Philo Judaeus, De Posteritate Caini, ed. Paul Wendland, 103

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[103] 31 „Ὁ δὲ Ἰουβὰλ οὗτος“ φησίν „ἐστὶ πατὴρ ὁ καταδείξας ¹ ψαλτήριον καὶ κιθάραν“ (Gen. 4,21). πατέρα μουσικῆς καὶ τῶν κατὰ μουσικὴν πάντων ὀργάνων τὸν γεγωνὸν λόγον προσφυέστατα καλεῖ· τὸ
γὰρ φωνητήριον ὄργανον ζῴοις ἡ φύσις πρῶτον καὶ τελειότατον ἐργασαμένη πάσας αὐτῷ τὰς ἁρμονίας καὶ τὰ γένη τῶν μελῳδιῶν εὐθὺς ἐχαρίζετο, ἵν’ ᾖ τοῖς ἐκ τέχνης μέλλουσι δημιουργεῖσθαι προειργασμένον παράδειγμα.

De Posteritate Caini. Philo Judaeus. ed. Paul Wendland. Germany. 2014.

Funding provided by European Social Fund Saxony.

Current edition First1KGreek

De Posteritate Caini (Greek) (Philo Judaeus. Opera quae supersunt, Volume 2. Wendland, Paul, editor. Berlin: Reimer, 1897.)

Translations (1)

On the Posterity of Cain First1KGreek (The works of Philo Judaeus, the contemporary of Josephus, volume 1. Yonge, C. D., translator. London: Henry G. Bohn, 1854.) — 103 focus

"Now this Jubal," says Moses, "is the father who showed men the use of the psaltery and of the harp." ¹ He in the strictest consistency with nature calls distinctly uttered 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.

Notes on the current edition

De Posteritate Caini

1. p. 245 Μ.

Philo Judaeus De Posteritate Caini 103

ed. Paul Wendland

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