Yet the typical is based on the real; and the conflict here described has gone on first in the experience of the author. Not from the outside, but from his own life has he painted the sorrows and struggles of a soul urged to the brink of that precipice beyond which lies the blank darkness of the abyss. There are men in whom the sorrows of a whole people and of a whole age seem to concentrate. They suffer with their fellow-men that all may find a way of hope. Not unconsciously, but with the most vivid sense of duty, a Divine necessity brought to their door, they must undergo all the anguish and hew a track through the dense forest to the light beyond. Such a man in his age was the writer of this book. And when he now proceeds to the second stage of Job's affliction every touch appears to show that, not merely in imagination, but substantially he endured the trials which he paints. It is his passion that strives and cries, his sorrowful soul that longs for death. Imaginary, is this work of his? Nothing so true, vehement, earnest, can be imaginary. "Sublime sorrow," says Carlyle, "sublime reconciliation; oldest choral melody as of the heart of mankind." But it shows more than "the seeing eye and the mildly understanding heart." It reveals the spirit battling with terrible enemies, doubts that spring out of the darkness of error, brood of the primæval chaos. The man was one who "in this wild element of a life had to struggle onwards; now fallen, deep abased; and ever with tears, repentance, with bleeding heart, rise again, struggle again, still onwards." Not to this writer, any more than to the author of "Sartor Resartus," did anything come in his dreams. A second scene in heaven is presented to our view. The Satan appears as before with the "sons of the Elohim," is asked by the Most High whence he has come, and replies in the language previously used. Again he has been abroad amongst men in his restless search for evil. The challenge of God to the Adversary regarding Job is also repeated; but now it has an addition: "Still he holdeth fast his integrity, although thou movedst me against him, to destroy him without cause." The expression "although thou movedst me against him" is startling. Is it an admission after all that the Almighty can be moved by any consideration less than pure right, or to act in any way to the disadvantage or hurt of His servant? Such an interpretation would exclude the idea of supreme power, wisdom, and righteousness which unquestionably governs the book from first to last. The words really imply a charge against the Adversary of malicious untruth. The saying of the Almighty is ironical, as Schultens points out: "Although thou, forsooth, didst incite Me against him." He who flings sharp javelins of detraction is pierced with a sharper javelin of judgment. Yet he goes on with his attempt to ruin Job, and prove his own penetration the keenest in the universe.