Five treatises of Philo of Alexandria’s allegorical commentary on Genesis stand together as a single sustained meditation on the war within the human soul. Legum Allegoriae, Books I, II, and III, De Cherubim, De Sacrificiis Abelis et Caini, Quod Deterius Potiori Insidiari Soleat, and De Posteritate Caini move in sequence through Genesis 2:1–4:26, tracing the creation of the mind, its seduction by pleasure, its expulsion from Eden, and the birth of two rival dispositions in Cain and Abel. Philo composed these works during a season of acute pressure on the Jewish community of Roman Alexandria, when Greek civic intellectuals mocked Moses as a provincial lawgiver unworthy of philosophical respect. Philo answered by unveiling the Septuagint as a repository of the highest wisdom, reading every clause of Genesis as a coded description of the soul’s movement toward, or away from, God.
The result is a body of exegesis that is by turns brilliant and unsettling. Philo rightly diagnoses the self-love that corrupts human worship. He rightly insists that no creature owns anything it has not received as gift. Yet he does this by dissolving the concrete history of Genesis into an allegory of interior states, so that Cain, Abel, Eden, and exile become mental postures rather than events belonging to a real family in real space and time. This post examines the five treatises in turn, tests Philo’s allegorical harvest against the plain sense of the Old and New Testaments, traces how Justin Martyr, Clement of Alexandria, Origen, Ambrose of Milan, and Augustine received and corrected his method, and asks what a Christian believer today should carry away from this remarkable but ultimately incomplete portrait of the soul.
Literary Backgrounds
Philo’s five treatises belong to a distinct genre: the Alexandrian tradition of textual problems and solutions, ζητήματα καὶ λύσεις, fused with the diatribe style of Hellenistic philosophical instruction. Rather than narrating history, Philo takes the Koine Septuagint text of Genesis as a chain of textual hooks, λήμματα, from which he constructs an interior drama. The commentary unfolds in three literary movements. Legum Allegoriae I–III reads Genesis 2:1–3:19 as the architecture of the soul: the creation of the incorporeal Mind, νοῦς, its formation as an earthly mind from dust and breath, and its collapse when Sense-Perception, αἴσθησις, is beguiled by Pleasure, ἡδονή, embodied in the serpent. De Cherubim and De Sacrificiis shift to Genesis 3:24–4:4 and the birth of two opposing mindsets from the fallen soul: Cain, the self-loving mind, φίλαυτος, who claims ownership of his own thought and success, and Abel, the God-loving mind, φιλόθεος, who refers every good gift back to its true Source. Quod Deterius and De Posteritate complete the arc with Genesis 4:7–26, depicting the inevitable clash between sophistry and truth and Cain’s exile as unending restlessness, σάλος, contrasted with the renewal signified by Seth and Enos.
Philo’s literary voice is that of a commanding spiritual instructor. He interrogates the text with sharp rhetorical questions—asking, for instance, how anyone could go out from the presence of the One who fills all things—forcing the reader away from a literal reading of Cain’s exile toward an allegorical one. He builds sustained arguments on details of the Septuagint that differ from the Hebrew text, most notably Genesis 4:7, where the LXX reads “if you offer rightly but do not divide rightly, have you not sinned,” a phrase Philo treats as a philosophical statement about the moral necessity of rightly distinguishing what belongs to God from what belongs to the self. He also practices etymological allegory throughout: Cain’s name signifies “possession,” Abel’s signifies “one who refers all things to God,” and Seth’s signifies “resuscitation.” Every character becomes a type rather than a historical person, and the entire commentary becomes less a record of Genesis than a manual for the soul’s ascent.
Theological and Ethical Analysis
At the heart of these five treatises lies Philo’s central ethical contrast between self-love, φίλαυτος, and God-love, φιλόθεος. Cain represents the mind that attributes its reasoning, its achievements, and its very existence to itself. Abel represents the mind that recognizes God as the sole Cause of every good thing. Philo dramatizes this contrast unforgettably in De Sacrificiis, where Pleasure appears as a harlot glittering with artificial ornament and false promises of ease, while Virtue appears as a noble, free-born woman attended by modesty, truth, and justice, offering a life of sacred labor rather than hollow indulgence. Philo insists that labor is the root of all virtue and the enemy of laziness, just as light is the coadjutor the eye requires to see.
This ethical insight extends into Philo’s treatment of the two sacrifices. Cain offers ordinary fruits “after some days,” delaying his gratitude and treating God as an afterthought to his own self-sufficiency. Abel offers the firstborn of his flock and their fat, promptly and according to divine order. Philo reads this contrast as proof that true worship begins with the confession that God, not the self, is the origin of every gift—a confession he grounds explicitly in De Sacrificiis 55, where he declares that all things in the cosmos, and the cosmos itself, are the gift and bounty and grace, χάρισμα, of God. This is a genuinely biblical instinct, echoing the Hebrew concept of covenant grace, חֶסֶד.
But Philo’s allegorical method carries a theological cost. In De Cherubim, he interprets the cherubim guarding Eden not as heavenly beings but as symbols of God’s creative and royal powers, and the flaming sword as the unceasing motion of the divine Logos, λόγος—an impersonal, dividing instrument rather than a personal agent. In Legum Allegoriae I, he divides humanity into two races: an incorporeal “heavenly man” made after God’s image and an “earthly man” formed from dust, treating Genesis 1:27 and 2:7 as descriptions of two separate creations rather than two aspects of a single, unified human being. This Middle Platonic dualism, however psychologically suggestive, flattens the goodness Scripture ascribes to embodied, physical existence, and it substitutes the abstraction of “mind ascending toward the incorporeal” for the concrete hope of bodily redemption that the biblical narrative everywhere anticipates.
Old Testament Analysis and Critique
Genesis 2:1–4:26 was given to Israel within the Mosaic covenant to reveal the true origin of the cosmos, the holiness of יהוה, the historical entrance of sin and death into the world, and the necessity of covenant fidelity over against the self-deifying idolatries of the surrounding nations. Read on its own terms, the passage teaches divine sovereignty and goodness in an ordered creation free of moral evil; covenantal responsibility placed on humanity as image-bearers accountable to God’s commands; the unfolding of two seedlines, the line of rebellion typified by Cain and the line of promise typified by Abel, Seth, and Enos; and the grace of a redemptive promise given even in the midst of judgment, when God announces in Genesis 3:15 that the woman’s offspring, זֶרַע, will crush the serpent.
Philo’s allegorical harvest touches real ethical soil here—his exposure of Cain’s self-love and his insistence on divine grace as the fountain of all human virtue are genuine points of contact with the text. But his method departs from Genesis at a fundamental level. Where the Hebrew narrative insists on real events unfolding in real space and time, Philo interiorizes the Fall into a timeless psychological collapse: the serpent becomes Pleasure, Eve becomes Sense-Perception, and Adam becomes Reason, so that the Fall is simply what happens whenever pleasure overpowers reason in any soul, at any time. This eliminates the historical particularity that Genesis insists upon—that a first man and woman, in a real garden, made a real choice with real consequences for their real descendants. The Hebrew text does not offer a symbol for a recurring inner event; it records the entrance of sin into human history through one act of disobedience, an act with unrepeatable, world-altering consequences that only a genuinely historical Redeemer could reverse.

No comments:
Post a Comment