There is a reason that I have limited my comments in my Music of the Bible series. The complexity of this presentation of the Bible, through the work of Suzanne Haïk-Vantoura will take many lifetimes to critique. I worked through the first dozen or so verses of Job 38. This post is only on the first 7. Many more words could be written than I have time to absorb or you time to read.
I began with a look at recurrence patterns. The final recurring word in the
chapter focuses the single long passage as leading towards wisdom. I can do
a maximum of 40 roots at once, so I had to eliminate a few (two of which do follow wisdom, but these join chapter 38 to a new section on animals that continues in chapter 39). There were no
circular structures that were highlighted. The chapter comes across with force.
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Job 38 -- beginning
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I used the prose default mode in verse 1 to distinguish the narrator from the actors. There is never a rest note in the narrator's introductory snippets until chapter 33 when the narrator comes on stage to introduce Elihu. And there, the narrator speaks in poetry.
Verse 2: Who is this? begins the speech on the high C with the qadma ornament carrying the tessitura even higher. This verse through its opening note connects the speech to the prior speeches. It has no mid verse rest. Verses three and four are traditional poetry with mid verse rest points. Verse three approaches the subdominant from the B, and verse four approaches from the g.
Verse 4: Where were you when I founded Earth? Notice it is founded, not created. יָסַד is architectural: laying foundations, establishing stability, setting something so it can bear weight.
Not 'What do you know?' but 'Where were you?' Before any claim to discernment, there must be a place from which discernment could arise. בִּינָה is the ability to distinguish, to perceive relations, to tell one thing from another within a structure.
'Make it clear' is an invitation. הַגֵּד is imperative, but does not require silence from Job. It is not saying that humans know nothing, or that inquiry is illegitimate, or science futile. It is saying that wisdom begins with acknowledging where one stands, foundational ordering precedes explanation.
Verse 5: Who set her measure? For you know.
Or who stretched out on her a line?
We measure. We may even measure well -- and do intricate projects like the Webb Telescope. But, as is ironically implied, it is a philosophical puzzle that measurement is possible within reality. Why is it that physics can be described by equations. And we know our knowledge is limited by the probability distributions of the quantum fields. We are not mechanism and neither is creation.
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| Job 38 -- a place to pause for a moment |
On what were her sockets sunk? I am moved by this image. It is very carefully stated. One must not translate
sockets as
pillars as though we were a construction project. The word for socket (adn -- close to the same letters as in Adonai) occurs twice outside of Torah, the sections in Exodus on the building of the tabernacle and the continuation in Numbers. In the building of the tabernacle it occurs 51 times. With its usage here, the earth becomes a holy place, just as the beloved of the Song is holy in the description that also uses this word
socket.
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| Song 5:15 |
Who instructed her corner stone? The corner stone (אֶבֶן פִּנָּה) is not just structural. That word pnh is multifaceted. The corner stone, the facing stone, aligns walls, determines orientation, governs coherence. And yet the verb is יָרָה to instruct, to teach, to throw, or cast. If the cornerstone is 'nstructed' then, as science requires of creation: order becomes intelligible, coherence is sensible, alignment is reliable, but the instruction is more than 'ours'. We must align ourselves to the stone that faces us. But we did not instruct it. These verses are a revelation of the conditions of knowing. And we do know, in part.
The music is restrained. Apart from the revia-mugrash (which I call tuba announcing the return to the tonic), there are no ornaments. There are no verses from verses 2 to 11 starting on a pitch other than the tonic, i.e. no explicit verse connections as there are later in the chapter. I am still looking for some clues as to why some verses approach the tonic from below and why some from above. I also ask why some verses return gently to the tonic, some without tuba, some with, and others (in poetry only) move from B to e -- munach to silluq.
3. e B A, tuba e.
4. e B g A, tuba, f# e.
5. e B g B A, C e g B e.
6. e g B A, f# tuba, B e.
7. e g B A, tuba, f# e.
Verse 7 lifts us from
support to celebration, from grounding to witness. That's why we love the beauty of mathematics and science and the order of creation. It's not important that it is big, but that it is ordered both in the infinitesimally small and enormously large, and even in the infinities of the real number system. And we should be encouraged.
People say the Word is written. But note the absence of the word socket from most of the books of the Hebrew canon. Part of reading with comprehension is to discern what is not written.
We can face the questions and sing the music. Someone should mount this stage play. The book with the music for every verse is available here.
