. The book of Job is an audience-chamber, and one can readily suppose that a contemporary or later poet may have mixed himself up with the speakers. Whether, however, this is really the case, may remain here undecided. The prologue is narrative, but still partly in dialogue style, and so far not altogether undramatical. In form it corresponds most to the Euripidean, which also are a kind of epic introduction to the pieces, and it accomplishes what Sophocles in his prologues so thoroughly understands. At the very beginning he excites interest in the occurrences to be brought forward, and makes us acquainted with that which remains concealed from the actors. After the knot of the puzzle is tied in the prologue, it becomes more and more deeply entangled in the three courses of the controversy. In the monologues of Job it begins to be disentangled, and
