A Blemished Perfection: Book of Job in Context by Yair Hoffman

By Yair Hoffman

The major methodological thesis of this research is that the e-book of activity, greater than the other booklet within the Bible, might be taken care of as an inventive paintings during which shape and content material can't be separated. as a result, a very good acquaintance with the literary features of the booklet, together with its kin with different historic close to jap texts, is a precondition to the knowledge of its theology. The deep constitution of the booklet is that of a catalogue-which is a key to figuring out its method of the matter of theodicy. The tough language of activity is scrutinized, and is proved to be an unique and immanent attribute of the e-book. A synthesis of the literary, linguistic and theological features of activity ends up in its paradoxical-not absurd-definition as 'a blemished perfection'.

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The last two principles do not apply at all to the book of Job, and I shall ignore them. I would rank the other four elements by their order of importance in the book of Job as follows: thought, use of language, characterization, plot—a ranking that is almost the exact opposite of that required by Aristotle. 2. But the most important of these is the structure of the events. ' (ch. 6, 1449b25, 1450a4-5, 15-17). That is to say, what is important are the activities which take place, the scope of the plot.

Thus the poet Milton (according to Pope 1973: xxix). 16. F. Else (1957), except where otherwise noted. The matter mentioned above is discussed at greater length by Halperin (1978: 36-39). 17. Melos, and see Halperin (1978: 74) for the translator's note regarding the 2. Genre Distinctions 41 even though Aristotle includes tragedy among the genres which create mimesis 'using only prose or verses unaccompanied' (ch. 1, 1447a27b8), it must forego imitation of the style of everyday speech, using elevated, 'artificial' language.

1-2; etc. 7. Aristotle formulates his demands of the heroes of tragedy in four rules: (a) that they be good; (b) the appropriateness of the image, that is, that it not be artificial or forced (such as, that an ignorant or simple man not declaim philosophical thoughts); (c) 'naturalness (likeness) of the individual'—that the figure be unique and archetypal; (d) consistency— 'In the character also, in exactly the same way as in the structure of the incident, one must seek constantly either for the necessary or the probable, so that it will be either necessary or probable that the kind of person say or do a certain kind of thing, and either necessary or probable that this incident follow that one' (ch.

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