Philo Judaeus, De Posteritate Caini, ed. Paul Wendland, 104

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[104] [καὶ] καθάπερ γὰρ τὸ οὖς ἡμῶν κύκλους ἐν κύκλοις, ἐλάττους ἐν μείζοσι, γράφουσα σφαιρικὸν ἐτόρνευε τοῦ τὴν προσιοῦσαν
φωνὴν μὴ χεομένην ἔξω σκεδάννυσθαι, εἴσω δ’ ὑπὸ τῶν κύκλων συναγομένην καὶ σφιγγομένην οἷα διαχεομένην τὴν ἀκοὴν εἰς τὰς τοῦ ¹² ἡγεμονικοῦ δεξαμενὰς ἐπαντλεῖσθαι — καὶ τοῦτ’ εὐθὺς ἦν παράδειγμα θεάτρων τῶν κατὰ πόλεις εὐδαίμονας· πρὸς γὰρ τὸ ὤτων σχῆμα ἄκρως ἡ θεάτρων κατασκευὴ μεμίμηται —, οὕτως καὶ τὴν τραχεῖαν ἀρτηρίαν ἡ τὰ ζῷα φύσις διαπλάσασα ὥσπερ μουσικὸν κανόνα τείνασα τὰ ἐναρμόνια
καὶ χρωματικὰ καὶ διατονικὰ γένη συνυφαίνουσα κατὰ τὰς τῶν συνημμένων καὶ διεζευγμένων μελῳδιῶν παμπληθεῖς ποικιλίας παντὸς ὀργάνου μουσικοῦ παράδειγμα ἱδρύετο.

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.) — 104 focus

[104] 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 handsome ¹² 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.

Notes on the current edition

De Posteritate Caini

1.
1 ἔδων U, ἑδῶν R παρέρχεσθαι Mang.: περιέρχεσθαι U, προέρχεσθαι R
2 κυριω΄ U
4 δὲ R
8 τιθασσοὺς UR, πιθανοὺς Maug.
9 ἀστείως καὶ αὐστηρῶς scripsi: ἀστείω καὶ αὐστηρῷ UR
10 γοῦν R: om. U
12 ἐκων κλινεῖς Mang.: ἐκκλίνης UR
15 συννὸ΄ U
16 εὐθείας U: εὐθεῖαν
18 Ἰουβὰλ scripsi: Ἰωβὰλ U
21 ζῴοις Mang.: ζωρὶς U
24 καὶ sedusit Cohn, καὶ ἀρχέτυπον coui. Holwerda
26 χεομένην U (non χεομένου) τῶν scripsi: τὸν κύκλον U
27 διαχεομἐτην τὴν ἀκοὴν scripsi: διαχεομένης τῆς ἀκοῆς U

2. 19.
20 R fol. 90v Φίλωνος: πατέρα μουσικῆς—καλεῖ.

Philo Judaeus De Posteritate Caini 104

ed. Paul Wendland

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