This we may call the third point. Job puts forward a note of interrogation; God answers with a note of exclamation. Instead of proving to Job that it is an explicable world, He insists that it is a much stranger world than Job ever thought it was. Lastly, the poet has achieved in this speech, with that unconscious artistic accuracy found in so many of the simpler epics, another and much more delicate thing. Without once relaxing the rigid impenetrability of Jehovah in His deliberate declaration, he has contrived to let fall here and there in the metaphors, in the parenthetical imagery, sudden and splendid suggestions that the secret of God is a bright and not a sad one--semi-accidental suggestions, like light seen for an instant through the cracks of a closed door. It would be difficult to praise too highly, in a purely poetical sense, the instinctive exactitude and ease with which these more optimistic insinuations are let fall in other connections, as if the Almighty Himself were scarcely aware that He was letting them out. For instance, there is that famous passage where Jehovah with devastating sarcasm, asks Job where he was when the foundations of the world were laid, and then (as if merely fixing a date) mentions the time when the sons of God shouted for joy. One cannot help feeling, even upon this meagre information, that they must have had something to shout about. Or again, when God is speaking of snow and hail in the mere catalogue of the physical cosmos, He speaks of them as a treasury that He has laid up against the day of battle--a hint of some huge Armageddon in which evil shall be at last overthrown.