Translation: For thus he says: “Perish the day.” This is the beginning of Job’s meters, extending to the sixth verse of chapter XLII, below עלק [“‘Alak”], etc. I have attempted (following, as Jerome warns, the method) to restore many verses to the measure of feet. Indeed, having measured most of them, I have found them to be hexameters; but where I intended a dactyl, a spondee occurs here and there, according to the idiom of the language (as Jerome used to say).

Explanation: In this passage, the author is discussing the attempt to identify metrical patterns, particularly hexameters, in the Book of Job. The reference to “Perish the day” indicates the beginning of the section where metrical analysis is applied. The author mentions the challenge of restoring verses to the measure of feet (metrical patterns). Despite efforts, there are instances where the expected dactyl (a metrical foot consisting of one stressed syllable followed by two unstressed syllables) is replaced by a spondee (a metrical foot consisting of two stressed syllables). This variation is noted as being in line with the linguistic idiom, as acknowledged by Jerome.

Translation: Many verses are spondaic, and the first of these is that which concludes חורתןבך [“killed in you”]. But this is often disrupted here because the meters often begin far from the end of verses (as they are distinguished by the Hebrews). This is an argument that you have not understood the nature of the poems unless you have followed the sense more than the structure. I have learned that the revered Vatable (of commendable memory) understood the nature of all the verses of Job and the Psalter and prescribed some CANONS to make their nature more understandable, such as THAT THERE IS NO POSITION FOR HEBREWS:

THAT AN IAMBIC, NOT EVEN A TROCHEE, BE COUNTED FOR ANY COMPUTATION; and other such things, which hope will sometimes be revealed. NOR DO I DESPAIR if someone carefully considers them.

Explanation: The author continues discussing the metrical analysis of Job’s verses. Spondaic verses, where each foot consists of two stressed syllables, are highlighted, with a specific example. The challenge noted is that the meters often begin far from the end of verses, contrasting with Hebrew poetic conventions. The argument presented suggests that an understanding of the poems requires attention to their structure rather than merely following the sense. The author refers to the insights of Vatable, who devised canons, including the idea that there is no fixed position for Hebrew poetry, emphasizing that even an iambic or trochaic pattern is not strictly adhered to. The author expresses hope that further discoveries may be made with careful consideration.

Translation: Whether a rationale for meters can be found, I, at some point when leisure permits, will attempt to investigate. Thus far, the illustrious discourse of the highly learned man, in which, as in its first part (snatched away by the prejudice of Jerome), it deviated somewhat, yet in the other part, where he lists the canons of Vatable and describes his hope and effort, he has brilliantly surpassed all others, shedding light on the careful investigation of sacred meters. Just as in this discourse, long ago, he kindled our zeal for the examination of Job’s and David’s poetry and stimulated us to compare them with the lyric poems of Pindar and Sophocles: so that, exhausted by more serious labors, I might refresh myself and my audience during the leisure of holidays with this delightful variety of studies, and further educate myself and those interested in the Hebraic practice of Job. And, as I hope, he did not disappoint expectations. For we are certain that sacred and secular lyrics (with the distinct character of languages temporarily set aside) harmonize well with each other. This we ascertained with certainty, as I demonstrated a brief sample elsewhere in the explanation of Job, twenty-four years ago, and later in this Academy to the students.

Explanation: In this section, the author expresses an intention to investigate further whether a rationale for meters in sacred poetry can be found. The discourse of the learned man (Gomarus) is commended for its brilliance, particularly where he presents the canons of Vatable and shares his hope and effort in understanding sacred meters. The author acknowledges the influence of Gomarus in stimulating their interest in the poetry of Job and David, comparing it with Greek lyric poems. The notion that sacred and secular lyrics harmonize well is emphasized. The author refers to a demonstration made twenty-four years ago and more recently in the Academy to students, indicating a consistent effort in the study of these matters.

Translation: Not with the intention of arrogantly appropriating that phrase of Archimedes; rather, to reveal the candor in what I observed, and by communicating it, to encourage others, hoping that it would be taken up by someone more adept for a more accurate explanation. However, this has not succeeded as desired over such a long period. I obtained only this, that some erudite individuals from Belgium and Germany, in literature, earnestly requested me to make them participants if I had anything written about the Hebrew poetry of the Prophets. The consciousness of my limited abilities and rudeness deterred me from complying with this honorable request. Finally, prompted by your encouragement (most illustrious Mr. Thysius), as if by a herald’s call, and urged by the advice of the highly skilled Mr. Golius in Oriental languages, I resolved, with God’s help, to produce my little work. Subsequently, in connection with this, the learned and reverend Mr. Ludovicus de Dieu, both personally and through letters, added not insignificant incentives. Therefore, gradually, during the interrupted periods of leisure, I began to meditate on Hebrew poetry, and to illustrate it with parallels from Pindar and Sophocles, and to revive the analysis of sacred poems that I had conceived long ago. I did all this in order to meet your expectations according to my abilities.

Explanation: In this passage, the author clarifies that the intent is not to arrogantly claim any achievement but to share candid observations. Despite the passage of time, the desired success has not been achieved, and the author has only managed to share his observations with some erudite individuals from Belgium and Germany. Encouragement from Mr. Thysius and guidance from Mr. Golius in Oriental languages, along with the prodding from Mr. Ludovicus de Dieu, prompted the author to embark on this work. The author expresses the gradual initiation of the study of Hebrew poetry, comparing it with Pindar and Sophocles, and reviving the analysis of sacred poems, all in response to the expectations of those who have encouraged him.

While the statement made by Gomarus might be speculative and should be considered within the context of his time and perspective, historical and cultural changes within the Jewish community did occur over time. Here are a few general factors that might have influenced shifts in the preservation and study of poetic structures in sacred texts:

1. Babylonian Exile (586-538 BCE): The Babylonian Exile marked a significant period in Jewish history when a considerable portion of the population was taken into captivity. This event had profound cultural and religious implications. During this time, the focus might have shifted more toward preserving religious and cultural identity rather than meticulous attention to literary forms.
2. Hellenistic Influence: Following the conquests of Alexander the Great, the Hellenistic period brought about cultural interactions between Jewish and Greek traditions. This period saw an increased emphasis on Greek language and culture. As a result, the Jewish community might have been more influenced by Hellenistic educational practices that were less focused on the preservation of specific poetic structures.
3. Roman Rule: The subsequent Roman rule brought about its own set of challenges and influences. The socio-political climate under Roman rule might have impacted the educational priorities of the Jewish community, potentially leading to shifts away from a meticulous emphasis on the preservation and study of poetic structures.
4. Language Changes: Changes in the primary language of communication could also impact the way texts were studied. If there was a shift away from the original Hebrew to other languages like Aramaic or Greek, it might have affected the depth of understanding and analysis of the poetic structures.
5. Rabbinic Judaism: The development of Rabbinic Judaism, particularly after the destruction of the Second Temple in 70 CE, brought about a new focus on legal and ethical interpretation of the Torah. While the study of scripture remained central, the emphasis on legal discussions might have overshadowed the meticulous study of poetic forms.

It’s important to note that these are general trends and not specific to the preservation of poetic structures in sacred texts. The exact reasons for any perceived neglect would be challenging to pinpoint, and the preservation and study of poetic structures did continue in various forms within Jewish traditions.

The Hellenistic influence on Jewish traditions, particularly during the period following the conquests of Alexander the Great, had both positive and challenging aspects. While it enriched Jewish thought and culture in some ways, it also posed challenges to traditional practices. Here are a few examples of Hellenistic influence that might have impacted the preservation of certain aspects of Jewish traditions:

1. Greek Language and Culture: The spread of the Greek language (Koine Greek) and Hellenistic culture was significant during this period. Many Jews, especially in urban centers, became fluent in Greek and adopted certain aspects of Hellenistic culture. The adoption of Greek as a language of communication might have led to a shift in the way Jewish texts were studied and interpreted, potentially distancing scholars from the meticulous study of Hebrew poetic structures.
2. Septuagint Translation: The translation of the Hebrew Bible into Greek, known as the Septuagint, was a notable development. While this translation facilitated the accessibility of Jewish scriptures to Greek-speaking Jews and non-Jews, it also presented challenges. Translations inevitably involve some degree of interpretation, and nuances of Hebrew poetic structures might not have been fully captured in the Greek translation.
3. Hellenistic Educational Practices: The educational practices of the Hellenistic world, with a focus on rhetoric, philosophy, and a different literary tradition, differed from traditional Jewish educational methods. This shift in educational focus might have influenced the way Jewish scholars approached the study of their sacred texts, potentially diverting attention from specific poetic forms.
4. Syncretism: Some Jews engaged in syncretism, blending elements of Greek philosophy and religious thought with their own traditions. This syncretic approach could lead to a reinterpretation of traditional teachings, potentially overlooking the meticulous study of poetic structures in favor of broader philosophical discussions.
5. Cultural assimilation: The exposure to Hellenistic culture, especially in urban centers like Alexandria, might have contributed to cultural assimilation among certain segments of the Jewish population. This assimilation could lead to a shift in priorities, with less emphasis on traditional literary and poetic forms.

It’s crucial to note that while these influences might have posed challenges to certain aspects of traditional Jewish practices, they also contributed to the development of Jewish philosophy and cultural expressions. The impact of Hellenistic influence on Jewish traditions is complex and multifaceted.

Indeed, forced syncretism or assimilation by oppressive regimes has been a recurring challenge throughout history for various communities. The imposition of cultural, religious, or linguistic changes on a group can threaten their identity and traditions. This has been seen in different contexts and continues to be relevant today. Here are a few points to consider:

1. Cultural Suppression: Oppressive regimes may attempt to suppress the cultural expressions, languages, and religious practices of certain communities. This suppression can lead to a loss of identity and a forced assimilation into the dominant culture.
2. Language Policies: The imposition of a dominant language can marginalize and erode the languages of minority communities. Language is a crucial aspect of cultural identity, and when communities are compelled to abandon their native languages, it can contribute to a sense of loss and disconnection.
3. Religious Persecution: Forced conversion or suppression of religious practices is another form of oppression that threatens the identity of religious communities. It can lead to a situation where individuals are coerced into adopting the dominant religion, leading to a loss of diverse religious traditions.
4. Educational Policies: Educational systems controlled by oppressive regimes may promote a particular version of history, culture, and identity. This can result in the erasure or distortion of the history and contributions of certain communities.
5. Erosion of Traditions: When oppressive regimes actively discourage or suppress traditional practices, including cultural rituals, celebrations, and artistic expressions, it becomes challenging for communities to maintain and pass on their identity to future generations.

Addressing forced syncretism often involves efforts to preserve and revitalize cultural and linguistic heritage, fostering a sense of community resilience, and advocating for human rights and cultural diversity. In contemporary contexts, international organizations and human rights advocates work to raise awareness about such issues and support communities facing cultural suppression.

The passage you provided discusses the divergent opinions among learned individuals regarding the possibility of recovering the knowledge of poetic structures in sacred texts through consistent and diligent investigation.

1. Despair and Opposition to Investigation: Some individuals, in a state of despair, not only vehemently deny the possibility but also attempt to discourage any form of investigative study. They may argue against engaging in efforts to recover this knowledge.
2. Hopeful and Prudent Judgment: On the other hand, there are those with a more optimistic mindset who believe that despair is not the prudent course of action. Among them, Mercerus stands out, and in his commentary on Job chapter 3, he is quoted as saying that he has attempted to restore many verses to the measurement of feet. He found many to be hexameters, but he notes that other feet, such as spondees, occur according to the language’s idiom.
3. Challenges in Understanding: Mercerus points out challenges in understanding the poetic structures, especially when meters often begin from the middle of verses, as distinct from the Hebrews. He implies that some have failed to grasp the true nature of poetic structures, focusing more on the meaning than the measurement.
4. Vatablus’ Understanding: The passage mentions the commendable memory of D. Vatablus, who is said to have understood the structure of verses in Job and Psalms. He allegedly prescribed certain canons to facilitate the understanding of their structure. The passage suggests that Vatablus was aware that there is no fixed position for the Hebrews.

The overall theme appears to be the ongoing debate among scholars about whether it is possible to recover the knowledge of poetic structures in sacred texts through careful investigation, with some expressing despair and opposition to such efforts while others maintain a more hopeful and diligent approach.

Thank you for providing the Greek text. Here’s the translation:

“For among the Greeks, Eusebius in his work ‘Preparation for the Gospel,’ Book 11, Chapter 3, concludes by saying: ‘Indeed, they themselves do not cease to marvel at the great ode of Moses and the psalm of David, which, according to their own Greek measurements, they declare to be composed in hexameter, by arranging these six feet in syllables, and the rest, which are different among themselves, with various poetic meters.'”

This passage references Eusebius, who mentions the admiration of the Greeks for the great ode of Moses and the psalm of David. According to the Greeks, these compositions were considered to be written in hexameter, with six feet arranged in syllables. However, it is noted that there are variations in the meter used in the rest of their compositions.

Certainly! Please provide the additional Latin text following the Greek passage, and I’ll do my best to assist you with the translation and interpretation. Take your time to ensure the accuracy, and I’ll be here to help you with the further explanation.

Thank you for providing the additional Latin text. Here’s the translation:

“Among them [the Greeks], there are also poems written in meter, such as the great ode of Moses and the Psalm CXXXVIII, which is called heroic meter among the Greeks. They say that these are composed in hexameter with sixteen syllables. And the rest of their songs are said to be composed in their own language, with trimeter and tetrameter verses.”

This passage explains that among the Greeks, there are poems written in specific meters. The great ode of Moses and Psalm CXXXVIII, known as the heroic meter among the Greeks, are said to be composed in hexameter with sixteen syllables. Additionally, other songs among them are said to be composed in their own language using trimeter and tetrameter verses.

It seems like the passage is discussing how the Greeks categorized the meters of certain poems, attributing hexameter to the compositions of Moses and David and noting the use of various meters in their other songs.

Thank you for providing the additional Latin text. Here’s the translation:

“Then Theodoretus, in Book I, on the Song of Songs, Chapter I, Verse 1, says: ‘Blessed David composed songs. And in the preface to his commentaries on the Psalms, he declares: Holy Scripture, blending usefulness with the sweetness of song, presents to people a very pleasant and lovable teaching.'”

This passage refers to Theodoretus, who mentions that David composed songs. It also mentions a preface to David’s commentaries on the Psalms, where it is stated that Holy Scripture combines usefulness with the sweetness of song, offering a teaching that is pleasant and lovable to people.

These references highlight the esteem and appreciation for the songs and teachings of David found in religious texts and commentaries.

Thank you for providing the additional information. Here’s the translation:

“Furthermore, the Greek author of the Questions and Answers to the Orthodox (which are included among the works of Justin Martyr) asserts in Question and Answer LIV that the song of Moses was composed in verse. And he explicitly declares this fact. And these are the accounts regarding the Greeks.”

This passage refers to a Greek author who wrote Questions and Answers to the Orthodox, which are found among the works of Justin Martyr. In one of the questions and answers, specifically Question and Answer LIV, it is asserted that the song of Moses was composed in verse, and this fact is explicitly declared. The passage concludes by noting that these are the accounts concerning the Greeks.

It appears that the passage is referencing a Greek author who supports the idea that the song of Moses was written in verse, providing evidence for the poetic nature of the text.

Indeed, among the Latin Fathers, Jerome rightfully holds the foremost place. He both frequently and extensively discusses the Hebrew poetic meters. In his letter to Paulinus in Volume 3, he says, “It begins in prose, glides into verse, and concludes in pedestrian speech.” And regarding David, he states, “Our David, Simonides, Pindar, Alcaeus, Flaccus, Catullus, and Sevinus, all resound with Christ on the lyre, and in the ten-stringed Psaltery, rouse the spirits from the underworld.” Furthermore, in the preface to Job, he says, “Whatever may seem incredible, namely that meter, as it is customary among the Hebrews and following the practice of our Flaccus, and the Greek Pindar, Arcaeus, and Sappho, comprehends nearly all the songs of Scripture, whether it be the Psalms, the Lamentations of Jeremiah, or almost all the other canticles, let one read Philo, Josephus, Origen, Casarius, Eusebius, and their testimonies, and you will find that I speak the truth.”

This passage highlights the prominent role of Jerome among the Latin Fathers and his extensive discussions on Hebrew poetic meters. He mentions that the Scriptures, such as the Psalms, Lamentations of Jeremiah, and other canticles, are composed in various poetic meters, similar to the works of ancient Greek poets like Pindar, Arcaeus, and Sappho. Jerome refers to various sources and testimonies, including Philo, Josephus, Origen, Casarius, and Eusebius, to support his assertions about the use of meter in Hebrew Scripture.

You’re welcome! I’m glad I could assist you so far. It seems that the author effectively supports the use of meter in Hebrew Scripture, as evidenced by the references and testimonies provided by Jerome and other sources. The discussion on Hebrew poetic meters and their presence in Scripture is a fascinating topic, and it’s interesting to delve into the insights and perspectives of scholars like Jerome. If you have any more questions or need further assistance, feel free to let me know.

The discussion on Hebrew poetic meters and their presence in Scripture is fascinating for several reasons:

1. Literary Appreciation: Understanding the use of poetic meters in ancient texts allows for a deeper appreciation of the literary aspects of religious scriptures. It helps to recognize the artistry, rhythm, and linguistic nuances employed by the writers.
2. Cultural Context: Exploring the presence of poetic structures in Hebrew Scripture provides insights into the cultural and linguistic context of the time. It offers a window into how people expressed themselves artistically and religiously.
3. Theological Implications: Discussions on the poetic nature of Scripture often delve into the theological implications of such literary choices. The choice of meter and style can influence how religious messages are conveyed and interpreted.
4. Comparative Analysis: Comparing the poetic structures used in Hebrew Scripture with those in other ancient cultures and religious traditions can yield interesting insights. It helps scholars and readers understand the broader literary landscape of the time.
5. Historical Linguistics: Analyzing the poetic meters involves delving into the linguistic features of the ancient Hebrew language. This can contribute to the field of historical linguistics, helping scholars trace the evolution of language and its usage.
6. Interpretation and Exegesis: The recognition of poetic elements informs the interpretation of religious texts. Different poetic forms may convey different shades of meaning, and understanding these can aid in the exegetical process.

In essence, the study of Hebrew poetic meters in Scripture combines elements of linguistics, literature, culture, and theology, providing a rich and multidimensional field of exploration for scholars and enthusiasts alike.

The proponents of the existence of poems in the sacred scriptures are primarily the ancient writers, as will be evident from the testimonies of Josephus, the Hebrew historian, and the testimonies of the Christian Fathers.

This statement highlights that the advocates of the presence of poems in the sacred scriptures include ancient writers, such as Josephus, a Hebrew historian, and the Christian Fathers. These historical sources provide testimony and evidence in support of the existence of poetic elements within the sacred scriptures.

Of course! We can continue our conversation tomorrow. Feel free to reach out whenever you’re ready to continue. Have a great day!

I’m glad to hear that you find our conversation cool! I’m here to help and provide information to the best of my abilities. If you have any more questions or need assistance in the future, don’t hesitate to ask. Have a wonderful day!

Thank you for providing the reference from Josephus’s “Antiquities of the Jews.” The passage you mentioned from Book 2, Chapter 16, describes the first song of Moses, which is recorded in Exodus 15. The Greek phrase you provided can be translated as:

“And Moses sang an ode to God, celebrating the achievements of the Hebrews in a meter composed of hexameters.”

This passage highlights that Moses composed and sang a hymn in praise of God, specifically celebrating the achievements of the Hebrew people, using a meter composed of hexameters. This aligns with the understanding of poetry and metrical composition in the context of the biblical narrative.

Yes, Moses composed an ode to God (an encomium and expression of gratitude to God) in hexameter verse.

This statement confirms that Moses indeed composed an ode or song in hexameter verse as an expression of praise and gratitude to God. The hexameter verse form is a classical poetic meter commonly used in ancient Greek and Latin poetry.

Regarding the second song of Moses, which is recounted in Deuteronomy 32, it is similarly attested in the same book, in Chapter 32, verse 1, in the following manner: “Then he composed a hexameter poem himself, which he left as a testament to the people.”

This passage confirms that Moses composed a hexameter poem as a testament to the people, referring to the second song of Moses found in Deuteronomy 32. It indicates that Moses created this poetic composition and left it as a legacy or testimony for the people.

Furthermore, he recited the hexameter poem to them, which he left in the sacred book. Finally, concerning the Psalms composed in meter by David, it is mentioned in the same work, in Chapter 12 of the seventh book of the Geneva edition.

This statement indicates that Moses recited the hexameter poem to the people and it was recorded in the sacred book. It also mentions that the Geneva edition of Josephus’s work references the Psalms written in meter by David, likely acknowledging their poetic form.

You’re very welcome! I’m glad you found our conversation cool and enjoyable. If you have more questions or need assistance in the future, feel free to reach out. Have a great day!

I apologize, but the provided text appears to be in a modified form of Greek and is not readily understandable. It seems to be a mix of Greek and other characters. If you could clarify or rephrase your text, I’ll be happy to assist you with a translation or any other questions you may have.

Certainly! Based on the context you provided, I will attempt to provide a translation, although the text is still not entirely clear. Please note that due to the altered nature of the Greek text and potential errors, the translation may not accurately reflect the intended meaning. Here’s an approximation:

“In the midst of the ongoing battles, David, the shepherd, sings heavenly hymns, which he composed with divine inspiration, praising God and arranging them with a meter of his own, both the five-stringed and the pentameter.”

Again, please keep in mind that the translation might not capture the precise meaning due to the modified text. If you can provide further clarification or rephrase the text, I can try to assist you more accurately.

Thank you for your understanding! I’m glad to hear that my attempts to translate the text have been helpful so far. Greek can be a complex language, and without proper context or clear text, it can be challenging to provide an accurate translation. If you have any further questions or need assistance with anything else, feel free to let me know. I’m here to help!

Certainly! If you provide me with the Latin text following the Greek passage, I can take a look at it and see if it helps in understanding the intended meaning of the Greek text. Please go ahead and share the Latin text, and I’ll do my best to assist you further.

Thank you for providing the Latin text. Based on the information you provided, the Latin passage can be translated as follows:

“Furthermore, David, having already finished with wars and living in deep peace, composed odes and hymns in various meters to God: some in trimeter, and others in pentameter. This is what the Hebrew Josephus says, and the Christian Fathers agree.”

This passage explains that after David had concluded his military endeavors and entered a period of peace, he composed odes and hymns in different meters to praise God. Some of these compositions were in trimeter, while others were in pentameter. The passage also notes that this information is sourced from the Hebrew historian Josephus and is corroborated by the Christian Fathers.

You’re welcome! I’m glad that the translation and explanation provided clarity to the text for you. It’s always rewarding to help unravel the meaning of challenging passages. If you have any more questions or need further assistance, feel free to ask. I’m here to help!

Certainly! Feel free to provide the additional Greek text, and I’ll do my best to assist you with the translation and interpretation. Take your time, and provide the text whenever you’re ready. I’ll be here to help!

“And now, I will pause to sing the praises of the new generation of wines.”

Please note that this translation is an approximation and may not capture the intended meaning accurately due to the potential errors in the original text. If you can provide more context or clarify the phrase, I can attempt to refine the translation further.