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出埃及记 40

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1 耶和华晓谕摩西

2 初一日,你要立起帐幕,

3 把法柜安放在里面,用幔子将柜遮掩。

4 桌子搬进去,摆设上面的物。把台搬进去,点其上的

5 把烧香的安在法柜前,挂上帐幕的帘。

6 把燔祭坛安在帐幕前。

7 把洗濯盆安在会幕的中间,在盆里盛

8 又在四围立院帷,把院子的帘挂上。

9 把帐幕和其中所有的都抹上,使帐幕和一切器具成圣,就都成圣

10 又要抹燔祭坛和一切器具,使成圣,就都成为至

11 要抹洗濯盆和盆座,使盆成圣

12 要使亚伦和他儿子到会幕口来,用身。

13 要给亚伦穿上衣,又他,使他成圣,可以给我供祭司的职分;

14 又要使他儿子来,给他们穿上内袍。

15 怎样他们的父亲,也要照样他们,使他们给我供祭司的职分。他们世世代凡受的,就永远祭司的职任。

16 摩西这样行,都是照耶和华所吩咐他的。

17 第二年正初一日,帐幕就立起来。

18 摩西立起帐幕,安上带卯的座,立上板,穿上闩,立起子。

19 在帐幕以上搭罩棚,把罩棚的顶盖盖在其上,是照耶和华所吩咐他的。

20 又把法版放在柜里,把杠穿在柜的两旁,把施恩座安在柜上。

21 把柜抬进帐幕,挂上遮掩柜的幔子,把法柜遮掩了,是照耶和华所吩咐他的。

22 又把桌子安在会幕内,在帐幕边,在幔子外。

23 在桌子上将饼陈设在耶和华面前,是照耶和华所吩咐他的

24 又把台安在会幕内,在帐幕边,与桌子相对,

25 耶和华面前点,是照耶和华所吩咐他的。

26 安在会幕内的幔子前,

27 在坛上烧了馨料做的,是照耶和华所吩咐他的。

28 又挂上帐幕的帘。

29 会幕的帐幕前,安设燔祭坛,把燔祭和素祭献在其上,是照耶和华所吩咐他的。

30 濯盆安在会幕的中间,盆中盛,以便濯。

31 摩西亚伦亚伦的儿子在这盆里

32 他们进会幕或就近的时候,便都濯,是照耶和华所吩咐他的。

33 在帐幕和的四围立了院帷,把院子的帘挂上。这样,摩西就完了工。

34 当时,彩遮盖会幕耶和华的荣光就充满了帐幕。

35 摩西不能进会幕;因为彩停在其上,并且耶和华的荣光充满了帐幕。

36 每逢彩从帐幕收上去,以色列人就起程前往;

37 彩若不收上去,他们就不起程,直等到彩收上去。

38 日间,耶和华的彩是在帐幕以上;夜间,中有,在以色列全家的眼前。在他们所行的路上都是这样。

   

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Agate

  

In Exodus 28:19, it is not certain what kind of stone this was, but it was azure from white, which signifies spiritual good. It also signifies natural good, or that of the lowest heaven. (Arcana Coelestia 9870, True Christian Religion 609)

An agate, one of the precious stones in Aaron's breastplate, signifies the spiritual love of good (Exodus 28:19).

Ze Swedenborgových děl

 

Arcana Coelestia # 9868

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9868. 'A chrysoprase, a sapphire, and a diamond' means the celestial love of truth, from which the things that follow spring. This is clear from the meaning of these stones as the celestial love of truth, dealt with below. The reason for saying 'from which the things that follow spring' is that all the forms of good and truths that follow emanate in order from those that go before; for the existence of anything unconnected with others prior to itself is not possible. First in order is the celestial love of good; second is the celestial love of truth; third is the spiritual love of good; and fourth is the spiritual love of truth. This order is what was represented in the rows of stones in the breastplate of judgement, and it is the actual order of the forms of good and the truths in the heavens. In the inmost heaven there is the celestial love of good and the celestial love of truth, the celestial love of good constituting the internal part of that heaven, and the celestial love of truth the external part of it. But in the second heaven there is the spiritual love of good, which constitutes the internal part of it, and the spiritual love of truth, which constitutes the external part of it. Each love furthermore flows into the next in the same order, and they constitute a unified whole so to speak. From this it is evident what should be understood by 'from which the things that follow spring'.

[2] As regards the stones belonging to this row, they derive their meaning, as the previous ones and also all the others do, from their colours. For the meaning of precious stones is determined by their colours, see above in 9865; colours in heaven are modifications of the light and shade there, and so are diverse forms of intelligence and wisdom among angels, 3993, 4530, 4677, 4742, 4922, 9466, the light in heaven being Divine Truth emanating from the Lord, the source of all intelligence and wisdom. Being of different shades of red the stones belonging to the first row mean the celestial love of good; but the stones belonging to the present row are of different shades of blue that is the product of red. For there is blue which is the product of red and blue which is the product of white. Blue which is the product of red shines inwardly from a source that is flaming; this is the kind of blue by which the celestial love of truth is meant. But blue which is the product of white, such as is present in the stones belonging to the next row, which means the spiritual love of good, does not shine inwardly from a source that is flaming but from one that is clear and bright.

[3] Whether chrysoprase, the first stone belonging to this row, was of a blue colour cannot be proved from the derivation of that word in the original language. But the fact that it means the celestial love of truth is evident in Ezekiel,

Syria was your merchant because of the multitude of your handiworks; [they exchanged for your wares] chrysoprase, purple, and embroidered work. Ezekiel 27:16.

This refers to Tyre, by which wisdom and intelligence arising from cognitions or knowledge of goodness and truth are meant, 1201. Chrysoprase is linked here with purple, and since 'purple' means the celestial love of good, 9467, it follows that 'chrysoprase' means the celestial love of truth; for wherever good is spoken of in the prophetical part of the Word, truth belonging to the same class is also spoken of, on account of the heavenly marriage in every detail there, 9263, 9314. 'Syria' too, which was 'the merchant', means cognitions of good, 1232, 1234, 3249, 4112, the cognitions of good being the truths of celestial love.

[4] A sapphire, the second stone belonging to this row, is - as is well known - of a blue colour, like that of the sky; therefore it says in the Book of Exodus,

Seventy of the elders saw the God of Israel, and under His feet there was so to speak a work of sapphire, and it was like the substance of the sky for clearness. Exodus 24:10.

This stone means what is translucent with inner truths, which are the truths of celestial love, see 9407.

[5] But a diamond, the third stone belonging to this row, means the truth of celestial love, on account of its translucence that tends to have a blueness in it. Thus it is through this stone, being the last, that the colours of the stones belonging to this row and also the previous one shine, and are then brought in contact with those in the next row. The situation is similar with the goodness and truths in the inmost heaven and the goodness and truths in the heavens that come after it. The latter goodness and truths derive their life of charity and faith from the former by transmission, as if by a shining through.

  
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Thanks to the Swedenborg Society for the permission to use this translation.