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Exodus 26

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1 καὶ τὴν σκηνὴν ποιήσεις δέκα αὐλαίας ἐκ βύσσου κεκλωσμένης καὶ ὑακίνθου καὶ πορφύρας καὶ κοκκίνου κεκλωσμένου χερουβιμ ἐργασίᾳ ὑφάντου ποιήσεις αὐτάς

2 μῆκος τῆς αὐλαίας τῆς μιᾶς ὀκτὼ καὶ εἴκοσι πήχεων καὶ εὖρος τεσσάρων πήχεων ἡ αὐλαία ἡ μία ἔσται μέτρον τὸ αὐτὸ ἔσται πάσαις ταῖς αὐλαίαις

3 πέντε δὲ αὐλαῖαι ἔσονται ἐξ ἀλλήλων ἐχόμεναι ἡ ἑτέρα ἐκ τῆς ἑτέρας καὶ πέντε αὐλαῖαι ἔσονται συνεχόμεναι ἑτέρα τῇ ἑτέρᾳ

4 καὶ ποιήσεις αὐταῖς ἀγκύλας ὑακινθίνας ἐπὶ τοῦ χείλους τῆς αὐλαίας τῆς μιᾶς ἐκ τοῦ ἑνὸς μέρους εἰς τὴν συμβολὴν καὶ οὕτως ποιήσεις ἐπὶ τοῦ χείλους τῆς αὐλαίας τῆς ἐξωτέρας πρὸς τῇ συμβολῇ τῇ δευτέρᾳ

5 πεντήκοντα ἀγκύλας ποιήσεις τῇ αὐλαίᾳ τῇ μιᾷ καὶ πεντήκοντα ἀγκύλας ποιήσεις ἐκ τοῦ μέρους τῆς αὐλαίας κατὰ τὴν συμβολὴν τῆς δευτέρας ἀντιπρόσωποι ἀντιπίπτουσαι ἀλλήλαις εἰς ἑκάστην

6 καὶ ποιήσεις κρίκους πεντήκοντα χρυσοῦς καὶ συνάψεις τὰς αὐλαίας ἑτέραν τῇ ἑτέρᾳ τοῖς κρίκοις καὶ ἔσται ἡ σκηνὴ μία

7 καὶ ποιήσεις δέρρεις τριχίνας σκέπην ἐπὶ τῆς σκηνῆς ἕνδεκα δέρρεις ποιήσεις αὐτάς

8 τὸ μῆκος τῆς δέρρεως τῆς μιᾶς ἔσται τριάκοντα πήχεων καὶ τεσσάρων πήχεων τὸ εὖρος τῆς δέρρεως τῆς μιᾶς μέτρον τὸ αὐτὸ ἔσται ταῖς ἕνδεκα δέρρεσι

9 καὶ συνάψεις τὰς πέντε δέρρεις ἐπὶ τὸ αὐτὸ καὶ τὰς ἓξ δέρρεις ἐπὶ τὸ αὐτό καὶ ἐπιδιπλώσεις τὴν δέρριν τὴν ἕκτην κατὰ πρόσωπον τῆς σκηνῆς

10 καὶ ποιήσεις ἀγκύλας πεντήκοντα ἐπὶ τοῦ χείλους τῆς δέρρεως τῆς μιᾶς τῆς ἀνὰ μέσον κατὰ συμβολὴν καὶ πεντήκοντα ἀγκύλας ποιήσεις ἐπὶ τοῦ χείλους τῆς δέρρεως τῆς συναπτούσης τῆς δευτέρας

11 καὶ ποιήσεις κρίκους χαλκοῦς πεντήκοντα καὶ συνάψεις τοὺς κρίκους ἐκ τῶν ἀγκυλῶν καὶ συνάψεις τὰς δέρρεις καὶ ἔσται ἕν

12 καὶ ὑποθήσεις τὸ πλεονάζον ἐν ταῖς δέρρεσιν τῆς σκηνῆς τὸ ἥμισυ τῆς δέρρεως τὸ ὑπολελειμμένον ὑποκαλύψεις τὸ πλεονάζον τῶν δέρρεων τῆς σκηνῆς ὑποκαλύψεις ὀπίσω τῆς σκηνῆς

13 πῆχυν ἐκ τούτου καὶ πῆχυν ἐκ τούτου ἐκ τοῦ ὑπερέχοντος τῶν δέρρεων ἐκ τοῦ μήκους τῶν δέρρεων τῆς σκηνῆς ἔσται συγκαλύπτον ἐπὶ τὰ πλάγια τῆς σκηνῆς ἔνθεν καὶ ἔνθεν ἵνα καλύπτῃ

14 καὶ ποιήσεις κατακάλυμμα τῇ σκηνῇ δέρματα κριῶν ἠρυθροδανωμένα καὶ ἐπικαλύμματα δέρματα ὑακίνθινα ἐπάνωθεν

15 καὶ ποιήσεις στύλους τῇ σκηνῇ ἐκ ξύλων ἀσήπτων

16 δέκα πήχεων ποιήσεις τὸν στῦλον τὸν ἕνα καὶ πήχεος ἑνὸς καὶ ἡμίσους τὸ πλάτος τοῦ στύλου τοῦ ἑνός

17 δύο ἀγκωνίσκους τῷ στύλῳ τῷ ἑνὶ ἀντιπίπτοντας ἕτερον τῷ ἑτέρῳ οὕτως ποιήσεις πᾶσι τοῖς στύλοις τῆς σκηνῆς

18 καὶ ποιήσεις στύλους τῇ σκηνῇ εἴκοσι στύλους ἐκ τοῦ κλίτους τοῦ πρὸς βορρᾶν

19 καὶ τεσσαράκοντα βάσεις ἀργυρᾶς ποιήσεις τοῖς εἴκοσι στύλοις δύο βάσεις τῷ στύλῳ τῷ ἑνὶ εἰς ἀμφότερα τὰ μέρη αὐτοῦ καὶ δύο βάσεις τῷ στύλῳ τῷ ἑνὶ εἰς ἀμφότερα τὰ μέρη αὐτοῦ

20 καὶ τὸ κλίτος τὸ δεύτερον τὸ πρὸς νότον εἴκοσι στύλους

21 καὶ τεσσαράκοντα βάσεις αὐτῶν ἀργυρᾶς δύο βάσεις τῷ στύλῳ τῷ ἑνὶ εἰς ἀμφότερα τὰ μέρη αὐτοῦ καὶ δύο βάσεις τῷ στύλῳ τῷ ἑνὶ εἰς ἀμφότερα τὰ μέρη αὐτοῦ

22 καὶ ἐκ τῶν ὀπίσω τῆς σκηνῆς κατὰ τὸ μέρος τὸ πρὸς θάλασσαν ποιήσεις ἓξ στύλους

23 καὶ δύο στύλους ποιήσεις ἐπὶ τῶν γωνιῶν τῆς σκηνῆς ἐκ τῶν ὀπισθίων

24 καὶ ἔσται ἐξ ἴσου κάτωθεν κατὰ τὸ αὐτὸ ἔσονται ἴσοι ἐκ τῶν κεφαλίδων εἰς σύμβλησιν μίαν οὕτως ποιήσεις ἀμφοτέραις ταῖς δυσὶν γωνίαις ἔστωσαν

25 καὶ ἔσονται ὀκτὼ στῦλοι καὶ αἱ βάσεις αὐτῶν ἀργυραῖ δέκα ἕξ δύο βάσεις τῷ στύλῳ τῷ ἑνὶ εἰς ἀμφότερα τὰ μέρη αὐτοῦ καὶ δύο βάσεις τῷ στύλῳ τῷ ἑνί

26 καὶ ποιήσεις μοχλοὺς ἐκ ξύλων ἀσήπτων πέντε τῷ ἑνὶ στύλῳ ἐκ τοῦ ἑνὸς μέρους τῆς σκηνῆς

27 καὶ πέντε μοχλοὺς τῷ στύλῳ τῷ κλίτει τῆς σκηνῆς τῷ δευτέρῳ καὶ πέντε μοχλοὺς τῷ στύλῳ τῷ ὀπισθίῳ τῷ κλίτει τῆς σκηνῆς τῷ πρὸς θάλασσαν

28 καὶ ὁ μοχλὸς ὁ μέσος ἀνὰ μέσον τῶν στύλων διικνείσθω ἀπὸ τοῦ ἑνὸς κλίτους εἰς τὸ ἕτερον κλίτος

29 καὶ τοὺς στύλους καταχρυσώσεις χρυσίῳ καὶ τοὺς δακτυλίους ποιήσεις χρυσοῦς εἰς οὓς εἰσάξεις τοὺς μοχλούς καὶ καταχρυσώσεις τοὺς μοχλοὺς χρυσίῳ

30 καὶ ἀναστήσεις τὴν σκηνὴν κατὰ τὸ εἶδος τὸ δεδειγμένον σοι ἐν τῷ ὄρει

31 καὶ ποιήσεις καταπέτασμα ἐξ ὑακίνθου καὶ πορφύρας καὶ κοκκίνου κεκλωσμένου καὶ βύσσου νενησμένης ἔργον ὑφαντὸν ποιήσεις αὐτὸ χερουβιμ

32 καὶ ἐπιθήσεις αὐτὸ ἐπὶ τεσσάρων στύλων ἀσήπτων κεχρυσωμένων χρυσίῳ καὶ αἱ κεφαλίδες αὐτῶν χρυσαῖ καὶ αἱ βάσεις αὐτῶν τέσσαρες ἀργυραῖ

33 καὶ θήσεις τὸ καταπέτασμα ἐπὶ τοὺς στύλους καὶ εἰσοίσεις ἐκεῖ ἐσώτερον τοῦ καταπετάσματος τὴν κιβωτὸν τοῦ μαρτυρίου καὶ διοριεῖ τὸ καταπέτασμα ὑμῖν ἀνὰ μέσον τοῦ ἁγίου καὶ ἀνὰ μέσον τοῦ ἁγίου τῶν ἁγίων

34 καὶ κατακαλύψεις τῷ καταπετάσματι τὴν κιβωτὸν τοῦ μαρτυρίου ἐν τῷ ἁγίῳ τῶν ἁγίων

35 καὶ θήσεις τὴν τράπεζαν ἔξωθεν τοῦ καταπετάσματος καὶ τὴν λυχνίαν ἀπέναντι τῆς τραπέζης ἐπὶ μέρους τῆς σκηνῆς τὸ πρὸς νότον καὶ τὴν τράπεζαν θήσεις ἐπὶ μέρους τῆς σκηνῆς τὸ πρὸς βορρᾶν

36 καὶ ποιήσεις ἐπίσπαστρον ἐξ ὑακίνθου καὶ πορφύρας καὶ κοκκίνου κεκλωσμένου καὶ βύσσου κεκλωσμένης ἔργον ποικιλτοῦ

37 καὶ ποιήσεις τῷ καταπετάσματι πέντε στύλους καὶ χρυσώσεις αὐτοὺς χρυσίῳ καὶ αἱ κεφαλίδες αὐτῶν χρυσαῖ καὶ χωνεύσεις αὐτοῖς πέντε βάσεις χαλκᾶς

   

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Apocalypse Explained # 576

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576. Having breast-plates fiery, and purple (hyacinthinos) and sulphurous.- That this signifies reasonings combating from the disorderly desires of the love of self and of the love of the world, and from the falsities therefrom, is evident from the signification of breast-plates, as denoting armour for war, and specifically defences in combats, which are treated of above (n. 557); and from the signification of fire or fiery, as denoting the disorderly desire of the love of self, and thence of all evil (see above, n. 504); and from the signification of purple or purplish (hyacinthinum), as denoting the disorderly desire of the love of the world and thence of every falsity, of which in what follows; and from the signification of sulphur or sulphurous, as denoting the lust (concupiscentia) of destroying the goods and truths of the church by the falsities of evil (see below, n. 578), in this case falsity burning from those two loves. From these considerations it is evident, that breast-plates fiery, purple, and sulphurous, signify reasonings combating from the disorderly desires of the love of self and of the love of the world, and from the falsities thence.

[2] It must be observed in regard to purple (hyacinthinum) that, in the spiritual sense, it signifies the celestial love of truth, but in the opposite sense, the diabolical love of falsity, and also the love of the world. This is evident from the fact that it is of a celestial colour (coloris coelestis) and this colour signifies truth from a heavenly origin, and therefore, in the opposite sense, falsity from a diabolical origin. In the spiritual world there are seen the choicest colours, which derive their origin from good and truth; for colours there are modifications of heavenly light, thus of the intelligence and wisdom of the angels in heaven. For this reason, purple (hyacinthinum), crimson (purpura), and scarlet (coccineus) double dyed, were woven into the curtains of the tabernacle and the garments of Aaron. For the tabernacle represented the heaven of the Lord, the garments of Aaron, the Divine Truth of heaven and the church, while those things of which the tabernacle was constructed, and which formed the texture of the garments of Aaron, represented celestial and spiritual things, which are of the Divine Good and of the Divine Truth.

[3] That the veil before the ark was woven of purple, crimson, scarlet double dyed, and fine linen, may be seen in Exodus (26:31); and similarly the hanging for the door of the tent (verse 36); and also the hanging for the gate of the court (Exodus 27:16). The loops also on the edge of the curtain of the tent were made of purple (Exodus 26:4); the ephod was made of gold, purple, crimson, scarlet double dyed interwoven (Exodus 28:6); and also the breast-plate of judgment (verse 15); and when they went forward in the wilderness, Aaron and his sons spread a covering of purple upon the ark, upon the table of faces, upon the lampstand and its lamps, upon the golden altar, and upon all the vessels of ministry (Num. 4:6, 7, 8, 9, 11, 12). The reason of these things was, that the Divine Truth proceeding from the Divine Love, and which was signified by the cloth of purple, embraces and defends all the holy things of heaven and the church, which are represented by these things.

[4] Since purple signified the celestial love of truth, therefore it was commanded that the sons of Israel should make a

"fringe upon the borders of their garments, and put upon the fringe a thread of purple (hyacinthinum), that they might look upon it, and remember all the commandments of Jehovah, and do them" (Num. 15:38, 39).

The thread of purple was clearly a means of calling to remembrance the commandments of Jehovah. The commandments of Jehovah are the essential truths of heaven and the church, and those who are in the celestial love of truth alone call them to remembrance.

[5] That purple signifies the love of truth, is plain also from the following passages in Ezekiel:

"Fine linen with broidered work from Egypt was thy spreading forth to be thy sign; purple (hyacinthinum) and crimson (purpura) from the isles of Elisha was thy covering; thy merchants with perfect things, with wrappings of purple, and broidered work and with treasures of rich apparel" (27:7, 24).

These things are said of Tyrus, which signifies the church as to the cognitions of truth thus also the cognitions of truth pertaining to the church, while the merchandize and tradings mentioned in that chapter describe the procuring of intelligence by means of those cognitions. Broidered work from Egypt signifies the knowledge (scientia) of such things as pertain to the church, and this being in a lower place, and thus round about or without, it is called spreading forth, and said to be for a sign. Purple and crimson from the isles of Elisha, signify the spiritual affection of truth and good; they are therefore said to be for a covering, a covering denoting truth. By wrappings of purple and broidered work, are signified all truths spiritual and natural, and these, together with cognitions from the Word, are meant by treasures of rich apparel.

[6] Since purple (hyacinthinum) signifies the celestial love of truth, therefore also, in the opposite sense, it signifies the diabolical love of falsity; in which sense also purple (hyacinthinum) is used in the Word. Thus in Ezekiel it is said:

"Two women, the daughters of one mother; In Egypt they committed whoredoms in their youth. Samaria is Oholah, and Jerusalem Oholibah. And Oholah played the harlot while subject to me; and she doted on her lovers, on the Assyrians her neighbours, which were clothed with purple (hyacinthinum), governors and leaders, all of them desirable young men, horsemen riding upon horses" (23:2-6).

Here Samaria and Jerusalem signify the church, Samaria, the spiritual church, and Jerusalem, the celestial church, which are called Oholah and Oholibah, because those names signify a tent, and a tent signifies the church as to worship. A woman also, in the Word, signifies the church. By their committing whoredoms in Egypt, is signified that they falsified the truths of the church by the scientifics of the natural man. By doting on the Assyrians, is signified that they falsified by reasonings from those scientifics, Ashur and Assyria denoting reasonings. They are said to be clothed in purple, by reason of fallacies and falsities, which in the external form appear like truths, because drawn from the sense of the letter of the Word perversely applied. And from the same appearance they are also called governors and rulers, desirable young men, riding upon horses. For those who reason from their own intelligence appear to themselves, and to others who are in a similar state, to be intelligent and wise, and the things which they speak, to be truths of intelligence and goods of wisdom, when nevertheless they are falsities, and these they love because they are from the proprium. Governors and leaders signify chief truths, and riding upon horses, the intelligent.

[7] So in Jeremiah:

"Silver spread into plates is brought from Tarshish and gold from Uphaz, the work of the workman, and of the hands of the goldsmith; purple (hyacinthinum) and crimson (purpura) is their clothing; they are all the work of wise men" (10:9).

The subject here treated of is the idols of the house of Israel, which signify false doctrinals because they are from [man's] own intelligence, therefore they are called the work of the workman, and of the hands of the goldsmith, and all the work of wise men, and this for the reason that they appear to them as truths and goods. Silver from Tarshish, and gold from Uphaz, signifies what appears in external form as truth and good, because from the sense of the letter of the Word. From these considerations it is evident that, purple (hyacinthinum) signifies the love of falsity, because from the proprium, or [man's] own intelligence. Purple also signifies the love of the world, because the love of the world corresponds to the love of falsity, as the love of self, signified by fire, corresponds to the love of evil. For all evil is from the love of self, and all falsity from the love of the world originating in the love of self, for spiritual evil, which is signified by the love of the world, is, in its essence, falsity, just as spiritual good is, in its essence, truth, as may be seen in Heaven and Hell 15).

  
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Translation by Isaiah Tansley. Many thanks to the Swedenborg Society for the permission to use this translation.