When did the man Job live? Far back in the patriarchal age, or but a short time before the author of the book came upon his story and made it immortal? We may incline to the later date, but it is of no importance. For us the interest of the book is not antiquarian but humane, the relation of pain and affliction to the character of man, the righteous government of God. The life and experiences of Job are idealised so that the question may be clearly understood; and the writer makes not the slightest attempt to give his book the colour of remote antiquity. But we cannot fail to be struck from the outset with the genius shown in the choice of a life set in the Arabian desert. For breadth of treatment, for picturesque and poetic effect, for the development of a drama that was to exhibit the individual soul in its need of God, in the shadow of deep trouble as well as the sunshine of success, the scenery is strikingly adapted, far better than if it had been laid in some village of Israel. Inspiration guided the writer's choice. The desert alone gave scope for those splendid pictures of nature, those noble visions of Divine Almightiness, and those sudden and tremendous changes which make the movement impressive and sublime. The modern analogue in literature is the philosophic novel. But Job is far more intense, more operatic, as Ewald says, and the elements are even simpler. Isolation is secured. Life is bared to its elements. The personality is entangled in disaster with the least possible machinery or incident. The dramatising altogether is singularly abstract. And thus we are enabled to see, as it were, the very thought of the author, lonely, resolute, appealing, under the widespread Arabian sky and the Divine infinitude. III. _THE OPENING SCENE IN HEAVEN._ CHAP. i. 6-12.