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Hebrew poesy being in its fundamental peculiarity lyric, and from the drama not having freed itself from the lyric element, and attained to complete independence. The book of Job is, moreover, not a drama grown to complete development. Prologue and epilogue are treated as history, and the separate speeches are introduce din the narrative style. In the latter respect (with the exception of Job 2:10), Canticles is more directly dramatic than the book of Job. The drama is here in reference to the strophic form in the garb of Canticles, and in respect of the narrative form in the garb of history or epopee. Also the book of Job cannot be regarded as drama, if we consider, with G. Baur, dramatic and scenic to be inseparable ideas; for the Jews first became acquainted with the theatre from the Greeks and Romans. Nevertheless, it is questionable whether the drama everywhere presupposes the existence of the stage, as e.g., A. W. v. Schlegel, in his Lectures on Dramatic Art and Literature, maintains. Göthe, at least, more than once asserts, that “drama and a composition for the stage may be separate,” and admits a “dramatic plot and execution” in Canticles.

5. The Dramatic Art of the Plot and Execution
On the whole, we have as little hesitation as Hupfeld in calling the book of Job a drama; and it is characteristic of