As we began our study of Job together, I saw a question posted to a Bible reading group I’m in. It’s a great question, and one that has been asked by every careful reader of Job:
I have often wondered, why does God even have a conversation with Satan (as in Job), or even how?
It’s a fair question, because most Christians believe that Satan was cast out of heaven after he rebelled against God (more on that in a moment) and that nothing evil can be in God’s presence. So what is Satan doing presenting himself to God (Job 1:6)?
I’ll give you my opinion—but please know I hold it loosely. This isn’t essential to my faith either way, and I’d be glad to be proven wrong. But here goes:
In the Hebrew text of Job, “Satan” is always paired with the definite article ha—so it’s ha-satan, literally “the adversary.” You can read it as “the adversary” and not necessarily the proper name Satan. Hebrew doesn’t distinguish between uppercase and lowercase, so whether it’s a role or a name depends entirely on context.
Outside of Job, the word “Satan” only appears three times: once in Chronicles (21:1) and twice in Zechariah (3:1–2). All of these were written after the Babylonian exile. There’s very little evidence that the Jews had a developed concept of Satan as the Prince of Darkness or the ultimate personification of evil before the Exile. The word “devil” isn’t in the Old Testament, and “Lucifer” shows up only in the KJV rendering of Isaiah 14:12.
Most scholars would say that the Jews’ understanding of Satan as God’s great enemy was shaped during their exposure to Persian religion in Babylon. I’m not denying Satan’s existence—I’m simply pointing out that the Old Testament speaks of him only rarely, and never before Babylon. (For a Jewish perspective, see the Haaretz article: “Do Jews Believe in the Devil?”)
So back to Job: “Satan” here is best understood as “the adversary.” That makes it easier to imagine an angelic being—or some other spiritual servant—standing in God’s throne room without needing to picture the fallen angel cast out of heaven. In truth, the picture most of us carry of Satan with wings and rebellion comes more from Milton’s Paradise Lost than from Scripture.
For me, Job may be the oldest example of Jewish liturgical drama. That doesn’t mean it “didn’t happen.” It means that even if Job is framed dramatically rather than historically, it still communicates truth. God speaks through poetry in the Psalms and love songs in the Song of Solomon—why not through drama as well?
And reading Job as drama helps us. It shows us that God isn’t afraid of our questions, our protests, or even our demands for justice. He invites us to wrestle honestly, even in the courtroom of suffering.
With that in mind, I invite you to read Job like an episode of Law and Order. Stick with me here: all the elements are there.
Scene 1: The Crime and the Victim
Law and Order always begins with a crime (first thirty minutes), followed by the trial (last thirty). Job has the same structure: the “crime” in chapters 1–2 (the adversary is permitted to test Job). Violence is committed against Job, and he demands justice (chapter 3).
Scene 2: The Investigation
Three investigators—Eliphaz, Bildad, and Zophar—question Job to see if he brought it on himself. With each one, Job defends himself. The interrogations soon sound like accusations. This phase climaxes with Job’s request for a mediator (9:33). When no one steps up, Job acts as his own attorney and pleads for God to hear his case (10).
Scene 3: The Trial
By chapter 11, we’re in the trial phase. The judge is God. The accuser (the adversary) is both prosecutor and, in a Hollywood twist, the perpetrator. The defendant is Job. Witnesses for the prosecution—Eliphaz, Bildad, Zophar—each present their case, and Job cross-examines.
Scene 4: Closing Arguments
Beginning in chapter 31, Job makes his final appeal. Then Elihu, who hasn’t appeared until now, steps in with his summation (33–38). He condemns Job and appeals to God for a guilty verdict.
Scene 5: The Verdict and Sentencing
In 38–42, God, the Righteous Judge, speaks. The verdict? Not guilty (42:7)! Job is declared righteous. In a Grisham-worthy twist, the Judge condemns the witnesses for the prosecution. The friends must make burnt offerings, while Job prays for them (42:8–9).
Epilogue: Compensatory Damages
Job ends (42:12–17) with a sweet epilogue: Job receives back double what he lost, and his family is restored. The music swells. The screen fades to black.
Dunk-dunk.
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