136. Moses does not exhibit in his narrative the verbose diction characteristic of pagan literature, where we often find one and the same argument embellished and polished by a variety of colors. We find by experience that no human power of description can do justice to inward emotions. In consequence, verbosity, as a rule, comes short of expressing emotion. Moses employs the opposite method, and clothes a great variety of arguments in scant phraseology.
137. Above the historian used the expression, "when they were in the field." Thereby Moses indicates that the murderer Cain had watched his opportunity to attack his brother when both were alone. All the circumstances plainly show that Abel was not idle at the time; for he was in the field, where he had to do the things his father committed to him. From Moses' statement we may infer that Abel's parents felt absolutely no fear of danger. For, although at the outset they had feared that the wrath of Cain would eventually break out into still greater sin, Cain, by his gentleness and pretended affection, prevented all suspicion of evil on the part of his parents. For had there been the least trace of apprehension, they certainly would not have permitted Abel to go from their presence alone. They would have sent his sisters with him as companions; for he no doubt had some. Or his parents themselves would have prevented by their presence and authority the perpetration of so great a crime. As already stated, also the mind of Abel was perfectly free from suspicion. For, had he suspected the least evil at the hand of his brother, he would doubtless have sought safety by flight. But after he had heard that Cain bore the judgment of God with composure, and did not envy the brother his honor, he pursued his work in the field with a feeling of security.
138. What orator could do justice to the scene which Moses depicts in one word: "Cain rose up against his brother?" Many descriptions of cruelty are to be found on every hand, but could any be painted as more atrocious and execrable than is the case here? "He rose up against his brother," Moses writes. It is as if he had said, Cain rose up against Abel, the only brother he had, with whom he had been brought up and with whom he had lived to that day. But not only the relationship Cain utterly forgot; he forgot their common parents also. The greatness of the grief he would cause his parents by such a grave crime, never entered his mind. He did not think that Abel was a brother, from whom he had never received any offense whatever. For Cain knew that the honor of having offered the more acceptable sacrifice, proceeded not from any desire or ambition in Abel, but from God himself. Nor did Cain consider that he, who had hitherto stood in the highest favor with his parents, would lose that favor altogether and would fall under their deepest displeasure as a result of his crime.
139. It is recorded in history of an artist who painted the scene of Iphigenia's sacrifice, that when he had given to the countenance of each of the spectators present its appropriate expression of grief and pain, he found himself unable to portray the vastness of the father's grief, who was present also, and hence painted his head draped.
140. Such is the method, I think, Moses employs in this passage, when he uses the verb yakam, "Rose up against." What tragical pictures would the eloquence of a Cicero or a Livy have drawn in an attempt to portray, through the medium of their oratory, the wrath of the one brother, and the dread, the cries, the prayers, the tears, the uplifted hands, and all the horrors of the other! But not even in that way can justice be done to the subject. Moses, therefore, pursues the right course, when he portrays, by a mere outline, things too great for utterance. Such brevity tends to enlist the reader's undivided attention to a subject which the vain adornment of many words disfigures and mars, like paint applied to natural beauty.