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Eliro 26

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1 La tabernaklon faru el dek tapisxoj el tordita bisino, kaj el blua, purpura, kaj rugxa teksajxo; kerubojn artiste laboritajn faru sur ili.

2 La longo de cxiu tapisxo estu dudek ok ulnoj, kaj la largxo de cxiu tapisxo estu kvar ulnoj; unu mezuro estu por cxiuj tapisxoj.

3 Kvin tapisxoj estu kunigitaj unu kun la alia, kaj la kvin ceteraj tapisxoj estu ankaux kunigitaj unu kun la alia.

4 Kaj faru masxojn el blua teksajxo sur la rando de unu tapisxo, sur la rando de la kunigxo, kaj tiel same faru sur la rando de la ekstrema tapisxo, sur la dua rando de kunigxo.

5 Kvindek masxojn faru sur unu tapisxo, kaj Kvindek masxojn faru sur la rando de tiu tapisxo, sur kiu estas la dua flanko de la kunigxo; la masxoj devas esti reciproke arangxitaj unu kontraux alia.

6 Kaj faru kvindek orajn hoketojn, kaj kunigu la tapisxojn unu kun la alia per la hoketoj, por ke la tabernaklo farigxu unu tutajxo.

7 Kaj faru tapisxojn el kapra lano kiel kovron super la tabernaklo; dek unu tiajn tapisxojn faru.

8 La longo de cxiu tapisxo estu tridek ulnoj, kaj la largxo de cxiu tapisxo estu kvar ulnoj; unu mezuro estu por la dek unu tapisxoj.

9 Kaj kunigu kvin tapisxojn aparte kaj ses tapisxojn aparte, kaj la sesan tapisxon faldu duige antaux la tabernaklo.

10 Kaj faru kvindek masxojn sur la rando de la ekstrema tapisxo, sur la rando de la kunigxo, kaj kvindek masxojn sur la rando de la dua kunigxa tapisxo.

11 Kaj faru kvindek kuprajn hoketojn, kaj metu la hoketojn en la masxojn, por ke vi kunigu la tendon kaj gxi estu unu tutajxo.

12 Kaj el la superflua pendanta parto de la tapisxoj de la kovro, duono de la superflua tapisxa parto superpendu super la malantauxa flanko de la tabernaklo.

13 Kaj po unu ulno cxiuflanke el la superflua longo de la tapisxoj superpendu super ambaux flankoj de la tabernaklo, por kovri gxin.

14 Kaj faru kovron por la tendo el rugxaj virsxafaj feloj kaj ankoraux kovron el antilopaj feloj supre.

15 Kaj faru starantajn tabulojn por la tabernaklo el akacia ligno.

16 Dek ulnoj estu la longo de cxiu tabulo, kaj unu ulno kaj duono la largxo de cxiu tabulo.

17 Du pivotoj estu cxe cxiu tabulo, algxustigitaj unu al la alia; tiel faru cxe cxiuj tabuloj de la tabernaklo.

18 Kaj faru la tabulojn por la tabernaklo:dudek tabuloj staru sur la flanko suda.

19 Kaj kvardek argxentajn bazojn faru sub la dudek tabuloj:du bazojn sub cxiu tabulo, por gxiaj du pivotoj.

20 Kaj sur la dua flanko de la tabernaklo, sur la flanko norda, estu dudek tabuloj,

21 kaj kvardek argxentaj bazoj por ili, po du bazoj sub cxiu tabulo.

22 Kaj sur la malantauxa flanko de la tabernaklo, okcidente, faru ses tabulojn.

23 Kaj du tabulojn faru en la anguloj de la tabernaklo sur la malantauxa flanko.

24 Ili estu kunigitaj malsupre kaj kunigitaj supre per unu ringo; tiel gxi estu kun ili ambaux; por ambaux anguloj ili estu.

25 Tiel estu ok tabuloj, kaj cxe ili dek ses argxentaj bazoj, po du bazoj sub cxiu tabulo.

26 Kaj faru riglilojn el akacia ligno, kvin por la tabuloj de unu flanko de la tabernaklo,

27 kaj kvin riglilojn por la tabuloj de la dua flanko de la tabernaklo, kaj kvin riglilojn por la tabuloj de la malantauxa flanko de la tabernaklo, okcidente.

28 Kaj la meza riglilo meze de la tabuloj sxovigxu de unu fino gxis la alia.

29 Kaj la tabulojn tegu per oro, kaj iliajn ringojn, ingojn por la rigliloj, faru el oro, kaj la riglilojn tegu per oro.

30 Starigu la tabernaklon laux gxia modelo, kiu estis montrita al vi sur la monto.

31 Kaj faru kurtenon el blua, purpura, kaj rugxa teksajxo, kaj el tordita bisino; artiste laboritaj keruboj estu faritaj sur gxi.

32 Kaj pendigu gxin sur kvar akaciaj kolonoj, tegitaj per oro kaj havantaj orajn hokojn kaj argxentajn bazojn.

33 Kaj pendigu la kurtenon sub la hokoj, kaj enportu tien internen de la kurteno la keston de atesto; kaj la kurteno faru por vi apartigon inter la sanktejo kaj la plejsanktejo.

34 Kaj metu la fermoplaton sur la keston de atesto en la plejsanktejo.

35 Kaj starigu la tablon ekster la kurteno, kaj la kandelabron kontraux la tablo, en la suda parto de la tabernaklo; la tablon starigu en la norda parto.

36 Kaj faru kovrotukon por la pordo de la tabernaklo, el blua, purpura, kaj rugxa teksajxo, kaj el tordita bisino, kun brodajxoj;

37 kaj faru por la kovrotuko kvin kolonojn el akacia ligno, kaj tegu ilin per oro, kaj iliaj hoketoj estu el oro; kaj fandu por ili kvin kuprajn bazojn.

   

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Arcana Coelestia # 9466

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9466. 'And violet' means the celestial love of truth. This is clear from the meaning of 'violet' as the celestial love of truth, the reason why 'violet' has this meaning being that it is a celestial colour, and by this colour truth from a celestial origin is meant, that is, truth springing from the good of love to the Lord. This good predominates in the inmost heaven, revealing itself in the middle or second heaven as the colours purple and violet. The actual good reveals itself as purple, and the truth springing from it as violet. For when colours appear in the next life, and in heaven itself, they are most beautiful ones; and they all have their origin in goodness and truth. For the sphere of affections for goodness and truth is revealed to the eyes of angels and of spirits also by means of colours, specific things being revealed by means of objects variously coloured, and also to their nostrils by means of odours. For every celestial reality belonging to good or spiritual reality belonging to truth is represented in the lower heavens by means of the kinds of things that appear in the natural order, and by this means is revealed to the actual external senses of spirits and angels in those heavens. The reason why the spheres of affection for goodness and truth are revealed visually by means of colours is that colours are modifications of heavenly light, and so of intelligence and wisdom, see 4530, 4677, 4742, 4922.

[2] This now explains why the materials that were to be gathered together for the tabernacle and Aaron's garments included violet, purple, twice-dyed scarlet, and skins of red rams; for the tabernacle represented the Lord's heaven, the materials which were used to construct and cover it represented the celestial and spiritual realities that belong to goodness and truth, and Aaron's garments had a like representation, 9457. It explains why the veil within which the ark of the Testimony was placed was woven from violet, purple, twice-dyed scarlet, and fine linen thread, Exodus 26:31, as likewise was the covering for the door of the tent, Exodus 26:36, and the covering for the gate of the court as well, Exodus 27:16, and why the loops on the edge of the curtain were made of violet, Exodus 26:4. It also explains why the ephod was made of gold, violet, purple, twice-dyed scarlet, and linen thread woven together, as was the breastplate of judgement, Exodus 28:6, 15.

[3] 'Violet' means the celestial love of truth, and 'garments made of violet' cognitions or knowledge of truth present as a result of that love, in Ezekiel,

Fine linen with embroidered work from Egypt was your sail, that it might be to you an ensign; violet and purple from the islands of Elishah was your covering. They were your traders with choice wares, 1 with balls of violet, and embroidery, and with chests of precious garments. Ezekiel 27:7, 24.

This refers to Tyre, by which cognitions of truth and good are meant, 1201. Knowledge and understanding acquired from these is described by 'embroidered work from Egypt', and by 'violet and purple from the islands of Elishah'. 'Embroidered work from Egypt' is factual knowledge of truth, and 'violet and purple from the islands of Elishah' is an understanding of truth and good.

[4] In the same prophet,

Two women, the daughters of one mother, in their youth committed whoredom in Egypt - Oholah and Oholibah. Oholah committed whoredom under Me and doted on the Assyrians her neighbours - clothed in violet, governors and leaders, horsemen riding on horses. Ezekiel 23:2-6.

'Oholah' stands for Samaria, and 'Oholibah' for Jerusalem, Samaria in this instance being the corrupted spiritual Church. 'Committing whoredom in Egypt' means falsifying truths by means of factual knowledge, 'doting on the Assyrians her neighbours' stands for having a love of reasonings based on those falsifications, and 'clothed in violet' stands for ideas which look like truth springing from good because they are derived from the literal sense of the Word interpreted wrongly.

[5] Something similar occurs in Jeremiah,

Beaten silver is brought from Tarshish, and gold from Uphaz, the work of the smith and of the hands of the molder. Their clothing is violet and purple. These are all the work of the wise. Jeremiah 10:9.

This refers to the idols of the house of Israel, by which false teachings, supported by distortions of the outward sense of the Word, are meant, 9424. 'The work of the smith and of the hands of the molder', and also 'these are all the work of the wise', stand for the fact that they are the product of self-intelligence. 'Silver from Tarshish, and gold from Uphaz' stands for their seeming to outward appearance to be true and good because they are taken from the Word; and much the same is meant by 'violet and purple' of which their clothing consisted.

[6] In John,

I saw horses in the vision, and those seated on them had breastplates of fire and violet and brimstone, by whom a third part of mankind was killed. Revelation 9:17-18.

'Horses' and 'those seated on them' stand for a topsy-turvy and corrupted understanding of truth. 'Breastplates of fire, violet, and brimstone' stands for defence of falsities that arise from the evils of devilish kinds of love. In this instance therefore 'fire' stands for the hellish love of evil, and 'violet' for the hellish love of falsity. They are accordingly used in the contrary sense; for the majority of things in the Word also have a contrary meaning.

Poznámky pod čarou:

1. literally, with perfections

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

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Arcana Coelestia # 4742

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4742. 'The tunic of various colours that was on him' means the nature of the appearances which is determined by that of the truths derived from good. This is clear from the meaning of 'the tunic of various colours' as appearances of truth by which the spiritual of the natural is recognized and distinguished, dealt with in 4677, here therefore the nature of those appearances; and for this reason the word 'tunic' is used twice - 'they stripped Joseph of his tunic, the tunic of various colours'. The fact that the nature of these appearances is determined by that of the truths derived from good may be known from appearances of truth when these are manifested visually in the light of heaven, that is, in the next life. There no other light exists than that which comes from the Lord by way of heaven and which emanates from His Divine Truth; for this appears before the eyes of the angels as light, 2776, 3190, 3195, 3222, 3339, 3340, 3636, 3643, 3993, 4302, 4413, 4415. This light varies with each angel, depending on his reception of it. Angels' entire thought is formed by the variegation of that light, as also is man's thought, though he is not conscious of this because in man's case that light falls onto material images or ideas present in his natural or external man which are formed from the light of the world.

Consequently in his case the light of heaven is dimmed to such an extent that he scarcely knows that the light and sight in his understanding are a product of the light of heaven. But in the next life when the sight of the eye is no longer reliant on the light of the world but on that of heaven it is then obvious that his thought is formed from the latter.

[2] When this light passes from heaven into the world of spirits it manifests itself there in the form of various colours, the beauty, variation, and loveliness of these colours being immensely superior to the colours produced by the light of the world; see what has already been presented from experience regarding colours, in 1053, 1624, 3993, 4530, 4677. Because colours in the next life are formed from the light of heaven they are in origin nothing else than appearances of truth derived from good. The source from which truth shines is not truth itself because by itself alone it does not possess any flame; rather, good is the source of it since this is like the flame from which light shines. The nature of good therefore determines the nature of the truth that appears from it, and the nature of the truth is the same as that of the good from which it shines. From this one may see what is meant in the internal sense by 'the tunic of various colours' - that the nature of the appearances is determined by that of the truths derived from good; for as shown already, 'Joseph', to whom the tunic belonged, represents Divine Truth.

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