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.
Translation:
To you, most illustrious and learned gentlemen, I submit this premature offspring for your review, trusting in our ancient and steadfast friendship. Indeed, an exceedingly close bond of friendship was established between me and the esteemed Mr. Thysius more than fifty years ago, marked by mutual friendship and a connection of souls and studies. With you too, most learned Mr. Constantine, an enduring friendship has flourished since it was initiated by your most distinguished parents, strengthened by reciprocal duties and a harmony of studies, in which you excel, and it has endured for more than twenty-five years. Therefore, I offer this work to your judgment, not only seeking your favor but feeling that your office demands the same. Just as the former among you, Mr. Thysius, was eventually prompted to the publication of my work, so the latter, several years ago, did not disdain the modest beginnings of the same work but requested that it be shared with him. Therefore, what remains (most revered and illustrious gentlemen), I pray to God that He may graciously preserve you and your families and inspire your holy and illustrious labors with His Holy Spirit, for the glory of His name, the advancement of your Academy, and the growth of the Church of Christ. Groningen, October 10, 1636. Your most devoted servant, F. GOMARUS.
Note: The Latin text is marked by occasional typographical errors or missing words, which might affect the precision of the translation.
Letters in the 1600s, especially those written by scholars and academics, often followed a formal and elaborate style. The language tended to be more ornate, and expressions of respect, humility, and deference were common. The structure of the letter typically included a salutation, an introduction, the main body of the letter, and a closing. The use of classical references and Latin was prevalent, given the academic context.
People in the 17th century valued eloquence and rhetorical skill, and this was reflected in their written communication. Letters were not just a means of conveying information but also a form of intellectual expression. The tone and style of a letter were influenced by the conventions of the time, the social status of the correspondents, and the purpose of the communication.
The letter you provided from Gomarus is consistent with the conventions of scholarly correspondence in the 17th century, with its formal language, expressions of friendship, and references to classical literature.