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Exodus第26章

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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

   

来自斯威登堡的著作

 

Arcana Coelestia#5319

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5319. 'And clothed him in robes of fine linen' means an outward sign denoting the celestial of the spiritual, 'robes of fine linen' being truths going forth from the Divine. This is clear from the meaning of 'robes' as truths, dealt with in 1073, 2576, 4545, 4763, 5248. The reason 'robes of fine linen' means truths going forth from the Divine is that a robe made of fine linen was absolutely white and at the same time shining, and truth going forth from the Divine is represented by robes which have that kind of brightness and splendour. And the reason for this is that heaven derives its brightness and splendour from the light that flows from the Lord; and the light that flows from the Lord is Divine Truth itself, 1053, 1521-1533, 1619-1632, 1776, 3195, 3222, 3339, 3485, 3636, 3643, 3862, 4415, 4419, 4526, 5219. This explains why, when the Lord was transfigured before Peter, James, and John, His clothing appeared as the light, Matthew 17:2; glistening, intensely white like snow, as no fuller on earth could bleach them, Mark 9:3; and dazzling, Luke 9:29. It was Divine Truth itself going forth from the Lord's Divine Human that was represented in this manner. But they are exterior truths that are represented in heaven by the brightness of robes, whereas interior truths are represented by the brightness and splendour of the face. This is why 'being clothed in robes of fine linen' at this point means an outward sign denoting truth going forth from the celestial of the spiritual, for this was what the Lord's Divine consisted in at this time.

[2] There are other places too in the Word where truth going forth from the Divine is meant by 'fine linen' and 'robes of fine linen', as in Ezekiel,

I clothed you with embroidered cloth, and shed you with badger, and swathed you in fine linen, and covered you in silk. Thus were you adorned with gold and silver, and your robes were fine linen, and silk, and embroidered cloth. Ezekiel 16:10, 13.

This refers to Jerusalem, which is used in these verses to mean the Ancient Church. The truths of this Church are described by robes made of embroidered cloth, fine linen, and silk, and by being adorned with gold and silver. 'Embroidered cloth' means truths existing as facts, 'fine linen' natural truths, and 'silk' spiritual truths.

[3] In the same prophet,

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. Ezekiel 27:7.

This refers to Tyre, which too is used to mean the Ancient Church, but so far as cognitions of good and truth are concerned. 'Fine linen with embroidered work from Egypt, which was its sail' means truth obtained from factual knowledge, which was the outward sign of that Church.

[4] In John,

The merchants of the earth will weep and mourn over Babylon, since no one buys their wares any more, wares of gold, and silver, and precious stones, and pearls, and fine linen, and purple, and silk, and scarlet, and all thyine wood, and every vessel of ivory, and every vessel made of most precious wood, and bronze, and iron, and marble. Revelation 18:11-12.

All the specific commodities mentioned here mean the kinds of things that have to do with the Church and so truth and goodness. Here however they are used in the contrary sense because they are spoken of in reference to Babylon. Anyone may see that such commodities would never have been listed in the Word which has come down from heaven unless each one held something heavenly within it. What other reason can there be for a list of worldly wares when Babylon, meaning an unholy Church, is the subject? Similarly in the same book,

Woe, woe, the great city, you that were clothed in fine linen, and purple, and scarlet, covered 1 with gold, and precious stones, and pearls. Revelation 18:16.

[5] The fact that each commodity means something Divine and heavenly is quite evident in the same book where it states what fine linen is, namely the righteous acts of the saints,

The time of the marriage of the Lamb has come, and His wife has made herself ready. At that time she was given fine linen, clean and shining, to wear; for the fine linen is the righteous acts of the saints. Revelation 19:7-8.

'Fine linen' is 'the righteous acts of the saints' for the reason that all those with whom truth received from the Divine exists are clothed with the Lord's righteousness. For their robes which are bright and shining are products of the light which flows from the Lord. Therefore in heaven truth itself is represented by 'brightness', 3301, 3997, 4007; and people who are being raised to heaven from a state of vastation are seen to be clothed with brightness because they are at this point casting off the robe of their own righteousness and putting on that of the Lord's righteousness.

[6] So that truth from the Divine might be represented in the Jewish Church, they were commanded to use cotton or fine linen in Aaron's vestments, and also in the curtains around the Ark, referred to in Moses as follows,

You shall make in chequered pattern for Aaron a tunic of cotton, and you shall make a turban of cotton. Exodus 28:39.

They made tunics of cotton, the work of a weaver, for Aaron and his sons. Exodus 39:27.

You shall make the Dwelling-place, ten curtains - fine-twined cotton, violet and purple and twice-dyed scarlet. Exodus 26:1; 36:8.

You shall make the court of the Dwelling-place. The hangings for the court shall be of fine-twined cotton. Exodus 27:9, 18; 38:9.

The screen for the gate of the court, the work of an embroiderer, violet and purple, and twice-dyed scarlet, and fine-twined cotton. Exodus 38:18.

Cotton is fine linen, which they were commanded to use because each object in the Ark and around the Ark, also every detail of Aaron's vestments, were representative of spiritual and celestial realities. From this one may see that a person has only a meagre understanding of the Word if he does not know what such things represent, and scarcely any understanding at all if he thinks that the Word possesses no holiness other than that which presents itself in the letter.

[7] When angels with whom truth from the Divine is present are seen by anyone they are clothed so to speak in fine linen, that is, in shining brightness, as is evident in John where 'a white horse' is referred to,

The One seated on a white horse was clothed in a garment dyed with blood, and His name is called the Word. His armies in heaven were following Him on white horses; they were clothed in fine linen, white and clean. Revelation 19:11, 13-14.

These words show quite plainly that 'fine linen' is an outward sign denoting truth from the Divine, for 'the One seated on a white horse' is the Lord as to the Word; indeed those words state quite explicitly that He is the Word. The Word is truth itself received from the Divine, and 'a white horse' is the internal sense of the Word, see 2760-2762. Consequently truths received from the Divine are meant by 'white horses', for such truths constitute the whole of the internal sense of the Word. This was why His armies were seen 'on white horses' and why 'they were clothed in fine linen, white and clean'.

脚注:

1. literally, gilded

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