ses of parallel lines interrupting with a
tour-de-force of execration. Section 2 is made up of introductory
quatrain, strophe, and antistrophe.

/ii. The Creator's Joy in his Creation./ This selection from Job is a
part of the 'Divine Intervention,' which may be read as a complete poem.
That drama introduces the Voice of God out of the whirlwind as taking a
part in the dialogue. The link between the Divine Intervention as a
whole and the general argument is the impossibility of any mortal
grasping the mysteries of the universe, which mysteries enfold the
glories of nature as well as the dark ways of providence which Job and
his friends have been discussing. As a part of this general thought the
portion here cited works out the idea of the Creator's joy in his
creation--a joyous sympathy with the infinities of great and small
throughout the universe. It might be an expansion of the words in the
story of the creation: "And God saw everything that he had made, and,
behold, it was very good."--The metrical scheme of this poem is a
variation of the 'pendulum structure.' [Page 251.] It may be called a
'triple pendulum,' or alternation between three notes: one note is made
by the startling questions of nature mysteries, another (lines indented
to the right) exquisitely pictures the details of these wonders of
nature, while for a third (lines still more to the right) there is a
word of challenge to Job to answer.

/iii-v./ These three selections are lyrics in the strictest sense.
Originally all poetry is of the form technically called 'Ballad-Dance,'
that is, verse combined with musical accompaniment and dancing. When
this primitive poetry branches out into other forms, lyric is the form
which retains most of the musical element. The poems here cited are
lyrics in the strict sense that their structure is determined by the
mode of their musical performance. This is seen by the 'antiphonal'
distribution of the matter, for example, between choruses of men and
women, and by the recurrence of passages ('refrains').

/iii. Song of Moses and Miriam./ This is arranged for a Chorus of Men,
taking the successive sections of the song, and a Chorus of Women,
singing the refrain. The metre is Antique Rhythm (above, page 242): the
successive strophes augment with the growing fulness of the theme. The
first strophe (after the prelude) simply states the fact of the
deliverance; the second pictures it in detail, the third meditates on
the co