On the Posterity of Cain (101-105)

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 level road, which leads one aright.

"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 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.

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 [*] [*]

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;