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Exodus 26

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1 και την σκηνην ποιησεις δεκα αυλαιας εκ βυσσου κεκλωσμενης και υακινθου και πορφυρας και κοκκινου κεκλωσμενου χερουβιμ εργασια υφαντου ποιησεις αυτας

2 μηκος της αυλαιας της μιας οκτω και εικοσι πηχεων και ευρος τεσσαρων πηχεων η αυλαια η μια εσται μετρον το αυτο εσται πασαις ταις αυλαιαις

3 πεντε δε αυλαιαι εσονται εξ αλληλων εχομεναι η ετερα εκ της ετερας και πεντε αυλαιαι εσονται συνεχομεναι ετερα τη ετερα

4 και ποιησεις αυταις αγκυλας υακινθινας επι του χειλους της αυλαιας της μιας εκ του ενος μερους εις την συμβολην και ουτως ποιησεις επι του χειλους της αυλαιας της εξωτερας προς τη συμβολη τη δευτερα

5 πεντηκοντα αγκυλας ποιησεις τη αυλαια τη μια και πεντηκοντα αγκυλας ποιησεις εκ του μερους της αυλαιας κατα την συμβολην της δευτερας αντιπροσωποι αντιπιπτουσαι αλληλαις εις εκαστην

6 και ποιησεις κρικους πεντηκοντα χρυσους και συναψεις τας αυλαιας ετεραν τη ετερα τοις κρικοις και εσται η σκηνη μια

7 και ποιησεις δερρεις τριχινας σκεπην επι της σκηνης ενδεκα δερρεις ποιησεις αυτας

8 το μηκος της δερρεως της μιας εσται τριακοντα πηχεων και τεσσαρων πηχεων το ευρος της δερρεως της μιας μετρον το αυτο εσται ταις ενδεκα δερρεσι

9 και συναψεις τας πεντε δερρεις επι το αυτο και τας εξ δερρεις επι το αυτο και επιδιπλωσεις την δερριν την εκτην κατα προσωπον της σκηνης

10 και ποιησεις αγκυλας πεντηκοντα επι του χειλους της δερρεως της μιας της ανα μεσον κατα συμβολην και πεντηκοντα αγκυλας ποιησεις επι του χειλους της δερρεως της συναπτουσης της δευτερας

11 και ποιησεις κρικους χαλκους πεντηκοντα και συναψεις τους κρικους εκ των αγκυλων και συναψεις τας δερρεις και εσται εν

12 και υποθησεις το πλεοναζον εν ταις δερρεσιν της σκηνης το ημισυ της δερρεως το υπολελειμμενον υποκαλυψεις το πλεοναζον των δερρεων της σκηνης υποκαλυψεις οπισω της σκηνης

13 πηχυν εκ τουτου και πηχυν εκ τουτου εκ του υπερεχοντος των δερρεων εκ του μηκους των δερρεων της σκηνης εσται συγκαλυπτον επι τα πλαγια της σκηνης ενθεν και ενθεν ινα καλυπτη

14 και ποιησεις κατακαλυμμα τη σκηνη δερματα κριων ηρυθροδανωμενα και επικαλυμματα δερματα υακινθινα επανωθεν

15 και ποιησεις στυλους τη σκηνη εκ ξυλων ασηπτων

16 δεκα πηχεων ποιησεις τον στυλον τον ενα και πηχεος ενος και ημισους το πλατος του στυλου του ενος

17 δυο αγκωνισκους τω στυλω τω ενι αντιπιπτοντας ετερον τω ετερω ουτως ποιησεις πασι τοις στυλοις της σκηνης

18 και ποιησεις στυλους τη σκηνη εικοσι στυλους εκ του κλιτους του προς βορραν

19 και τεσσαρακοντα βασεις αργυρας ποιησεις τοις εικοσι στυλοις δυο βασεις τω στυλω τω ενι εις αμφοτερα τα μερη αυτου και δυο βασεις τω στυλω τω ενι εις αμφοτερα τα μερη αυτου

20 και το κλιτος το δευτερον το προς νοτον εικοσι στυλους

21 και τεσσαρακοντα βασεις αυτων αργυρας δυο βασεις τω στυλω τω ενι εις αμφοτερα τα μερη αυτου και δυο βασεις τω στυλω τω ενι εις αμφοτερα τα μερη αυτου

22 και εκ των οπισω της σκηνης κατα το μερος το προς θαλασσαν ποιησεις εξ στυλους

23 και δυο στυλους ποιησεις επι των γωνιων της σκηνης εκ των οπισθιων

24 και εσται εξ ισου κατωθεν κατα το αυτο εσονται ισοι εκ των κεφαλιδων εις συμβλησιν μιαν ουτως ποιησεις αμφοτεραις ταις δυσιν γωνιαις εστωσαν

25 και εσονται οκτω στυλοι και αι βασεις αυτων αργυραι δεκα εξ δυο βασεις τω στυλω τω ενι εις αμφοτερα τα μερη αυτου και δυο βασεις τω στυλω τω ενι

26 και ποιησεις μοχλους εκ ξυλων ασηπτων πεντε τω ενι στυλω εκ του ενος μερους της σκηνης

27 και πεντε μοχλους τω στυλω τω κλιτει της σκηνης τω δευτερω και πεντε μοχλους τω στυλω τω οπισθιω τω κλιτει της σκηνης τω προς θαλασσαν

28 και ο μοχλος ο μεσος ανα μεσον των στυλων διικνεισθω απο του ενος κλιτους εις το ετερον κλιτος

29 και τους στυλους καταχρυσωσεις χρυσιω και τους δακτυλιους ποιησεις χρυσους εις ους εισαξεις τους μοχλους και καταχρυσωσεις τους μοχλους χρυσιω

30 και αναστησεις την σκηνην κατα το ειδος το δεδειγμενον σοι εν τω ορει

31 και ποιησεις καταπετασμα εξ υακινθου και πορφυρας και κοκκινου κεκλωσμενου και βυσσου νενησμενης εργον υφαντον ποιησεις αυτο χερουβιμ

32 και επιθησεις αυτο επι τεσσαρων στυλων ασηπτων κεχρυσωμενων χρυσιω και αι κεφαλιδες αυτων χρυσαι και αι βασεις αυτων τεσσαρες αργυραι

33 και θησεις το καταπετασμα επι τους στυλους και εισοισεις εκει εσωτερον του καταπετασματος την κιβωτον του μαρτυριου και διοριει το καταπετασμα υμιν ανα μεσον του αγιου και ανα μεσον του αγιου των αγιων

34 και κατακαλυψεις τω καταπετασματι την κιβωτον του μαρτυριου εν τω αγιω των αγιων

35 και θησεις την τραπεζαν εξωθεν του καταπετασματος και την λυχνιαν απεναντι της τραπεζης επι μερους της σκηνης το προς νοτον και την τραπεζαν θησεις επι μερους της σκηνης το προς βορραν

36 και ποιησεις επισπαστρον εξ υακινθου και πορφυρας και κοκκινου κεκλωσμενου και βυσσου κεκλωσμενης εργον ποικιλτου

37 και ποιησεις τω καταπετασματι πεντε στυλους και χρυσωσεις αυτους χρυσιω και αι κεφαλιδες αυτων χρυσαι και χωνευσεις αυτοις πεντε βασεις χαλκας

   

Mula sa Mga gawa ni Swedenborg

 

Arcana Coelestia # 9467

Pag-aralan ang Sipi na ito

  
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9467. 'And purple' means the celestial love of good. This is clear from the meaning of 'purple' as the celestial love of good, the reason why this love is meant by 'purple' being that by the colour red the good of celestial love is meant. For there are two basic colours from which all others are derived, the colour red and the colour white. The colour red means good which belongs to love, while the colour white means truth which belongs to faith. The reason why red means good belonging to love is that this colour exists before all else as fire, and fire means the good of love; and the reason why white means truth belonging to faith is that before all else that colour is light, and light means the truth of faith.

'Fire' means the good of love, see 5215, 6314, 6832, 6834, 6849, 7324, 9434.

'Light' means the truth of faith, 2776, 3195, 3636, 3643, 3993, 4302, 4413, 4415, 5400, 8644, 8707, 8861, 9399, 9407.

'Red' means the good of love, 3300.

'White' means the truth of faith, 3993, 4007, 5319.

[2] From all this it is evident what all other colours mean; for in the measure that they are derived from red they mean good belonging to love, and in the measure that they are derived from white they mean truth belonging to faith. All the colours that appear in heaven are modifications of heavenly light and flame, on those two levels. For heavenly light is real light; and essentially it is Divine Truth emanating from the Lord's Divine Good. Therefore modifications of that light and flame are different variations of truth and good, and so of intelligence and wisdom.

[3] All this now shows how it came about that the veils and curtains of the tent, and also Aaron's garments, were to be woven out of violet, purple, twice-dyed scarlet, and linen thread, Exodus 25:4; 26:31, 36; 27:16; 28:6, 15, namely in order that celestial realities belonging to good and spiritual realities belonging to truth, which are the subject in what follows below, might be represented by them.

[4] Good from a celestial origin is again meant by 'purple' in Ezekiel,

Fine linen with embroidered work from Egypt was your sail; violet and purple from the islands of Elishah was your covering. Ezekiel 27:7.

This refers to Tyre, by which cognitions or knowledge of truth and good are meant. 'Violet and purple covering' stands for cognitions of truth and good from a heavenly origin.

[5] Similar things are meant by 'purple and fine linen' in Luke,

There was a certain rich man (homo) who was clothed in purple and fine linen and indulged in delicacies splendidly every day. Luke 16:19.

'A rich man' is used to mean in the internal sense the Jewish nation, and the Church there, which was said to be 'rich' because of the cognitions or knowledge of good and truth from the Word which existed there. Garments of 'purple and fine linen' are those cognitions, 'of purple' meaning cognitions of good, and 'of fine linen' cognitions of truth, both from a heavenly origin because they come from the Divine. 'Purple' also has a similar meaning in the Book of Revelation,

The woman sitting on a scarlet beast was clothed in purple and scarlet. Revelation 17:3-4.

This refers to Babylon, which means the Church where the holy things of the Word are put to unholy ends, that is, to exercising control in heaven and on earth, and so to ends that spring from hellish self-love and love of the world.

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

Mula sa Mga gawa ni Swedenborg

 

Arcana Coelestia # 6849

Pag-aralan ang Sipi na ito

  
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6849. 'For he was afraid to look at God' means for fear that they should suffer harm from the presence of the Divine itself. This is clear from the meaning of 'being afraid' as for fear that they, interior things, should suffer harm (for this was the reason for his fear); and from the meaning of 'looking at God' as the presence of the Divine itself. For the only way in which the Lord can make Himself present before a person is through the persons inner seeing, through seeing Him with the eye of faith that belongs to charity. If the Lord does manifest Himself in an outward visible form to someone, it is still the inner levels of mind that are affected, for the Divine reaches into the deepest parts of him. With regard to the meaning here, that interior things should not suffer harm from the presence of the Divine itself, and that therefore they were to be protected, the situation is this: The Divine itself is pure love, and pure love is like a fire hotter than the fire of the sun in this world. Consequently if Divine Love in its purity were to flow into any angel, spirit, or man, he would be completely destroyed, which is why so many times in the Word Jehovah or the Lord is called a consuming fire. To ensure therefore that the angels in heaven suffer no harm from the flow of heat from the Lord as the sun, each of them is veiled with a kind of thin cloud suited to the individual, which moderates the heat flowing in from that sun.

[2] The truth that without this form of preservation everyone would be destroyed by the presence of the Divine had been well known to the ancients, which was why they were afraid of seeing God, as is clear in the Book of Judges,

Gideon saw that he was the angel of Jehovah, therefore Gideon said, O Lord Jehovah! Inasmuch as I have seen the angel of Jehovah face to face. And Jehovah said to him, Peace be to you; do not fear, for you will not die. Judges 6:12, 23.

In the same book,

Manoah said to his wife, We shall surely die, for we have seen God. Judges 13:22.

And in the Book of Exodus,

Jehovah said to Moses, You cannot see My face, for no man will see My face and live. Exodus 33:20.

[3] When therefore Moses was allowed to see God, he was placed in a cleft of the rock, Exodus 33:22, which represented the dimness of his faith, and the clouds that hid and protected him. How dangerous it can be for angels to be beheld by the Divine without being covered by a cloud is made very clear by the fact that when angels look at any spirit who is governed by evil he seems to change into something resembling a lifeless object, as I have often been allowed to see. The reason why this happens is that when the angels look at someone there is cast in his direction the light and heat of heaven, and the truth of faith and the good of love with them, which - when these penetrate - virtually deprive the evil of life.

[4] If this is what happens when angels look at them, what would happen if the Lord did so? This explains why the hells are utterly remote from heaven, and why those who are there wish to be remote, for if they are not they suffer dreadful torment. This makes plain the meaning of the following words, They will say to the mountains and rocks, Rush down on us and hide us from the face of Him who is seated on the throne. Revelation 6:16; Luke 23:30; Hosea 10:8.

[5] Thus the presence of the Divine itself is such that no angel can bear it unless he is protected by a cloud which tempers and moderates the rays of light and the heat from that sun. From this one may recognize plainly that the Lord's Human is Divine, for if it were not Divine it could never have become so united to the Divine itself, called the Father, that they are one, according to the Lord's words in John 14:10 and following verses, and elsewhere. For that which is to receive the Divine in this way must be wholly Divine; what was not Divine from such a union would be plainly reduced to nothing. Let me use a comparison. Can anything be thrown into the fire of the sun and not be destroyed, unless it is similar in nature to the sun? So, can anyone enter the intense heat of infinite love unless he has in him the heat of the same kind of love, consequently unless he is none other than the Lord? The truth that the Father is within Him and that the Father does not show Himself except within His Divine Human is clear from the Lord's words in John,

Nobody has ever seen God; the only begotten Son who is in the bosom of the Father, He has made Him known. John 1:18.

And elsewhere in the same gospel,

You have never heard His voice nor seen His shape. John 5:37.

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