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Madison Scott-Clary 2022-04-29 22:05:20 -07:00
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<p>And sure, it might be a spectrum, and there&rsquo;s probably that absolute midpoint where there is no change. You make it through that brush with death and come out the other side precisely the same as you were before. There is terror in this prospect, that death might be so overwhelming that there is nothing you can do but wrap that experience up in butcher paper, tie it with twine, and set it up in the attic.</p>
<p>Alter argues that the names that Job gives his new daughters points to a change. &ldquo;The writer may have wanted to intimate that after all Job&rsquo;s suffering, which included hideous disfigurement and violent loss, a principle of grace and beauty enters his life in the restoration of his fortunes.&rdquo; \parencite[579]{alter} This is indeed a beautiful take on it, too. Job comes out the other side and names his daughters after growing things, beautiful things. Dove and Cinnamon and Horn of Eyeshade, the most beautiful in the land and a sign of Job&rsquo;s joy in living.</p>
<p>One worries, however, that this is not what happened. Folktales are folktales and there is only so much we can tease out of the text itself. That Job names his daughters and lives another 140 years before dying of old age provides little enough context as to his state of mind. We, of course, have other resources. The Anglicans have their three-legged stool &mdash; scripture, tradition, reason &mdash; and the Methodists their Wesleyan quadrilateral &mdash; which adds &lsquo;experience&rsquo; &mdash; and so we have at our disposal tradition, reason, and experience beyond just the scripture itself.</p>
<p>So far, however, we have just looked at the framing device. Perhaps more lies in the poetic discourse sandwiched in the middle.</p>
<p>So far, however, we have just looked at the framing device. Happily-ever-afters are for folktales, yes, but our folktale occupies only 1/14th of the book itself.</p>
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