The Meaning of Cain's descendants (4)
[19] And Lamech took unto him two wives: the name of the one was Adah, and the name of the other Zillah.
[20] And Adah bare Jabal: he was the father of such as dwell in tents, and of such as have cattle.
[21] And his brother’s name was Jubal: he was the father of all such as handle the harp and organ.
Adah (79−83)
For Philo, Ada means “witness” — in the sense of self-witness and attention directed to ones thoughts and acts.
THE LOW and grovelling Lamech marries as his first wife Ada, which means ‘Witness.’ He has arranged the marriage for himself, for he fancies that the prime good for a man is the smooth movement and passage of the mind along the line of well-aimed projects, with nothing to hinder its working towards easy attainment. ‘For what,’ says he, ‘could be better than that one’s ideas, purposes, conjectures, aims, in a word one’s plans, should go, as the saying is, without a limp, so as to reach their goal without stumbling, understanding being evidenced in all the particulars mentioned?’ (79)
If a man has used a natural aptness and readiness not only for good and worthy ends, but also for their opposites … let him be deemed unhappy. … for verily it is a desperate misfortune for the soul to succeed in all things which it attempts, although they be utterly base. (81)
Therefore, Ο mind, have nothing to do with Ada, who bears witness to (the success of) worthless things, and is borne witness to (as helping) in the attempts to accomplish each of them. (83)
Jabal (Jobel; 83−99)
IF you shall think well to have her [Ada] for a partner, she will bear to you a very great mischief, even Jobel (Gen. iv. 20), which signifies ‘one altering.’ For if you delight in the witness borne to (the goodness of) everything that may present itself, you will desire to twist everything and turn it round, shifting the boundaries fixed for things by nature. (83)
The man who removes the boundaries of the good and beautiful both is accursed and is pronounced to be so with justice. These boundaries were fixed … on principles which are divine and are older than we and all that belongs to earth. This has been made clear by the Law, where it solemnly enjoins upon each one of us not to adulterate the coinage of virtue, using these words: ‘thou shalt not remove thy neighbour’s boundaries, which thy fathers set up.’ (Deut. 19:14) (88f.)
How, then, should Jobel escape rebuke, whose name when turned into Greek is ‘altering’ the natures of things or making them other than they are? For he changed the forms of wisdom and endurance and justice and virtue in general, forms of Godlike beauty, substituting contrary shapes of folly, intemperance, injustice, and all wickedness, obliterating the shapes that had been impressed before. (93)
Jubal (100−111)
‘JUBAL’ is akin in meaning to ‘Jobel,’ for it means ‘inclining now this way now that,’ and it is a figure for the uttered word, which is in its nature brother to mind. It is a most appropriate name for the utterance of a mind that alters the make of things, for its way is to halt between two courses, swaying up and down as if on a pair of scales, or like a boat at sea, struck by huge waves and rolling towards either side. For the foolish man has never learned to say anything sure or well-grounded. (100)
[He swerves aside from the] royal road, which we have just said to be true and genuine philosophy, is called in the Law the utterance and word of God. (102)
Jubal is the father of musical instruments because music, like foolish thought and speech, has infinitely many variations:
RIGHT well then is Jubal, the man who alters the tone and trend of speech, spoken of as the father of psaltery and harp, that is of music. (111)
[22] And Zillah, she also bare Tubal-cain, an instructer of every artificer in brass and iron: and the sister of Tubal-cain was Naamah.
Zillah (Sella; 112−113)
LET us contemplate Lamech’s other wife Sella (Zillah) and her offspring. Well, ‘Sella’ means ‘a shadow,’ and is a figure of bodily and external goods, which in reality differ not a whit from a shadow. (112)
Tubal (Thobel; 114−119)
OF this shadow and its fleeting dreams a son is born, to whom was given the name of Thobel, meaning ‘all together.’ For it is a fact that those who have obtained health and wealth … think that they have secured absolutely all things. (115)
He goes on to say: This man was a wielder of the hammer, a smith in brass and iron work. For the soul that is vehemently concerned about bodily pleasures or the materials of outward things, is being ever hammered on an anvil, beaten out by the blows of his desires with their long swoop and reach. Always and everywhere you may see those who care for their bodies more than anything else setting lines and snares to catch the things they long for. You may see lovers of money and fame dispatching on expeditions to the ends of the earth and beyond the sea the frenzied craving for these things. They draw to them the produce of every region of the globe, using their unlimited lusts as nets for the purpose, until at last the violence of their excessive effort makes them give way, and the counter pull throws down headlong those who are tugging. All these people are war-makers, and that is why they are said to be workers in iron and bronze, and these are the instruments with which wars are waged. (116f.)
It is an invariable rule that broils and factions arise among men scarcely ever about anything else than what is in reality a shadow. For the lawgiver [Moses] named the manufacturer of weapons of war, of brass and iron, Thobel, son of Sella the shadow… . For he was aware that every naval or land force chooses the greatest dangers for the sake of bodily pleasures or to gain a superabundance of things outward, no one of which is proved sure and stable by all-testing time; for those things resemble pictures that are mere superficial delineations of solid objects, and fade away of themselves. (119)
Tubal, who signifies a state of complete inner strife and self-tyranny, is the culmination of the entire line of Cain: hence his full name, Tubal-cain. His association with bronze and iron is reminiscent of the Bronze and Iron races in Hesiod’s Ages of Man myth (Works and Days 109–201), another allegory of the soul’s progressive descent.