in the sixth part the unravelling follows, well prepared for, and therefore not ἀπὸ μηχανῆς, and is perfected in the epilogue or Exodus: the servant of God, being so far as necessary cleared by penitence, is justified in opposition to his friends; and the victor, tried in accordance with the divine utterance, is crowned. It is therefore a continually progressing history. The remark of Herder,[1] “Here all is stationary in long conversations,” is superficial. It is from beginning to end a stream of the most active life, with external incident only in the opening and in the unravelling; what Shlegel says of Göthe's Iphigenie holds good of the middle of the book, that the ideas are worked into incidents, and brought, as it were, before the eye. Moreover, as in Göthe's Tasso, the deficiency of external action is compensated by the richness and precision with which the characters are drawn. Satan, Job's wife, the hero himself, the three friends, - everywhere diversified and minute description. The poet manifests, also, dramatic skill in other directions. He has laid out the controversy with a masterly hand, making the heart of the reader gradually averse to the friends, and in the same degree winning it towards Job. He makes the friends all through give utterance to the most glorious truths, which, however, in the application to the case before them, turn out to be untrue. And although the whole of the representation serves one great idea, it is still not represented by any of the persons brought forward, and is by no one expressly uttered. Every person is, as it were, the consonant letter to the word of this idea; it is throughout the whole book taken up with the realization of itself; at the end it first comes forth as the resulting product of the whole. Job himself is not less a tragic hero than the Oedipus of both Sophicles' tragedies.[2]
What is there an
- ↑ Geist der Ebräischen Poesi, 1805, i. S. 137.
- ↑ Schultens says: Quidquid tragoedia vetus unquam Sophocleo vel Aeschyleo molita est cothurno, infra magnitudinem, gravitatem, ardorem, animositatem horum affectuum infinitum quantum subsidet. Similarly Ewald (Jahrb. ix. 27): Neither the Hindoos, nor the Greek sand Romans, have such a lofty and purely perfected poem to produce. One would perhaps compare it with one of Aeschylus or Sophocles' tragedies as the nearest, but we cannot easily find a single one among these approaching its unblemished height and perfection in the midst of the greatest simplicity.
