The passage you provided is a quote from Augustine, found in Volume 2 of his works, in the 131st sermon to Mumerius. Here’s a translation:

“Augustine also agrees with this when he says in Sermon 131 to Mumerius: ‘In what meters the verses of David are composed, I have not written, because I do not know. Indeed, not even from the Hebrew language (which I am ignorant of) could the translator express the numbers, lest, constrained by the necessity of meter, he should be compelled to deviate more from the diversity of interpretation than the sense of the sentences required. Nevertheless, I believe that those verses are composed in certain numbers, which someone well-versed in that matter could ascertain. For that holy man loved sacred music, and in those studies, he kindled us more than in any other.'”

In this quote, Augustine expresses uncertainty about the specific meters used by David in the Psalms. He suggests that expressing these meters in Latin might lead to interpretive challenges, possibly deviating from the diversity of interpretations needed. However, Augustine acknowledges the belief that the Psalms are composed in certain specific meters, and he highlights David’s love for sacred music as an inspiration for others.

In addition to these, there is Isidore of Seville, the bishop, who in Book I, Chapter XVIII of “Origines” concerning heroic verse says: “It surpasses all meters. That Moses was the first to sing this is proven by the song in Deuteronomy, long before Pherecydes and Homer. Hence, it is evident that the study of poetry was older among the Hebrews than among the Gentiles. Indeed, even Job, a contemporary of Moses, runs in hexameter verse, with dactyls and spondees. This is about the advocates of ancient sacred poems, to whom almost all later generations subscribe, acknowledging that in the Sacred Scriptures, the Hebrews included poems bound by metrical laws.”

Isidore of Seville, in this passage, places Moses as the first to sing in heroic verse, surpassing all other meters. He notes that this occurred long before other poets like Pherecydes and Homer. Isidore suggests that the study of poetry was older among the Hebrews than among the Gentiles. He highlights that even Job, considered a contemporary of Moses, is composed in hexameter verse. The passage concludes by affirming the acknowledgment that Hebrew Sacred Scriptures contain poems bound by metrical laws.

It seems like you’ve provided a passage discussing Julian the Apostate’s views on Hebrew poetry and his attempt to detract from its praise. Here’s the translation:

“Indeed, some scorn and vehemently deny it, but with different intentions. For among the ancient writers, Julian the Apostate is the first and (as Genebrard asserts in Chronologiae, page 107) the only one known. Driven by a severe and impious hatred against the Christian religion, he attacked the Hebrew prophets, attempting to diminish the praise of their meters. For his words, presented by Cyril, Bishop of Alexandria, in the seventh section of his book against Julian, are these: ‘The study of disciplines and exercise in the liberal arts are not, like those of the Hebrews, unpolished and barbarous, although the evil Eusebius wishes to attribute some hexameters to them.'”

This passage suggests that Julian the Apostate, motivated by strong animosity towards Christianity, sought to diminish the praise of Hebrew poetry, considering it unpolished and barbarous. The words of Julian are presented as a contrast to the disciplines and liberal arts, which he claims are more refined.

The passage discusses the views of later scholars, particularly Augustine Steuchus, Bishop of Gubbio, on Hebrew poetry. Here’s the translation:

“As for more recent scholars, there are very few to whom this sentiment appeals, and if there are any, they, nonetheless, detract nothing from the authority of Scripture but embrace it reverently. A very learned man, Augustine Steuchus, Bishop of Gubbio, seems to lead among them (having followed Rabbi Mosche ben Chabib in his book or prosody). In his preface to the Psalms, he indeed says, ‘Moses, the most ancient of all, sang a song to God; however, I do not acknowledge that true poems, or those bound by metrical laws, exist in the Sacred Scriptures.’ For a little later, he more fully explains his mind: ‘But the Hebrew poem is not the same as that of the Greeks and Latins, just as neither the Italic, whether Etruscan or Latin, is the same as Latin. It has more similarity with Italic than with Latin. Like the Italic, to imitate the Greek, it observes the times of syllables: the Hebrew has no times but fixes the number and the likeness of falling syllables. Thus, there is no spondee, trochee, or dactyl in Italic verse, but only the counting of syllables and the observation that they define similarly; something similar follows in Hebrew. Therefore, when Jerome writes that either Job or the Psalms run in dactyls and spondees, and when, in the preface to Job, he says, ‘It begins in prose, glides into verse,’ and when Augustine, along with others, testifies about the poetry of the Hebrews, you should understand that they designate not the exact feet of our poetry, but something similar and akin to what the barbarians sing in various rites. The Psalms, Job, the books of Solomon and the Prophets, exhibit the nature of poetry, but neither Latin nor Greek. It is something rhythmic, departing slightly from the free style of speech, with poetic figures and somewhat more obscure words. Moreover, the Psalms, not by the same author nor in the modern style, as they are not always clearly perceived in the modern manner. Thus far, Augustine Steuchus, who proposes the same in a concise preface to Job.”

This passage outlines Augustine Steuchus’s perspective, asserting that Hebrew poetry is not the same as that of the Greeks and Latins, and it resembles more the Italic poetry. He argues that the Hebrew poems, including Psalms and Job, do not conform to the same structures as Latin or Greek poetry but have a rhythmic nature, departing from ordinary speech with poetic figures and somewhat obscure words.

The rhythmic nature of Hebrew poetry holds significance for several reasons:

1. Oral Tradition: Hebrew poetry often predates widespread literacy, and its rhythmic nature made it well-suited for oral transmission. The rhythm could aid in memorization, ensuring that important religious and cultural texts were passed down accurately from generation to generation.
2. Expressive Emphasis: Rhythm in poetry can serve as a powerful tool for emphasizing certain ideas or themes. The repetitive patterns, parallelism, and distinctive rhythms in Hebrew poetry may have been used to highlight key concepts, making the message more memorable and impactful.
3. Liturgical Use: Many Hebrew poems, especially those found in the Psalms, were intended for use in worship and communal settings. The rhythmic patterns could enhance the communal experience, fostering a sense of unity and shared expression.
4. Distinctive Style: The rhythmic structures of Hebrew poetry set it apart from other ancient poetic traditions. This distinctiveness contributes to the unique cultural and religious identity of the Hebrew people, emphasizing the particularities of their literary expression.
5. Cultural Identity: The rhythmic features of Hebrew poetry reflect the cultural and linguistic characteristics of the ancient Hebrews. Understanding these rhythms provides insights into their artistic preferences, aesthetic values, and the way they perceived and expressed their relationship with the divine.
6. Poetic Parallelism: Hebrew poetry often employs parallelism, where thoughts are expressed in two or more lines that are similar or contrasted. The rhythmic elements contribute to the artistry of parallelism, creating a poetic structure that goes beyond mere linear progression.
7. Theological Depth: The rhythmic patterns in Hebrew poetry can be linked to theological concepts. The repetition and variation of rhythms may serve theological purposes, reinforcing ideas about God’s nature, justice, mercy, and the covenant relationship with the Hebrew people.
8. Connection to Ancient Traditions: The rhythmic nature of Hebrew poetry connects it to ancient traditions and cultural practices. Studying these rhythms provides a glimpse into the artistic and linguistic preferences of the Hebrews and their cultural context.

In summary, the rhythmic nature of Hebrew poetry is a key element that contributes to its cultural, religious, and artistic significance. It played a crucial role in oral transmission, worship, and the expression of the Hebrew identity. Understanding these rhythmic patterns enhances our appreciation of the richness and depth of Hebrew poetic traditions.