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Exodus 26

Дослідження

   

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

   

З творів Сведенборга

 

Arcana Coelestia #9670

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9670. 'And you shall make a veil' means the intermediary uniting this heaven and the inmost heaven, thus spiritual good to celestial good. This is clear from the meaning of 'a veil' - which served to divide the dwelling-place where the ark of the Testimony was from the part where the lampstand was and the table on which the loaves of the Presence were laid was - as the intermediary uniting the middle heaven to the inmost heaven. For the ark containing the Testimony represented the inmost heaven, where the Lord was, 9457, 9481, 9485, and the dwelling-place outside the veil represented the middle heaven, 9594. And since the good of love to the Lord composes the inmost heaven and the good of charity towards the neighbour composes the middle heaven, 'the veil' also means the intermediary uniting spiritual good to celestial good, spiritual good being the good of charity towards the neighbour, and celestial good being the good of love to the Lord. For more about those heavens, about their distinctions in accordance with those kinds of good, see the places referred to in 9277. From all this it is now evident what the veil was a sign of in both the tabernacle and the temple.

[2] These two heavens, the inmost and the middle, are so distinct and separate that there can be no entering from one into the other. Yet they constitute one heaven through intermediate angelic communities, whose disposition is such that they are able to be next door to the good of both heavens. These communities are the ones which constitute the uniting intermediary that was represented by the veil. I have also been allowed to speak on several occasions to angels from those communities. What the angels of the inmost heaven are like, and what the angels of the middle heaven in comparison are like can be demonstrated from correspondence. The angels of the inmost heaven correspond to those powers with a person which belong to the provinces of the heart and the cerebellum, whereas the angels of the middle heaven correspond to those powers with a person which belong to the provinces of the lungs and the cerebrum. The powers belonging to the heart and cerebellum are called involuntary and spontaneous, because that is what they are seen as being; but those belonging to the lungs and cerebrum are called voluntary. This to some extent demonstrates how superior the perfection of the one heaven is to that of the other, and how they differ from each other. But as for the intermediate angels next door to both heavens and linking them together, it is the networks extending from the heart and lungs, which serve to interconnect the heart and lungs, that correspond to them, and also the medulla oblongata, where the fibres of the cerebellum are joined to the fibres of the cerebrum.

[3] Angels who belong to the Lord's celestial kingdom, that is, who are in the inmost heaven, constitute the province of the heart in the Grand Man, while angels who belong to the Lord's spiritual kingdom, that is, who are in the middle heaven, constitute the province of the lungs there, see 3635, 3886-3890. This is the origin of the correspondence of the human heart and lungs, 3883-3896, and the correspondence of the cerebrum and cerebellum is much the same. What celestial angels or those who are in the inmost heaven are like, and what spiritual angels or those who are in the middle heaven are like, and what the difference is, see 2046, 2227, 2669, 2708, 2715, 2718, 2935, 2937, 2954, 3166, 3235, 3236, 3240, 3246, 3374, 3833, 3887, 3969, 4138, 4286, 4493, 4585, 4938, 5113, 5150, 5922, 6289, 6296, 6366, 6427, 6435, 6500, 6647, 6648, 7091, 7233, 7474, 7977, 7992, 8042, 8152, 8234, 8521. From this it may be evident what the intermediate angels who constitute the uniting intermediary, which was represented by the veil, are like.

[4] The tearing of the veil of the temple into two parts when the Lord endured the Cross, Matthew 27:51; Mark 15:38; Luke 23:45, was a sign of the glorification of the Lord. For when the Lord was in the world He made the Human He had assumed Divine Truth; but when He left the world He made this Human Divine Good, from which Divine Truth has since emanated, see the places referred to at the ends of 9199, 9315, Divine Good being meant by 'the holy of holies'.

[5] The glorification of the Lord's Human all the way to Divine Good which is Jehovah is also described, in the internal sense, by the process of expiation when Aaron went into the holy of holies within the veil, which is the subject in the whole of Leviticus 16. In the relative sense the same process describes human regeneration all the way to celestial good, which is the good of the inmost heaven. The process was as follows: Aaron was required to take a young bull for a [sin] sacrifice, and a ram for a burnt offering for himself and his household. He also had to put on the holy garments, which were a linen tunic, linen stockings, 1 a linen girdle, and a linen turban; and he had to bathe his flesh in water. He was then required to take two he-goats on which he cast lots, the first of which was to be offered to Jehovah and the second sent away into the wilderness, this being done on behalf of the assembly of the children of Israel. When he sacrificed the young bull he was required to take incense inside the veil and to sprinkle some of the blood of the young bull and of the he-goat seven times over the east side of the mercy-seat, and also to put blood onto the horns of the altar. After all this he was required to confess the sins of the children of Israel, which he placed on the he-goat that was to be sent away into the wilderness. Finally he had to take off the linen garments and put on his own, and to present a burnt offering for himself and for the people; and parts of the sacrifice that had not been burnt on the altar had to be taken away outside the camp and burned. This was what had to be done once a year, when Aaron went into the holy of holies within the veil. The priestly function which Aaron discharged represented the Lord in respect of Divine Good, just as the regal function, which in later times was performed by the kings, represented the Lord in respect of Divine Truth, 6148. The process of glorification of the Lord's Human all the way to Divine Good is described in the internal sense of that chapter in Leviticus. This process was revealed to angels whenever Aaron carried out those observances and went inside the veil; and it is also revealed to angels here and now when that chapter in the Word is read.

[6] A young bull for a sin sacrifice 2 and a ram for a burnt offering mean the purification of good from evils in the external man and in the internal man. The linen tunic, linen stockings, linen girdle, and linen turban which Aaron had to put on whenever he went in, and the bathing of his flesh, mean that this purification was accomplished by means of truths springing from good. Two he-goats of the she-goats for a sin sacrifice 2 and a ram for a burnt offering, and the he-goat which was offered and the other which was sent away, mean the purification of truth from falsities in the external man. The incense which he was required to take inside the veil means adaptation. The blood of the young bull and the blood of the he-goat which had to be sprinkled seven times over the east side of the mercy-seat and after this over the horns of the altar mean Divine Truth that emanates from Divine Good. The confession of sins over the living he-goat which was to be sent away into the wilderness means the casting away of evil after its total separation from good. Taking off the linen garments and putting on his own when he was about to present burnt offerings, also the taking away of the flesh, skin, and dung of sacrifices outside the camp, and the burning of them, mean putting on celestial good, in the case of one who has been regenerated, and in the Lord's case the glorification of His Human all the way to Divine Good. This stage was reached after He had cast aside everything belonging to the human from His mother, so completely that He was no longer her son, see the places referred to at the end of 9315. These are the realities that are meant by that process of purification when Aaron went into the holy of holies within the veil; for after he had carried out those observances Aaron represented the Lord in respect of Divine Good. From all this it becomes clear that the veil between the holy place and the holy of holies also means the intermediary uniting Divine Truth and Divine Good within the Lord.

Примітки:

1. The Latin word means boots; the Hebrew is usually taken to mean breeches or drawers.

2. The Hebrew word here means simply sin and is generally rendered a sin offering.

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