But in the way of so attractive a conclusion the literary criticism of the book has interposed. It is maintained[380] that, while none of these sublime verses are indispensable to the argument of Amos, some of them actually interrupt it, so that when they are removed it becomes consistent; that such ejaculations in praise of Jehovah's creative power are not elsewhere met with in Hebrew prophecy before the time of the Exile; that they sound very like echoes of the Book of Job; and that in the Septuagint version of Hosea we actually find a similar doxology, wedged into the middle of an authentic verse of the prophet.[381] To these arguments against the genuineness of the three famous passages, other critics, not less able and not less free, like Robertson Smith and Kuenen,[382] have replied that such ejaculations at critical points of the prophet's discourse "are not surprising under the general conditions of prophetic oratory"; and that, while one of the doxologies does appear to break the argument[383] of the context, they are all of them thoroughly in the spirit and the style of Amos. To this point the discussion has been carried; it seems to need a closer examination. .. We may at once dismiss the argument which has been drawn from that obvious intrusion into the Greek of Hosea xiii. 4. Not only is this verse not so suited to the doctrine of Hosea as the doxologies are to the doctrine of Amos; but while they are definite and sublime, it is formal and flat--"Who made firm the heavens and founded the earth, Whose hands founded all the host of heaven, and He did not display them that thou shouldest walk after them." The passages in Amos are vision; this is a piece of catechism crumbling into homily. Again--an argument in favour of the authenticity of these passages may be drawn from the character of their subjects. We have seen the part which the desert played in shaping the temper and the style of Amos. But the works of the Creator, to which these passages lift their praise, are just those most fondly dwelt upon by all the poetry of the desert. The Arabian nomad, when he magnifies the power of God, finds his subjects not on the bare earth about him, but in the brilliant heavens and the heavenly processes.