The Style of the Book

The Style of the Book

The book of Job is written in classical Hebrew poetry. While it is difficult to translate poetry into another language and maintain its original beauty, the New International Version of the Bible attempts to capture the flavor of the poetry. Only the first two chapters, which form the prologue, and the last ten verses of the final chapter, containing the epilogue, break from this poetic style. While a true history, except perhaps for the discussion in the heavenly courts recorded in the first two chapters, the account is also allegorical in nature. As an allegory, it expresses truths far deeper than those that affect only the man Job.

The fact that the book is allegorical does not take away from its historical accuracy, just as the allegory of Abraham does not dilute its factualness. The prophet Ezekiel cites Job as being one of three men whose witness saved none but themselves (Ezek. 14:14, 20). James, in the New Testa-ment calls attention to the “patience of Job” (James 5:11).

The book naturally divides into five parts: prologue (chapters 1 and 2; dialog, chapters 3-31; the monologue of Elihu, chapters 32-37; the speech of Jehovah, chapters 38-41; and the epilogue, chapter 42. The prologue and epilogue may have been added by a later editor in order to complete the account. They are written as prose in contrast with the poetry of the body of the book.

The Prologue—Chapters 1-2

The first five verses of the book give us a thumbnail sketch of Job. We see the author’s evaluation of him as perfect (mature) and upright. His wealth and stature in the community are briefly outlined. An example of his integrity is given in his offering a prayer for his sons, even though he was not aware of any particular sin which they may have committed (see Job 1:13).

Most of the balance of the first two chapters deal with an allegorical scene, probably a morality tale by the author to give substance to the rest of the book. It is doubtful whether it discusses an actual historic event, since obviously there was no earthly being which would be privy to the doings of an heavenly council (unless, of course, the author was given the information as part of his inspiration).

Satan is pictured as challenging God over the righteousness of Job. He is first given permission to remove all of Job’s earthly wealth, taking away even the lives of his sons and daughters. With all this hardship, the record is “In all this Job sinned not, nor charged God foolishly” (Job 1:22). Carrying the challenge a degree further Satan asks, and is given permission, to remove the health of the patriarch. Beset with a plague of boils and the temptation from his wife to “curse God and die,” Job once again proved faithful and did not “sin with his lips” (Job 2:10).

The stage is then set for the dialogs that are to follow. Three of Job’s compatriots had heard of his misfortune and arranged to go from their separate cities together to speak with him. They were appalled at his physical appearance and, adopting the custom of their time, showed their grief by loud wails, the tearing of their garments, and the strewing of dust around them.

This custom was carried to such an extent in ancient times that some individuals even made their living by being professional mourners. An interesting non-Biblical confirmation of this practice is found in the Iliad by Homer where he tells us of the grief of Hercules over the death of Patroclus:

“A sudden horror shot through all the chief,
And wrapp'd his senses in the cloud of grief;
Cast on the ground, with furious hands he spread
The scorching ashes o'er his graceful head,
His purple garments, and his golden hairs,
Those he deforms with dust, and these he tears:
On the hard soil his groaning breast he threw,
And roll'd and grovell'd as to earth he grew.”

The extent of their grief is showing in the touching revelation that they sat for one full week, day and night, with Job without uttering a word (Job 2:13). See also Gen. 50:10; 1 Sam. 31:13; 1Chron. 10:12; Ezek. 3:15.