Job 7

Job opens not with a rebuttal of his friend but with a verdict on existence itself, and the verdict is grim: Is there not an appointed time to man upon earth? are not his days also like the days of an hireling? The two images set the tone for everything that follows. The first is military - a fixed term of hard service, the conscript's tour of duty that must be endured before discharge comes. The second is the day-laborer's shift: As a servant earnestly desireth the shadow, and as an hireling looketh for the reward of his work. The servant longs for the lengthening evening shadow that means the workday is over; the hired man watches for the wage that marks his release. Both are pictures of someone counting down - not enjoying the time but enduring it, fixed on the moment it ends. That is how Job has come to see human life: not as a gift to be savored but as a term to be served out. And the wage he himself is counting toward is not silver at sundown; it is the grave. There is a terrible honesty in starting here. Job will not pretend, to comfort his friends or himself, that life under this weight feels like blessing. It feels like labor with one mercy only - that it ends.⁴

Job turns from the general to the particular, from the human lot to his own nights. So am I made to possess months of vanity, and wearisome nights are appointed to me. His months are vanity - empty, futile, coming to nothing - and the very nights that ought to bring rest have been appointed to him as weariness instead. The cruelty is precise: the hours made for relief have become hours of torment. When I lie down, I say, When shall I arise, and the night be gone? and I am full of tossings to and fro unto the dawning of the day. Anyone who has lain awake in pain knows this exact arithmetic - the night stretched to an unbearable length, the body unable to find a position that does not hurt, the mind already longing for a dawn that will bring no relief either. Job is describing the sleeplessness of deep suffering, where time itself becomes the enemy: too slow in the dark, and yet, as he will say in the next breath, racing past too fast toward the end. The sufferer is caught between a night that will not pass and a life that will not stay.

Then Job lays his ruined body open without flinching: My flesh is clothed with worms and clods of dust; my skin is broken, and become loathsome. This is not metaphor reaching for effect; it is the literal picture of a man covered in running sores, his skin cracked and crusted, the decay of the grave already beginning while he still breathes. He is, in a sense, watching himself die in advance - clothed with the very worms and dust that belong to the dead. There is a refusal here to make suffering decent. Job does not draw a veil over the indignity of his condition; he names it as loathsome, because it is. And the Scripture does not look away either. It is a mark of how seriously the Bible takes real bodily affliction that it gives a faithful man these words and lets them stand - not cleaned up, not spiritualized into a lesson, but reported as the raw fact of what a body can come to. The honest lament does not pretend the flesh is fine when it is failing.

Now the tempo reverses. The night dragged; life races. My days are swifter than a weaver's shuttle, and are spent without hope. The shuttle of an upright loom flew back and forth across the warp faster than the eye could follow, and was gone in an instant - that is how Job sees his days flashing past, and the bitterest word is the last: without hope. He turns then to God with a plea that is almost a prayer for pity: O remember that my life is wind: mine eye shall no more see good. Remember how brief I am, he says - how insubstantial, like a breath of wind that comes and is gone. And he expects nothing more from what remains: his eye shall no more see good. Then a strange, aching paradox: The eye of him that hath seen me shall see me no more: thine eyes are upon me, and I am not. Those who knew him will not see him again; he is already passing out of the world of the living. Yet God's eyes are still upon him - God still attends to a man who is, by his own account, all but gone. That divine gaze, which should be a comfort, will become in a few verses the very thing Job cannot bear.

Job presses the brevity of life to its end and speaks of death with a plain finality: As the cloud is consumed and vanisheth away: so he that goeth down to the grave shall come up no more. He shall return no more to his house, neither shall his place know him any more. The cloud thins, scatters, and is simply not there anymore - and so, Job says, with a man who goes down to the grave. The house will not see him return; the familiar place where he lived and was known will go on without him, his absence closing over like water. We should hear this for what it is in the moment: not a settled doctrine of the afterlife, but the despairing arithmetic of a man for whom death looks like total erasure. The grave appears to him here as the end of being known, the end of belonging anywhere. It is the bleakest point of the movement - and it is exactly the bleakness that the longing of the next verses, and the answer the book is moving toward, will press against. Job names the apparent finality honestly; he does not yet know how that finality will be undone.

Here Job makes a deliberate decision and announces it: Therefore I will not refrain my mouth; I will speak in the anguish of my spirit; I will complain in the bitterness of my soul. The word therefore matters - this is a conclusion he has reasoned his way to, not an outburst he regrets. If his life is so brief and so bitter, then he will not spend what remains of it in dignified silence. He will speak. He will complain. We must be careful how we hear that word, because in our usage “complaining” sounds like a petty sin to be repented of. But the biblical lament is something else entirely: it is the refusal to suffer mutely, the insistence that pain be brought into speech and laid before God rather than swallowed. Job is not deciding to grumble against his neighbor; he is deciding to pour out the truth of his anguish to the only One who could possibly do anything about it. And the Scriptures, far from condemning the decision, give it to us as the speech of a righteous man. There is a holy refusal at work here - the refusal to pretend, the refusal to be polite about agony, the conviction that God would rather hear the bitterness than be handed a silence that hides it.

Then Job asks a question heavy with bitter irony: Am I a sea, or a whale, that thou settest a watch over me? In the imagery of the ancient world, the sea and the great creatures of the deep were the powers of chaos - vast, dangerous forces that had to be bounded and guarded lest they overwhelm the ordered world.³ Job is asking: am I some monstrous threat, a churning chaos that needs a divine sentry posted over it day and night? Is that what I am to you - so dangerous that you must keep me under constant guard? The irony is bitter because the truth is the reverse: he is not a threatening sea but a broken man, not a chaos-monster but a sufferer covered in sores. The mismatch is the whole point. The relentless divine attention he feels is wildly out of proportion to the frail, dwindling creature he actually is. Why such surveillance over so small a thing? It is the first sounding of the question that will dominate the rest of the chapter: not does God attend to me, but why, and to what end - for guarding, or for good?

Job describes how even his attempts at rest are turned against him. When I say, My bed shall comfort me, my couch shall ease my complaint; then thou scarest me with dreams, and terrifiest me through visions. He reaches for the one ordinary refuge left to a suffering body - the bed, the couch, the hope that sleep might at least ease the complaint for a few hours - and finds that even there he is pursued. The dreams come as terrors; the visions of the night frighten rather than soothe. There is no neutral ground, no corner of his existence the suffering has not invaded. And he lays this, too, at God's door: thou scarest me. So unbearable does this become that he says, my soul chooseth strangling, and death rather than my life. His very self would sooner choose a violent end than continue. We should not rush past the starkness of that. Job is at the place - and Scripture does not hide that such a place exists for the faithful - where continued life has become a heavier burden than death, and the soul, exhausted past reasoning, would choose the end if it could. This is not a thing to be argued away. It is a depth to be acknowledged, and met with presence rather than correction.

The movement closes on a line of utter weariness: I loathe it; I would not live alway: let me alone; for my days are vanity. He loathes his life as it now is; he has no wish to live alway, to go on indefinitely in this condition. And then the request that will become the chapter's most startling note: let me alone. It is the exact inversion of what the sufferer is usually thought to want. We assume the afflicted long to be noticed, attended, not forgotten by God. Job asks the opposite - to be left alone, released from the relentless attention, given the mercy of being overlooked. The reason he gives is almost a shrug of despair: for my days are vanity. They are empty, fleeting, worth so little - why spend such concentrated divine attention on something so insubstantial and so brief? Why not simply look away and let the breath of wind blow itself out? It is the cry of a man so worn down that even the gaze of God, which the rest of Scripture treats as the highest blessing, has become a weight he begs to be relieved of.

Now comes the chapter's most daring move. There is a psalm that lifts its gaze to the night sky - the moon and the stars, all that ordered grandeur - and asks in sheer wonder, what is man, that thou art mindful of him? and the son of man, that thou visitest him? (Ps. 8:3-4). It is a question of awe: how astonishing that the Maker of all that should stoop to notice so small a creature, and crown him with glory and honor. Job takes that very question and turns it inside out: What is man, that thou shouldest magnify him? and that thou shouldest set thine heart upon him? The words are nearly the psalm's own, but the music is wholly changed. Where the psalmist marvels that God magnifies man - lifts him up, makes him great, fixes His heart upon him - Job hears that same magnifying as the problem. Why exalt a creature only to make it suffer? Why set your heart on something so frail, if the setting of your heart means this unrelenting attention? It is the same God, the same care, the same close regard the psalmist celebrated - but read through agony, the honor feels like a burden, the attention like a weight. Job is not denying that God magnifies man. He is asking, from the bottom of his pain, why the magnifying should feel so much like being crushed.²

Job presses the complaint to its most startling edge: How long wilt thou not depart from me, nor let me alone till I swallow down my spittle? The picture is almost grimly comic in its smallness - he asks for just long enough to swallow, the briefest possible respite, a single unobserved moment. He cannot get even that. And the request itself runs against every instinct of piety: Job is asking God to depart, to look away, to grant him the mercy of being left alone. Elsewhere in Scripture the unbearable thing is God's absence, His face hidden; the great fear is to be forgotten by God. Job has come to the strange place where the unbearable thing is God's presence - where the steady, searching attention has become so heavy that the only relief he can imagine is for it to lift. We should not flinch from how raw this is, nor try to soften it into something more respectable. The Scripture lets a faithful man beg God to leave him be. It is the cry of someone so worn by suffering that even the divine gaze, the highest good, has become more than he can hold - and the honesty of it is part of what makes the lament holy rather than blasphemous. Job says the unsayable thing, and says it to God, which is itself a kind of faith.

Then Job turns to the matter of his guilt, and the lines are difficult and aching at once: I have sinned; what shall I do unto thee, O thou preserver of men? He grants the premise his friends keep pressing - suppose I have sinned - and then asks what difference it makes: what can I do to you, what harm does my sin work upon you, that you should hunt it so relentlessly? He calls God the preserver of men - the watcher, the keeper of mankind - with an edge of bitterness, for the keeping feels less like protection than pursuit. Why hast thou set me as a mark against thee, so that I am a burden to myself? A mark is a target - the thing an archer fixes his aim upon.³ Job feels singled out, set up as the bullseye for divine arrows, and the result is that he has become a burden even to himself: his own existence has grown heavy in his hands. There is real theological wrestling here, not mere bitterness. Job cannot reconcile the God who preserves men with the God who seems to target one - and rather than resolve the contradiction by letting go of God, he holds both halves and presses them, still, into a question aimed at heaven.

And the chapter ends not in defiance but in a plea - the truest note Job has struck. And why dost thou not pardon my transgression, and take away mine iniquity? Whatever his sin may be, why not simply forgive it, lift it away, and end this? It is, beneath the bitterness, a request for grace - the cry of a man who would receive pardon if only it were given. Then the reason for his urgency, and it is heartbreaking: for now shall I sleep in the dust; and thou shalt seek me in the morning, but I shall not be. Time is running out. He is going down to the dust, and soon - so that if God means to seek him, to come with pardon and relief, it had better be now, because the morning is coming when God will look for Job and Job will simply not be there to be found. There is a terrible tenderness in that closing image: God seeking, and the sufferer already gone. Job is pleading for the pardon and the nearness to come while there is still time, before the grave closes the window. He ends, that is, not by turning from God but by asking God to hurry - to forgive, to relieve, to come near in mercy before the dust takes him. The lament closes as a prayer.