But Moses does not think it right to incline either to the right or to the left, or in short to any part of the earthly Edom; but rather to proceed along the middle way, which he with great propriety calls the royal road, for since God is the first and only God of the universe, so also the road to him, as being the king's road, is very properly denominated royal; and this royal road you must consider to be philosophy, not that philosophy which the existing sophistical crowd of men pursues (for they, studying the art of words in opposition to truth, have called crafty wickedness, wisdom, assigning a divine name to wicked action), but that which the ancient company of those men who practised virtue studied, rejecting the persuasive juggleries of pleasure, and adopting a virtuous and austere study of the honourable-this royal road, which we have stated to be true and genuine philosophy, the law calls the word and reason of God; for it is written, "Thou shalt not turn aside from the word which I command thee this day, to the right hand nor to the left," So that it is shown most manifestly that the word of God is identical with the royal road, since Moses' words are not to depart either from the royal road, or from this word, as if the two were synonymous, but to proceed with an upright mind along the middle and lovel road, which leads one aright.

XXXI. "Now this Jubal," says Moses, "is the father who showed men the use of the psaltery and of the harp."+ He in the strictest consistency with nature calls distinctly rttered language the father of music and of all the instruments used in music; for nature, having given the organ of voice to animals as the first and most perfect of organs, afterwards gave to this organ all the harmonies, and all the different kinds of melodies, in order that it might be a previously made model for those organs which are hereafter to be made by art. And as he made an ear spherical, fashioning lesser circles in their greater ones and framing it as in a lathe, with the object of preventing the sounds of the voice which come from without from being wasted and dissipated, so that the voice when collected together and closely packed within the circle might, by a sort of diffusion of the power of hearing, be poured over the different channels of the principal part. And this immediately served as a model for those theatres which are found in hand• Numbers xx. 17. † Genesis iv. 21.

some cities; so that the shape of a theatre is skilfully dictated by the mechanism of the ear.

So also, nature, which formed animals, stretching the rough artery like a musical canon, and wearing beneath the harmonic and chromatic and diatonic kinds of sounds, according to the innumerable variations of combined and separated melodies, made a model in accordance with which every musical instrument might be made.

XXXII. Perhaps, at all events, flutes and lyres, and similar instruments which utter melodies, are as far inferior to the music of nightingales or swans as a thing made after a model, and an imitation must be from the archetypal model, or a perishable species from an imperishable genus; for it is not fitting to compare the music of man with that of any other animal, since it has an especial privilege with which it is honoured, namely, articulate distinctness of speaking; for all other animals, having a broken utterance in their voice, by this and by an incessant change of tones alone give pleasure to our ears. But man, being furnished by nature with the means not only of speaking but also of singing articulately, charms both the sense of hearing and the mind, soothing the one with his song and influencing the other with ideas; for, as an instrument, if it be given into the hands of a man who has no skill as a musician, is inharmonious, but if given to a musician it becomes harmonious according to the skill that is in him. So in the same manner speech, when put in motion by a worthless mind, is inharmonious; but, when it is put in motion by a virtuous mind, it is found to be very melodious. A lyre, indeed, or any similar instrument, if it be not struck by some one, is silent; and speech, too, if it be not struck by the principal part, that is to say, the mind, is of necessity tranquil. And, again, as musical instruments are transposed and adapted to an infinite number of mixtures of airs, so also speech corresponds to them, becoming an interpreter of things; for who would converse in a similar manner with parents and children, being by nature the slave of the one, and by birth the master of the others? And who, again, would talk in the same manner to brothers or cousins; or, in short, to near and to distant relations? Who, again, could do so to friends and to strangers, to fellow citizens and to foreigners, though there may be no great difference in point of fortune, or nature, or age be

tween them? For one must behave differently while associating with an old man and with a young one; and, again, with a man of high reputation and a humble man, with a servant and a master; and, again, with a woman and a man, and with an illiterate and a clever man. And why need one cite an incredible variety of persons to whom speech varies itself, so as at one time to assume one character and at another time another? For it would not interpret great things and small, numerous things and rare, private and public matters, sacred and profane affairs, or old and new events in the same manner; but would use, in each case, language appropriate to the number, or importance, or magnitude of the affairs under discussion; at one time elevating itself to a lofty style, and at another time, on the contrary, confining and humbling itself.

But as circumstances and persons give varieties to speech, so also do the causes of things and the manner in which they are done; and, moreover, those points especially with which everything is concerned, namely, time and place. Very beautifully, therefore, is he who inclines voices, namely Jubal, called the father of the psaltery and of the harp," from a portion of the whole science of music, as has been shown already.

XXXIII. The descendants, therefore, of Adah, and what she herself is, have now been explained. Let us consider next the other wife of Lamech, Zillah, and what she brings forth. Zillah, then, being interpreted, means "shadow," a symbol of the qualities of the body and of the external good things, which, in their real essence, are in no way better than a shadow. Is not beauty a shadow, which, after it has flourished for a brief time, withers away? And are not strength and activity of body shadows, which any chance disease can destroy? And the organs of the external senses, and the accuracy of their use, which any sudden cold may obstruct, or old age, that inevitable and common disease of all men, may impair, are not they shadows? And, again, are not riches and glory, and authority and honours, and all the external circumstances which are accounted goods, are not they, I say, all shadows? But one ought to lead the mind, as if by the steps of a flight of stairs, up to the origin of everything.

Men in the rank of those who are considered illustrious have gone to Delphi, who have consecrated their happy lives to the

service of that place, and like writings which have become effaced, not only in consequence of the lapse of ages but also by the vicissitudes which time brings about, they have then expired. There are some again whom the impetuosity of an overflowing torrent, as it were, has suddenly extinguished and carried away. From all these shadows, then, and all these unsubstantial dreams a son is born, whom his parents called Tubal (this name being interpreted means "all"). For they with great wisdom laying it down (instead of those things which are accounted good things by the multitude) that competency combined with good health is happiness, consider that in that is united everything great or small, in short everything. But if there were any such thing as an absolutely independent authority added, then becoming full of arrogant domination, and elated with vanity and false opinions, forgetting themselves and the contemptible material of which they are composed, they look upon themselves as composed of a more valuable material than the composition of man admits of; and becoming swollen with pride, they think themselves worthy of even divine honours. At all events, before now some persons have ventured to say, that they do not know the true God,"+ forgetting their own human nature, by reason of the immoderate excess of corporeal and external things . . . and each imagining . . . .‡

XXXIV. Then Moses says, " He was a hammer-beater and forger of brass and iron: "§ for the soul of that man who is intent on corporeal pleasures or external things is beaten by a hammer, like a piece of iron on an anvil, being drawn out according to the long and thin-drawn extensions of the appetites. Accordingly, you may see men fond of their bodies at every time, and in every place laying lines and nets to catch those objects that they desire; and others, who are lovers of money or covetous of glory, letting loose their desire and eagerness for those things to the furthest boundaries of earth and sea, and dragging in from all quarters by their unlimited desires, as if by so many nets, whatever can gratify them, till the excessive tension, being broken by its great violence, drags back those who

There is an hiatus in the text in this sentence. I have followed Mangey's Latin translation.

+ Exodus v. 2.

Another hiatus occurs here.

§ Genesis iv. 22, where he is called Tubalcain.

are dragging at it, and throws them down headlong

All these

men are causes of war, on account of which they are said to be workers in brass and iron, by means of which metals wars are carried on. For if any one contemplates the history of the greatest public or private quarrels that have arisen among men and among cities, he will not be wrong if . . . he looks upon

all of them, whether upon those which took place long ago, or upon those which are now raging, or on all that will ever arise hereafter, as being caused either by the beauty of a woman, or by a love of money, or, in short, by some desire for the excessive indulgence of the body, and for some superfluity of external things but no foreign war and no civil war has ever existed for the sake of instruction or virtue, which are the good things of the mind, which is the best part of us; for these things are in their nature peaceful, and by them good laws and tranquil stability, and whatever else is most beautiful to the sharp-seeing eyes of the soul, not to the dim perceptions of the body, are seen to be established.

For the perceptive powers of the body look only upon the external surface, but the eye of the mind penetrates within, and going deep down surveys all the interior and hidden things which are removed out of the reach of bodily sight. And nearly all the troubles, and confusions, and enmities which arise among men, are about absolutely nothing, but about what is really a shadow: for Moses called Tubal the son of Zillah, that is to say of shadow, the maker of the warlike instruments of brass and iron, speaking philosophically, and being guided not by verbal technicalities, but by the exceeding propriety of the names; for he knew that every naval and every land expedition chooses to encounter the greatest dangers for the sake of bodily pleasures, or with a view to obtain a superfluity of external good things, of which nothing is firm or solid, as is testified by the history of time, which brings all things to proof: for they are like superficial sketches, being in themselves perishable and of no duration.

XXXV. Moses proceeds to say, that Tubal's sister was Noeman, the interpretation of which name is "fatness.". For it follows that those who pursue a luxurious condition of the body, and the other objects which I have mentioned, do get fat wher they obtain any of the things that they desire: but such fatness Here again there is an hiatus in the text.