And Job spake - Margin, as in Hebrew, "answered." The Hebrew word used here ענה ‛ânâh "to answer," is often employed when one commences a discourse, even though no question had preceded. It is somewhat in the sense of replying to a subject, or of speaking in a case where a question might appropriately be asked; Isaiah. 14:l0 (Hebrew), Zac 3:4; Deuteronomy 26:5 (Hebrew), Deuteronomy 27:14 (Hebrew). The word "to answer" ἀποκρίνομαι apokrinomai is frequently used in this way in the New Testament; Matthew 17:4, Matthew 17:17; Matthew 28:5; Mark 9:5; Mark 10:51, et al.

And Job spake, and said. Or "answered and said" (t), though not a word was spoken to him by his friends; he answered to his own calamity, and to their silence, as Schmidt observes; and this word is sometimes used when nothing goes before, to which the answer is, as many Jewish writers observe, as in Exodus 32:27; Jarchi interprets it, "he cried", and so some others (u) render it: from henceforwards to Job 42:6, this book is written in a poetical style, in Hebrew metre as is thought, which at present is pretty much unknown, even to the Jews themselves; some have been of opinion, that the following discourses between Job and his friends were not originally delivered in metre, but were put into this form by the penman or writer of the book; but of this we cannot be certain; in the Targum in the king of Spain's Bible it is, "and Job sung and said".
(t) "et respondit", Pagninus, Montanus, Schmidt, Schultens, Michaelis. (u) "Clamavitquo", Mercerus; "nam proloquens", Junius & Tremellius, Piscator.

spake--Hebrew, "answered," that is, not to any actual question that preceded, but to the question virtually involved in the case. His outburst is singularly wild and bold (Jeremiah 20:14). To desire to die so as to be free from sin is a mark of grace; to desire to die so as to escape troubles is a mark of corruption. He was ill-fitted to die who was so unwilling to live. But his trials were greater, and his light less, than ours.

Job 3:2 consists only of three words, which are separated by Rebia; and ויאמר, although Milel, is vocalized ויּאמר, because the usual form ויּאמר, which always immediately precedes direct narration, is not well suited to close the verse. ענה, signifies to begin to speak from some previous incitement, as the New Testament ἀποκρίνεσθαι (not always = השׁיב) is also sometimes used.
(Note: Vid., on this use of ἀποκρίνεσθαι, Quaestio xxi. of the Amphilochia of Photius in Ang. Maji Collectio, i. 229f.)
The following utterance of Job, with which the poetic accentuation begins, is analysed by modern critics as follows: Job 3:3-10, Job 3:11-19, Job 3:20-26. Schlottmann calls it three strophes, Hahn three parts, in the first of which delirious cursing of life is expressed; in the second, eager longing for death; in the third, reproachful inquiry after the end of such a life of suffering. In reality they are not strophes. Nevertheless Ebrard is wrong when he maintains that, in general, strophe-structure is as little to be found in the book of Job as in Wallenstein's Monologue. The poetical part of the book of Job is throughout strophic, so far as the nature of the drama admits it. So also even this first speech. Stickel has correctly traced out its divisions; but accidentally, for he has reckoned according to the Masoretic verses. That this is false, he is now fully aware; also Ewald, in his Essay on Strophes in the Book of Job, is almost misled into this groundless reckoning of the strophes according to the Masoretic verses (Jahrb. iii. X. 118, Anm. 3). The strophe-schema of the following speech is as follows: 8. 10. 6. 8. 6. 8. 6. The translation will show how unmistakeably it may be known. In the translation we have followed the complete lines of the original, and their rhythm: the iambic pentameter into which Ebrard, and still earlier Hosse (1849), have translated, disguises the oriental Hebrew poetry of the book with its variegated richness of form in a western uniform, the monotonous impression of which is not, as elsewhere, counter-balanced in the book of Job by the change of external action. After the translation we give the grammatical explanation of each strophe; and at the conclusion of the speech thus translated and explained, its higher exposition, i.e., its artistic importance in the connection of the drama, and its theological importance in relation to the Old and New Testament religion and religious life.