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Tiresias: The Ancient Mediterranean Religions Source Database

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Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.


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All subjects (including unvalidated):
subject book bibliographic info
art Bickerman and Tropper (2007) 894, 895, 896, 897, 898, 899, 900, 901, 903, 905, 906, 907, 908, 909, 910, 911, 912, 913, 914, 915, 916, 920, 921, 922, 923, 924, 925, 926, 929, 930, 932, 933, 934, 935, 936, 937, 938, 940, 941, 942, 943, 944, 945
Del Lucchese (2019) 117
Demoen and Praet (2009) 77, 147, 150, 154, 155
Ernst (2009) 157, 159, 165
Harkins and Maier (2022) 23, 110, 161, 162, 164, 165, 167
Pinheiro et al (2015) 112, 116
Rubenstein(1995) 9, 57, 97, 99, 247, 308
Rutledge (2012) 10, 11, 33
Schwartz (2008) 178, 179
Wynne (2019) 193, 196
art, aesthetic approach, architecture and Jenkyns (2013) 311, 314, 315, 316, 317, 319, 334, 337, 353
art, amazons, in Sweeney (2013) 140, 142
art, and architecture, aesthetic approach Jenkyns (2013) 311, 314, 315, 316, 317, 319, 334, 337, 353
art, and architecture, aesthetic approach to Jenkyns (2013) 311, 314, 315, 316, 317, 319, 334, 337, 353
art, and architecture, ideological approach to Jenkyns (2013) 311, 317, 334, 353
art, and architecture, persia/persians Marek (2019) 164, 168, 170, 171, 173
art, and architecture, political approach to Jenkyns (2013) 311, 317, 334, 353
art, and architecture, religions, roman, religious responses to Jenkyns (2013) 236, 239
art, and architecture, roman appreciation Jenkyns (2013) 240, 241, 242, 258, 260, 261, 262, 263, 264
art, and character, alexander the great judge of Oksanish (2019) 30
art, and culture, porcius cato the elder, m., on greek Rutledge (2012) 33, 43, 45
art, and drama, aristotle, pleasures of Sorabji (2000) 80
art, and drama, pleasure, aristotle on pleasures of Sorabji (2000) 80
art, and jewish naaran basilical synagogue, basilical synagogue, mosaic, figural symbols Levine (2005) 224, 362, 372
art, and symbols, pagan art, motifs, vs. jewish Levine (2005) 621
art, and, negotiation, christian Brodd and Reed (2011) 169
art, anger and d, Hoine and Martijn (2017) 276, 279, 280, 283
art, animal medieval conflicts, ancient depictions of Simon (2021) 190
art, annunciation to virgin in visual Doble and Kloha (2014) 319, 320, 321, 322, 323, 324, 325, 326
art, aphrodite in minoan-mycenaean religion and Simon (2021) 202, 203, 265
art, apollo and, minoan-mycenaean religion and Simon (2021) 154
art, apollo in medieval Simon (2021) 3, 4
art, apollo, in medieval Simon (2021) 3, 4
art, apollonius of tyana, views on religious Manolaraki (2012) 301, 302, 303, 304, 305
art, architecture, civic Oksanish (2019) 20
art, ares and, minoan-mycenaean religion and Simon (2021) 284
art, artist, Stavrianopoulou (2013) 236
art, as aphrodisiac Bickerman and Tropper (2007) 908, 936
art, asia minor, monuments in Galinsky (2016) 235, 253
art, athena in minoan-mycenaean religion and Simon (2021) 199, 200, 201, 202, 203, 204, 205
art, athenaeus, on eroticism in Rutledge (2012) 113
art, augustine, on nautical Pollmann and Vessey (2007) 134
art, augustus, in Hubbard (2014) 49, 50, 455, 456
art, authenticity in Jenkyns (2013) 259, 260
art, birth of dionysus, in christian Simon (2021) 206
art, blessings, figural Levine (2005) 226
art, by, women Richlin (2018) 257
art, catacombs, bet shearim, figural Levine (2005) 481
art, cavalier saints, of coptic Griffiths (1975) 254
art, christian Osborne (2001) 199, 200
art, christianity, apollo in medieval Simon (2021) 3, 4
art, church fathers, figural Levine (2005) 481
art, churches Levine (2005) 65, 621
art, civic Athanassaki and Titchener (2022) 318, 319
art, class, and Richlin (2018) 50
art, clothing, signification of in medieval christian Ashbrook Harvey et al (2015) 91, 92, 93, 94, 96, 97, 98
art, contemplation of Dilley (2019) 177
art, contemplation of aristotle, rhetoric Dilley (2019) 176, 177
art, contemplation, of Dilley (2019) 176, 177
art, coptic Griffiths (1975) 254
art, cosmos, techne, techniteia Frede and Laks (2001) 262, 271
art, crown, in christian Brodd and Reed (2011) 163, 164, 165, 166
art, decrease of in post-maccabean judea Feldman (2006) 11
art, demeter and, minoan-mycenaean religion and Simon (2021) 101
art, democracy, ancient and modern, and Raaflaub Ober and Wallace (2007) 156
art, doves, in christian Brodd and Reed (2011) 162
art, duties of leaders, contemplation of Dilley (2019) 230, 231
art, early christian, and apocrypha Doble and Kloha (2014) 319, 320, 321, 322, 323, 324, 325, 326
art, egyptian Papadodima (2022) 21
art, entrance contemplation of procedures, investiture Dilley (2019) 91
art, figural Levine (2005) 236
art, from persia, alexander the great repatriates greek Rutledge (2012) 54, 83
art, funerary Bickerman and Tropper (2007) 932, 933, 934, 935, 936
Hachlili (2005) 161, 356
art, funerary, non-christian Galinsky (2016) 268, 281
art, gestures, of jews in medieval christian Ashbrook Harvey et al (2015) 91
art, greek Borg (2008) 115
Papadodima (2022) 16, 26
Rutledge (2012) 12, 25, 31, 32, 33, 36, 37, 38, 83
art, greeks, and italian Parkins and Smith (1998) 37
art, hand of god Kessler (2004) 154
art, healing and medicines, exorcism as healing Taylor (2012) 76, 318, 328, 329, 332
art, helios, greek god, representations of in jewish Feldman (2006) 5
art, hellenistic Borg (2008) 116, 117
art, hera and, minoan-mycenaean religion and Simon (2021) 42, 62
art, hermes and, minoan-mycenaean religion and Simon (2021) 329
art, hippocratic writers, on bodyโ€“soul relationship, on status of the medical van der EIjk (2005) 105, 106
art, historical, connoisseurship Rojas(2019) 164
art, history, historians Berglund Crostini and Kelhoffer (2022) 425
art, history, of greek Papadodima (2022) 16
art, hypnos/somnus, representation in Renberg (2017) 678
art, idol vs. image Bickerman and Tropper (2007) 907, 908, 909, 912, 920, 921, 922, 923, 924, 925
art, image, eikรดn, ฮตแผฐฮบฯŽฮฝโ€Ž, in visual d, Hoine and Martijn (2017) 280, 281
art, imitation of models Bickerman and Tropper (2007) 903, 905, 907, 912, 915, 926
art, in anc. greek novels Pinheiro et al (2015) 118
art, in pompeian houses, domestic Fertik (2019) 111, 122
art, in synagogues Stern (2004) 4, 109
art, in the greek novels, nature and Cueva et al. (2018a) 133
art, interpretation of symbols Bickerman and Tropper (2007) 899, 900, 901, 903, 905, 940, 941, 942, 944, 945
art, jews, as blind to identity of christ, depicted in Ashbrook Harvey et al (2015) 97, 98
art, leo the great theology of depicted in Ashbrook Harvey et al (2015) 91
art, life compared to Pinheiro et al (2015) 118
art, likeness, homoiotรชs, แฝฮผฮฟฮนฯŒฯ„ฮทฯ‚โ€Ž, homoiรดsis, แฝฮผฮฟฮฏฯ‰ฯƒฮนฯ‚โ€Ž, in d, Hoine and Martijn (2017) 279, 281, 286
art, loss of pagan meaning for christians and jews Bickerman and Tropper (2007) 907, 908, 909, 910, 911, 935, 938
art, lucian, and erotic response to Rutledge (2012) 114, 115
art, lulav, in synagogue Levine (2005) 36, 68, 216, 362
art, manufactured by jews and christians, art, religious Bickerman and Tropper (2007) 907, 908, 909, 922, 923
art, masonry style Keddie (2019) 238
art, medicine, medical Trott (2019) 19, 40, 138, 170, 214, 226, 234
art, medieval christian, depiction of jews Ashbrook Harvey et al (2015) 91, 92, 93, 94, 95, 96, 97, 98, 99
art, memory studies and Galinsky (2016) 235, 236
art, mercury/hermes, and cupid in Miller and Clay (2019) 151
art, minoan-mycenaean religion and Simon (2021) 6
art, monastic oaths, contemplation of Dilley (2019) 86, 87, 88, 89
art, monastic rhetoric, contemplation of Dilley (2019) 129, 130, 131, 138, 223, 264, 266, 267
art, mother-daughter pairings in minoan-mycenaean religion and Simon (2021) 96
art, national gallery of washington, d.c. Doble and Kloha (2014) 324
art, naturalism in Jenkyns (2013) 259
art, need for explanation Bickerman and Tropper (2007) 905, 913, 925, 936, 940, 942
art, new museum, the museum of modern york Rutledge (2012) 51
art, nile, subject matter of Manolaraki (2012) 3, 5, 32, 33, 85, 86, 105, 126, 129, 130, 292, 293, 301, 306
art, nudity Bickerman and Tropper (2007) 898, 900, 908, 914, 921
Hubbard (2014) 35, 560, 570
art, of christianity, birth scenes in Simon (2021) 206
art, of dissimulatio, oratory Bua (2019) 219
art, of etruscans, tydeus in Simon (2021) 218
art, of falling out of love love, ovid Sorabji (2000) 222
art, of illusion, cicero, his oratory as Bua (2019) 225, 226, 227, 228, 229, 230, 231, 233, 234, 235, 236, 237, 239, 240, 242, 243, 244, 245, 246, 247, 248, 249, 251, 252, 253, 255, 256, 257, 260, 261, 262, 263, 265, 266
art, of judas the essene, predictive, josephus Taylor (2012) 60, 61, 92, 199
art, of life Long (2006) 6, 25, 26, 27, 28, 29, 30, 31, 33, 36, 37, 38
art, of love and falling out of love, ovid on relabelling, on Sorabji (2000) 222, 279
art, of love and its three objectives, plato Sorabji (2000) 279, 282
art, of love, alcinous, middle platonist author of didasklikos Sorabji (2000) 279
art, of love, love Sorabji (2000) 222, 279
art, of love, love, excellence in Sorabji (2000) 282
art, of medicine, hippocrates, works Jouanna (2012) 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 296
art, of medicine, hippocratic writings, on the van der EIjk (2005) 36, 269
art, of medicine, oligarchy, on the Ebrey and Kraut (2022) 511
art, of memory Ward (2022) 105, 183
art, of memory, clement of alexandria Ward (2022) 113, 114, 115, 116, 117
art, of oblivion Castagnoli and Ceccarelli (2019) 329, 330, 331, 332, 333, 338
art, of poetry, the, horace Jouanna (2018) 199
art, of recollection, แผ€ฮฝแฝฑฮผฮฝฮทฯƒฮนฯ‚ Ward (2022) 118, 184
art, of the symposium and convivium Kรถnig (2012) 8, 15, 92, 93, 180, 192, 239, 240, 242, 245, 247
art, official character Bickerman and Tropper (2007) 897
art, oneiros, representation in Renberg (2017) 678, 679, 680
art, oneiros, representation of oneiroi in Renberg (2017) 678, 681
art, pagan Levine (2005) 23, 32, 47, 48, 65, 89, 111, 128, 218, 229, 481, 483
art, painting Verhelst and Scheijnens (2022) 140, 141, 146
art, pallium, signification in medieval christian Ashbrook Harvey et al (2015) 91, 92, 94
art, paradigm and d, Hoine and Martijn (2017) 284, 285
art, pastoral/bucolic literature and Konig (2022) 157, 168, 265
art, petronius, and the decline of Rutledge (2012) 84
art, philo, alleged parallel of with pagan Feldman (2006) 3
art, plato, excellence in this Sorabji (2000) 282
art, pliny the elder, on decline of Rutledge (2012) 84
art, pliny the elder, on ignorance of Rutledge (2012) 104
art, pliny the elder, on public Rutledge (2012) 226
art, plundering, war Rรผpke (2011) 88
art, popular culture see reception history, and Sneed (2022) 239, 240, 244, 245
art, prayers, in Berglund Crostini and Kelhoffer (2022) 425
art, priests, jewish, depiction in medieval jewish Ashbrook Harvey et al (2015) 97
art, proclus, on sacrifice and magic, also known as on the sacred, or hieratic d, Hoine and Martijn (2017) 225, 226
art, pygmies/dwarfs in nilotic Williams (2012) 122
art, ram Kessler (2004) 167
art, ravenna, christian Levine (2005) 352
art, realism in Jenkyns (2013) 259
art, representation, mimรชsis, ฮผฮฏฮผฮทฯƒฮนฯ‚โ€Ž, in d, Hoine and Martijn (2017) 276, 277, 279, 285
art, rhetoric, of aristotleโ€™s definition Hoenig (2018) 60
art, roman Borg (2008) 106, 107, 108, 111, 114, 115, 116, 117, 119, 120, 121, 122, 123, 299
Hellholm et al. (2010) 1723
art, roman appreciation, architecture and Jenkyns (2013) 240, 241, 242, 258, 260, 261, 262, 263, 264
art, roman synagogues, jewish Levine (2005) 352
art, samaritans Levine (2005) 216
art, seals, figural Levine (2005) 225, 226, 478
art, self-blame, contemplation of Dilley (2019) 168, 169
art, sexual activity, contemplation of Dilley (2019) 195, 196, 197
art, statues Verhelst and Scheijnens (2022) 227, 231, 234, 235
art, style, in Borg (2008) 12, 116, 117
art, susiya synagogue Levine (2005) 362
art, symbols, meaning of in jewish Feldman (2006) 298
art, targum, and synagogue Levine (2005) 471, 580, 599
art, techne, cosmos, craft Frede and Laks (2001) 10, 12, 90, 93, 98, 104, 107, 244, 255, 273
art, techne, of nature Jouanna (2012) 302, 309
art, technรช, political ฯ„ฮญฯ‡ฮฝฮทโ€Ž d, Hoine and Martijn (2017) 272, 273
art, technรช, ฯ„ฮญฯ‡ฮฝฮทโ€Ž d, Hoine and Martijn (2017) 22, 164, 178, 179, 199, 233, 309
art, technรช, ฯ„ฮญฯ‡ฮฝฮทโ€Ž, imitating nature and life d, Hoine and Martijn (2017) 199, 279, 280, 281, 287
art, theft Isaac (2004) 383
art, theory Demoen and Praet (2009) 147
art, theurgy, hieratic Dillon and Timotin (2015) 3, 15, 16, 17, 18, 21, 23, 76, 97, 98, 99, 102, 111, 114, 115, 116, 117, 119, 123, 127, 128, 135, 150, 152, 156, 164, 165, 166, 170, 171, 172, 173, 174, 175, 176, 177, 178, 180, 181, 182, 183, 184, 185, 186, 187, 188, 200
art, to elite local citizens Galinsky (2016) 253
art, to legendary heroes Galinsky (2016) 253
art, tullius cicero, m., public versus private view of Rutledge (2012) 57, 94, 307
art, valerius maximus, and eroticism in Rutledge (2012) 113
art, vegetation deities in minoan-mycenaean religion and Simon (2021) 299
art, vipsanius agrippa, m., on public Rutledge (2012) 58, 226
art, visual, and moral development Graver (2007) 156
art, vitruvius, on decline of Rutledge (2012) 84
art, washington, d.c., nativity of national gallery of mary, gospel of Doble and Kloha (2014) 319
art, weeping, contemplation of Dilley (2019) 231, 268
art, works in syracuse, verres, c., appropriates Rutledge (2012) 49, 118
art, works to sicily, cornelius scipio aemilianus, p., repatriates Rutledge (2012) 53, 54, 55
art, works, augustus, repatriates Rutledge (2012) 55
art, yafia, figural Levine (2005) 224
art, zeus and, minoan-mycenaean religion and Simon (2021) 13
art, แผฑฮตฯฮฑฯ„ฮนฮบแฝด theurgy and hieratic ฯ„ฮญฯ‡ฮฝฮทโ€Ž d, Hoine and Martijn (2017) 223, 237
art/artists, kingdom of pontos Marek (2019) 267
art/artists, pergamon Marek (2019) 181, 240, 242, 243
art/artists, persian age Marek (2019) 164, 170
art/literature, matter, hulรช, แฝ•ฮปฮทโ€Ž, in d, Hoine and Martijn (2017) 164, 286
art/poetry, as deception, philopseudes Mheallaigh (2014) 77, 78
artemis, and, minoan-mycenaean religion and art Simon (2021) 170, 171, 174, 180, 187, 373
artes, liberales Oksanish (2019) 28, 37, 38
artes, urbanae Roller (2018) 102, 104, 108, 113
artist, works of art, Lampe (2003) 62, 136, 137, 140, 142, 179, 426
artistic, representation, art Corrigan and Rasimus (2013) 331, 332, 339
arts, affect character, plato, visual Sorabji (2000) 270, 271
arts, alexander of aphrodisias, aristotelian, stochastic Sorabji (2000) 171
arts, alexandria, as a center of religions and occult Luck (2006) 18
arts, amazons, in the figurative Barbato (2020) 145, 146, 158, 159, 167, 170
arts, art, visual Pinheiro Bierl and Beck (2013) 17, 71, 254
arts, augustine, on canon of liberal Pollmann and Vessey (2007) 72, 76, 98, 141
arts, augustine, on canon of mantic Pollmann and Vessey (2007) 32, 121
arts, augustine, on fine Pollmann and Vessey (2007) 132
arts, augustine, on manufacturing Pollmann and Vessey (2007) 134
arts, augustine, on performance Pollmann and Vessey (2007) 134
arts, competition, between the Borg (2008) 123
arts, education, liberal Penniman (2017) 172, 173
arts, evil Rohmann (2016) 34, 37, 140, 265
arts, for religious goals, alchemy, harnessing Janowitz (2002b) 111
arts, history of divinatory Wynne (2019) 200, 208, 209, 211, 245
arts, liberal Humfress (2007) 108, 190
Keeline (2018) 216, 217, 218, 219, 220, 221
van , t Westeinde (2021) 135
arts, mercury, patron of gymnastic Sider (2001) 96
arts, mimetic Oksanish (2019) 60, 61
arts, novel, novels, visual Pinheiro Bierl and Beck (2013) 71
arts, of apollo Sider (2001) 96
arts, of mars Sider (2001) 96
arts, of minerva Sider (2001) 96
arts, or disciplines, contrasted or combined with the liberal bible, biblical culture Pollmann and Vessey (2007) 110, 143, 162
arts, or disciplines, mantic Pollmann and Vessey (2007) 121, 122, 123
arts, or liberal disciplines, listed or enumerated Pollmann and Vessey (2007) 6, 44, 45, 81, 84, 88, 89, 91, 93, 96, 100, 101, 102, 107, 143, 158
arts, or liberal disciplines, medieval canon Pollmann and Vessey (2007) 6, 69, 110
arts, or liberal disciplines, personified Pollmann and Vessey (2007) 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 107, 110, 174
arts, plastic Oksanish (2019) 45
arts, proprietas properties of individual Oksanish (2019) 134, 135, 136, 141, 142
arts, roman anxiety about greek Oksanish (2019) 60, 61
arts, sacred Janowitz (2002) 7, 60, 63, 64, 65, 66, 67
arts, technai Jouanna (2012) 39
arts, visual Repath and Whitmarsh (2022) 9, 10, 11, 12, 13, 14, 15
Sorabji (2000) 270, 271
arts/theories, rhetorical Motta and Petrucci (2022) 92
artsโ€™, in book, augustine, survey of โ€˜liberal Pollmann and Vessey (2007) 128, 129, 130, 131, 132, 133, 134, 135, 177, 178, 179, 180, 197
craft/art, god as craftsman Segev (2017) 20, 35, 36
craft/art, paintings/pictures Segev (2017) 29, 46, 49
craft/art, statues Segev (2017) 1, 46, 49, 145, 170

List of validated texts:
78 validated results for "art"
1. Hebrew Bible, Deuteronomy, 4.15-4.19, 17.10, 31.9, 32.11 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Art, official character โ€ข Moses, art โ€ข ahl al-raสพy (Ar. โ€œpeople of [legal] opinionโ€) โ€ข ahl al-แธฅadฤซแนฏ (Ar. โ€œscholars of Traditionโ€) โ€ข art, Qumran โ€ข art, pagan โ€ข art, priests โ€ข catacombs, Bet Shearim, figural art โ€ข church fathers, figural art โ€ข figural art โ€ข ijtihฤd (Ar. โ€œdiligent effortsโ€)

 Found in books: Bickerman and Tropper (2007) 897, 920, 930; Brooke et al (2008) 53, 79, 247, 248, 252; Levine (2005) 236, 481; Zawanowska and Wilk (2022) 141


4.15. ื•ึฐื ึดืฉืึฐืžึทืจึฐืชึผึถื ืžึฐืึนื“ ืœึฐื ึทืคึฐืฉืึนืชึตื™ื›ึถื ื›ึผึดื™ ืœึนื ืจึฐืึดื™ืชึถื ื›ึผึธืœึพืชึผึฐืžื•ึผื ึธื” ื‘ึผึฐื™ื•ึนื ื“ึผึดื‘ึผึถืจ ื™ึฐื”ื•ึธื” ืึฒืœึตื™ื›ึถื ื‘ึผึฐื—ึนืจึตื‘ ืžึดืชึผื•ึนืšึฐ ื”ึธืึตืฉืืƒ 4.16. ืคึผึถืŸึพืชึผึทืฉืึฐื—ึดืชื•ึผืŸ ื•ึทืขึฒืฉื‚ึดื™ืชึถื ืœึธื›ึถื ืคึผึถืกึถืœ ืชึผึฐืžื•ึผื ึทืช ื›ึผึธืœึพืกึธืžึถืœ ืชึผึทื‘ึฐื ึดื™ืช ื–ึธื›ึธืจ ืื•ึน ื ึฐืงึตื‘ึธื”ืƒ 4.17. ืชึผึทื‘ึฐื ึดื™ืช ื›ึผึธืœึพื‘ึผึฐื”ึตืžึธื” ืึฒืฉืึถืจ ื‘ึผึธืึธืจึถืฅ ืชึผึทื‘ึฐื ึดื™ืช ื›ึผึธืœึพืฆึดืคึผื•ึนืจ ื›ึผึธื ึธืฃ ืึฒืฉืึถืจ ืชึผึธืขื•ึผืฃ ื‘ึผึทืฉืึผึธืžึธื™ึดืืƒ 4.18. ืชึผึทื‘ึฐื ึดื™ืช ื›ึผึธืœึพืจึนืžึตืฉื‚ ื‘ึผึธืึฒื“ึธืžึธื” ืชึผึทื‘ึฐื ึดื™ืช ื›ึผึธืœึพื“ึผึธื’ึธื” ืึฒืฉืึถืจึพื‘ึผึทืžึผึทื™ึดื ืžึดืชึผึทื—ึทืช ืœึธืึธืจึถืฅืƒ 4.19. ื•ึผืคึถืŸึพืชึผึดืฉื‚ึผึธื ืขึตื™ื ึถื™ืšึธ ื”ึทืฉืึผึธืžึทื™ึฐืžึธื” ื•ึฐืจึธืึดื™ืชึธ ืึถืชึพื”ึทืฉืึผึถืžึถืฉื ื•ึฐืึถืชึพื”ึทื™ึผึธืจึตื—ึท ื•ึฐืึถืชึพื”ึทื›ึผื•ึนื›ึธื‘ึดื™ื ื›ึผึนืœ ืฆึฐื‘ึธื ื”ึทืฉืึผึธืžึทื™ึดื ื•ึฐื ึดื“ึผึทื—ึฐืชึผึธ ื•ึฐื”ึดืฉืึฐืชึผึทื—ึฒื•ึดื™ืชึธ ืœึธื”ึถื ื•ึทืขึฒื‘ึทื“ึฐืชึผึธื ืึฒืฉืึถืจ ื—ึธืœึทืง ื™ึฐื”ื•ึธื” ืึฑืœึนื”ึถื™ืšึธ ืึนืชึธื ืœึฐื›ึนืœ ื”ึธืขึทืžึผึดื™ื ืชึผึทื—ึทืช ื›ึผึธืœึพื”ึทืฉืึผึธืžึธื™ึดืืƒ' '
31.9. ื•ึทื™ึผึดื›ึฐืชึผึนื‘ ืžึนืฉืึถื” ืึถืชึพื”ึทืชึผื•ึนืจึธื” ื”ึทื–ึผึนืืช ื•ึทื™ึผึดืชึผึฐื ึธื”ึผ ืึถืœึพื”ึทื›ึผึนื”ึฒื ึดื™ื ื‘ึผึฐื ึตื™ ืœึตื•ึดื™ ื”ึทื ึผึนืฉื‚ึฐืึดื™ื ืึถืชึพืึฒืจื•ึนืŸ ื‘ึผึฐืจึดื™ืช ื™ึฐื”ื•ึธื” ื•ึฐืึถืœึพื›ึผึธืœึพื–ึดืงึฐื ึตื™ ื™ึดืฉื‚ึฐืจึธืึตืœืƒ
32.11. ื›ึผึฐื ึถืฉืึถืจ ื™ึธืขึดื™ืจ ืงึดื ึผื•ึน ืขึทืœึพื’ึผื•ึนื–ึธืœึธื™ื• ื™ึฐืจึทื—ึตืฃ ื™ึดืคึฐืจึนืฉื‚ ื›ึผึฐื ึธืคึธื™ื• ื™ึดืงึผึธื—ึตื”ื•ึผ ื™ึดืฉื‚ึผึธืึตื”ื•ึผ ืขึทืœึพืึถื‘ึฐืจึธืชื•ึนืƒ''. None
4.15. Take ye therefore good heed unto yourselvesโ€”for ye saw no manner of form on the day that the LORD spoke unto you in Horeb out of the midst of the fireโ€” 4.16. lest ye deal corruptly, and make you a graven image, even the form of any figure, the likeness of male or female, 4.17. the likeness of any beast that is on the earth, the likeness of any winged fowl that flieth in the heaven, 4.18. the likeness of any thing that creepeth on the ground, the likeness of any fish that is in the water under the earth; . 4.19. and lest thou lift up thine eyes unto heaven, and when thou seest the sun and the moon and the stars, even all the host of heaven, thou be drawn away and worship them, and serve them, which the LORD thy God hath allotted unto all the peoples under the whole heaven.
17.10. And thou shalt do according to the tenor of the sentence, which they shall declare unto thee from that place which the LORD shall choose; and thou shalt observe to do according to all that they shall teach thee.
31.9. And Moses wrote this law, and delivered it unto the priests the sons of Levi, that bore the ark of the covet of the LORD, and unto all the elders of Israel.
32.11. As an eagle that stirreth up her nest, Hovereth over her young, Spreadeth abroad her wings, taketh them, Beareth them on her pinionsโ€”''. None
2. Hebrew Bible, Exodus, 3.6, 3.15, 14.19, 16.7-16.10, 17.6, 20.4, 21.28 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Art โ€ข Art, funerary โ€ข Art, idol vs. image โ€ข Art, official character โ€ข Jews, as blind to identity of Christ, depicted in art โ€ข Moses, art โ€ข art and architecture โ€ข art, โ€ข art, Qumran โ€ข art, early Christian โ€ข art, medieval Christian, depiction of Jews โ€ข art, origins anddevelopment โ€ข art, priests โ€ข clothing, signification of, in medieval Christian art โ€ข hypostasis (of God), สฟibฤda (Ar. โ€œpietyโ€) โ€ข ijmฤสฟ (Ar. โ€œconsensusโ€) โ€ข maสฟrifat Allฤh (Ar. โ€œknowledge of Godโ€) โ€ข pallium, signification in medieval Christian art โ€ข priests, Jewish, depiction in medieval Jewish art โ€ข synagogues, art โ€ข taqlฤซd (Ar. โ€œtraditionโ€)

 Found in books: Ashbrook Harvey et al (2015) 94, 97; Bickerman and Tropper (2007) 897, 920, 934; Brooke et al (2008) 31, 40, 52, 63, 122, 218, 249, 274, 322; Esler (2000) 95, 747; Rubenstein(1995) 247; Zawanowska and Wilk (2022) 140


3.6. ื•ึทื™ึผึนืืžึถืจ ืึธื ึนื›ึดื™ ืึฑืœึนื”ึตื™ ืึธื‘ึดื™ืšึธ ืึฑืœึนื”ึตื™ ืึทื‘ึฐืจึธื”ึธื ืึฑืœึนื”ึตื™ ื™ึดืฆึฐื—ึธืง ื•ึตืืœึนื”ึตื™ ื™ึทืขึฒืงึนื‘ ื•ึทื™ึผึทืกึฐืชึผึตืจ ืžึนืฉืึถื” ืคึผึธื ึธื™ื• ื›ึผึดื™ ื™ึธืจึตื ืžึตื”ึทื‘ึผึดื™ื˜ ืึถืœึพื”ึธืึฑืœึนื”ึดื™ืืƒ
3.15. ื•ึทื™ึผึนืืžึถืจ ืขื•ึนื“ ืึฑืœึนื”ึดื™ื ืึถืœึพืžึนืฉืึถื” ื›ึผึนื”ึพืชึนืืžึทืจ ืึถืœึพื‘ึผึฐื ึตื™ ื™ึดืฉื‚ึฐืจึธืึตืœ ื™ึฐื”ื•ึธื” ืึฑืœึนื”ึตื™ ืึฒื‘ึนืชึตื™ื›ึถื ืึฑืœึนื”ึตื™ ืึทื‘ึฐืจึธื”ึธื ืึฑืœึนื”ึตื™ ื™ึดืฆึฐื—ึธืง ื•ึตืืœึนื”ึตื™ ื™ึทืขึฒืงึนื‘ ืฉืึฐืœึธื—ึทื ึดื™ ืึฒืœึตื™ื›ึถื ื–ึถื”ึพืฉืึผึฐืžึดื™ ืœึฐืขึนืœึธื ื•ึฐื–ึถื” ื–ึดื›ึฐืจึดื™ ืœึฐื“ึนืจ ื“ึผึนืจืƒ
14.19. ื•ึทื™ึผึดืกึผึทืข ืžึทืœึฐืึทืšึฐ ื”ึธืึฑืœึนื”ึดื™ื ื”ึทื”ึนืœึตืšึฐ ืœึดืคึฐื ึตื™ ืžึทื—ึฒื ึตื” ื™ึดืฉื‚ึฐืจึธืึตืœ ื•ึทื™ึผึตืœึถืšึฐ ืžึตืึทื—ึฒืจึตื™ื”ึถื ื•ึทื™ึผึดืกึผึทืข ืขึทืžึผื•ึผื“ ื”ึถืขึธื ึธืŸ ืžึดืคึผึฐื ึตื™ื”ึถื ื•ึทื™ึผึทืขึฒืžึนื“ ืžึตืึทื—ึฒืจึตื™ื”ึถืืƒ
16.7. ื•ึผื‘ึนืงึถืจ ื•ึผืจึฐืึดื™ืชึถื ืึถืชึพื›ึผึฐื‘ื•ึนื“ ื™ึฐื”ื•ึธื” ื‘ึผึฐืฉืึธืžึฐืขื•ึน ืึถืชึพืชึผึฐืœึปื ึผึนืชึตื™ื›ึถื ืขึทืœึพื™ึฐื”ื•ึธื” ื•ึฐื ึทื—ึฐื ื•ึผ ืžึธื” ื›ึผึดื™ ืชืœื•ื ื• ืชึทืœึผึดื™ื ื•ึผ ืขึธืœึตื™ื ื•ึผืƒ 16.8. ื•ึทื™ึผึนืืžึถืจ ืžึนืฉืึถื” ื‘ึผึฐืชึตืช ื™ึฐื”ื•ึธื” ืœึธื›ึถื ื‘ึผึธืขึถืจึถื‘ ื‘ึผึธืฉื‚ึธืจ ืœึถืึฑื›ึนืœ ื•ึฐืœึถื—ึถื ื‘ึผึทื‘ึผึนืงึถืจ ืœึดืฉื‚ึฐื‘ึผึนืขึท ื‘ึผึดืฉืึฐืžึนืขึท ื™ึฐื”ื•ึธื” ืึถืชึพืชึผึฐืœึปื ึผึนืชึตื™ื›ึถื ืึฒืฉืึถืจึพืึทืชึผึถื ืžึทืœึผึดื™ื ึดื ืขึธืœึธื™ื• ื•ึฐื ึทื—ึฐื ื•ึผ ืžึธื” ืœึนืึพืขึธืœึตื™ื ื•ึผ ืชึฐืœึปื ึผึนืชึตื™ื›ึถื ื›ึผึดื™ ืขึทืœึพื™ึฐื”ื•ึธื”ืƒ 16.9. ื•ึทื™ึผึนืืžึถืจ ืžึนืฉืึถื” ืึถืœึพืึทื”ึฒืจึนืŸ ืึฑืžึนืจ ืึถืœึพื›ึผึธืœึพืขึฒื“ึทืช ื‘ึผึฐื ึตื™ ื™ึดืฉื‚ึฐืจึธืึตืœ ืงึดืจึฐื‘ื•ึผ ืœึดืคึฐื ึตื™ ื™ึฐื”ื•ึธื” ื›ึผึดื™ ืฉืึธืžึทืข ืึตืช ืชึผึฐืœึปื ึผึนืชึตื™ื›ึถืืƒ' '
17.6. ื”ึดื ึฐื ึดื™ ืขึนืžึตื“ ืœึฐืคึธื ึถื™ืšึธ ืฉืึผึธื ืขึทืœึพื”ึทืฆึผื•ึผืจ ื‘ึผึฐื—ึนืจึตื‘ ื•ึฐื”ึดื›ึผึดื™ืชึธ ื‘ึทืฆึผื•ึผืจ ื•ึฐื™ึธืฆึฐืื•ึผ ืžึดืžึผึถื ึผื•ึผ ืžึทื™ึดื ื•ึฐืฉืึธืชึธื” ื”ึธืขึธื ื•ึทื™ึผึทืขึทืฉื‚ ื›ึผึตืŸ ืžึนืฉืึถื” ืœึฐืขึตื™ื ึตื™ ื–ึดืงึฐื ึตื™ ื™ึดืฉื‚ึฐืจึธืึตืœืƒ
20.4. ืœึนื ืชึทืขึฒืฉื‚ึถื”ึพืœึฐืšึธ ืคึถืกึถืœ ื•ึฐื›ึธืœึพืชึผึฐืžื•ึผื ึธื” ืึฒืฉืึถืจ ื‘ึผึทืฉืึผึธืžึทื™ึดื ืžึดืžึผึทืขึทืœ ื•ึทืึฒืฉืึถืจ ื‘ึผึธืึธืจึถืฅ ืžึดืชึผึธึทื—ึทืช ื•ึทืึฒืฉืึถืจ ื‘ึผึทืžึผึทื™ึดื ืžึดืชึผึทื—ึทืช ืœึธืึธืจึถืฅ
21.28. ื•ึฐื›ึดื™ึพื™ึดื’ึผึทื— ืฉืื•ึนืจ ืึถืชึพืึดื™ืฉื ืื•ึน ืึถืชึพืึดืฉืึผึธื” ื•ึธืžึตืช ืกึธืงื•ึนืœ ื™ึดืกึผึธืงึตืœ ื”ึทืฉืึผื•ึนืจ ื•ึฐืœึนื ื™ึตืึธื›ึตืœ ืึถืชึพื‘ึผึฐืฉื‚ึธืจื•ึน ื•ึผื‘ึทืขึทืœ ื”ึทืฉืึผื•ึนืจ ื ึธืงึดื™ืƒ''. None
3.6. Moreover He said: โ€˜I am the God of thy father, the God of Abraham, the God of Isaac, and the God of Jacob.โ€™ And Moses hid his face; for he was afraid to look upon God.
3.15. And God said moreover unto Moses: โ€˜Thus shalt thou say unto the children of Israel: The LORD, the God of your fathers, the God of Abraham, the God of Isaac, and the God of Jacob, hath sent me unto you; this is My name for ever, and this is My memorial unto all generations.
14.19. And the angel of God, who went before the camp of Israel, removed and went behind them; and the pillar of cloud removed from before them, and stood behind them;
16.7. and in the morning, then ye shall see the glory of the LORD; for that He hath heard your murmurings against the LORD; and what are we, that ye murmur against us?โ€™ 16.8. And Moses said: โ€˜This shall be, when the LORD shall give you in the evening flesh to eat, and in the morning bread to the full; for that the LORD heareth your murmurings which ye murmur against Him; and what are we? your murmurings are not against us, but against the LORD.โ€™ 16.9. And Moses said unto Aaron: โ€˜Say unto all the congregation of the children of Israel: Come near before the LORD; for He hath heard your murmurings.โ€™ 16.10. And it came to pass, as Aaron spoke unto the whole congregation of the children of Israel, that they looked toward the wilderness, and, behold, the glory of the LORD appeared in the cloud.
17.6. Behold, I will stand before thee there upon the rock in Horeb; and thou shalt smite the rock, and there shall come water out of it, that the people may drink.โ€™ And Moses did so in the sight of the elders of Israel.
20.4. Thou shalt not make unto thee a graven image, nor any manner of likeness, of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth;
21.28. And if an ox gore a man or a woman, that they die, the ox shall be surely stoned, and its flesh shall not be eaten; but the owner of the ox shall be quit.' '. None
3. Hebrew Bible, Leviticus, 23.40, 23.43 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Samaritans, art โ€ข art, โ€ข artisans, artists โ€ข basilica-type synagogue, plan, mosaic, mosaic, artistic motifs โ€ข lulav, in synagogue art

 Found in books: Levine (2005) 216; Rubenstein(1995) 247, 308


23.43. ืœึฐืžึทืขึทืŸ ื™ึตื“ึฐืขื•ึผ ื“ึนืจึนืชึตื™ื›ึถื ื›ึผึดื™ ื‘ึทืกึผึปื›ึผื•ึนืช ื”ื•ึนืฉืึทื‘ึฐืชึผึดื™ ืึถืชึพื‘ึผึฐื ึตื™ ื™ึดืฉื‚ึฐืจึธืึตืœ ื‘ึผึฐื”ื•ึนืฆึดื™ืึดื™ ืื•ึนืชึธื ืžึตืึถืจึถืฅ ืžึดืฆึฐืจึธื™ึดื ืึฒื ึดื™ ื™ึฐื”ื•ึธื” ืึฑืœึนื”ึตื™ื›ึถืืƒ' '. None
23.40. And ye shall take you on the first day the fruit of goodly trees, branches of palm-trees, and boughs of thick trees, and willows of the brook, and ye shall rejoice before the LORD your God seven days.
23.43. that your generations may know that I made the children of Israel to dwell in booths, when I brought them out of the land of Egypt: I am the LORD your God.''. None
4. Hebrew Bible, Numbers, 21.9 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข art and architecture โ€ข seals, figural art

 Found in books: Brooke et al (2008) 321; Levine (2005) 225


21.9. ื•ึทื™ึผึทืขึทืฉื‚ ืžึนืฉืึถื” ื ึฐื—ึทืฉื ื ึฐื—ึนืฉืึถืช ื•ึทื™ึฐืฉื‚ึดืžึตื”ื•ึผ ืขึทืœึพื”ึทื ึผึตืก ื•ึฐื”ึธื™ึธื” ืึดืึพื ึธืฉืึทืšึฐ ื”ึทื ึผึธื—ึธืฉื ืึถืชึพืึดื™ืฉื ื•ึฐื”ึดื‘ึผึดื™ื˜ ืึถืœึพื ึฐื—ึทืฉื ื”ึทื ึผึฐื—ึนืฉืึถืช ื•ึธื—ึธื™ืƒ''. None
21.9. And Moses made a serpent of brass, and set it upon the pole; and it came to pass, that if a serpent had bitten any man, when he looked unto the serpent of brass, he lived.''. None
5. Hebrew Bible, Psalms, 24.7, 24.9 (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข art, Qumran โ€ข art, pagan โ€ข art, priests โ€ข zabลซr (Ar. โ€œPsalmsโ€, concept)

 Found in books: Brooke et al (2008) 53, 66; Levine (2005) 32; Zawanowska and Wilk (2022) 222


24.7. ืฉื‚ึฐืื•ึผ ืฉืึฐืขึธืจึดื™ื ืจึธืืฉืึตื™ื›ึถื ื•ึฐื”ึดื ึผึธืฉื‚ึฐืื•ึผ ืคึผึดืชึฐื—ึตื™ ืขื•ึนืœึธื ื•ึฐื™ึธื‘ื•ึนื ืžึถืœึถืšึฐ ื”ึทื›ึผึธื‘ื•ึนื“ืƒ
24.9. ืฉื‚ึฐืื•ึผ ืฉืึฐืขึธืจึดื™ื ืจึธืืฉืึตื™ื›ึถื ื•ึผืฉื‚ึฐืื•ึผ ืคึผึดืชึฐื—ึตื™ ืขื•ึนืœึธื ื•ึฐื™ึธื‘ึนื ืžึถืœึถืšึฐ ื”ึทื›ึผึธื‘ื•ึนื“ืƒ' '. None
24.7. Lift up your heads, O ye gates, and be ye lifted up, ye everlasting doors; that the King of glory may come in.
24.9. Lift up your heads, O ye gates, Yea, lift them up, ye everlasting doors; That the King of glory may come in.' '. None
6. None, None, nan (9th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข art, Qumran โ€ข art, priests โ€ข popular culture See reception history, and art

 Found in books: Brooke et al (2008) 51, 55; Sneed (2022) 239


7. Hebrew Bible, Isaiah, 6.3 (8th cent. BCE - 5th cent. BCE)
 Tagged with subjects: โ€ข Art โ€ข Art, funerary โ€ข Art, loss of pagan meaning for Christians and Jews โ€ข Moses, art โ€ข art, Qumran โ€ข art, priests

 Found in books: Bickerman and Tropper (2007) 935; Brooke et al (2008) 34, 49, 50, 52, 250


6.3. ื•ึฐืงึธืจึธื ื–ึถื” ืึถืœึพื–ึถื” ื•ึฐืึธืžึทืจ ืงึธื“ื•ึนืฉื ืงึธื“ื•ึนืฉื ืงึธื“ื•ึนืฉื ื™ึฐื”ื•ึธื” ืฆึฐื‘ึธืื•ึนืช ืžึฐืœึนื ื›ึธืœึพื”ึธืึธืจึถืฅ ื›ึผึฐื‘ื•ึนื“ื•ึนืƒ''. None
6.3. And one called unto another, and said: Holy, holy, holy, is the LORD of hosts; The whole earth is full of His glory.''. None
8. None, None, nan (8th cent. BCE - 7th cent. BCE)
 Tagged with subjects: โ€ข Minoan-Mycenaean religion and art, Aphrodite in โ€ข art work, as object of gaze โ€ข audience, artistic strategies as reaction to โ€ข gaze, focused on work of art โ€ข response, emotional, to work of art, in Virgilโ€™s Aeneid โ€ข wonder, inspired by gazing at work of art

 Found in books: Elsner (2007) 80; Johnson (2008) 36; Simon (2021) 265


9. Hebrew Bible, 1 Chronicles, 28.2, 28.11-28.13, 28.19 (5th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข Qiแนฃaแนฃ al-anbiyฤสพ (Ar. โ€œTales of the Prophetsโ€, genre), al-Quds (Ar. โ€œJerusalem,โ€ โ€œTempleโ€) โ€ข art, Qumran โ€ข art, priests โ€ข faแนฃl (dual. faแนฃlayn, Ar. โ€œ[thematic] unit,โ€ โ€œepisodeโ€) โ€ข qiแนฃแนฃa (Ar. โ€žstoryโ€) โ€ข tawqฤซf (Ar. โ€œinstruction from Godโ€) โ€ข สฟiแนฃma (Ar. โ€œinfallibility of prophetsโ€, โ€œimpeccability,โ€ โ€œimmunity from sinโ€)

 Found in books: Brooke et al (2008) 66, 102, 106, 274; Zawanowska and Wilk (2022) 89, 90, 96, 99


28.2. ื•ึทื™ึผึธืงึธื ื“ึผึธื•ึดื™ื“ ื”ึทืžึผึถืœึถืšึฐ ืขึทืœึพืจึทื’ึฐืœึธื™ื• ื•ึทื™ึผึนืืžึถืจ ืฉืึฐืžึธืขื•ึผื ึดื™ ืึทื—ึทื™ ื•ึฐืขึทืžึผึดื™ ืึฒื ึดื™ ืขึดืึพืœึฐื‘ึธื‘ึดื™ ืœึดื‘ึฐื ื•ึนืช ื‘ึผึตื™ืช ืžึฐื ื•ึผื—ึธื” ืœึทืึฒืจื•ึนืŸ ื‘ึผึฐืจึดื™ืชึพื™ึฐื”ื•ึธื” ื•ึฐืœึทื”ึฒื“ึนื ืจึทื’ึฐืœึตื™ ืึฑืœึนื”ึตื™ื ื•ึผ ื•ึทื”ึฒื›ึดื™ื ื•ึนืชึดื™ ืœึดื‘ึฐื ื•ึนืชืƒ
28.2. ื•ึทื™ึผึนืืžึถืจ ื“ึผึธื•ึดื™ื“ ืœึดืฉืึฐืœึนืžึนื” ื‘ึฐื ื•ึน ื—ึฒื–ึทืง ื•ึถืึฑืžึทืฅ ื•ึทืขึฒืฉื‚ึตื” ืึทืœึพืชึผึดื™ืจึธื ื•ึฐืึทืœึพืชึผึตื—ึธืช ื›ึผึดื™ ื™ึฐื”ื•ึธื” ืึฑืœึนื”ึดื™ื ืึฑืœึนื”ึทื™ ืขึดืžึผึธืšึฐ ืœึนื ื™ึทืจึฐืคึผึฐืšึธ ื•ึฐืœึนื ื™ึทืขึทื–ึฐื‘ึถืšึผึธ ืขึทื“ึพืœึดื›ึฐืœื•ึนืช ื›ึผึธืœึพืžึฐืœึถืื›ึถืช ืขึฒื‘ื•ึนื“ึทืช ื‘ึผึตื™ืชึพื™ึฐื”ื•ึธื”ืƒ
28.11. ื•ึทื™ึผึดืชึผึตืŸ ื“ึผึธื•ึดื™ื“ ืœึดืฉืึฐืœึนืžึนื” ื‘ึฐื ื•ึน ืึถืชึพืชึผึทื‘ึฐื ึดื™ืช ื”ึธืื•ึผืœึธื ื•ึฐืึถืชึพื‘ึผึธืชึผึธื™ื• ื•ึฐื’ึทื ึฐื–ึทื›ึผึธื™ื• ื•ึทืขึฒืœึดื™ึผึนืชึธื™ื• ื•ึทื—ึฒื“ึธืจึธื™ื• ื”ึทืคึผึฐื ึดื™ืžึดื™ื ื•ึผื‘ึตื™ืช ื”ึทื›ึผึทืคึผึนืจึถืชืƒ 28.12. ื•ึฐืชึทื‘ึฐื ึดื™ืช ื›ึผึนืœ ืึฒืฉืึถืจ ื”ึธื™ึธื” ื‘ึธืจื•ึผื—ึท ืขึดืžึผื•ึน ืœึฐื—ึทืฆึฐืจื•ึนืช ื‘ึผึตื™ืชึพื™ึฐื”ื•ึธื” ื•ึผืœึฐื›ึธืœึพื”ึทืœึผึฐืฉืึธื›ื•ึนืช ืกึธื‘ึดื™ื‘ ืœึฐืึนืฆึฐืจื•ึนืช ื‘ึผึตื™ืช ื”ึธืึฑืœึนื”ึดื™ื ื•ึผืœึฐืึนืฆึฐืจื•ึนืช ื”ึทืงึผึณื“ึธืฉืึดื™ืืƒ 28.13. ื•ึผืœึฐืžึทื—ึฐืœึฐืงื•ึนืช ื”ึทื›ึผึนื”ึฒื ึดื™ื ื•ึฐื”ึทืœึฐื•ึดื™ึผึดื ื•ึผืœึฐื›ึธืœึพืžึฐืœึถืื›ึถืช ืขึฒื‘ื•ึนื“ึทืช ื‘ึผึตื™ืชึพื™ึฐื”ื•ึธื” ื•ึผืœึฐื›ึธืœึพื›ึผึฐืœึตื™ ืขึฒื‘ื•ึนื“ึทืช ื‘ึผึตื™ืชึพื™ึฐื”ื•ึธื”ืƒ
28.19. ื”ึทื›ึผึนืœ ื‘ึผึดื›ึฐืชึธื‘ ืžึดื™ึผึทื“ ื™ึฐื”ื•ึธื” ืขึธืœึทื™ ื”ึดืฉื‚ึฐื›ึผึดื™ืœ ื›ึผึนืœ ืžึทืœึฐืึฒื›ื•ึนืช ื”ึทืชึผึทื‘ึฐื ึดื™ืชืƒ''. None
28.2. Then David the king stood up upon his feet, and said: โ€˜Hear me, my brethren, and my people; as for me, it was in my heart to build a house of rest for the ark of the covet of the LORD, and for the footstool of our God; and I had made ready for the building.
28.11. Then David gave to Solomon his son the pattern of the porch of the temple, and of the houses thereof, and of the treasuries thereof, and of the upper rooms thereof, and of the inner chambers thereof, and of the place of the ark-cover; 28.12. and the pattern of all that he had by the spirit, for the courts of the house of the LORD, and for all the chambers round about, for the treasuries of the house of God, and for the treasuries of the hallowed things; 28.13. also for the courses of the priests and the Levites, and for all the work of the service of the house of the LORD, and for all the vessels of service in the house of the LORD:
28.19. โ€™All this do I give thee in writing, as the LORD hath made me wise by His hand upon me, even all the works of this pattern.โ€™''. None
10. Herodotus, Histories, 3.17-3.25, 3.131, 9.27.4 (5th cent. BCE - 5th cent. BCE)
 Tagged with subjects: โ€ข Amazons, in the figurative arts โ€ข Egyptian, art โ€ข Hippocrates, works,, Art of Medicine โ€ข Lucian, as self-conscious reception artist โ€ข to the Kyklades by artist Babis Kritikos, sacrificial (?choral), to Apollo Pythaieus (Asine)

 Found in books: Barbato (2020) 146; Jouanna (2012) 52; Kirkland (2022) 187, 196; Kowalzig (2007) 153; Papadodima (2022) 21


3.17. ฮผฮตฯ„แฝฐ ฮดแฝฒ ฯ„ฮฑแฟฆฯ„ฮฑ แฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚ แผฮฒฮฟฯ…ฮปฮตฯฯƒฮฑฯ„ฮฟ ฯ„ฯฮนฯ†ฮฑฯƒฮฏฮฑฯ‚ ฯƒฯ„ฯฮฑฯ„ฮทฮฏฮฑฯ‚, แผฯ€ฮฏ ฯ„ฮต ฮšฮฑฯฯ‡ฮทฮดฮฟฮฝฮฏฮฟฯ…ฯ‚ ฮบฮฑแฝถ แผฯ€แฝถ แผˆฮผฮผฯ‰ฮฝฮฏฮฟฯ…ฯ‚ ฮบฮฑแฝถ แผฯ€แฝถ ฯ„ฮฟแฝบฯ‚ ฮผฮฑฮบฯฮฟฮฒฮฏฮฟฯ…ฯ‚ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚, ฮฟแผฐฮบฮทฮผฮญฮฝฮฟฯ…ฯ‚ ฮดแฝฒ ฮ›ฮนฮฒฯฮทฯ‚ แผฯ€แฝถ ฯ„แฟ‡ ฮฝฮฟฯ„ฮฏแฟƒ ฮธฮฑฮปฮฌฯƒฯƒแฟƒยท ฮฒฮฟฯ…ฮปฮตฯ…ฮฟฮผฮญฮฝแฟณ ฮดฮญ ฮฟแผฑ แผ”ฮดฮฟฮพฮต แผฯ€แฝถ ฮผแฝฒฮฝ ฮšฮฑฯฯ‡ฮทฮดฮฟฮฝฮฏฮฟฯ…ฯ‚ ฯ„แฝธฮฝ ฮฝฮฑฯ…ฯ„ฮนฮบแฝธฮฝ ฯƒฯ„ฯฮฑฯ„แฝธฮฝ แผ€ฯ€ฮฟฯƒฯ„ฮญฮปฮปฮตฮนฮฝ, แผฯ€แฝถ ฮดแฝฒ แผˆฮผฮผฯ‰ฮฝฮฏฮฟฯ…ฯ‚ ฯ„ฮฟแฟฆ ฯ€ฮตฮถฮฟแฟฆ แผ€ฯ€ฮฟฮบฯฮฏฮฝฮฑฮฝฯ„ฮฑ, แผฯ€แฝถ ฮดแฝฒ ฯ„ฮฟแฝบฯ‚ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚ ฮบฮฑฯ„ฯŒฯ€ฯ„ฮฑฯ‚ ฯ€ฯแฟถฯ„ฮฟฮฝ, แฝ€ฯˆฮฟฮผฮญฮฝฮฟฯ…ฯ‚ ฯ„ฮต ฯ„แฝดฮฝ แผฮฝ ฯ„ฮฟฯฯ„ฮฟฮนฯƒฮน ฯ„ฮฟแฟ–ฯƒฮน ฮ‘แผฐฮธฮฏฮฟฯˆฮน ฮปฮตฮณฮฟฮผฮญฮฝฮทฮฝ ฮตแผถฮฝฮฑฮน แผกฮปฮฏฮฟฯ… ฯ„ฯฮฌฯ€ฮตฮถฮฑฮฝ ฮตแผฐ แผ”ฯƒฯ„ฮน แผ€ฮปฮทฮธฮญฯ‰ฯ‚, ฮบฮฑแฝถ ฯ€ฯแฝธฯ‚ ฯ„ฮฑฯฯ„แฟƒ ฯ„แฝฐ แผ„ฮปฮปฮฑ ฮบฮฑฯ„ฮฟฯˆฮฟฮผฮญฮฝฮฟฯ…ฯ‚, ฮดแฟถฯฮฑ ฮดแฝฒ ฯ„แฟท ฮปฯŒฮณแฟณ ฯ†ฮญฯฮฟฮฝฯ„ฮฑฯ‚ ฯ„แฟท ฮฒฮฑฯƒฮนฮปฮญฮน ฮฑแฝฯ„แฟถฮฝ. 3.18. แผก ฮดแฝฒ ฯ„ฯฮฌฯ€ฮตฮถฮฑ ฯ„ฮฟแฟฆ แผกฮปฮฏฮฟฯ… ฯ„ฮฟฮนฮฎฮดฮต ฯ„ฮนฯ‚ ฮปฮญฮณฮตฯ„ฮฑฮน ฮตแผถฮฝฮฑฮน, ฮปฮตฮนฮผแฝผฮฝ แผฯƒฯ„แฝถ แผฮฝ ฯ„แฟท ฯ€ฯฮฟฮฑฯƒฯ„ฮตฮฏแฟณ แผฯ€ฮฏฯ€ฮปฮตฮฟฯ‚ ฮบฯฮตแฟถฮฝ แผ‘ฯ†ฮธแฟถฮฝ ฯ€ฮฌฮฝฯ„ฯ‰ฮฝ ฯ„แฟถฮฝ ฯ„ฮตฯ„ฯฮฑฯ€ฯŒฮดฯ‰ฮฝ, แผฯ‚ ฯ„แฝธฮฝ ฯ„แฝฐฯ‚ ฮผแฝฒฮฝ ฮฝฯฮบฯ„ฮฑฯ‚ แผฯ€ฮนฯ„ฮทฮดฮตฯฮฟฮฝฯ„ฮฑฯ‚ ฯ„ฮนฮธฮญฮฝฮฑฮน ฯ„แฝฐ ฮบฯฮญฮฑ ฯ„ฮฟแฝบฯ‚ แผฮฝ ฯ„ฮญฮปฮตฯŠ แผ‘ฮบฮฌฯƒฯ„ฮฟฯ„ฮต แผฯŒฮฝฯ„ฮฑฯ‚ ฯ„แฟถฮฝ แผ€ฯƒฯ„แฟถฮฝ, ฯ„แฝฐฯ‚ ฮดแฝฒ แผกฮผฮญฯฮฑฯ‚ ฮดฮฑฮฏฮฝฯ…ฯƒฮธฮฑฮน ฯ€ฯฮฟฯƒฮนฯŒฮฝฯ„ฮฑ ฯ„แฝธฮฝ ฮฒฮฟฯ…ฮปฯŒฮผฮตฮฝฮฟฮฝ. ฯ†ฮฌฮฝฮฑฮน ฮดแฝฒ ฯ„ฮฟแฝบฯ‚ แผฯ€ฮนฯ‡ฯ‰ฯฮฏฮฟฯ…ฯ‚ ฯ„ฮฑแฟฆฯ„ฮฑ ฯ„แฝดฮฝ ฮณแฟ†ฮฝ ฮฑแฝฯ„แฝดฮฝ แผ€ฮฝฮฑฮดฮนฮดฯŒฮฝฮฑฮน แผ‘ฮบฮฌฯƒฯ„ฮฟฯ„ฮต. 3.19. แผก ฮผแฝฒฮฝ ฮดแฝด ฯ„ฯฮฌฯ€ฮตฮถฮฑ ฯ„ฮฟแฟฆ แผกฮปฮฏฮฟฯ… ฮบฮฑฮปฮตฮฟฮผฮญฮฝฮท ฮปฮญฮณฮตฯ„ฮฑฮน ฮตแผถฮฝฮฑฮน ฯ„ฮฟฮนฮฎฮดฮต. ฮšฮฑฮผฮฒฯฯƒแฟƒ ฮดแฝฒ แฝกฯ‚ แผ”ฮดฮฟฮพฮต ฯ€ฮญฮผฯ€ฮตฮนฮฝ ฯ„ฮฟแฝบฯ‚ ฮบฮฑฯ„ฮฑฯƒฮบฯŒฯ€ฮฟฯ…ฯ‚, ฮฑแฝฯ„ฮฏฮบฮฑ ฮผฮตฯ„ฮตฯ€ฮญฮผฯ€ฮตฯ„ฮฟ แผฮพ แผ˜ฮปฮตฯ†ฮฑฮฝฯ„ฮฏฮฝฮทฯ‚ ฯ€ฯŒฮปฮนฮฟฯ‚ ฯ„แฟถฮฝ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฯ‰ฮฝ แผ€ฮฝฮดฯแฟถฮฝ ฯ„ฮฟแฝบฯ‚ แผฯ€ฮนฯƒฯ„ฮฑฮผฮญฮฝฮฟฯ…ฯ‚ ฯ„แฝดฮฝ ฮ‘แผฐฮธฮนฮฟฯ€ฮฏฮดฮฑ ฮณฮปแฟถฯƒฯƒฮฑฮฝ. แผฮฝ แพง ฮดแฝฒ ฯ„ฮฟฯฯ„ฮฟฯ…ฯ‚ ฮผฮตฯ„ฮฎฮนฯƒฮฑฮฝ, แผฮฝ ฯ„ฮฟฯฯ„แฟณ แผฮบฮญฮปฮตฯ…ฮต แผฯ€แฝถ ฯ„แฝดฮฝ ฮšฮฑฯฯ‡ฮทฮดฯŒฮฝฮฑ ฯ€ฮปฮญฮตฮนฮฝ ฯ„แฝธฮฝ ฮฝฮฑฯ…ฯ„ฮนฮบแฝธฮฝ ฯƒฯ„ฯฮฑฯ„ฯŒฮฝ. ฮฆฮฟฮฏฮฝฮนฮบฮตฯ‚ ฮดแฝฒ ฮฟแฝฮบ แผ”ฯ†ฮฑฯƒฮฑฮฝ ฯ€ฮฟฮนฮฎฯƒฮตฮนฮฝ ฯ„ฮฑแฟฆฯ„ฮฑยท แฝฯฮบฮฏฮฟฮนฯƒฮน ฮณแฝฐฯ ฮผฮตฮณฮฌฮปฮฟฮนฯƒฮน แผฮฝฮดฮตฮดฮญฯƒฮธฮฑฮน, ฮบฮฑแฝถ ฮฟแฝฮบ แผ‚ฮฝ ฯ€ฮฟฮนฮญฮตฮนฮฝ แฝ…ฯƒฮนฮฑ แผฯ€แฝถ ฯ„ฮฟแฝบฯ‚ ฯ€ฮฑแฟ–ฮดฮฑฯ‚ ฯ„ฮฟแฝบฯ‚ แผ‘ฯ‰ฯ…ฯ„แฟถฮฝ ฯƒฯ„ฯฮฑฯ„ฮตฯ…ฯŒฮผฮตฮฝฮฟฮน. ฮฆฮฟฮนฮฝฮฏฮบฯ‰ฮฝ ฮดแฝฒ ฮฟแฝ ฮฒฮฟฯ…ฮปฮฟฮผฮญฮฝฯ‰ฮฝ ฮฟแผฑ ฮปฮฟฮนฯ€ฮฟแฝถ ฮฟแฝฮบ แผ€ฮพฮนฯŒฮผฮฑฯ‡ฮฟฮน แผฮณฮฏฮฝฮฟฮฝฯ„ฮฟ. ฮšฮฑฯฯ‡ฮทฮดฯŒฮฝฮนฮฟฮน ฮผฮญฮฝ ฮฝฯ…ฮฝ ฮฟแฝ•ฯ„ฯ‰ ฮดฮฟฯ…ฮปฮฟฯƒฯฮฝฮทฮฝ ฮดฮนฮญฯ†ฯ…ฮณฮฟฮฝ ฯ€ฯแฝธฯ‚ ฮ ฮตฯฯƒฮญฯ‰ฮฝยท ฮšฮฑฮผฮฒฯฯƒฮทฯ‚ ฮณแฝฐฯ ฮฒฮฏฮทฮฝ ฮฟแฝฮบ แผฮดฮนฮบฮฑฮฏฮฟฯ… ฯ€ฯฮฟฯƒฯ†ฮญฯฮตฮนฮฝ ฮฆฮฟฮฏฮฝฮนฮพฮน, แฝ…ฯ„ฮน ฯƒฯ†ฮญฮฑฯ‚ ฯ„ฮต ฮฑแฝฯ„ฮฟแฝบฯ‚ แผฮดฮตฮดฯŽฮบฮตฯƒฮฑฮฝ ฮ ฮญฯฯƒแฟƒฯƒฮน ฮบฮฑแฝถ ฯ€แพถฯ‚ แผฮบ ฮฆฮฟฮนฮฝฮฏฮบฯ‰ฮฝ แผคฯฯ„ฮทฯ„ฮฟ แฝ ฮฝฮฑฯ…ฯ„ฮนฮบแฝธฯ‚ ฯƒฯ„ฯฮฑฯ„ฯŒฯ‚. ฮดฯŒฮฝฯ„ฮตฯ‚ ฮดแฝฒ ฮบฮฑแฝถ ฮšฯฯ€ฯฮนฮฟฮน ฯƒฯ†ฮญฮฑฯ‚ ฮฑแฝฯ„ฮฟแฝบฯ‚ ฮ ฮญฯฯƒแฟƒฯƒฮน แผฯƒฯ„ฯฮฑฯ„ฮตฯฮฟฮฝฯ„ฮฟ แผฯ€สผ ฮ‘แผดฮณฯ…ฯ€ฯ„ฮฟฮฝ. 3.20. แผฯ€ฮตฮฏฯ„ฮต ฮดแฝฒ ฯ„แฟท ฮšฮฑฮผฮฒฯฯƒแฟƒ แผฮบ ฯ„แฟ†ฯ‚ แผ˜ฮปฮตฯ†ฮฑฮฝฯ„ฮฏฮฝฮทฯ‚ แผ€ฯ€ฮฏฮบฮฟฮฝฯ„ฮฟ ฮฟแผฑ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฮฟฮน, แผ”ฯ€ฮตฮผฯ€ฮต ฮฑแฝฯ„ฮฟแฝบฯ‚ แผฯ‚ ฯ„ฮฟแฝบฯ‚ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚ แผฮฝฯ„ฮตฮนฮปฮฌฮผฮตฮฝฮฟฯ‚ ฯ„แฝฐ ฮปฮญฮณฮตฮนฮฝ ฯ‡ฯแฟ†ฮฝ ฮบฮฑแฝถ ฮดแฟถฯฮฑ ฯ†ฮญฯฮฟฮฝฯ„ฮฑฯ‚ ฯ€ฮฟฯฯ†ฯฯฮตฯŒฮฝ ฯ„ฮต ฮตแผทฮผฮฑ ฮบฮฑแฝถ ฯ‡ฯฯฯƒฮตฮฟฮฝ ฯƒฯ„ฯฮตฯ€ฯ„แฝธฮฝ ฯ€ฮตฯฮนฮฑฯ…ฯ‡ฮญฮฝฮนฮฟฮฝ ฮบฮฑแฝถ ฯˆฮญฮปฮนฮฑ ฮบฮฑแฝถ ฮผฯฯฮฟฯ… แผ€ฮปฮฌฮฒฮฑฯƒฯ„ฯฮฟฮฝ ฮบฮฑแฝถ ฯ†ฮฟฮนฮฝฮนฮบฮทฮฏฮฟฯ… ฮฟแผดฮฝฮฟฯ… ฮบฮฌฮดฮฟฮฝ. ฮฟแผฑ ฮดแฝฒ ฮ‘แผฐฮธฮฏฮฟฯ€ฮตฯ‚ ฮฟแฝ—ฯ„ฮฟฮน, แผฯ‚ ฯ„ฮฟแฝบฯ‚ แผ€ฯ€ฮญฯ€ฮตฮผฯ€ฮต แฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚, ฮปฮญฮณฮฟฮฝฯ„ฮฑฮน ฮตแผถฮฝฮฑฮน ฮผฮญฮณฮนฯƒฯ„ฮฟฮน ฮบฮฑแฝถ ฮบฮฌฮปฮปฮนฯƒฯ„ฮฟฮน แผ€ฮฝฮธฯฯŽฯ€ฯ‰ฮฝ ฯ€ฮฌฮฝฯ„ฯ‰ฮฝ. ฮฝฯŒฮผฮฟฮนฯƒฮน ฮดแฝฒ ฮบฮฑแฝถ แผ„ฮปฮปฮฟฮนฯƒฮน ฯ‡ฯแพถฯƒฮธฮฑฮน ฮฑแฝฯ„ฮฟแฝบฯ‚ ฮบฮตฯ‡ฯ‰ฯฮนฯƒฮผฮญฮฝฮฟฮนฯƒฮน ฯ„แฟถฮฝ แผ„ฮปฮปฯ‰ฮฝ แผ€ฮฝฮธฯฯŽฯ€ฯ‰ฮฝ ฮบฮฑแฝถ ฮดแฝด ฮบฮฑแฝถ ฮบฮฑฯ„แฝฐ ฯ„แฝดฮฝ ฮฒฮฑฯƒฮนฮปฮทฮฏฮทฮฝ ฯ„ฮฟฮนแฟทฮดฮตยท ฯ„แฝธฮฝ แผ‚ฮฝ ฯ„แฟถฮฝ แผ€ฯƒฯ„แฟถฮฝ ฮบฯฮฏฮฝฯ‰ฯƒฮน ฮผฮญฮณฮนฯƒฯ„ฯŒฮฝ ฯ„ฮต ฮตแผถฮฝฮฑฮน ฮบฮฑแฝถ ฮบฮฑฯ„แฝฐ ฯ„แฝธ ฮผฮญฮณฮฑฮธฮฟฯ‚ แผ”ฯ‡ฮตฮนฮฝ ฯ„แฝดฮฝ แผฐฯƒฯ‡ฯฮฝ, ฯ„ฮฟแฟฆฯ„ฮฟฮฝ แผ€ฮพฮนฮฟแฟฆฯƒฮน ฮฒฮฑฯƒฮนฮปฮตฯฮตฮนฮฝ. 3.21. แผฯ‚ ฯ„ฮฟฯฯ„ฮฟฯ…ฯ‚ ฮดแฝด แฝฆฮฝ ฯ„ฮฟแฝบฯ‚ แผ„ฮฝฮดฯฮฑฯ‚ แฝกฯ‚ แผ€ฯ€ฮฏฮบฮฟฮฝฯ„ฮฟ ฮฟแผฑ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฮฟฮน, ฮดฮนฮดฯŒฮฝฯ„ฮตฯ‚ ฯ„แฝฐ ฮดแฟถฯฮฑ ฯ„แฟท, ฮฒฮฑฯƒฮนฮปฮญฮน ฮฑแฝฯ„แฟถฮฝ แผ”ฮปฮตฮณฮฟฮฝ ฯ„ฮฌฮดฮต. โ€œฮฒฮฑฯƒฮนฮปฮตแฝบฯ‚ แฝ ฮ ฮตฯฯƒฮญฯ‰ฮฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚, ฮฒฮฟฯ…ฮปฯŒฮผฮตฮฝฮฟฯ‚ ฯ†ฮฏฮปฮฟฯ‚ ฮบฮฑแฝถ ฮพฮตแฟ–ฮฝฯŒฯ‚ ฯ„ฮฟฮน ฮณฮตฮฝฮญฯƒฮธฮฑฮน, แผกฮผฮญฮฑฯ‚ ฯ„ฮต แผ€ฯ€ฮญฯ€ฮตฮผฯˆฮต แผฯ‚ ฮปฯŒฮณฮฟฯ…ฯ‚ ฯ„ฮฟฮน แผฮปฮธฮตแฟ–ฮฝ ฮบฮตฮปฮตฯฯ‰ฮฝ, ฮบฮฑแฝถ ฮดแฟถฯฮฑ ฯ„ฮฑแฟฆฯ„ฮฌ ฯ„ฮฟฮน ฮดฮนฮดฮฟแฟ– ฯ„ฮฟแฟ–ฯƒฮน ฮบฮฑแฝถ ฮฑแฝฯ„แฝธฯ‚ ฮผฮฌฮปฮนฯƒฯ„ฮฑ แผฅฮดฮตฯ„ฮฑฮน ฯ‡ฯฮตฯŽฮผฮตฮฝฮฟฯ‚.โ€ แฝ ฮดแฝฒ ฮ‘แผฐฮธฮฏฮฟฯˆ ฮผฮฑฮธแฝผฮฝ แฝ…ฯ„ฮน ฮบฮฑฯ„ฯŒฯ€ฯ„ฮฑฮน แผฅฮบฮฟฮนฮตฮฝ, ฮปฮญฮณฮตฮน ฯ€ฯแฝธฯ‚ ฮฑแฝฯ„ฮฟแฝบฯ‚ ฯ„ฮฟฮนฮฌฮดฮต. โ€œฮฟแฝ”ฯ„ฮต แฝ ฮ ฮตฯฯƒฮญฯ‰ฮฝ ฮฒฮฑฯƒฮนฮปฮตแฝบฯ‚ ฮดแฟถฯฮฑ แฝ‘ฮผฮญฮฑฯ‚ แผ”ฯ€ฮตฮผฯˆฮต ฯ†ฮญฯฮฟฮฝฯ„ฮฑฯ‚ ฯ€ฯฮฟฯ„ฮนฮผแฟถฮฝ ฯ€ฮฟฮปฮปฮฟแฟฆ แผฮผฮฟแฝถ ฮพฮตแฟ–ฮฝฮฟฯ‚ ฮณฮตฮฝฮญฯƒฮธฮฑฮน, ฮฟแฝ”ฯ„ฮต แฝ‘ฮผฮตแฟ–ฯ‚ ฮปฮญฮณฮตฯ„ฮต แผ€ฮปฮทฮธฮญฮฑ สฝแผฅฮบฮตฯ„ฮต ฮณแฝฐฯ ฮบฮฑฯ„ฯŒฯ€ฯ„ฮฑฮน ฯ„แฟ†ฯ‚ แผฮผแฟ†ฯ‚ แผ€ฯฯ‡แฟ†ฯƒฬ“, ฮฟแฝ”ฯ„ฮต แผฮบฮตแฟ–ฮฝฮฟฯ‚ แผ€ฮฝฮฎฯ ฮดฮฏฮบฮฑฮนฮฟฯ‚. ฮตแผฐ ฮณแฝฐฯ แผฆฮฝ ฮดฮฏฮบฮฑฮนฮฟฯ‚, ฮฟแฝ”ฯ„สผ แผ‚ฮฝ แผฯ€ฮตฮธฯฮผฮทฯƒฮต ฯ‡ฯŽฯฮทฯ‚ แผ„ฮปฮปฮทฯ‚ แผข ฯ„แฟ†ฯ‚ แผ‘ฯ‰ฯ…ฯ„ฮฟแฟฆ, ฮฟแฝ”ฯ„สผ แผ‚ฮฝ แผฯ‚ ฮดฮฟฯ…ฮปฮฟฯƒฯฮฝฮทฮฝ แผ€ฮฝฮธฯฯŽฯ€ฮฟฯ…ฯ‚ แผฆฮณฮต แฝ‘ฯ€สผ แฝงฮฝ ฮผฮทฮดแฝฒฮฝ แผ ฮดฮฏฮบฮทฯ„ฮฑฮน. ฮฝแฟฆฮฝ ฮดแฝฒ ฮฑแฝฯ„แฟท ฯ„ฯŒฮพฮฟฮฝ ฯ„ฯŒฮดฮต ฮดฮนฮดฯŒฮฝฯ„ฮตฯ‚ ฯ„ฮฌฮดฮต แผ”ฯ€ฮตฮฑ ฮปฮญฮณฮตฯ„ฮต.โ€ โ€œฮฒฮฑฯƒฮนฮปฮตแฝบฯ‚ แฝ ฮ‘แผฐฮธฮนฯŒฯ€ฯ‰ฮฝ ฯƒฯ…ฮผฮฒฮฟฯ…ฮปฮตฯฮตฮน ฯ„แฟท ฮ ฮตฯฯƒฮญฯ‰ฮฝ ฮฒฮฑฯƒฮนฮปฮญฮน, แผฯ€ฮตแฝฐฮฝ ฮฟแฝ•ฯ„ฯ‰ ฮตแฝฯ€ฮตฯ„ฮญฯ‰ฯ‚ แผ•ฮปฮบฯ‰ฯƒฮน ฯ„แฝฐ ฯ„ฯŒฮพฮฑ ฮ ฮญฯฯƒฮฑฮน แผฯŒฮฝฯ„ฮฑ ฮผฮตฮณฮฌฮธฮตฯŠ ฯ„ฮฟฯƒฮฑแฟฆฯ„ฮฑ, ฯ„ฯŒฯ„ฮต แผฯ€สผ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚ ฯ„ฮฟแฝบฯ‚ ฮผฮฑฮบฯฮฟฮฒฮฏฮฟฯ…ฯ‚ ฯ€ฮปฮฎฮธฮตฯŠ แฝ‘ฯ€ฮตฯฮฒฮฑฮปฮปฯŒฮผฮตฮฝฮฟฮฝ ฯƒฯ„ฯฮฑฯ„ฮตฯฮตฯƒฮธฮฑฮนยท ฮผฮญฯ‡ฯฮน ฮดแฝฒ ฯ„ฮฟฯฯ„ฮฟฯ… ฮธฮตฮฟแฟ–ฯƒฮน ฮตแผฐฮดฮญฮฝฮฑฮน ฯ‡ฮฌฯฮนฮฝ, ฮฟแผณ ฮฟแฝฮบ แผฯ€แฝถ ฮฝฯŒฮฟฮฝ ฯ„ฯฮญฯ€ฮฟฯ…ฯƒฮน ฮ‘แผฐฮธฮนฯŒฯ€ฯ‰ฮฝ ฯ€ฮฑฮนฯƒแฝถ ฮณแฟ†ฮฝ แผ„ฮปฮปฮทฮฝ ฯ€ฯฮฟฯƒฮบฯ„แพถฯƒฮธฮฑฮน ฯ„แฟ‡ แผ‘ฯ‰ฯ…ฯ„แฟถฮฝ.โ€ 3.22. ฯ„ฮฑแฟฆฯ„ฮฑ ฮดแฝฒ ฮตแผดฯ€ฮฑฯ‚ ฮบฮฑแฝถ แผ€ฮฝฮตแฝถฯ‚ ฯ„แฝธ ฯ„ฯŒฮพฮฟฮฝ ฯ€ฮฑฯฮญฮดฯ‰ฮบฮต ฯ„ฮฟแฟ–ฯƒฮน แผฅฮบฮฟฯ…ฯƒฮน. ฮปฮฑฮฒแฝผฮฝ ฮดแฝฒ ฯ„แฝธ ฮตแผทฮผฮฑ ฯ„แฝธ ฯ€ฮฟฯฯ†ฯฯฮตฮฟฮฝ ฮตแผฐฯฯŽฯ„ฮฑ แฝ… ฯ„ฮน ฮตแผดฮท ฮบฮฑแฝถ แฝ…ฮบฯ‰ฯ‚ ฯ€ฮตฯ€ฮฟฮนฮทฮผฮญฮฝฮฟฮฝยท ฮตแผฐฯ€ฯŒฮฝฯ„ฯ‰ฮฝ ฮดแฝฒ ฯ„แฟถฮฝ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฯ‰ฮฝ ฯ„แฝดฮฝ แผ€ฮปฮทฮธฮตฮฏฮทฮฝ ฯ€ฮตฯแฝถ ฯ„แฟ†ฯ‚ ฯ€ฮฟฯฯ†ฯฯฮทฯ‚ ฮบฮฑแฝถ ฯ„แฟ†ฯ‚ ฮฒฮฑฯ†แฟ†ฯ‚, ฮดฮฟฮปฮตฯฮฟแฝบฯ‚ ฮผแฝฒฮฝ ฯ„ฮฟแฝบฯ‚ แผ€ฮฝฮธฯฯŽฯ€ฮฟฯ…ฯ‚ แผ”ฯ†ฮท ฮตแผถฮฝฮฑฮน, ฮดฮฟฮปฮตฯแฝฐ ฮดแฝฒ ฮฑแฝฯ„แฟถฮฝ ฯ„แฝฐ ฮตแผตฮผฮฑฯ„ฮฑ. ฮดฮตฯฯ„ฮตฯฮฑ ฮดแฝฒ ฯ„แฝธฮฝ ฯ‡ฯฯ…ฯƒแฝธฮฝ ฮตแผฐฯฯŽฯ„ฮฑ ฯ„แฝธฮฝ ฯƒฯ„ฯฮตฯ€ฯ„แฝธฮฝ ฯ„แฝธฮฝ ฯ€ฮตฯฮนฮฑฯ…ฯ‡ฮญฮฝฮนฮฟฮฝ ฮบฮฑแฝถ ฯ„แฝฐ ฯˆฮญฮปฮนฮฑยท แผฮพฮทฮณฮตฮฟฮผฮญฮฝฯ‰ฮฝ ฮดแฝฒ ฯ„แฟถฮฝ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฯ‰ฮฝ ฯ„แฝธฮฝ ฮบฯŒฯƒฮผฮฟฮฝ ฮฑแฝฯ„ฮฟแฟฆ, ฮณฮตฮปฮฌฯƒฮฑฯ‚ แฝ ฮฒฮฑฯƒฮนฮปฮตแฝบฯ‚ ฮบฮฑแฝถ ฮฝฮฟฮผฮฏฯƒฮฑฯ‚ ฮตแผถฮฝฮฑฮน ฯƒฯ†ฮญฮฑ ฯ€ฮญฮดฮฑฯ‚ ฮตแผถฯ€ฮต แฝกฯ‚ ฯ€ฮฑฯสผ แผ‘ฯ‰ฯ…ฯ„ฮฟแฟ–ฯƒฮน ฮตแผฐฯƒแฝถ แฟฅฯ‰ฮผฮฑฮปฮตฯŽฯ„ฮตฯฮฑฮน ฯ„ฮฟฯ…ฯ„ฮญฯ‰ฮฝ ฯ€ฮญฮดฮฑฮน. ฯ„ฯฮฏฯ„ฮฟฮฝ ฮดแฝฒ ฮตแผฐฯฯŽฯ„ฮฑ ฯ„แฝธ ฮผฯฯฮฟฮฝยท ฮตแผฐฯ€ฯŒฮฝฯ„ฯ‰ฮฝ ฮดแฝฒ ฯ„แฟ†ฯ‚ ฯ€ฮฟฮนฮฎฯƒฮนฮฟฯ‚ ฯ€ฮญฯฮน ฮบฮฑแฝถ แผ€ฮปฮตฮฏฯˆฮนฮฟฯ‚, ฯ„แฝธฮฝ ฮฑแฝฯ„แฝธฮฝ ฮปฯŒฮณฮฟฮฝ ฯ„แฝธฮฝ ฮบฮฑแฝถ ฯ€ฮตฯแฝถ ฯ„ฮฟแฟฆ ฮตแผตฮผฮฑฯ„ฮฟฯ‚ ฮตแผถฯ€ฮต. แฝกฯ‚ ฮดแฝฒ แผฯ‚ ฯ„แฝธฮฝ ฮฟแผถฮฝฮฟฮฝ แผ€ฯ€ฮฏฮบฮตฯ„ฮฟ ฮบฮฑแฝถ แผฯ€ฯฮธฮตฯ„ฮฟ ฮฑแฝฯ„ฮฟแฟฆ ฯ„แฝดฮฝ ฯ€ฮฟฮฏฮทฯƒฮนฮฝ, แฝ‘ฯ€ฮตฯฮทฯƒฮธฮตแฝถฯ‚ ฯ„แฟท ฯ€ฯŒฮผฮฑฯ„ฮน แผฯ€ฮตฮฏฯฮตฯ„ฮฟ แฝ… ฯ„ฮน ฯ„ฮต ฯƒฮนฯ„ฮญฮตฯ„ฮฑฮน แฝ ฮฒฮฑฯƒฮนฮปฮตแฝบฯ‚ ฮบฮฑแฝถ ฯ‡ฯฯŒฮฝฮฟฮฝ แฝฮบฯŒฯƒฮฟฮฝ ฮผฮฑฮบฯฯŒฯ„ฮฑฯ„ฮฟฮฝ แผ€ฮฝแฝดฯ ฮ ฮญฯฯƒฮทฯ‚ ฮถฯŽฮตฮน. ฮฟแผณ ฮดแฝฒ ฯƒฮนฯ„ฮญฮตฯƒฮธฮฑฮน ฮผแฝฒฮฝ ฯ„แฝธฮฝ แผ„ฯฯ„ฮฟฮฝ ฮตแผถฯ€ฮฟฮฝ, แผฮพฮทฮณฮทฯƒฮฌฮผฮตฮฝฮฟฮน ฯ„แฟถฮฝ ฯ€ฯ…ฯแฟถฮฝ ฯ„แฝดฮฝ ฯ†ฯฯƒฮนฮฝ, แฝ€ฮณฮดฯŽฮบฮฟฮฝฯ„ฮฑ ฮดแฝฒ แผ”ฯ„ฮตฮฑ ฮถฯŒฮทฯ‚ ฯ€ฮปฮฎฯฯ‰ฮผฮฑ แผ€ฮฝฮดฯแฝถ ฮผฮฑฮบฯฯŒฯ„ฮฑฯ„ฮฟฮฝ ฯ€ฯฮฟฮบฮตแฟ–ฯƒฮธฮฑฮน. ฯ€ฯแฝธฯ‚ ฯ„ฮฑแฟฆฯ„ฮฑ แฝ ฮ‘แผฐฮธฮฏฮฟฯˆ แผ”ฯ†ฮท ฮฟแฝฮดแฝฒฮฝ ฮธฯ‰ฮผฮฌฮถฮตฮนฮฝ ฮตแผฐ ฯƒฮนฯ„ฮตฯŒฮผฮตฮฝฮฟฮน ฮบฯŒฯ€ฯฮฟฮฝ แผ”ฯ„ฮตฮฑ แฝ€ฮปฮฏฮณฮฑ ฮถฯŽฮฟฯ…ฯƒฮนยท ฮฟแฝฮดแฝฒ ฮณแฝฐฯ แผ‚ฮฝ ฯ„ฮฟฯƒฮฑแฟฆฯ„ฮฑ ฮดฯฮฝฮฑฯƒฮธฮฑฮน ฮถฯŽฮตฮนฮฝ ฯƒฯ†ฮญฮฑฯ‚, ฮตแผฐ ฮผแฝด ฯ„แฟท ฯ€ฯŒฮผฮฑฯ„ฮน แผ€ฮฝฮญฯ†ฮตฯฮฟฮฝ, ฯ†ฯฮฌฮถฯ‰ฮฝ ฯ„ฮฟแฟ–ฯƒฮน แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฮฟฮนฯƒฮน ฯ„แฝธฮฝ ฮฟแผถฮฝฮฟฮฝยท ฯ„ฮฟฯฯ„แฟณ ฮณแฝฐฯ แผ‘ฯ‰ฯ…ฯ„ฮฟแฝบฯ‚ แฝ‘ฯ€แฝธ ฮ ฮตฯฯƒฮญฯ‰ฮฝ แผ‘ฯƒฯƒฮฟแฟฆฯƒฮธฮฑฮน. 3.23. แผ€ฮฝฯ„ฮตฮนฯฮฟฮผฮญฮฝฯ‰ฮฝ ฮดแฝฒ ฯ„แฝธฮฝ ฮฒฮฑฯƒฮนฮปฮญฮฑ ฯ„แฟถฮฝ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฯ‰ฮฝ ฯ„แฟ†ฯ‚ ฮถฯŒฮทฯ‚ ฮบฮฑแฝถ ฮดฮนฮฑฮฏฯ„ฮทฯ‚ ฯ€ฮญฯฮน, แผ”ฯ„ฮตฮฑ ฮผแฝฒฮฝ แผฯ‚ ฮตแผดฮบฮฟฯƒฮน ฮบฮฑแฝถ แผ‘ฮบฮฑฯ„แฝธฮฝ ฯ„ฮฟแฝบฯ‚ ฯ€ฮฟฮปฮปฮฟแฝบฯ‚ ฮฑแฝฯ„แฟถฮฝ แผ€ฯ€ฮนฮบฮฝฮญฮตฯƒฮธฮฑฮน, แฝ‘ฯ€ฮตฯฮฒฮฌฮปฮปฮตฮนฮฝ ฮดแฝฒ ฯ„ฮนฮฝแฝฐฯ‚ ฮบฮฑแฝถ ฯ„ฮฑแฟฆฯ„ฮฑ, ฯƒฮฏฯ„ฮทฯƒฮนฮฝ ฮดแฝฒ ฮตแผถฮฝฮฑฮน ฮบฯฮญฮฑ ฯ„ฮต แผ‘ฯ†ฮธแฝฐ ฮบฮฑแฝถ ฯ€ฯŒฮผฮฑ ฮณฮฌฮปฮฑ. ฮธแฟถฮผฮฑ ฮดแฝฒ ฯ€ฮฟฮนฮตฯ…ฮผฮญฮฝฯ‰ฮฝ ฯ„แฟถฮฝ ฮบฮฑฯ„ฮฑฯƒฮบฯŒฯ€ฯ‰ฮฝ ฯ€ฮตฯแฝถ ฯ„แฟถฮฝ แผฯ„ฮญฯ‰ฮฝ, แผฯ€แฝถ ฮบฯฮฎฮฝฮทฮฝ ฯƒฯ†ฮน แผกฮณฮฎฯƒฮฑฯƒฮธฮฑฮน, แผ€ฯ€สผ แผงฯ‚ ฮปฮฟฯ…ฯŒฮผฮตฮฝฮฟฮน ฮปฮนฯ€ฮฑฯฯŽฯ„ฮตฯฮฟฮน แผฮณฮฏฮฝฮฟฮฝฯ„ฮฟ, ฮบฮฑฯ„ฮฌ ฯ€ฮตฯ ฮตแผฐ แผฮปฮฑฮฏฮฟฯ… ฮตแผดฮทยท แฝ„ฮถฮตฮนฮฝ ฮดแฝฒ แผ€ฯ€สผ ฮฑแฝฯ„แฟ†ฯ‚ แฝกฯ‚ ฮตแผฐ แผดฯ‰ฮฝ. แผ€ฯƒฮธฮตฮฝแฝฒฯ‚ ฮดแฝฒ ฯ„แฝธ แฝ•ฮดฯ‰ฯ ฯ„แฟ†ฯ‚ ฮบฯฮฎฮฝฮทฯ‚ ฯ„ฮฑฯฯ„ฮทฯ‚ ฮฟแฝ•ฯ„ฯ‰ ฮดฮฎ ฯ„ฮน แผ”ฮปฮตฮณฮฟฮฝ ฮตแผถฮฝฮฑฮน ฮฟแผฑ ฮบฮฑฯ„ฮฌฯƒฮบฮฟฯ€ฮฟฮน แฝฅฯƒฯ„ฮต ฮผฮทฮดแฝฒฮฝ ฮฟแผทฯŒฮฝ ฯ„สผ ฮตแผถฮฝฮฑฮน แผฯ€สผ ฮฑแฝฯ„ฮฟแฟฆ แผฯ€ฮนฯ€ฮปฮญฮตฮนฮฝ, ฮผฮฎฯ„ฮต ฮพฯฮปฮฟฮฝ ฮผฮฎฯ„ฮต ฯ„แฟถฮฝ แฝ…ฯƒฮฑ ฮพฯฮปฮฟฯ… แผฯƒฯ„แฝถ แผฮปฮฑฯ†ฯฯŒฯ„ฮตฯฮฑ, แผ€ฮปฮปแฝฐ ฯ€ฮฌฮฝฯ„ฮฑ ฯƒฯ†ฮญฮฑ ฯ‡ฯ‰ฯฮญฮตฮนฮฝ แผฯ‚ ฮฒฯ…ฯƒฯƒฯŒฮฝ. ฯ„แฝธ ฮดแฝฒ แฝ•ฮดฯ‰ฯ ฯ„ฮฟแฟฆฯ„ฮฟ ฮตแผด ฯƒฯ†ฮน แผฯƒฯ„แฝถ แผ€ฮปฮทฮธฮญฯ‰ฯ‚ ฮฟแผทฯŒฮฝ ฯ„ฮน ฮปฮญฮณฮตฯ„ฮฑฮน, ฮดฮนแฝฐ ฯ„ฮฟแฟฆฯ„ฮฟ แผ‚ฮฝ ฮตแผถฮตฮฝ, ฯ„ฮฟฯฯ„แฟณ ฯ„แฝฐ ฯ€ฮฌฮฝฯ„ฮฑ ฯ‡ฯฮตฯŽฮผฮตฮฝฮฟฮน, ฮผฮฑฮบฯฯŒฮฒฮนฮฟฮน. แผ€ฯ€แฝธ ฯ„แฟ†ฯ‚ ฮบฯฮฎฮฝฮทฯ‚ ฮดแฝฒ แผ€ฯ€ฮฑฮปฮปฮฑฯƒฯƒฮฟฮผฮญฮฝฯ‰ฮฝ, แผ€ฮณฮฑฮณฮตแฟ–ฮฝ ฯƒฯ†ฮตฮฑฯ‚ แผฯ‚ ฮดฮตฯƒฮผฯ‰ฯ„ฮฎฯฮนฮฟฮฝ แผ€ฮฝฮดฯแฟถฮฝ, แผ”ฮฝฮธฮฑ ฯ„ฮฟแฝบฯ‚ ฯ€ฮฌฮฝฯ„ฮฑฯ‚ แผฮฝ ฯ€ฮญฮดแฟƒฯƒฮน ฯ‡ฯฯ…ฯƒฮญแฟƒฯƒฮน ฮดฮตฮดฮญฯƒฮธฮฑฮน. แผ”ฯƒฯ„ฮน ฮดแฝฒ แผฮฝ ฯ„ฮฟฯฯ„ฮฟฮนฯƒฮน ฯ„ฮฟแฟ–ฯƒฮน ฮ‘แผฐฮธฮฏฮฟฯˆฮน ฯ€ฮฌฮฝฯ„ฯ‰ฮฝ แฝ ฯ‡ฮฑฮปฮบแฝธฯ‚ ฯƒฯ€ฮฑฮฝฮนฯŽฯ„ฮฑฯ„ฮฟฮฝ ฮบฮฑแฝถ ฯ„ฮนฮผฮนฯŽฯ„ฮฑฯ„ฮฟฮฝ. ฮธฮตฮทฯƒฮฌฮผฮตฮฝฮฟฮน ฮดแฝฒ ฮบฮฑแฝถ ฯ„แฝธ ฮดฮตฯƒฮผฯ‰ฯ„ฮฎฯฮนฮฟฮฝ, แผฮธฮตฮฎฯƒฮฑฮฝฯ„ฮฟ ฮบฮฑแฝถ ฯ„แฝดฮฝ ฯ„ฮฟแฟฆ แผกฮปฮฏฮฟฯ… ฮปฮตฮณฮฟฮผฮญฮฝฮทฮฝ ฯ„ฯฮฌฯ€ฮตฮถฮฑฮฝ. 3.24. ฮผฮตฯ„แฝฐ ฮดแฝฒ ฯ„ฮฑฯฯ„ฮทฮฝ ฯ„ฮตฮปฮตฯ…ฯ„ฮฑฮฏฮฑฯ‚ แผฮธฮตฮฎฯƒฮฑฮฝฯ„ฮฟ ฯ„แฝฐฯ‚ ฮธฮฎฮบฮฑฯ‚ ฮฑแฝฯ„แฟถฮฝ, ฮฑแผณ ฮปฮญฮณฮฟฮฝฯ„ฮฑฮน ฯƒฮบฮตฯ…ฮฌฮถฮตฯƒฮธฮฑฮน แผฮพ แฝ‘ฮญฮปฮฟฯ… ฯ„ฯฯŒฯ€แฟณ ฯ„ฮฟฮนแฟทฮดฮตยท แผฯ€ฮตแฝฐฮฝ ฯ„แฝธฮฝ ฮฝฮตฮบฯแฝธฮฝ แผฐฯƒฯ‡ฮฝฮฎฮฝฯ‰ฯƒฮน, ฮตแผดฯ„ฮต ฮดแฝด ฮบฮฑฯ„ฮฌ ฯ€ฮตฯ ฮ‘แผฐฮณฯฯ€ฯ„ฮนฮฟฮน ฮตแผดฯ„ฮต แผ„ฮปฮปฯ‰ฯ‚ ฮบฯ‰ฯ‚, ฮณฯ…ฯˆฯŽฯƒฮฑฮฝฯ„ฮตฯ‚ แผ…ฯ€ฮฑฮฝฯ„ฮฑ ฮฑแฝฯ„แฝธฮฝ ฮณฯฮฑฯ†แฟ‡ ฮบฮฟฯƒฮผฮญฮฟฯ…ฯƒฮน, แผฮพฮฟฮผฮฟฮนฮตแฟฆฮฝฯ„ฮตฯ‚ ฯ„แฝธ ฮตแผถฮดฮฟฯ‚ แผฯ‚ ฯ„แฝธ ฮดฯ…ฮฝฮฑฯ„ฯŒฮฝ, แผ”ฯ€ฮตฮนฯ„ฮฑ ฮดฮญ ฮฟแผฑ ฯ€ฮตฯฮนฮนฯƒฯ„แพถฯƒฮน ฯƒฯ„ฮฎฮปฮทฮฝ แผฮพ แฝ‘ฮญฮปฮฟฯ… ฯ€ฮตฯ€ฮฟฮนฮทฮผฮญฮฝฮทฮฝ ฮบฮฟฮฏฮปฮทฮฝยท แผฃ ฮดฮญ ฯƒฯ†ฮน ฯ€ฮฟฮปฮปแฝด ฮบฮฑแฝถ ฮตแฝฮตฯฮณแฝธฯ‚ แฝ€ฯฯฯƒฯƒฮตฯ„ฮฑฮน. แผฮฝ ฮผฮญฯƒแฟƒ ฮดแฝฒ ฯ„แฟ‡ ฯƒฯ„ฮฎฮปแฟƒ แผฮฝฮตแฝผฮฝ ฮดฮนฮฑฯ†ฮฑฮฏฮฝฮตฯ„ฮฑฮน แฝ ฮฝฮญฮบฯ…ฯ‚, ฮฟแฝ”ฯ„ฮต แฝ€ฮดฮผแฝดฮฝ ฮฟแฝฮดฮตฮผฮฏฮฑฮฝ แผ„ฯ‡ฮฑฯฮนฮฝ ฯ€ฮฑฯฮตฯ‡ฯŒฮผฮตฮฝฮฟฯ‚ ฮฟแฝ”ฯ„ฮต แผ„ฮปฮปฮฟ แผ€ฮตฮนฮบแฝฒฯ‚ ฮฟแฝฮดฮญฮฝ, ฮบฮฑแฝถ แผ”ฯ‡ฮตฮน ฯ€ฮฌฮฝฯ„ฮฑ ฯ†ฮฑฮฝฮตฯแฝฐ แฝฮผฮฟฮฏฯ‰ฯ‚ ฮฑแฝฯ„แฟท ฯ„แฟท ฮฝฮญฮบฯ…ฯŠ. แผฮฝฮนฮฑฯ…ฯ„แฝธฮฝ ฮผแฝฒฮฝ ฮดแฝด แผ”ฯ‡ฮฟฯ…ฯƒฮน ฯ„แฝดฮฝ ฯƒฯ„ฮฎฮปฮทฮฝ แผฮฝ ฯ„ฮฟแฟ–ฯƒฮน ฮฟแผฐฮบฮฏฮฟฮนฯƒฮน ฮฟแผฑ ฮผฮฌฮปฮนฯƒฯ„ฮฑ ฯ€ฯฮฟฯƒฮฎฮบฮฟฮฝฯ„ฮตฯ‚, ฯ€ฮฌฮฝฯ„ฯ‰ฮฝ แผ€ฯ€ฮฑฯฯ‡ฯŒฮผฮตฮฝฮฟฮน ฮบฮฑแฝถ ฮธฯ…ฯƒฮฏฮฑฯ‚ ฮฟแผฑ ฯ€ฯฮฟฯƒฮฌฮณฮฟฮฝฯ„ฮตฯ‚ยท ฮผฮตฯ„แฝฐ ฮดแฝฒ ฯ„ฮฑแฟฆฯ„ฮฑ แผฮบฮบฮฟฮผฮฏฯƒฮฑฮฝฯ„ฮตฯ‚ แผฑฯƒฯ„แพถฯƒฮน ฯ€ฮตฯแฝถ ฯ„แฝดฮฝ ฯ€ฯŒฮปฮนฮฝ. 3.25. ฮธฮตฮทฯƒฮฌฮผฮตฮฝฮฟฮน ฮดแฝฒ ฯ„แฝฐ ฯ€ฮฌฮฝฯ„ฮฑ ฮฟแผฑ ฮบฮฑฯ„ฮฌฯƒฮบฮฟฯ€ฮฟฮน แผ€ฯ€ฮฑฮปฮปฮฌฯƒฯƒฮฟฮฝฯ„ฮฟ แฝ€ฯ€ฮฏฯƒฯ‰. แผ€ฯ€ฮฑฮณฮณฮตฮนฮปฮฌฮฝฯ„ฯ‰ฮฝ ฮดแฝฒ ฯ„ฮฑแฟฆฯ„ฮฑ ฯ„ฮฟฯฯ„ฯ‰ฮฝ, ฮฑแฝฯ„ฮฏฮบฮฑ แฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚ แฝ€ฯฮณแฝดฮฝ ฯ€ฮฟฮนฮทฯƒฮฌฮผฮตฮฝฮฟฯ‚ แผฯƒฯ„ฯฮฑฯ„ฮตฯฮตฯ„ฮฟ แผฯ€แฝถ ฯ„ฮฟแฝบฯ‚ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚, ฮฟแฝ”ฯ„ฮต ฯ€ฮฑฯฮฑฯƒฮบฮตฯ…แฝดฮฝ ฯƒฮฏฯ„ฮฟฯ… ฮฟแฝฮดฮตฮผฮฏฮฑฮฝ ฯ€ฮฑฯฮฑฮณฮณฮตฮฏฮปฮฑฯ‚, ฮฟแฝ”ฯ„ฮต ฮปฯŒฮณฮฟฮฝ แผ‘ฯ‰ฯ…ฯ„แฟท ฮดฮฟแฝบฯ‚ แฝ…ฯ„ฮน แผฯ‚ ฯ„แฝฐ แผ”ฯƒฯ‡ฮฑฯ„ฮฑ ฮณแฟ†ฯ‚ แผ”ฮผฮตฮปฮปฮต ฯƒฯ„ฯฮฑฯ„ฮตฯฮตฯƒฮธฮฑฮนยท ฮฟแผทฮฑ ฮดแฝฒ แผฮผฮผฮฑฮฝฮฎฯ‚ ฯ„ฮต แผแฝผฮฝ ฮบฮฑแฝถ ฮฟแฝ ฯ†ฯฮตฮฝฮฎฯฮทฯ‚, แฝกฯ‚ แผคฮบฮฟฯ…ฮต ฯ„แฟถฮฝ แผธฯ‡ฮธฯ…ฮฟฯ†ฮฌฮณฯ‰ฮฝ, แผฯƒฯ„ฯฮฑฯ„ฮตฯฮตฯ„ฮฟ, แผ™ฮปฮปฮฎฮฝฯ‰ฮฝ ฮผแฝฒฮฝ ฯ„ฮฟแฝบฯ‚ ฯ€ฮฑฯฮตฯŒฮฝฯ„ฮฑฯ‚ ฮฑแฝฯ„ฮฟแฟฆ ฯ„ฮฌฮพฮฑฯ‚ แฝ‘ฯ€ฮฟฮผฮญฮฝฮตฮนฮฝ, ฯ„แฝธฮฝ ฮดแฝฒ ฯ€ฮตฮถแฝธฮฝ ฯ€ฮฌฮฝฯ„ฮฑ แผ…ฮผฮฑ แผ€ฮณฯŒฮผฮตฮฝฮฟฯ‚. แผฯ€ฮตฮฏฯ„ฮต ฮดแฝฒ ฯƒฯ„ฯฮฑฯ„ฮตฯ…ฯŒฮผฮตฮฝฮฟฯ‚ แผฮณฮญฮฝฮตฯ„ฮฟ แผฮฝ ฮ˜ฮฎฮฒแฟƒฯƒฮน, แผ€ฯ€ฮญฮบฯฮนฮฝฮต ฯ„ฮฟแฟฆ ฯƒฯ„ฯฮฑฯ„ฮฟแฟฆ แฝกฯ‚ ฯ€ฮญฮฝฯ„ฮต ฮผฯ…ฯฮนฮฌฮดฮฑฯ‚, ฮบฮฑแฝถ ฯ„ฮฟฯฯ„ฮฟฮนฯƒฮน ฮผแฝฒฮฝ แผฮฝฮตฯ„ฮญฮปฮปฮตฯ„ฮฟ แผˆฮผฮผฯ‰ฮฝฮฏฮฟฯ…ฯ‚ แผฮพฮฑฮฝฮดฯฮฑฯ€ฮฟฮดฮนฯƒฮฑฮผฮญฮฝฮฟฯ…ฯ‚ ฯ„แฝธ ฯ‡ฯฮทฯƒฯ„ฮฎฯฮนฮฟฮฝ ฯ„แฝธ ฯ„ฮฟแฟฆ ฮ”ฮนแฝธฯ‚ แผฮผฯ€ฯแฟ†ฯƒฮฑฮน, ฮฑแฝฯ„แฝธฯ‚ ฮดแฝฒ ฯ„แฝธฮฝ ฮปฮฟฮนฯ€แฝธฮฝ แผ„ฮณฯ‰ฮฝ ฯƒฯ„ฯฮฑฯ„แฝธฮฝ แผคฮนฮต แผฯ€แฝถ ฯ„ฮฟแฝบฯ‚ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚. ฯ€ฯแฝถฮฝ ฮดแฝฒ ฯ„แฟ†ฯ‚ แฝฮดฮฟแฟฆ ฯ„แฝธ ฯ€ฮญฮผฯ€ฯ„ฮฟฮฝ ฮผฮญฯฮฟฯ‚ ฮดฮนฮตฮปฮทฮปฯ…ฮธฮญฮฝฮฑฮน ฯ„แฝดฮฝ ฯƒฯ„ฯฮฑฯ„ฮนฮฎฮฝ, ฮฑแฝฯ„ฮฏฮบฮฑ ฯ€ฮฌฮฝฯ„ฮฑ ฮฑแฝฯ„ฮฟแฝบฯ‚ ฯ„แฝฐ ฮตแผถฯ‡ฮฟฮฝ ฯƒฮนฯ„ฮฏฯ‰ฮฝ แผฯ‡ฯŒฮผฮตฮฝฮฑ แผฯ€ฮตฮปฮตฮปฮฟฮฏฯ€ฮตฮต, ฮผฮตฯ„แฝฐ ฮดแฝฒ ฯ„แฝฐ ฯƒฮนฯ„ฮฏฮฑ ฮบฮฑแฝถ ฯ„แฝฐ แฝ‘ฯ€ฮฟฮถฯฮณฮนฮฑ แผฯ€ฮญฮปฮนฯ€ฮต ฮบฮฑฯ„ฮตฯƒฮธฮนฯŒฮผฮตฮฝฮฑ. ฮตแผฐ ฮผฮญฮฝ ฮฝฯ…ฮฝ ฮผฮฑฮธแฝผฮฝ ฯ„ฮฑแฟฆฯ„ฮฑ แฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚ แผฮณฮฝฯ‰ฯƒฮนฮผฮฌฯ‡ฮตฮต ฮบฮฑแฝถ แผ€ฯ€แฟ†ฮณฮต แฝ€ฯ€ฮฏฯƒฯ‰ ฯ„แฝธฮฝ ฯƒฯ„ฯฮฑฯ„ฯŒฮฝ, แผฯ€แฝถ ฯ„แฟ‡ แผ€ฯฯ‡แฟ†ฮธฮตฮฝ ฮณฮตฮฝฮฟฮผฮญฮฝแฟƒ แผฮผฮฑฯฯ„ฮฌฮดฮน แผฆฮฝ แผ‚ฮฝ แผ€ฮฝแฝดฯ ฯƒฮฟฯ†ฯŒฯ‚ยท ฮฝแฟฆฮฝ ฮดแฝฒ ฮฟแฝฮดฮญฮฝฮฑ ฮปฯŒฮณฮฟฮฝ ฯ€ฮฟฮนฮตฯฮผฮตฮฝฮฟฯ‚ แผคฮนฮต ฮฑแผฐฮตแฝถ แผฯ‚ ฯ„แฝธ ฯ€ฯฯŒฯƒฯ‰. ฮฟแผฑ ฮดแฝฒ ฯƒฯ„ฯฮฑฯ„ฮนแฟถฯ„ฮฑฮน แผ•ฯ‰ฯ‚ ฮผฮญฮฝ ฯ„ฮน ฮตแผถฯ‡ฮฟฮฝ แผฮบ ฯ„แฟ†ฯ‚ ฮณแฟ†ฯ‚ ฮปฮฑฮผฮฒฮฌฮฝฮตฮนฮฝ, ฯ€ฮฟฮนฮทฯ†ฮฑฮณฮญฮฟฮฝฯ„ฮตฯ‚ ฮดฮนฮญฮถฯ‰ฮฟฮฝ, แผฯ€ฮตแฝถ ฮดแฝฒ แผฯ‚ ฯ„แฝดฮฝ ฯˆฮฌฮผฮผฮฟฮฝ แผ€ฯ€ฮฏฮบฮฟฮฝฯ„ฮฟ, ฮดฮตฮนฮฝแฝธฮฝ แผ”ฯฮณฮฟฮฝ ฮฑแฝฯ„แฟถฮฝ ฯ„ฮนฮฝฮตฯ‚ แผฯฮณฮฌฯƒฮฑฮฝฯ„ฮฟยท แผฮบ ฮดฮตฮบฮฌฮดฮฟฯ‚ ฮณแฝฐฯ แผ•ฮฝฮฑ ฯƒฯ†ฮญฯ‰ฮฝ ฮฑแฝฯ„แฟถฮฝ แผ€ฯ€ฮฟฮบฮปฮทฯฯŽฯƒฮฑฮฝฯ„ฮตฯ‚ ฮบฮฑฯ„ฮญฯ†ฮฑฮณฮฟฮฝ. ฯ€ฯ…ฮธฯŒฮผฮตฮฝฮฟฯ‚ ฮดแฝฒ ฯ„ฮฑแฟฆฯ„ฮฑ แฝ ฮšฮฑฮผฮฒฯฯƒฮทฯ‚, ฮดฮตฮฏฯƒฮฑฯ‚ ฯ„แฝดฮฝ แผ€ฮปฮปฮทฮปฮฟฯ†ฮฑฮณฮฏฮทฮฝ, แผ€ฯ€ฮตแฝถฯ‚ ฯ„แฝธฮฝ แผฯ€สผ ฮ‘แผฐฮธฮฏฮฟฯ€ฮฑฯ‚ ฯƒฯ„ฯŒฮปฮฟฮฝ แฝ€ฯ€ฮฏฯƒฯ‰ แผฯ€ฮฟฯฮตฯฮตฯ„ฮฟ ฮบฮฑแฝถ แผ€ฯ€ฮนฮบฮฝฮญฮตฯ„ฮฑฮน แผฯ‚ ฮ˜ฮฎฮฒฮฑฯ‚ ฯ€ฮฟฮปฮปฮฟแฝบฯ‚ แผ€ฯ€ฮฟฮปฮญฯƒฮฑฯ‚ ฯ„ฮฟแฟฆ ฯƒฯ„ฯฮฑฯ„ฮฟแฟฆยท แผฮบ ฮ˜ฮทฮฒฮญฯ‰ฮฝ ฮดแฝฒ ฮบฮฑฯ„ฮฑฮฒแฝฐฯ‚ แผฯ‚ ฮœฮญฮผฯ†ฮนฮฝ ฯ„ฮฟแฝบฯ‚ แผฮปฮปฮทฮฝฮฑฯ‚ แผ€ฯ€แฟ†ฮบฮต แผ€ฯ€ฮฟฯ€ฮปฮญฮตฮนฮฝ.
3.131. แฝ ฮดแฝฒ ฮ”ฮทฮผฮฟฮบฮฎฮดฮทฯ‚ ฮฟแฝ—ฯ„ฮฟฯ‚ แฝงฮดฮต แผฮบ ฮšฯฯŒฯ„ฯ‰ฮฝฮฟฯ‚ แผ€ฯ€ฮนฮณฮผฮญฮฝฮฟฯ‚ ฮ ฮฟฮปฯ…ฮบฯฮฌฯ„ฮตฯŠ แฝกฮผฮฏฮปฮทฯƒฮตยท ฯ€ฮฑฯ„ฯแฝถ ฯƒฯ…ฮฝฮตฮฏฯ‡ฮตฯ„ฮฟ แผฮฝ ฯ„แฟ‡ ฮšฯฯŒฯ„ฯ‰ฮฝฮน แฝ€ฯฮณแฝดฮฝ ฯ‡ฮฑฮปฮตฯ€แฟทยท ฯ„ฮฟแฟฆฯ„ฮฟฮฝ แผฯ€ฮตฮฏฯ„ฮต ฮฟแฝฮบ แผฮดฯฮฝฮฑฯ„ฮฟ ฯ†ฮญฯฮตฮนฮฝ, แผ€ฯ€ฮฟฮปฮนฯ€แฝผฮฝ ฮฟแผดฯ‡ฮตฯ„ฮฟ แผฯ‚ ฮ‘แผดฮณฮนฮฝฮฑฮฝ. ฮบฮฑฯ„ฮฑฯƒฯ„แฝฐฯ‚ ฮดแฝฒ แผฯ‚ ฯ„ฮฑฯฯ„ฮทฮฝ ฯ€ฯฯŽฯ„แฟณ แผ”ฯ„ฮตฯŠ แฝ‘ฯ€ฮตฯฮตฮฒฮฌฮปฮตฯ„ฮฟ ฯ„ฮฟแฝบฯ‚ แผ„ฮปฮปฮฟฯ…ฯ‚ แผฐฮทฯ„ฯฮฟฯฯ‚, แผ€ฯƒฮบฮตฯ…ฮฎฯ‚ ฯ€ฮตฯ แผแฝผฮฝ ฮบฮฑแฝถ แผ”ฯ‡ฯ‰ฮฝ ฮฟแฝฮดแฝฒฮฝ ฯ„แฟถฮฝ แฝ…ฯƒฮฑ ฯ€ฮตฯแฝถ ฯ„แฝดฮฝ ฯ„ฮญฯ‡ฮฝฮทฮฝ แผฯƒฯ„แฝถ แผฯฮณฮฑฮปฮฎฮนฮฑ. ฮบฮฑฮฏ ฮผฮนฮฝ ฮดฮตฯ…ฯ„ฮญฯแฟณ แผ”ฯ„ฮตฯŠ ฯ„ฮฑฮปฮฌฮฝฯ„ฮฟฯ… ฮ‘แผฐฮณฮนฮฝแฟ†ฯ„ฮฑฮน ฮดฮทฮผฮฟฯƒฮฏแฟƒ ฮผฮนฯƒฮธฮฟแฟฆฮฝฯ„ฮฑฮน, ฯ„ฯฮฏฯ„แฟณ ฮดแฝฒ แผ”ฯ„ฮตฯŠ แผˆฮธฮทฮฝฮฑแฟ–ฮฟฮน แผ‘ฮบฮฑฯ„แฝธฮฝ ฮผฮฝฮญฯ‰ฮฝ, ฯ„ฮตฯ„ฮฌฯฯ„แฟณ ฮดแฝฒ แผ”ฯ„ฮตฯŠ ฮ ฮฟฮปฯ…ฮบฯฮฌฯ„ฮทฯ‚ ฮดฯ…แฟถฮฝ ฯ„ฮฑฮปฮฌฮฝฯ„ฯ‰ฮฝ. ฮฟแฝ•ฯ„ฯ‰ ฮผแฝฒฮฝ แผ€ฯ€ฮฏฮบฮตฯ„ฮฟ แผฯ‚ ฯ„แฝดฮฝ ฮฃฮฌฮผฮฟฮฝ, ฮบฮฑแฝถ แผ€ฯ€แฝธ ฯ„ฮฟฯฯ„ฮฟฯ… ฯ„ฮฟแฟฆ แผ€ฮฝฮดฯแฝธฯ‚ ฮฟแฝฮบ แผฅฮบฮนฯƒฯ„ฮฑ ฮšฯฮฟฯ„ฯ‰ฮฝฮนแฟ†ฯ„ฮฑฮน แผฐฮทฯ„ฯฮฟแฝถ ฮตแฝฮดฮฟฮบฮฏฮผฮทฯƒฮฑฮฝ. แผฮณฮญฮฝฮตฯ„ฮฟ ฮณแฝฐฯ แฝฆฮฝ ฯ„ฮฟแฟฆฯ„ฮฟ แฝ…ฯ„ฮต ฯ€ฯแฟถฯ„ฮฟฮน ฮผแฝฒฮฝ ฮšฯฮฟฯ„ฯ‰ฮฝฮนแฟ†ฯ„ฮฑฮน แผฐฮทฯ„ฯฮฟแฝถ แผฮปฮญฮณฮฟฮฝฯ„ฮฟ แผ€ฮฝแฝฐ ฯ„แฝดฮฝ แผ™ฮปฮปฮฌฮดฮฑ ฮตแผถฮฝฮฑฮน, ฮดฮตฯฯ„ฮตฯฮฟฮน ฮดแฝฒ ฮšฯ…ฯฮทฮฝฮฑแฟ–ฮฟฮน. ฮบฮฑฯ„แฝฐ ฯ„แฝธฮฝ ฮฑแฝฯ„แฝธฮฝ ฮดแฝฒ ฯ„ฮฟแฟฆฯ„ฮฟฮฝ ฯ‡ฯฯŒฮฝฮฟฮฝ ฮบฮฑแฝถ แผˆฯฮณฮตแฟ–ฮฟฮน แผคฮบฮฟฯ…ฮฟฮฝ ฮผฮฟฯ…ฯƒฮนฮบแฝดฮฝ ฮตแผถฮฝฮฑฮน แผ™ฮปฮปฮฎฮฝฯ‰ฮฝ ฯ€ฯแฟถฯ„ฮฟฮน. 1' '. None
3.17. After this Cambyses planned three expeditions, against the Carchedonians, against the Ammonians, and against the โ€œlong-livedโ€ Ethiopians, who inhabit that part of Libya that is on the southern sea. ,He decided after consideration to send his fleet against the Carthaginians and a part of his land army against the Ammonians; to Ethiopia he would first send spies, to see what truth there was in the story of a Table of the Sun in that country, and to spy out all else besides, under the pretext of bringing gifts for the Ethiopian king. ' "3.18. Now the Table of the Sun is said to be something of this kind: there is a meadow outside the city, filled with the boiled flesh of all four-footed things; here during the night the men of authority among the townsmen are careful to set out the meat, and all day whoever wishes comes and feasts on it. These meats, say the people of the country, are ever produced by the earth of itself. Such is the story of the Sun's Table. " '3.19. When Cambyses determined to send the spies, he sent for those Fish-eaters from the city of Elephantine who understood the Ethiopian language. ,While they were fetching them, he ordered his fleet to sail against Carthage . But the Phoenicians said they would not do it; for they were bound, they said, by strong oaths, and if they sailed against their own progeny they would be doing an impious thing; and the Phoenicians being unwilling, the rest were inadequate fighters. ,Thus the Carthaginians escaped being enslaved by the Persians; for Cambyses would not use force with the Phoenicians, seeing that they had willingly surrendered to the Persians, and the whole fleet drew its strength from them. The Cyprians too had come of their own accord to aid the Persians against Egypt . ' "3.20. When the Fish-eaters arrived from Elephantine at Cambyses' summons, he sent them to Ethiopia, with orders what to say, and bearing as gifts a red cloak and a twisted gold necklace and bracelets and an alabaster box of incense and an earthenware jar of palm wine. These Ethiopians, to whom Cambyses sent them, are said to be the tallest and most handsome of all men. ,Their way of choosing kings is different from that of all others, as (it is said) are all their laws; they consider that man worthy to be their king whom they judge to be tallest and to have strength proportional to his stature. " '3.21. When the Fish-eaters arrived among these men, they gave the gifts to their king and said: โ€œCambyses, the king of the Persians, wishing to become your friend and ally, sent us with orders to address ourselves to you; and he offers you as gifts these things which he enjoys using himself.โ€ ,But the Ethiopian, perceiving that they had come as spies, spoke thus to them: โ€œIt is not because he values my friendship that the Persian King sends you with gifts, nor do you speak the truth (for you have come to spy on my realm), nor is that man just; for were he just, he would not have coveted a land other than his own, nor would he try to lead into slavery men by whom he has not been injured. Now, give him this bow, and this message: ,โ€˜The King of the Ethiopians advises the King of the Persians to bring overwhelming odds to attack the long-lived Ethiopians when the Persians can draw a bow of this length as easily as I do; but until then, to thank the gods who do not incite the sons of the Ethiopians to add other land to their own.โ€™โ€ 3.22. So speaking he unstrung the bow and gave it to the men who had come. Then, taking the red cloak, he asked what it was and how it was made; and when the Fish-eaters told him the truth about the color and the process of dyeing, he said that both the men and their garments were full of deceit. ,Next he inquired about the twisted gold necklace and the bracelets; and when the Fish-eaters told him how they were made, the king smiled, and, thinking them to be fetters, said: โ€œWe have stronger chains than these.โ€ ,Thirdly he inquired about the incense; and when they described making and applying it, he made the same reply as about the cloak. But when he came to the wine and asked about its making, he was vastly pleased with the drink, and asked further what food their king ate, and what was the greatest age to which a Persian lived. ,They told him their king ate bread, showing him how wheat grew; and said that the full age to which a man might hope to live was eighty years. Then, said the Ethiopian, it was no wonder that they lived so few years, if they ate dung; they would not even have been able to live that many unless they were refreshed by the drinkโ€”signifying to the Fish-eaters the wineโ€”for in this, he said, the Persians excelled the Ethiopians. 3.23. The Fish-eaters then in turn asking of the Ethiopian length of life and diet, he said that most of them attained to a hundred and twenty years, and some even to more; their food was boiled meat and their drink milk. ,The spies showed wonder at the tale of years; whereupon he led them, it is said, to a spring, by washing in which they grew sleeker, as though it were of oil; and it smelled of violets. ,So light, the spies said, was this water, that nothing would float on it, neither wood nor anything lighter than wood, but all sank to the bottom. If this water is truly such as they say, it is likely that their constant use of it makes the people long-lived. ,When they left the spring, the king led them to a prison where all the men were bound with fetters of gold. Among these Ethiopians there is nothing so scarce and so precious as bronze. Then, having seen the prison, they saw what is called the Table of the Sun. 3.24. Last after this they viewed the Ethiopian coffins; these are said to be made of alabaster, as I shall describe: ,they cause the dead body to shrink, either as the Egyptians do or in some other way, then cover it with gypsum and paint it all as far as possible in the likeness of the living man; ,then they set it within a hollow pillar of alabaster, which they dig in abundance from the ground, and it is easily worked; the body can be seen in the pillar through the alabaster, no evil stench nor anything unpleasant proceeding from it, and showing clearly all its parts, as if it were the man himself. ,The nearest of kin keep the pillar in their house for a year, giving it of the first-fruits and offering it sacrifices; after which they bring the pillars out and set them round about the city. 3.25. Having seen everything, the spies departed again. When they reported all this, Cambyses was angry, and marched at once against the Ethiopians, neither giving directions for any provision of food nor considering that he was about to lead his army to the ends of the earth; ,being not in his right mind but mad, however, he marched at once on hearing from the Fish-eaters, ordering the Greeks who were with him to await him where they were, and taking with him all his land army. ,When he came in his march to Thebes , he detached about fifty thousand men from his army, and directed them to enslave the Ammonians and burn the oracle of Zeus; and he himself went on towards Ethiopia with the rest of his host. ,But before his army had accomplished the fifth part of their journey they had come to an end of all there was in the way of provision, and after the food was gone, they ate the beasts of burden until there was none of these left either. ,Now had Cambyses, when he perceived this, changed his mind and led his army back again, he would have been a wise man at last after his first fault; but as it was, he went ever forward, taking account of nothing. ,While his soldiers could get anything from the earth, they kept themselves alive by eating grass; but when they came to the sandy desert, some did a terrible thing, taking by lot one man out of ten and eating him. ,Hearing this, Cambyses feared their becoming cannibals, and so gave up his expedition against the Ethiopians and marched back to Thebes , with the loss of many of his army; from Thebes he came down to Memphis, and sent the Greeks to sail away.
3.131. Now this is how Democedes had come from Croton to live with Polycrates: he was oppressed by a harsh-tempered father at Croton ; since he could not stand him, he left him and went to Aegina . Within the first year after settling there, he excelled the rest of the physicians, although he had no equipment nor any medical implements. ,In his second year the Aeginetans paid him a talent to be their public physician; in the third year the Athenians hired him for a hundred minae, and Polycrates in the fourth year for two talents. Thus he came to Samos, and not least because of this man the physicians of Croton were well-respected ,for at this time the best physicians in Greek countries were those of Croton, and next to them those of Cyrene . About the same time the Argives had the name of being the best musicians.
9.27.4. We also have on record our great victory against the Amazons, who once came from the river Thermodon and broke into Attica, and in the hard days of Troy we were second to none. But since it is useless to recall these mattersโ€”for those who were previously valiant may now be of lesser mettle, and those who lacked mettle then may be better men nowโ€” ''. None
11. Plato, Timaeus, None (5th cent. BCE - 4th cent. BCE)
 Tagged with subjects: โ€ข Art, artistic representation โ€ข Paradigm and art โ€ข theurgy (hieratic art)

 Found in books: Corrigan and Rasimus (2013) 332; Dillon and Timotin (2015) 127, 172; d, Hoine and Martijn (2017) 284


28a. แผ€ฮตฮฏ, แฝ‚ฮฝ ฮดแฝฒ ฮฟแฝฮดฮญฯ€ฮฟฯ„ฮต; ฯ„แฝธ ฮผแฝฒฮฝ ฮดแฝด ฮฝฮฟฮฎฯƒฮตฮน ฮผฮตฯ„แฝฐ ฮปฯŒฮณฮฟฯ… ฯ€ฮตฯฮนฮปฮทฯ€ฯ„ฯŒฮฝ, แผ€ฮตแฝถ ฮบฮฑฯ„แฝฐ ฯ„ฮฑแฝฯ„แฝฐ แฝ„ฮฝ, ฯ„แฝธ ฮดสผ ฮฑแฝ– ฮดฯŒฮพแฟƒ ฮผฮตฯ„สผ ฮฑแผฐฯƒฮธฮฎฯƒฮตฯ‰ฯ‚ แผ€ฮปฯŒฮณฮฟฯ… ฮดฮฟฮพฮฑฯƒฯ„ฯŒฮฝ, ฮณฮนฮณฮฝฯŒฮผฮตฮฝฮฟฮฝ ฮบฮฑแฝถ แผ€ฯ€ฮฟฮปฮปฯฮผฮตฮฝฮฟฮฝ, แฝ„ฮฝฯ„ฯ‰ฯ‚ ฮดแฝฒ ฮฟแฝฮดฮญฯ€ฮฟฯ„ฮต แฝ„ฮฝ. ฯ€แพถฮฝ ฮดแฝฒ ฮฑแฝ– ฯ„แฝธ ฮณฮนฮณฮฝฯŒฮผฮตฮฝฮฟฮฝ แฝ‘ฯ€สผ ฮฑแผฐฯ„ฮฏฮฟฯ… ฯ„ฮนฮฝแฝธฯ‚ แผฮพ แผ€ฮฝฮฌฮณฮบฮทฯ‚ ฮณฮฏฮณฮฝฮตฯƒฮธฮฑฮนยท ฯ€ฮฑฮฝฯ„แฝถ ฮณแฝฐฯ แผ€ฮดฯฮฝฮฑฯ„ฮฟฮฝ ฯ‡ฯ‰ฯแฝถฯ‚ ฮฑแผฐฯ„ฮฏฮฟฯ… ฮณฮญฮฝฮตฯƒฮนฮฝ ฯƒฯ‡ฮตแฟ–ฮฝ. แฝ…ฯ„ฮฟฯ… ฮผแฝฒฮฝ ฮฟแฝ–ฮฝ แผ‚ฮฝ แฝ ฮดฮทฮผฮนฮฟฯ…ฯฮณแฝธฯ‚ ฯ€ฯแฝธฯ‚ ฯ„แฝธ ฮบฮฑฯ„แฝฐ ฯ„ฮฑแฝฯ„แฝฐ แผ”ฯ‡ฮฟฮฝ ฮฒฮปฮญฯ€ฯ‰ฮฝ แผ€ฮตฮฏ, ฯ„ฮฟฮนฮฟฯฯ„แฟณ ฯ„ฮนฮฝแฝถ ฯ€ฯฮฟฯƒฯ‡ฯฯŽฮผฮตฮฝฮฟฯ‚ ฯ€ฮฑฯฮฑฮดฮตฮฏฮณฮผฮฑฯ„ฮน, ฯ„แฝดฮฝ แผฐฮดฮญฮฑฮฝ ฮบฮฑแฝถ ฮดฯฮฝฮฑฮผฮนฮฝ ฮฑแฝฯ„ฮฟแฟฆ แผ€ฯ€ฮตฯฮณฮฌฮถฮทฯ„ฮฑฮน, ฮบฮฑฮปแฝธฮฝ แผฮพ แผ€ฮฝฮฌฮณฮบฮทฯ‚'29a. แผ€ฯ€ฮทฯฮณฮฌฮถฮตฯ„ฮฟ, ฯ€ฯŒฯ„ฮตฯฮฟฮฝ ฯ€ฯแฝธฯ‚ ฯ„แฝธ ฮบฮฑฯ„แฝฐ ฯ„ฮฑแฝฯ„แฝฐ ฮบฮฑแฝถ แฝกฯƒฮฑฯฯ„ฯ‰ฯ‚ แผ”ฯ‡ฮฟฮฝ แผข ฯ€ฯแฝธฯ‚ ฯ„แฝธ ฮณฮตฮณฮฟฮฝฯŒฯ‚. ฮตแผฐ ฮผแฝฒฮฝ ฮดแฝด ฮบฮฑฮปฯŒฯ‚ แผฯƒฯ„ฮนฮฝ แฝ…ฮดฮต แฝ ฮบฯŒฯƒฮผฮฟฯ‚ แฝ… ฯ„ฮต ฮดฮทฮผฮนฮฟฯ…ฯฮณแฝธฯ‚ แผ€ฮณฮฑฮธฯŒฯ‚, ฮดแฟ†ฮปฮฟฮฝ แฝกฯ‚ ฯ€ฯแฝธฯ‚ ฯ„แฝธ แผ€ฮฏฮดฮนฮฟฮฝ แผ”ฮฒฮปฮตฯ€ฮตฮฝยท ฮตแผฐ ฮดแฝฒ แฝƒ ฮผฮทฮดสผ ฮตแผฐฯ€ฮตแฟ–ฮฝ ฯ„ฮนฮฝฮน ฮธฮญฮผฮนฯ‚, ฯ€ฯแฝธฯ‚ ฮณฮตฮณฮฟฮฝฯŒฯ‚. ฯ€ฮฑฮฝฯ„แฝถ ฮดแฝด ฯƒฮฑฯ†แฝฒฯ‚ แฝ…ฯ„ฮน ฯ€ฯแฝธฯ‚ ฯ„แฝธ แผ€ฮฏฮดฮนฮฟฮฝยท แฝ ฮผแฝฒฮฝ ฮณแฝฐฯ ฮบฮฌฮปฮปฮนฯƒฯ„ฮฟฯ‚ ฯ„แฟถฮฝ ฮณฮตฮณฮฟฮฝฯŒฯ„ฯ‰ฮฝ, แฝ ฮดสผ แผ„ฯฮนฯƒฯ„ฮฟฯ‚ ฯ„แฟถฮฝ ฮฑแผฐฯ„ฮฏฯ‰ฮฝ. ฮฟแฝ•ฯ„ฯ‰ ฮดแฝด ฮณฮตฮณฮตฮฝฮทฮผฮญฮฝฮฟฯ‚ ฯ€ฯแฝธฯ‚ ฯ„แฝธ ฮปฯŒฮณแฟณ ฮบฮฑแฝถ ฯ†ฯฮฟฮฝฮฎฯƒฮตฮน ฯ€ฮตฯฮนฮปฮทฯ€ฯ„แฝธฮฝ ฮบฮฑแฝถ ฮบฮฑฯ„แฝฐ ฯ„ฮฑแฝฯ„แฝฐ แผ”ฯ‡ฮฟฮฝ ฮดฮตฮดฮทฮผฮนฮฟฯฯฮณฮทฯ„ฮฑฮนยท '. None
28a. and has no Becoming? And what is that which is Becoming always and never is Existent? Now the one of these is apprehensible by thought with the aid of reasoning, since it is ever uniformly existent; whereas the other is an object of opinion with the aid of unreasoning sensation, since it becomes and perishes and is never really existent. Again, everything which becomes must of necessity become owing to some Cause; for without a cause it is impossible for anything to attain becoming. But when the artificer of any object, in forming its shape and quality, keeps his gaze fixed on that which is uniform, using a model of this kind, that object, executed in this way, must of necessity'29a. Was it after that which is self-identical and uniform, or after that which has come into existence; Now if so be that this Cosmos is beautiful and its Constructor good, it is plain that he fixed his gaze on the Eternal; but if otherwise (which is an impious supposition), his gaze was on that which has come into existence. But it is clear to everyone that his gaze was on the Eternal; for the Cosmos is the fairest of all that has come into existence, and He the best of all the Causes. So having in this wise come into existence, it has been constructed after the pattern of that which is apprehensible by reason and thought and is self-identical. '. None
12. None, None, nan (4th cent. BCE - 3rd cent. BCE)
 Tagged with subjects: โ€ข Artists of Dionysus โ€ข Dionysus, Artists of โ€ข guilds, Artists of Dionysus โ€ข technitai (Artists of Dionysus), benefactors of (ฯ†ฮนฮปฮฟฯ„ฮตฯ‡ฮฝแฟ–ฯ„ฮฑฮน)

 Found in books: Cosgrove (2022) 134; Csapo (2022) 51


13. Anon., 1 Enoch, 1 (3rd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข art โ€ข art, Metatron โ€ข art, interpreters โ€ข art, stars

 Found in books: Brooke et al (2008) 112, 189, 191, 197; Harkins and Maier (2022) 161


1. The words of the blessing of Enoch, wherewith he blessed the elect and righteous, who will be,living in the day of tribulation, when all the wicked and godless are to be removed. And he took up his parable and said -Enoch a righteous man, whose eyes were opened by God, saw the vision of the Holy One in the heavens, which the angels showed me, and from them I heard everything, and from them I understood as I saw, but not for this generation, but for a remote one which is,for to come. Concerning the elect I said, and took up my parable concerning them:The Holy Great One will come forth from His dwelling,,And the eternal God will tread upon the earth, (even) on Mount Sinai, And appear from His camp And appear in the strength of His might from the heaven of heavens.,And all shall be smitten with fear And the Watchers shall quake, And great fear and trembling shall seize them unto the ends of the earth.,And the high mountains shall be shaken, And the high hills shall be made low, And shall melt like wax before the flame,And the earth shall be wholly rent in sunder, And all that is upon the earth shall perish, And there shall be a judgement upon all (men).,But with the righteous He will make peace.And will protect the elect, And mercy shall be upon them.And they shall all belong to God, And they shall be prospered, And they shall all be blessed.And He will help them all, And light shall appear unto them, And He will make peace with them'.,And behold! He cometh with ten thousands of His holy ones To execute judgement upon all, And to destroy all the ungodly:And to convict all flesh of all the works of their ungodliness which they have ungodly committed, And of all the hard things which ungodly sinners have spoken against Him."". None
14. Anon., Jubilees, 2.2-2.3 (2nd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: โ€ข Moses, art โ€ข art, Qumran โ€ข art, priests โ€ข healing and medicines, exorcism as healing art

 Found in books: Brooke et al (2008) 51; Taylor (2012) 332


2.2. Write the complete history of the creation, how in six days the Lord God finished all His works and all that He created, and kept Sabbath on the seventh day and hallowed it for all ages, and appointed it as a sign for all His works. 2.3. For on the first day He created the heavens which are above and the earth and the waters and all the spirits which serve before Him''. None
15. Cicero, On Divination, 1.12, 1.24, 1.88, 1.92 (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข ars โ€ข artists, Greek โ€ข cosmos,, craft, art, techne โ€ข haruspices, haruspicina (ars), โ€ข history of divinatory arts

 Found in books: Frede and Laks (2001) 244; Luck (2006) 309, 310; Mueller (2002) 95; Santangelo (2013) 63; Wynne (2019) 208, 245


1.12. Quae est autem gens aut quae civitas, quae non aut extispicum aut monstra aut fulgora interpretantium aut augurum aut astrologorum aut sortium (ea enim fere artis sunt) aut somniorum aut vaticinationum (haec enim duo naturalia putantur) praedictione moveatur? Quarum quidem rerum eventa magis arbitror quam causas quaeri oportere. Est enim vis et natura quaedam, quae tum observatis longo tempore significationibus, tum aliquo instinctu inflatuque divino futura praenuntiat. Quare omittat urguere Carneades, quod faciebat etiam Panaetius requirens, Iuppiterne cornicem a laeva, corvum ab dextera canere iussisset. Observata sunt haec tempore inmenso et in significatione eventis animadversa et notata. Nihil est autem, quod non longinquitas temporum excipiente memoria prodendisque monumentis efficere atque adsequi possit.
1.24. At non numquam ea, quae praedicta sunt, minus eveniunt. Quae tandem id ars non habet? earum dico artium, quae coniectura continentur et sunt opinabiles. An medicina ars non putanda est? quam tamen multa fallunt. Quid? gubernatores nonne falluntur? An Achivorum exercitus et tot navium rectores non ita profecti sunt ab Ilio, ut profectione laeti piscium lasciviam intuerentur, ut ait Pacuvius, nec tuendi satietas capere posset? รnterea prope iam รณccidente sรณle inhorrescรญt mare, Tรฉnebrae conduplicรกntur noctisque รฉt nimbum occaecรกt nigror. Num igitur tot clarissimorum ducum regumque naufragium sustulit artem guberdi? aut num imperatorum scientia nihil est, quia summus imperator nuper fugit amisso exercitu? aut num propterea nulla est rei publicae gerendae ratio atque prudentia, quia multa Cn. Pompeium, quaedam M. Catonem, non nulla etiam te ipsum fefellerunt? Similis est haruspicum responsio omnisque opinabilis divinatio; coniectura enim nititur, ultra quam progredi non potest.
1.88. Amphilochus et Mopsus Argivorum reges fuerunt, sed iidem augures, iique urbis in ora marituma Ciliciae Graecas condiderunt; atque etiam ante hos Amphiaraus et Tiresias non humiles et obscuri neque eorum similes, ut apud Ennium est, Quรญ sui quaestus caรบsa fictas sรบscitant sentรฉntias, sed clari et praestantes viri, qui avibus et signis admoniti futura dicebant; quorum de altero etiam apud inferos Homerus ait solum sapere, ceteros umbrarum vagari modo ; Amphiaraum autem sic honoravit fama Graeciae, deus ut haberetur, atque ut ab eius solo, in quo est humatus, oracla peterentur.
1.92. Etruria autem de caelo tacta scientissume animadvertit eademque interpretatur, quid quibusque ostendatur monstris atque portentis. Quocirca bene apud maiores nostros senatus tum, cum florebat imperium, decrevit, ut de principum filiis x ex singulis Etruriae populis in disciplinam traderentur, ne ars tanta propter tenuitatem hominum a religionis auctoritate abduceretur ad mercedem atque quaestum. Phryges autem et Pisidae et Cilices et Arabum natio avium significationibus plurimum obtemperant, quod idem factitatum in Umbria accepimus.''. None
1.12. Now โ€” to mention those almost entirely dependent on art โ€” what nation or what state disregards the prophecies of soothsayers, or of interpreters of prodigies and lightnings, or of augurs, or of astrologers, or of oracles, or โ€” to mention the two kinds which are classed as natural means of divination โ€” the forewarnings of dreams, or of frenzy? of these methods of divining it behoves us, I think, to examine the results rather than the causes. For there is a certain natural power, which now, through long-continued observation of signs and now, through some divine excitement and inspiration, makes prophetic announcement of the future. 7 Therefore let Carneades cease to press the question, which Panaetius also used to urge, whether Jove had ordered the crow to croak on the left side and the raven on the right. Such signs as these have been observed for an unlimited time, and the results have been checked and recorded. Moreover, there is nothing which length of time cannot accomplish and attain when aided by memory to receive and records to preserve.
1.12. The Divine Will accomplishes like results in the case of birds, and causes those known as alites, which give omens by their flight, to fly hither and thither and disappear now here and now there, and causes those known as oscines, which give omens by their cries, to sing now on the left and now on the right. For if every animal moves its body forward, sideways, or backward at will, it bends, twists, extends, and contracts its members as it pleases, and performs these various motions almost mechanically; how much easier it is for such results to be accomplished by a god, whose divine will all things obey!
1.24. But, it is objected, sometimes predictions are made which do not come true. And pray what art โ€” and by art I mean the kind that is dependent on conjecture and deduction โ€” what art, I say, does not have the same fault? Surely the practice of medicine is an art, yet how many mistakes it makes! And pilots โ€” do they not make mistakes at times? For example, when the armies of the Greeks and the captains of their mighty fleet set sail from Troy, they, as Pacuvius says,Glad at leaving Troy behind them, gazed upon the fish at play,Nor could get their fill of gazing โ€” thus they whiled the time away.Meantime, as the sun was setting, high uprose the angry main:Thick and thicker fell the shadows; night grew black with blinding rain.Then, did the fact that so many illustrious captains and kings suffered shipwreck deprive navigation of its right to be called an art? And is military science of no effect because a general of the highest renown recently lost his army and took to flight? Again, is statecraft devoid of method or skill because political mistakes were made many times by Gnaeus Pompey, occasionally by Marcus Cato, and once or twice even by yourself? So it is with the responses of soothsayers, and, indeed, with every sort of divination whose deductions are merely probable; for divination of that kind depends on inference and beyond inference it cannot go.
1.88. Amphilochus and Mopsus were kings of Argos, but they were augurs too, and they founded Greek cities on the coasts of Cilicia. And even before them were Amphiaraus and Tiresias. They were no lowly and unknown men, nor were they like the person described by Ennius,Who, for their own gain, uphold opinions that are false,but they were eminent men of the noblest type and foretold the future by means of augural signs. In speaking of Tiresias, even when in the infernal regions, Homer says that he alone was wise, that the rest were mere wandering shadows. As for Amphiaraus, his reputation in Greece was such that he was honoured as a god, and oracular responses were sought in the place where he was buried.
1.92. Again, the Etruscans are very skilful in observing thunderbolts, in interpreting their meaning and that of every sign and portent. That is why, in the days of our forefathers, it was wisely decreed by the Senate, when its power was in full vigour, that, of the sons of the chief men, six should be handed over to each of the Etruscan tribes for the study of divination, in order that so important a profession should not, on account of the poverty of its members, be withdrawn from the influence of religion, and converted into a means of mercenary gain. On the other hand the Phrygians, Pisidians, Cilicians, and Arabians rely chiefly on the signs conveyed by the flights of birds, and the Umbrians, according to tradition, used to do the same. 42''. None
16. Polybius, Histories, 4.20.12, 16.21.8 (2nd cent. BCE - 2nd cent. BCE)
 Tagged with subjects: โ€ข Artists of Dionysus โ€ข Dionysus, Artists of โ€ข Polybius, on the Artists of Dionysus โ€ข civic values and art,, public discussion โ€ข guilds, Artists of Dionysus โ€ข political life, public discussion of art โ€ข technitai (Artists of Dionysus) โ€ข technitai (Artists of Dionysus), benefactors of (ฯ†ฮนฮปฮฟฯ„ฮตฯ‡ฮฝแฟ–ฯ„ฮฑฮน)

 Found in books: Cosgrove (2022) 164; Csapo (2022) 11, 51; Rutter and Sparkes (2012) 194


4.20.12. ฮบฮฑแฝถ ฮผแฝดฮฝ แผฮผฮฒฮฑฯ„ฮฎฯฮนฮฑ ฮผฮตฯ„สผ ฮฑแฝฮปฮฟแฟฆ ฮบฮฑแฝถ ฯ„ฮฌฮพฮตฯ‰ฯ‚ แผ€ฯƒฮบฮฟแฟฆฮฝฯ„ฮตฯ‚, แผ”ฯ„ฮน ฮดสผ แฝ€ฯฯ‡ฮฎฯƒฮตฮนฯ‚ แผฮบฯ€ฮฟฮฝฮฟแฟฆฮฝฯ„ฮตฯ‚ ฮผฮตฯ„แฝฐ ฮบฮฟฮนฮฝแฟ†ฯ‚ แผฯ€ฮนฯƒฯ„ฯฮฟฯ†แฟ†ฯ‚ ฮบฮฑแฝถ ฮดฮฑฯ€ฮฌฮฝฮทฯ‚ ฮบฮฑฯ„สผ แผฮฝฮนฮฑฯ…ฯ„แฝธฮฝ แผฮฝ ฯ„ฮฟแฟ–ฯ‚ ฮธฮตฮฌฯ„ฯฮฟฮนฯ‚ แผฯ€ฮนฮดฮตฮฏฮบฮฝฯ…ฮฝฯ„ฮฑฮน ฯ„ฮฟแฟ–ฯ‚ ฮฑแฝ‘ฯ„แฟถฮฝ ฯ€ฮฟฮปฮฏฯ„ฮฑฮนฯ‚
16.21.8. แฝƒฮฝ ฮดฮญ ฯ€ฮฟฯ„ฮต ฯ‡ฯฯŒฮฝฮฟฮฝ ฯ„แฟ†ฯ‚ แผกฮผฮญฯฮฑฯ‚ แผ€ฯ€ฮตฮผฮญฯฮนฮถฮต ฯ€ฯแฝธฯ‚ แผฮฝฯ„ฮตฯฮพฮตฮนฯ‚, แผฮฝ ฯ„ฮฟฯฯ„แฟณ ฮดฮนฮตฮดฮฏฮดฮฟฯ…, ฮผแพถฮปฮปฮฟฮฝ ฮดสผ, ฮตแผฐ ฮดฮตแฟ– ฯ„แฝธ ฯ†ฮฑฮนฮฝฯŒฮผฮตฮฝฮฟฮฝ ฮตแผฐฯ€ฮตแฟ–ฮฝ, ฮดฮนฮตฯฯฮฏฯ€ฯ„ฮตฮน ฯ„แฝฐ ฮฒฮฑฯƒฮนฮปฮนฮบแฝฐ ฯ‡ฯฮฎฮผฮฑฯ„ฮฑ ฯ„ฮฟแฟ–ฯ‚ แผ€ฯ€แฝธ ฯ„แฟ†ฯ‚ แผ™ฮปฮปฮฌฮดฮฟฯ‚ ฯ€ฮฑฯฮฑฮณฮตฮณฮฟฮฝฯŒฯƒฮน ฯ€ฯฮตฯƒฮฒฮตฯ…ฯ„ฮฑแฟ–ฯ‚ ฮบฮฑแฝถ ฯ„ฮฟแฟ–ฯ‚ ฯ€ฮตฯแฝถ ฯ„แฝธฮฝ ฮ”ฮนฯŒฮฝฯ…ฯƒฮฟฮฝ ฯ„ฮตฯ‡ฮฝฮฏฯ„ฮฑฮนฯ‚, ฮผฮฌฮปฮนฯƒฯ„ฮฑ ฮดแฝฒ ฯ„ฮฟแฟ–ฯ‚ ฯ€ฮตฯแฝถ ฯ„แฝดฮฝ ฮฑแฝฮปแฝดฮฝ แผกฮณฮตฮผฯŒฯƒฮน ฮบฮฑแฝถ ฯƒฯ„ฯฮฑฯ„ฮนฯŽฯ„ฮฑฮนฯ‚.''. None
4.20.12. \xa0Besides this the young men practise military parades to the music of the flute and perfect themselves in dances and give annual performances in the theatres, all under state supervision and at the public expense. <
16.21.8. \xa0During that portion of the day that he set apart for audiences he used to distribute, or rather, if one must speak the truth, scatter the royal funds among the envoys who had come from Greece and the actors of the theatre of Dionysus and chiefly among the generals and soldiers present at court. <''. None
17. None, None, nan (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Verres, C., appropriates art works in Syracuse โ€ข ars โ€ข ars, oratoris โ€ข liberal arts โ€ข proprietas properties of individual arts

 Found in books: Keeline (2018) 219, 220, 221; Oksanish (2019) 130, 131, 142; Rutledge (2012) 118


18. None, None, nan (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Verres, C., appropriates art works in Syracuse โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation

 Found in books: Jenkyns (2013) 242, 262; Rutledge (2012) 49


19. None, None, nan (2nd cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข artes liberales โ€ข liberal arts

 Found in books: Keeline (2018) 218, 219; Oksanish (2019) 38


20. Ovid, Ars Amatoria, 1.1-1.2, 1.4, 1.7-1.10, 1.17, 1.31-1.38, 2.599-2.600, 2.643-2.644, 2.657-2.662, 2.683-2.684, 3.57-3.58, 3.807-3.808 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Alcinous, Middle Platonist author of Didasklikos, Art of love โ€ข Ars Amatoria (Ovid) โ€ข Ars Amatoria (Ovid),, audience disclaimer and โ€ข Cicero, influence of De officiis on Ars amatoria โ€ข Love, Art of falling out of love (Ovid) โ€ข Love, Art of love โ€ข Orpheus,, audience awareness and artistic strategies of โ€ข Ovid on relabelling, On Art of Love and Falling out of love โ€ข Ovid, Ars amatoria โ€ข Ovid, Ars and Remedia as philosophical in their own right โ€ข Ovid, philosophy as ars uitae โ€ข Plato, Art of love and its three objectives โ€ข audience, power dynamic between artist and โ€ข power as motif,, vulnerability of artist โ€ข sexual subjects in art, Orpheus and โ€ข sexual subjects in art, eroticdidacticism โ€ข sexual subjects in art, homoeroticism โ€ข sexual subjects in art, pederasty

 Found in books: Green (2014) 61; Johnson (2008) 109, 120; Sorabji (2000) 222, 279; Thorsen et al. (2021) 92, 95, 162, 196, 202, 203, 204, 205, 208; Williams and Vol (2022) 72, 78, 80, 125, 126, 132, 137, 138


1.1. Siquis in hoc artem populo non novit amandi, 1.2. rend=
1.4. rend=
1.7. Me Venus artificem tenero praefecit Amori; 1.9. Ille quidem ferus est et qui mihi saepe repugnet:

1.17. Aeacidae Chiron, ego sum praeceptor Amoris:
1.31. Este procul, vittae tenues, insigne pudoris, 1.33. Nos venerem tutam concessaque furta canemus, 1.35. Principio, quod amare velis, reperire labora, 1.37. Proximus huic labor est placitam exorare puellam:
2.599. En, iterum testor: nihil hic, nisi lege remissum
2.643. Nec suus Andromedae color est obiectus ab illo,
2.657. Nominibus mollire licet mala: fusca vocetur, 2.659. Si straba, sit Veneri similis: si rava, Minervae: 2.661. Dic habilem, quaecumque brevis, quae turgida, plenam,
2.683. Odi concubitus, qui non utrumque resolvunt;
3.57. Dum facit ingenium, petite hinc praecepta, puellae,
3.807. Nec lucem in thalamos totis admitte fenestris; 3.808. rend=''. None
1.1. In Cupid's school The poet here lays down the proposition of the work, which he comprehends in the two first verses: he then invokes the assistance of the gods and begins his narration. , whoe'er would take degree" '1.2. Must learn his rudiments by reading me, One must learn to love, and what to love: for love is so far from being forbidden, that there is nothing so commendable, provided the object is good.
1.4. Art guides the chariot: art instructs to love.
1.7. Cupid indeed is obstinate and wild,' "1.8. A stubborn god He speaks of love who is very seldom guided by reason. ; but yet the god's a child:" '1.9. Easy to govern in his tender age,
1.10. Like fierce Achilles in his pupilage:

1.17. To teach her softer arts; to sooth the mind,
1.31. Nor Clio , nor her sisters, have I seen,' "1.32. As Hesiod saw them on the shady green: Ovid names Clio only, of all the nine, in this place. The fable tells us, she and her sisters were born of Jupiter 's caresses of Mnemosyne, that is, memory." '1.33. Experience makes my work a truth so tried, 1.34. You may believe; and Venus be my guide. It has been before observed, that Ovid invokes the goddess of love to assist his song, as Lucretius does the same divinity for his world of nature, as being the mother of all generations, and all productions. 1.35. Far hence ye vestals be, who bind your hair; The author forewarns all virgins, and chaste persons, not to follow, in all things, the precepts of his book. 1.36. And wives, who gowns below your ancles wear.' "1.37. I sing the brothels loose and unconfin'd," "1.38. Th' unpunishable pleasures of the kind;" '
2.599. Shall I, with patience, the known signal hear, 2.600. Retire, and leave a happy rival there!
2.643. She wants that cover for another place. 2.644. To burly Mars a gay spectator said,' "
2.657. Tho' in your pow'r, a rival ne'er expose," "2.658. Never his intercepted joys disclose: He means intercepting a rival's letter, and discovering the contents. To intercept letters, and divulge a secret, was a crime punishable by the laws, by banishment, or interdiction of fire and water, by which was understood exile." '2.659. This I command, Venus commands the same,' "2.660. Who hates the snares she once sustain'd with shame." "2.661. What impious wretch will Ceres ' rites expose, This is a simile, and shows us it was not lawful to reveal the mysteries of Ceres . Macrobius in the 11th chapter of his first book upon Scipio's dream, writes that the philosopher Numenius, being too curious to know the secrets of hidden things, incurred the wrath of the gods by divulging the Eleusinian mysteries, which were the same with those of Ceres ." "2.662. Or Juno's solemn mysteries disclose!" '
2.683. For light too modest, and unshaded air!' "2.684. From public view they decently retir'd," '
3.57. Why Phyllis by a fate untimely fell. Phyllis despairing of the return of Demophoon, to whom she had granted her last favours, was about to hang herself, when, as the fable says. the gods, in compassion to her, turned her to an almond tree without leaves: Demophoon, some time after this. returning, went and embraced his metamorphosed mistress, and the tree afterwards put forth leaves.' "3.58. Nine times, in vain, upon the promis'd day," '
3.807. There rosemary and bays their odours join,' "3.808. And with the fragrant myrtle's scent combine."". None
21. Ovid, Metamorphoses, 5.369-5.372, 6.1-6.8, 6.10-6.14, 6.17-6.24, 6.40, 6.44-6.51, 6.53-6.66, 6.68-6.69, 6.80, 6.83-6.85, 6.100-6.126, 6.128, 6.133-6.134, 6.144, 10.149-10.154, 10.241-10.297, 15.871-15.879 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Arachne, as arrogant artist โ€ข Ars Amatoria (Ovid) โ€ข Ars Amatoria (Ovid),, as cause of exile โ€ข Augustus, artistic freedom suppressed by โ€ข Metamorphoses (Ovid), as commemorative of art โ€ข Orpheus,, as artist โ€ข Orpheus,, audience awareness and artistic strategies of โ€ข Ovid, Ars amatoria โ€ข Pygmalion, as artist โ€ข allusion, to artistic and singing contests โ€ข anxiety, artistic โ€ข artist โ€ข artist, Pygmalion as โ€ข artists and gods โ€ข contests, artistic hubris and entry into โ€ข death, triumph of art over โ€ข drapery, artistic treatment of โ€ข ekphrasis,, artistic process and โ€ข ekphrasis,, nonvisual arts and โ€ข hubris,, artistic arrogance โ€ข imperialism, art as critique of โ€ข ivory, as artistic medium โ€ข nature, transgressed by art โ€ข patrons of the arts โ€ข power as motif,, vulnerability of artist โ€ข power, of artists and authors โ€ข punishment, erasure of artistic works as โ€ข sexual subjects in art, Orpheus and โ€ข sexual subjects in art, as customary entertainment โ€ข sexual subjects in art, audience and โ€ข sexual subjects in art, eroticdidacticism โ€ข sexual subjects in art, incest โ€ข sexual subjects in art, on Arachneโ€™s tapestry โ€ข sexual subjects in art, pederasty โ€ข sexual subjects in art, realism and โ€ข sexual subjects in art, selfcensorship and โ€ข sexual subjects in art, tone and explicit discussion of

 Found in books: Elsner (2007) 113, 114, 121, 122, 125, 126, 127, 128; Johnson (2008) 10, 37, 42, 64, 74, 76, 77, 79, 80, 85, 86, 87, 92, 93, 103, 106, 111, 112, 122, 123; Pandey (2018) 4, 21, 22, 227; Steiner (2001) 231; Thorsen et al. (2021) 196


5.370. victa domas ipsumque, regit qui numina ponti. 5.371. Tartara quid cessant? cur non matrisque tuumque 5.372. imperium profers? agitur pars tertia mundi.' '
6.1. Praebuerat dictis Tritonia talibus aures 6.2. carminaque Aonidum iustamque probaverat iram. 6.3. Tum secum โ€œlaudare parum est; laudemur et ipsae 6.4. numina nec sperni sine poena nostra sinamusโ€ 6.5. Maeoniaeque animum fatis intendit Arachnes, 6.6. quam sibi lanificae non cedere laudibus artis 6.7. audierat. Non illa loco neque origine gentis 6.8. clara, sed arte fuit. Pater huic Colophonius Idmon

6.10. Occiderat mater; sed et haec de plebe suoque
6.11. aequa viro fuerat. Lydas tamen illa per urbes
6.12. quaesierat studio nomen memorabile, quamvis
6.14. Huius ut adspicerent opus admirabile, saepe

6.17. Nec factas solum vestes spectare iuvabat;
6.18. tum quoque, cum fierent: tantus decor adfuit arti.
6.19. Sive rudem primos lanam glomerabat in orbes, 6.20. seu digitis subigebat opus repetitaque longo 6.21. vellera mollibat nebulas aequantia tractu, 6.22. sive levi teretem versabat pollice fusum, 6.23. seu pingebat acu, scires a Pallade doctam. 6.24. Quod tamen ipsa negat, tantaque offensa magistra
6.40. Consilii satis est in me mihi. Neve monendo
6.44. Palladaque exhibuit. Venerantur numina nymphae 6.45. Mygdonidesque nurus: sola est non territa virgo. 6.46. Sed tamen erubuit, subitusque invita notavit 6.47. ora rubor rursusque evanuit, ut solet aer 6.48. purpureus fieri, cum primum aurora movetur, 6.49. et breve post tempus candescere solis ab ortu. 6.50. Perstat in incepto stolidaeque cupidine palmae
6.53. Haud mora, constituunt diversis partibus ambae 6.54. et gracili geminas intendunt stamine telas 6.55. (tela iugo iuncta est, stamen secernit harundo); 6.57. quod digiti expediunt, atque inter stamina ductum 6.58. percusso paviunt insecti pectine dentes. 6.59. Utraque festit cinctaeque ad pectora vestes 6.60. bracchia docta movent, studio fallente laborem. 6.61. Illic et Tyrium quae purpura sensit aenum 6.62. texitur et tenues parvi discriminis umbrae, 6.63. qualis ab imbre solet percussis solibus arcus 6.64. inficere ingenti longum curvamine caelum: 6.65. in quo diversi niteant cum mille colores, 6.66. transitus ipse tamen spectantia lumina fallit;
6.68. Illic et lentum filis inmittitur aurum 6.69. et vetus in tela deducitur argumentum.
6.83. Ut tamen exemplis intellegat aemula laudis, 6.84. quod pretium speret pro tam furialibus ausis, 6.85. quattuor in partes certamina quattuor addit,


6.100. amplectens saxoque iacens lacrimare videtur.

6.101. Circuit extremas oleis pacalibus oras:

6.102. is modus est, operisque sua facit arbore finem.

6.103. Maeonis elusam designat imagine tauri

6.104. Europam: verum taurum, freta vera putares.

6.105. Ipsa videbatur terras spectare relictas

6.106. et comites clamare suas tactumque vereri

6.107. adsilientis aquae timidasque reducere plantas.

6.108. Fecit et Asterien aquila luctante teneri,
6.110. addidit, ut satyri celatus imagine pulchram
6.111. Iuppiter implerit gemino Nycteida fetu,
6.112. Amphitryon fuerit, cum te, Tirynthia, cepit,
6.113. aureus ut Danaen, Asopida luserit ignis,
6.114. Mnemosynen pastor, varius Deoida serpens.
6.115. Te quoque mutatum torvo, Neptune, iuvenco
6.116. virgine in Aeolia posuit. Tu visus Enipeus
6.118. et te flava comas frugum mitissima mater
6.119. sensit equum, sensit volucrem crinita colubris
6.120. mater equi volucris, sensit delphina Melantho.
6.121. Omnibus his faciemque suam faciemque locorum
6.123. utque modo accipitris pennas, modo terga leonis
6.124. gesserit, ut pastor Macareida luserit Issen;
6.125. Liber ut Erigonen falsa deceperit uva,
6.126. ut Saturnus equo geminum Chirona crearit.

6.128. nexilibus flores hederis habet intertextos.

6.133. ter quater Idmoniae frontem percussit Arachnes.
6.134. Non tulit infelix laqueoque animosa ligavit

6.144. cetera venter habet: de quo tamen illa remittit
10.149. carmina nostra move! Iovis est mihi saepe potestas 10.150. dicta prius: cecini plectro graviore Gigantas 10.151. sparsaque Phlegraeis victricia fulmina campis: 10.152. nunc opus est leviore lyra, puerosque canamus 10.153. dilectos superis, inconcessisque puellas 10.154. ignibus attonitas meruisse libidine poenam.
10.241. utque pudor cessit sanguisque induruit oris, 10.242. in rigidum parvo silicem discrimine versae. 10.243. Quas quia Pygmalion aevum per crimen agentes 10.244. viderat, offensus vitiis, quae plurima menti 10.245. femineae natura dedit, sine coniuge caelebs 10.246. vivebat thalamique diu consorte carebat. 10.247. Interea niveum mira feliciter arte 10.248. sculpsit ebur formamque dedit, qua femina nasci 10.249. nulla potest: operisque sui concepit amorem. 10.250. Virginis est verae facies, quam vivere credas, 10.251. et, si non obstet reverentia, velle moveri: 10.252. ars adeo latet arte sua. Miratur et haurit 10.253. pectore Pygmalion simulati corporis ignes. 10.254. Saepe manus operi temptantes admovet, an sit 10.255. corpus an illud ebur: nec adhuc ebur esse fatetur. 10.256. Oscula dat reddique putat loquiturque tenetque, 10.257. et credit tactis digitos insidere membris, 10.258. et metuit, pressos veniat ne livor in artus. 10.259. Et modo blanditias adhibet, modo grata puellis 10.260. munera fert illi conchas teretesque lapillos 10.261. et parvas volucres et flores mille colorum 10.262. liliaque pictasque pilas et ab arbore lapsas 10.263. Heliadum lacrimas; ornat quoque vestibus artus, 10.264. dat digitis gemmas, dat longa monilia collo: 10.265. aure leves bacae, redimicula pectore pendent. 10.266. Cuncta decent: nec nuda minus formosa videtur. 10.267. Conlocat hanc stratis concha Sidonide tinctis 10.269. mollibus in plumis, tamquam sensura, reponit. 10.270. Festa dies Veneris tota celeberrima Cypro 10.271. venerat, et pandis inductae cornibus aurum 10.272. conciderant ictae nivea cervice iuvencae, 10.273. turaque fumabant: cum munere functus ad aras 10.274. constitit et timide, โ€œsi di dare cuncta potestis, 10.275. sit coniunx, optoโ€ (non ausus โ€œeburnea virgoโ€ 10.276. dicere) Pygmalion โ€œsimilis meaโ€ dixit โ€œeburnae.โ€ 10.277. Sensit, ut ipsa suis aderat Venus aurea festis, 10.278. vota quid illa velint; et, amici numinis omen, 10.279. flamma ter accensa est apicemque per aera duxit. 10.280. Ut rediit, simulacra suae petit ille puellae 10.281. incumbensque toro dedit oscula: visa tepere est. 10.282. Admovet os iterum, manibus quoque pectora temptat: 10.283. temptatum mollescit ebur positoque rigore 10.284. subsidit digitis ceditque, ut Hymettia sole 10.286. flectitur in facies ipsoque fit utilis usu. 10.287. Dum stupet et dubie gaudet fallique veretur, 10.288. rursus amans rursusque manu sua vota retractat. 10.289. Corpus erat: saliunt temptatae pollice venae. 10.290. Tum vero Paphius plenissima concipit heros 10.291. verba, quibus Veneri grates agat, oraque tandem 10.292. ore suo non falsa premit: dataque oscula virgo 10.293. sensit et erubuit timidumque ad lumina lumen 10.294. attollens pariter cum caelo vidit amantem. 10.295. Coniugio, quod fecit, adest dea. Iamque coactis 10.296. cornibus in plenum noviens lunaribus orbem 10.297. illa Paphon genuit, de qua tenet insula nomen.
15.871. Iamque opus exegi, quod nec Iovis ira nec ignis 15.872. nec poterit ferrum nec edax abolere vetustas. 15.874. ius habet, incerti spatium mihi finiat aevi: 15.875. parte tamen meliore mei super alta perennis 15.876. astra ferar, nomenque erit indelebile nostrum, 15.877. quaque patet domitis Romana potentia terris, 15.878. ore legar populi, perque omnia saecula fama, 15.879. siquid habent veri vatum praesagia, vivam.''. None
5.370. where Phineus had turned his trembling face: 5.371. and as he struggled to avert his gaze 5.372. his neck grew stiff; the moisture of his eye
6.1. All this Minerva heard; and she approved 6.2. their songs and their resentment; but her heart 6.3. was brooding thus, โ€œIt is an easy thing 6.4. to praise another, I should do as they: 6.5. no creature of the earth should ever slight 6.6. the majesty that dwells in me,โ€”without 6.7. just retribution.โ€โ€”So her thought was turned 6.8. upon the fortune of Arachne โ€” proud,

6.10. won by the art of deftly weaving wool,
6.11. a girl who had not fame for place of birth,
6.12. nor fame for birth, but only fame for skill!
6.14. in Colophon ; where, at his humble trade,

6.17. had died. Arachne in a mountain town
6.18. by skill had grown so famous in the Land
6.19. of Lydia , that unnumbered curious nymph 6.20. eager to witness her dexterity, 6.21. deserted the lush vineyards of Timolus; 6.22. or even left the cool and flowing stream 6.23. of bright Pactolus, to admire the cloth, 6.24. or to observe her deftly spinning wool.
6.40. and with a staff to steady her weak limbs.
6.44. with lengthened years; and, therefore, you should not 6.45. despise my words. It is no harm in you 6.46. to long for praise of mortals, when 6.47. your nimble hands are spinning the soft wool,โ€”' "6.48. but you should not deny Minerva's artโ€”" '6.49. and you should pray that she may pardon you, 6.50. for she will grant you pardon if you ask.โ€
6.53. She hardly could restrain her threatening hand, 6.54. and, trembling in her anger, she replied 6.55. to you, disguised Minerva: 6.57. worn out and witless in your palsied age, 6.58. a great age is your great misfortune!โ€” Let' "6.59. your daughter and your son's wifeโ€”if the God" '6.60. have blessed youโ€”let them profit by your words; 6.61. within myself, my knowledge is contained 6.62. ufficient; you need not believe that your 6.63. advice does any good; for I am quite 6.64. unchanged in my opinion. Get you gone,โ€” 6.65. advise your goddess to come here herself, 6.66. and not avoid the contest!โ€
6.68. the goddess said, โ€œMinerva comes to you!โ€ 6.69. And with those brief words, put aside the shape
6.83. Nor did the daughter of almighty Jove 6.84. decline: disdaining to delay with words, 6.85. he hesitated not.


6.100. that spans new glory in the curving sky,

6.101. its glittering rays reflected in the rain,

6.102. preads out a multitude of blended tints,

6.103. in scintillating beauty to the sight

6.104. of all who gaze upon it; โ€” so the threads,

6.105. inwoven, mingled in a thousand tints,

6.106. harmonious and contrasting; shot with gold:

6.107. and there, depicted in those shining webs,

6.108. were shown the histories of ancient days:โ€”
6.110. where ancient Cecrops built his citadel,
6.111. and showed the old contention for the name
6.112. it should be given.โ€”Twelve celestial God
6.113. urrounded Jupiter , on lofty thrones;
6.114. and all their features were so nicely drawn,
6.115. that each could be distinguished.โ€” Jupiter
6.116. appeared as monarch of those judging Gods.
6.118. contending with Minerva. As he struck
6.119. the Rock with his long trident, a wild horse
6.120. prang forth which he bequeathed to man. He claimed
6.121. his right to name the city for that gift.
6.123. bearing a shield, and in her hand a lance,
6.124. harp-pointed, and a helmet on her headโ€”
6.125. her breast well-guarded by her Aegis: there
6.126. he struck her spear into the fertile earth,

6.128. pale with new clustered fruits.โ€”And those twelve Gods,

6.133. from the great deeds of ancient histories,
6.134. and what award presumption must expect,

6.144. that Pygmy, whom the angry Juno changed
10.149. the brittle hazel, and the virgin laurel-tree, 10.150. the ash for strong spears, the smooth silver-fir, 10.151. the flex bent with acorns and the plane, 10.152. the various tinted maple and with those, 10.153. the lotus and green willows from their streams, 10.154. evergreen box and slender tamarisks,' "
10.241. except the eagle's, able to sustain" '10.242. the weight of his own thunderbolts. Without 10.243. delay, Jove on fictitious eagle wings, 10.244. tole and flew off with that loved Trojan boy: 10.245. who even to this day, against the will 10.246. of Juno, mingles nectar in the cup 10.247. of his protector, mighty Jupiter . 10.248. You also, Hyacinthus, would have been 10.249. et in the sky! if Phoebus had been given 10.250. time which the cruel fates denied for you. 10.251. But in a way you are immortal too. 10.252. Though you have died. Always when warm spring 10.253. drives winter out, and Aries (the Ram) 10.254. ucceeds to Pisces (watery Fish), you rise 10.255. and blossom on the green turf. And the love 10.256. my father had for you was deeper than he felt 10.257. for others. Delphi center of the world, 10.258. had no presiding guardian, while the God 10.259. frequented the Eurotas and the land 10.260. of Sparta , never fortified with walls. 10.261. His zither and his bow no longer fill 10.262. his eager mind and now without a thought 10.263. of dignity, he carried nets and held 10.264. the dogs in leash, and did not hesitate 10.265. to go with Hyacinthus on the rough, 10.266. teep mountain ridges; and by all of such 10.267. associations, his love was increased. 10.269. the coming and the banished night, and stood 10.270. at equal distance from those two extremes. 10.271. Then, when the youth and Phoebus were well stripped, 10.272. and gleaming with rich olive oil, they tried 10.273. a friendly contest with the discus. First 10.274. Phoebus, well-poised, sent it awhirl through air, 10.275. and cleft the clouds beyond with its broad weight; 10.276. from which at length it fell down to the earth, 10.277. a certain evidence of strength and skill. 10.278. Heedless of danger Hyacinthus rushed 10.279. for eager glory of the game, resolved 10.280. to get the discus. But it bounded back 10.281. from off the hard earth, and struck full against 10.282. your face, O Hyacinthus! Deadly pale' "10.283. the God's face went โ€” as pallid as the boy's." '10.284. With care he lifted the sad huddled form. 10.286. and next endeavors to attend your wound, 10.287. and stay your parting soul with healing herbs. 10.288. His skill is no advantage, for the wound 10.289. is past all art of cure. As if someone, 10.290. when in a garden, breaks off violets, 10.291. poppies, or lilies hung from golden stems, 10.292. then drooping they must hang their withered heads, 10.293. and gaze down towards the earth beneath them; so,' "10.294. the dying boy's face droops, and his bent neck," '10.295. a burden to itself, falls back upon 10.296. his shoulder: โ€œYou are fallen in your prime 10.297. defrauded of your youth, O Hyacinthus!โ€
15.871. that I should pass my life in exile than 15.872. be seen a king throned in the capitol.โ€ 15.874. the people and the grave and honored Senate. 15.875. But first he veiled his horns with laurel, which 15.876. betokens peace. Then, standing on a mound 15.877. raised by the valiant troops, he made a prayer 15.878. after the ancient mode, and then he said, 15.879. โ€œThere is one here who will be king, if you' '. None
22. Philo of Alexandria, On The Life of Moses, 2.2 (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Moses, art โ€ข art, medieval Christian, depiction of Jews โ€ข clothing, signification of, in medieval Christian art โ€ข pallium, signification in medieval Christian art

 Found in books: Ashbrook Harvey et al (2015) 94; Brooke et al (2008) 143


2.2. For some persons say, and not without some reason and propriety, that this is the only way by which cities can be expected to advance in improvement, if either the kings cultivate philosophy, or if philosophers exercise the kingly power. But Moses will be seen not only to have displayed all these powers--I mean the genius of the philosopher and of the king--in an extraordinary degree at the same time, but three other powers likewise, one of which is conversant about legislation, the second about the way of discharging the duties of high priest, and the last about the prophetic office; ''. None
23. None, None, nan (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation โ€ข art gallery, in Petroniusโ€™ Satyrica

 Found in books: Elsner (2007) 187; Jenkyns (2013) 240


24. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Ovid, Ars amatoria โ€ข ars

 Found in books: Clay and Vergados (2022) 280; Thorsen et al. (2021) 208


25. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Hadrian, as artist โ€ข Nero, artistic aspirations โ€ข Petronius, and the decline of art โ€ข Pliny the Elder, on decline of art โ€ข Vitruvius, on decline of art โ€ข art expert, in Petroniusโ€™ Satyrica โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข art history, Petroniusโ€™ satire of

 Found in books: Elsner (2007) 192; Rutledge (2012) 84


26. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Horace, Ars poetica โ€ข Horace, Empedocles in Ars poetica โ€ข Nile, subject matter of art โ€ข ekphrasis,, literary arts excluded from traditional use of โ€ข ekphrasis,, nonvisual arts and

 Found in books: Goldschmidt (2019) 134, 135; Johnson (2008) 32, 33; Manolaraki (2012) 292; Williams and Vol (2022) 303


27. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Ars Amatoria (Ovid) โ€ข Ovid, Ars Amatoria โ€ข aesthetic approach to art and architecture โ€ข architecture and art, aesthetic approach โ€ข art and architecture, aesthetic approach

 Found in books: Jenkyns (2013) 314; Johnson and Parker (2009) 160


28. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Ars Amatoria (Ovid) โ€ข Ars Amatoria (Ovid),, as cause of exile โ€ข Ars Amatoria (Ovid),, contexts of composition โ€ข Augustus, artistic freedom suppressed by โ€ข Greek, art โ€ข Orpheus,, audience awareness and artistic strategies of โ€ข anxiety, artistic โ€ข ars โ€ข death, triumph of art over โ€ข sexual subjects in art, Orpheus and โ€ข sexual subjects in art, eroticdidacticism โ€ข sexual subjects in art, homoeroticism โ€ข sexual subjects in art, pederasty

 Found in books: Johnson (2008) 4, 5, 16, 110, 113, 123; Oksanish (2019) 131; Rutledge (2012) 38


29. None, None, nan (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Greek, art โ€ข Ovid, Ars amatoria โ€ข Porcius Cato the Elder, M., on Greek art and culture โ€ข art โ€ข objects, artefactual versus artistic โ€ข war, art plundering

 Found in books: Nuno et al (2021) 396; Rutledge (2012) 10, 33, 36, 45; Rรผpke (2011) 88


30. None, None, nan (1st cent. BCE - 1st cent. BCE)
 Tagged with subjects: โ€ข Cicero, influence of De officiis on Ars amatoria โ€ข Love, Art of falling out of love (Ovid) โ€ข Love, Art of love โ€ข Ovid on relabelling, On Art of Love and Falling out of love โ€ข Ovid, Ars amatoria

 Found in books: Sorabji (2000) 222; Thorsen et al. (2021) 64; Williams and Vol (2022) 80


31. None, None, nan (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Ovid, Ars Amatoria โ€ข aesthetic approach to art and architecture โ€ข architecture and art, aesthetic approach โ€ข art and architecture, aesthetic approach

 Found in books: Fabre-Serris et al (2021) 159; Jenkyns (2013) 319


32. None, None, nan (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข Ars Amatoria (Ovid) โ€ข Ars Amatoria (Ovid),, as cause of exile โ€ข Ars Amatoria (Ovid),, audience disclaimer and โ€ข Augustus, artistic freedom suppressed by โ€ข Augustus, misjudgment of Ars amatoria โ€ข Ovid, Ars Amatoria โ€ข artists and gods โ€ข exile (relegation), as artistic disempowerment โ€ข freedom, artistic freedom as theme โ€ข hubris,, artistic arrogance โ€ข sexual subjects in art, Orpheus and โ€ข sexual subjects in art, eroticdidacticism

 Found in books: Johnson (2008) 12, 73, 120, 121; Johnson and Parker (2009) 160; Pandey (2018) 22; Williams and Vol (2022) 329


33. None, None, nan (1st cent. BCE - missingth cent. CE)
 Tagged with subjects: โ€ข aesthetic approach to art and architecture โ€ข architecture and art, aesthetic approach โ€ข art and architecture, aesthetic approach โ€ข patrons of the arts,, recusatio and โ€ข place among ancient artists, his realism โ€ข religions, Roman, religious responses to art and architecture

 Found in books: Jenkyns (2013) 236, 316; Johnson (2008) 58; Rutledge (2012) 100


34. Josephus Flavius, Jewish Antiquities, 1.18-1.26, 3.91, 3.181-3.186, 3.203, 14.231-14.232, 17.150, 18.55 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Dionysiac Artists, granted exemption from war contributions and military service โ€ข Jews, as blind to identity of Christ, depicted in art โ€ข Moses, art โ€ข Naaran basilical synagogue, basilical synagogue, mosaic (figural art and Jewish symbols) โ€ข Yafia, figural art โ€ข art, โ€ข art, medieval Christian, depiction of Jews โ€ข art, pagan โ€ข catacombs, Bet Shearim, figural art โ€ข church fathers, figural art โ€ข clothing, signification of, in medieval Christian art โ€ข discovery, frescoes, artistic motifs โ€ข pallium, signification in medieval Christian art โ€ข priests, Jewish, depiction in medieval Jewish art

 Found in books: Ashbrook Harvey et al (2015) 94, 97; Bickerman and Tropper (2007) 920, 937; Brooke et al (2008) 131, 132, 146, 147; Levine (2005) 111, 224, 481; Rubenstein(1995) 247; Udoh (2006) 79, 80


1.18. ฬ“ฮ•ฯ€ฮตฮนฮดฮทฬ€ ฮดฮตฬ€ ฯ€ฮฑฬฮฝฯ„ฮฑ ฯƒฯ‡ฮตฮดฮฟฬ€ฮฝ ฮตฬ“ฮบ ฯ„ฮทอ‚ฯ‚ ฯ„ฮฟฯ…อ‚ ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮฟฯ… ฯƒฮฟฯ†ฮนฬฮฑฯ‚ ฮทฬ”ฮผฮนอ‚ฮฝ ฮฑฬ“ฮฝฮทฬฯฯ„ฮทฯ„ฮฑฮน ฮœฯ‰ฯ…ฯƒฮตฬฮฟฯ‚, ฮฑฬ“ฮฝฮฑฬฮณฮบฮท ฮผฮฟฮน ฮฒฯฮฑฯ‡ฮตฬฮฑ ฯ€ฮตฯฮนฬ€ ฮตฬ“ฮบฮตฮนฬฮฝฮฟฯ… ฯ€ฯฮฟฮตฮนฯ€ฮตฮนอ‚ฮฝ, ฮฟฬ”ฬฯ€ฯ‰ฯ‚ ฮผฮทฬ ฯ„ฮนฮฝฮตฯ‚ ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮฝฮฑฮณฮฝฯ‰ฯƒฮฟฮผฮตฬฮฝฯ‰ฮฝ ฮดฮนฮฑฯ€ฮฟฯฯ‰อ‚ฯƒฮน, ฯ€ฮฟฬฮธฮตฮฝ ฮทฬ”ฮผฮนอ‚ฮฝ ฮฟฬ” ฮปฮฟฬฮณฮฟฯ‚ ฯ€ฮตฯฮนฬ€ ฮฝฮฟฬฮผฯ‰ฮฝ ฮบฮฑฮนฬ€ ฯ€ฯฮฑฬฮพฮตฯ‰ฮฝ ฮตฬ“ฬฯ‡ฯ‰ฮฝ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฮฝฮฑฮณฯฮฑฯ†ฮทฬ€ฮฝ ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮฟฯƒฮฟฯ…อ‚ฯ„ฮฟฮฝ ฯ†ฯ…ฯƒฮนฮฟฮปฮฟฮณฮนฬฮฑฯ‚ ฮบฮตฮบฮฟฮนฮฝฯ‰ฬฮฝฮทฮบฮตฮฝ.
1.18. ฮตฬ“ฬฮฝฮธฮฑ ฮฟฬ” ฯ„ฮทอ‚ฯ‚ ฮฃฮฟฮปฯ…ฮผฮฑอ‚ ฯ…ฬ”ฯ€ฮฟฮดฮตฬฯ‡ฮตฯ„ฮฑฮน ฮฒฮฑฯƒฮนฮปฮตฯ…ฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮœฮตฮปฯ‡ฮนฯƒฮตฮดฮตฬฮบ: ฯƒฮทฮผฮฑฮนฬฮฝฮตฮน ฮดฮตฬ€ ฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฮฒฮฑฯƒฮนฮปฮตฯ…ฬ€ฯ‚ ฮดฮนฬฮบฮฑฮนฮฟฯ‚: ฮบฮฑฮนฬ€ ฮทฬ“อ‚ฮฝ ฮดฮตฬ€ ฯ„ฮฟฮนฮฟฯ…อ‚ฯ„ฮฟฯ‚ ฮฟฬ”ฮผฮฟฮปฮฟฮณฮฟฯ…ฮผฮตฬฮฝฯ‰ฯ‚, ฯ‰ฬ”ฯ‚ ฮดฮนฮฑฬ€ ฯ„ฮฑฯ…ฬฯ„ฮทฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฯ„ฮทฬ€ฮฝ ฮฑฮนฬ“ฯ„ฮนฬฮฑฮฝ ฮบฮฑฮนฬ€ ฮนฬ”ฮตฯฮตฬฮฑ ฮณฮตฮฝฮตฬฯƒฮธฮฑฮน ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚: ฯ„ฮทฬ€ฮฝ ฮผฮตฬฮฝฯ„ฮฟฮน ฮฃฮฟฮปฯ…ฮผฮฑอ‚ ฯ…ฬ”ฬฯƒฯ„ฮตฯฮฟฮฝ ฮตฬ“ฮบฮฑฬฮปฮตฯƒฮตฮฝ ฬ”ฮ™ฮตฯฮฟฯƒฮฟฬฮปฯ…ฮผฮฑ.' "1.19. ฮนฬ“ฯƒฯ„ฮตฬฮฟฮฝ ฮฟฯ…ฬ“อ‚ฮฝ, ฮฟฬ”ฬฯ„ฮน ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฮตฬ“ฮบฮตฮนอ‚ฮฝฮฟฯ‚ ฮฑฬ“ฮฝฮฑฮณฮบฮฑฮนฮฟฬฯ„ฮฑฯ„ฮฟฮฝ ฮทฬ”ฮณฮทฬฯƒฮฑฯ„ฮฟ ฯ„ฯ‰อ‚อ… ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮตฬ”ฮฑฯ…ฯ„ฮฟฯ…อ‚ ฮผฮตฬฮปฮปฮฟฮฝฯ„ฮน ฮฒฮนฬฮฟฮฝ ฮฟฮนฬ“ฮบฮฟฮฝฮฟฮผฮทฬฯƒฮตฮนฮฝ ฮบฮฑฮปฯ‰อ‚ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฮฑฬ“ฬฮปฮปฮฟฮนฯ‚ ฮฝฮฟฮผฮฟฮธฮตฯ„ฮตฮนอ‚ฮฝ ฮธฮตฮฟฯ…อ‚ ฯ€ฯฯ‰อ‚ฯ„ฮฟฮฝ ฯ†ฯ…ฬฯƒฮนฮฝ ฮบฮฑฯ„ฮฑฮฝฮฟฮทอ‚ฯƒฮฑฮน ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚ฮฝ ฮตฬ“ฬฯฮณฯ‰ฮฝ ฯ„ฯ‰อ‚ฮฝ ฮตฬ“ฮบฮตฮนฬฮฝฮฟฯ… ฮธฮตฮฑฯ„ฮทฬ€ฮฝ ฯ„ฯ‰อ‚อ… ฮฝฯ‰อ‚อ… ฮณฮตฮฝฮฟฬฮผฮตฮฝฮฟฮฝ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฯ€ฮฑฯฮฑฬฮดฮตฮนฮณฮผฮฑ ฯ„ฮฟฬ€ ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฮฑฬ“ฬฯฮนฯƒฯ„ฮฟฮฝ ฮผฮนฮผฮตฮนอ‚ฯƒฮธฮฑฮน ฮบฮฑฮธ' ฮฟฬ”ฬฯƒฮฟฮฝ ฮฟฮนฬ”อ‚ฮฟฬฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ€ฮตฮนฯฮฑอ‚ฯƒฮธฮฑฮน ฮบฮฑฯ„ฮฑฮบฮฟฮปฮฟฯ…ฮธฮตฮนอ‚ฮฝ." "1.19. ฯ€ฮฑฯฮฑฮบฮฟฯ…ฬฮฟฯ…ฯƒฮฑฮฝ ฮผฮตฬ€ฮฝ ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚ ฮบฮฑฮนฬ€ ฯ€ฯฮฟฯƒฯ‰ฯ„ฮตฬฯฯ‰ ฯ‡ฯ‰ฯฮฟฯ…อ‚ฯƒฮฑฮฝ ฮตฬ“ฬฮปฮตฮณฮตฮฝ ฮฑฬ“ฯ€ฮฟฮปฮตฮนอ‚ฯƒฮธฮฑฮน, ฮฝฮฟฯƒฯ„ฮทฬฯƒฮฑฯƒฮฑฮฝ ฮดฮตฬ€ ฮฑฯ…ฬ“ฯ„ฮทฬ€ฮฝ ฮฟฬ“ฯ€ฮนฬฯƒฯ‰ ฮณฮตฮฝฮทฬฯƒฮตฯƒฮธฮฑฮน ฮผฮทฯ„ฮตฬฯฮฑ ฯ€ฮฑฮนฮดฮฟฬ€ฯ‚ ฯ„ฮทอ‚ฯ‚ ฮณฮทอ‚ฯ‚ ฮตฬ“ฮบฮตฮนฬฮฝฮทฯ‚ ฮฒฮฑฯƒฮนฮปฮตฯ…ฬฯƒฮฟฮฝฯ„ฮฟฯ‚. ฯ„ฮฟฯ…ฬฯ„ฮฟฮนฯ‚ ฯ€ฮตฮนฬฮธฮตฯ„ฮฑฮน ฮบฮฑฮนฬ€ ฮตฬ“ฯ€ฮฑฮฝฮตฮปฮธฮฟฯ…อ‚ฯƒฮฑ ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮดฮตฯƒฯ€ฮฟฬฯ„ฮฑฯ‚ ฯƒฯ…ฮณฮณฮฝฯ‰ฬฮผฮทฯ‚ ฮตฬ“ฬฯ„ฯ…ฯ‡ฮต: ฯ„ฮนฬฮบฯ„ฮตฮน ฮดฮตฬ€ ฮผฮตฯ„' ฮฟฯ…ฬ“ ฯ€ฮฟฮปฯ…ฬ€ ฬ“ฮ™ฯƒฮผฮฑฮทอ‚ฮปฮฟฮฝ, ฮธฮตฮฟฬฮบฮปฯ…ฯ„ฮฟฮฝ ฮฑฬ“ฬฮฝ ฯ„ฮนฯ‚ ฮตฮนฬ“ฬฯ€ฮฟฮน, ฮดฮนฮฑฬ€ ฯ„ฮฟฬ€ ฮตฮนฬ“ฯƒฮฑฮบฮฟฯ…อ‚ฯƒฮฑฮน ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฯ„ฮทอ‚ฯ‚ ฮนฬ”ฮบฮตฯƒฮนฬฮฑฯ‚." "1.21. ฯ€ฮฑฯฮฑฮบฮฑฮปฮตฮนอ‚ ฯ„ฮต ฯ€ฯฮฑฬอ…ฯ‰ฯ‚ ฮตฬ“ฬฯ‡ฮตฮนฮฝ ฯ€ฯฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฮตฯ…ฬ“ฮผฮตฮฝฮทอ‚ ฯ€ฮฟฮนฮตฮนอ‚ฮฝ, ฯ€ฮฑฯ' ฮฑฯ…ฬ“ฯ„ฯ‰อ‚อ… ฯ„ฮต ฮผฮตฬฮฝฮตฮนฮฝ ฮฒฮฟฯ…ฮปฮฟฮผฮตฬฮฝฯ‰อ… ฯ€ฮฑอ‚ฯƒฮฑฮฝ ฮฑฬ“ฯ†ฮธฮฟฮฝฮนฬฮฑฮฝ ฯ…ฬ”ฯ€ฮฑฬฯฮพฮตฮนฮฝ ฮฑฬ“ฯ€ฮนฮตฬฮฝฮฑฮน ฯ„ฮต ฯ€ฯฮฟฮฑฮนฯฮฟฯ…ฬฮผฮตฮฝฮฟฮฝ ฯ„ฮตฯ…ฬฮพฮตฯƒฮธฮฑฮน ฯ€ฮฟฮผฯ€ฮทอ‚ฯ‚ ฮบฮฑฮนฬ€ ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฮฟฬ”ฬฯƒฯ‰ฮฝ ฮบฮฑฮนฬ€ ฯ‡ฯฮทฬอ…ฮถฯ‰ฮฝ ฯ€ฯฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฯ†ฮนฬฮบฮฟฮนฯ„ฮฟ." '1.21. ฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฮดฮทฬ€ ฯ€ฮฑฮนฮดฮตฯ…อ‚ฯƒฮฑฮน ฮฒฮฟฯ…ฮปฮทฮธฮตฮนฬ€ฯ‚ ฮœฯ‰ฯ…ฯƒฮทอ‚ฯ‚ ฯ„ฮฟฬ€ ฯ€ฮฑฮนฬฮดฮตฯ…ฮผฮฑ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮตฬ”ฮฑฯ…ฯ„ฮฟฯ…อ‚ ฯ€ฮฟฮปฮนฬฯ„ฮฑฯ‚ ฯ„ฮทอ‚ฯ‚ ฯ„ฯ‰อ‚ฮฝ ฮฝฮฟฬฮผฯ‰ฮฝ ฮธฮตฬฯƒฮตฯ‰ฯ‚ ฮฟฯ…ฬ“ฮบ ฮฑฬ“ฯ€ฮฟฬ€ ฯƒฯ…ฮผฮฒฮฟฮปฮฑฮนฬฯ‰ฮฝ ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚ฮฝ ฯ€ฯฮฟฬ€ฯ‚ ฮฑฬ“ฮปฮปฮทฬฮปฮฟฯ…ฯ‚ ฮดฮนฮบฮฑฮนฬฯ‰ฮฝ ฮทฬ“ฬฯฮพฮฑฯ„ฮฟ ฯ„ฮฟฮนอ‚ฯ‚ ฮฑฬ“ฬฮปฮปฮฟฮนฯ‚ ฯ€ฮฑฯฮฑฯ€ฮปฮทฯƒฮนฬฯ‰ฯ‚, ฮฑฬ“ฮปฮป' ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ„ฮฟฯ…อ‚ ฮบฮฟฬฯƒฮผฮฟฯ… ฮบฮฑฯ„ฮฑฯƒฮบฮตฯ…ฮทฬ€ฮฝ ฯ„ฮฑฬ€ฯ‚ ฮณฮฝฯ‰ฬฮผฮฑฯ‚ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮฝฮฑฮณฮฑฮณฯ‰ฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ€ฮตฮนฬฯƒฮฑฯ‚, ฮฟฬ”ฬฯ„ฮน ฯ„ฯ‰อ‚ฮฝ ฮตฬ“ฯ€ฮนฬ€ ฮณฮทอ‚ฯ‚ ฮตฬ“ฬฯฮณฯ‰ฮฝ ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚ ฮบฮฑฬฮปฮปฮนฯƒฯ„ฮฟฬฮฝ ฮตฬ“ฯƒฮผฮตฮฝ ฮฑฬ“ฬฮฝฮธฯฯ‰ฯ€ฮฟฮน, ฮฟฬ”ฬฯ„ฮต ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮทฬ€ฮฝ ฮตฯ…ฬ“ฯƒฮตฬฮฒฮตฮนฮฑฮฝ ฮตฬ“ฬฯƒฯ‡ฮตฮฝ ฯ…ฬ”ฯ€ฮฑฮบฮฟฯ…ฬฮฟฮฝฯ„ฮฑฯ‚, ฯฬ”ฮฑอ…ฮดฮนฬฯ‰ฯ‚ ฮทฬ“ฬฮดฮท ฯ€ฮตฯฮนฬ€ ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฮตฬ“ฬฯ€ฮตฮนฮธฮตฮฝ." "1.22. ฬ“ฮ‘ฮฝฮดฯฯ‰ฮธฮตฬฮฝฯ„ฮน ฮดฮตฬ€ ฯ„ฯ‰อ‚อ… ฯ€ฮฑฮนฮดฮนฬ€ ฮณฯ…ฬฮฝฮฑฮนฮฟฮฝ ฮฑฬ“ฬฮณฮตฯ„ฮฑฮน ฯ„ฮฟฬ€ ฮณฮตฬฮฝฮฟฯ‚ ฮ‘ฮนฬ“ฮณฯ…ฬฯ€ฯ„ฮนฮฟฮฝ, ฮตฬ“ฮฝฮธฮตฬฮฝฮดฮต ฮทฬ“อ‚ฮฝ ฮบฮฑฮนฬ€ ฮฑฯ…ฬ“ฯ„ฮทฬ€ ฯ„ฮฟฬ€ ฮฑฬ“ฯฯ‡ฮฑฮนอ‚ฮฟฮฝ, ฮตฬ“ฮพ ฮฟฯ…ฬ”อ‚ ฯ€ฮฑฮนอ‚ฮดฮตฯ‚ ฬ“ฮ™ฯƒฮผฮฑฮทฬฮปฯ‰อ… ฮณฮนฬฮฝฮฟฮฝฯ„ฮฑฮน ฮดฯ‰ฬฮดฮตฮบฮฑ ฯ€ฮฑฬฮฝฯ„ฮตฯ‚, ฮฮฑฮฒฮฑฮนฯ‰ฬฮธฮทฯ‚ ฮšฮทฬฮดฮฑฯฮฟฯ‚ ฬ“ฮ‘ฮฒฮดฮตฮทอ‚ฮปฮฟฯ‚ ฮœฮฑฬฯƒฯƒฮฑฮผฮฟฯ‚ ฮœฮฑฬฯƒฮผฮฑฯƒฮฟฯ‚ ฬ“ฮ™ฮดฮฟฯ…ฮผฮฑอ‚ฯ‚ ฮœฮฑฬฯƒฮผฮทฯƒฮฟฯ‚ ฮงฮฟฬฮดฮฑฮผฮฟฯ‚ ฮ˜ฮตฬฮผฮฑฮฝฮฟฯ‚ ฬ“ฮ™ฮตฯ„ฮฟฯ…อ‚ฯฮฟฯ‚ ฮฮฑฬฯ†ฮฑฮนฯƒฮฟฯ‚ ฮšฮฑฬฮดฮผฮฑฯƒฮฟฯ‚.' "1.22. ฮฟฮนฬ” ฮผฮตฬ€ฮฝ ฮณฮฑฬ€ฯ ฮฑฬ“ฬฮปฮปฮฟฮน ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮฑฮน ฯ„ฮฟฮนอ‚ฯ‚ ฮผฯ…ฬฮธฮฟฮนฯ‚ ฮตฬ“ฮพฮฑฮบฮฟฮปฮฟฯ…ฮธฮทฬฯƒฮฑฮฝฯ„ฮตฯ‚ ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮฝฮธฯฯ‰ฯ€ฮนฬฮฝฯ‰ฮฝ ฮฑฬ”ฮผฮฑฯฯ„ฮทฮผฮฑฬฯ„ฯ‰ฮฝ ฮตฮนฬ“ฯ‚ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฯ„ฯ‰อ‚อ… ฮปฮฟฬฮณฯ‰อ… ฯ„ฮทฬ€ฮฝ ฮฑฮนฬ“ฯƒฯ‡ฯ…ฬฮฝฮทฮฝ ฮผฮตฯ„ฮตฬฮธฮตฯƒฮฑฮฝ ฮบฮฑฮนฬ€ ฯ€ฮฟฮปฮปฮทฬ€ฮฝ ฯ…ฬ”ฯ€ฮฟฯ„ฮนฬฮผฮทฯƒฮนฮฝ ฯ„ฮฟฮนอ‚ฯ‚ ฯ€ฮฟฮฝฮทฯฮฟฮนอ‚ฯ‚ ฮตฬ“ฬฮดฯ‰ฮบฮฑฮฝ: 1.23. ฮตฬ“ฯ€ฮตฮนฬ€ ฮด' ฮตฬ“ฮณฮตฮฝฮฝฮทฬฮธฮทฯ‚ * ฮฑฬ“ฯ€ฮฟฮธฮฑฬฮฝฮทอ…ฯ‚ ฮฟฯ…ฬ“ ฯ„ฮฟฬ€ฮฝ ฮบฮฟฮนฮฝฮฟฬ€ฮฝ ฮตฬ“ฮบ ฯ„ฮฟฯ…อ‚ ฮถฮทอ‚ฮฝ ฯ„ฯฮฟฬฯ€ฮฟฮฝ, ฮฑฬ“ฮปฮป' ฯ…ฬ”ฯ€ฮฟฬ€ ฯ€ฮฑฯ„ฯฮฟฬ€ฯ‚ ฮนฬ“ฮดฮนฬฮฟฯ… ฮธฮตฯ‰อ‚อ… ฯ„ฯ‰อ‚อ… ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฯ€ฮฑฯ„ฯฮนฬ€ ฮฝฮฟฬฮผฯ‰อ… ฮธฯ…ฯƒฮนฬฮฑฯ‚ ฯ€ฯฮฟฯ€ฮตฮผฯ€ฮฟฬฮผฮตฮฝฮฟฯ‚, ฮฑฬ“ฬฮพฮนฮฟฮฝ ฮฟฮนฬ“อ‚ฮผฮฑฮนฬ ฯƒฮต ฮบฯฮนฬฮฝฮฑฮฝฯ„ฮฟฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฯ…อ‚ ฮผฮทฬฯ„ฮต ฮฝฮฟฬฯƒฯ‰อ… ฮผฮทฬฯ„ฮต ฯ€ฮฟฮปฮตฬฮผฯ‰อ… ฮผฮทฬฯ„ฮต ฮฑฬ“ฬฮปฮปฯ‰อ… ฯ„ฮนฮฝฮนฬ€ ฯ„ฯ‰อ‚ฮฝ ฯ€ฮฑฮธฯ‰อ‚ฮฝ, ฮฑฬ”ฬ€ ฯƒฯ…ฮผฯ€ฮนฬฯ€ฯ„ฮตฮนฮฝ ฯ€ฮตฬฯ†ฯ…ฮบฮตฮฝ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฮนฯ‚, ฮฑฬ“ฯ€ฮฑฮปฮปฮฑฮณฮทอ‚ฮฝฮฑฮน ฯ„ฮฟฯ…อ‚ ฮฒฮนฬฮฟฯ…," "1.23. ฮฟฬ” ฮด' ฮทฬ”ฮผฮตฬฯ„ฮตฯฮฟฯ‚ ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮทฯ‚ ฮฑฬ“ฮบฯฮฑฮนฯ†ฮฝฮทอ‚ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฯฮตฯ„ฮทฬ€ฮฝ ฮตฬ“ฬฯ‡ฮฟฮฝฯ„ฮฑ ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฮฑฬ“ฯ€ฮฟฯ†ฮทฬฮฝฮฑฯ‚ ฯ‰ฬ“อ…ฮทฬฮธฮท ฮดฮตฮนอ‚ฮฝ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฯ…ฯ‚ ฮตฬ“ฮบฮตฮนฬฮฝฮทฯ‚ ฯ€ฮตฮนฯฮฑอ‚ฯƒฮธฮฑฮน ฮผฮตฯ„ฮฑฮปฮฑฮผฮฒฮฑฬฮฝฮตฮนฮฝ ฮบฮฑฮนฬ€ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮผฮทฬ€ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯ†ฯฮฟฮฝฮฟฯ…อ‚ฮฝฯ„ฮฑฯ‚ ฮผฮทฮดฮตฬ€ ฮผฮทฬ€ฮฝ ฯ€ฮนฯƒฯ„ฮตฯ…ฬฮฟฮฝฯ„ฮฑฯ‚ ฮฑฬ“ฯ€ฮฑฯฮฑฮนฯ„ฮทฬฯ„ฯ‰ฯ‚ ฮตฬ“ฮบฮฟฬฮปฮฑฯƒฮต." "1.24. ฮผฮฑฯฯ„ฯ…ฯฮตฮนอ‚ ฮดฮตฬ ฮผฮฟฯ… ฯ„ฯ‰อ‚อ… ฮปฮฟฬฮณฯ‰อ… ฬ“ฮ‘ฮปฮตฬฮพฮฑฮฝฮดฯฮฟฯ‚ ฮฟฬ” ฯ€ฮฟฮปฯ…ฮนฬฯƒฯ„ฯ‰ฯ ฮปฮตฬฮณฯ‰ฮฝ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚: โ€œฮšฮปฮตฮฟฬฮดฮทฮผฮฟฯ‚ ฮดฮตฬ ฯ†ฮทฯƒฮนฮฝ ฮฟฬ” ฯ€ฯฮฟฯ†ฮทฬฯ„ฮทฯ‚ ฮฟฬ” ฮบฮฑฮนฬ€ ฮœฮฑฬฮปฯ‡ฮฟฯ‚ ฮนฬ”ฯƒฯ„ฮฟฯฯ‰อ‚ฮฝ ฯ„ฮฑฬ€ ฯ€ฮตฯฮนฬ€ ฬ“ฮ™ฮฟฯ…ฮดฮฑฮนฬฯ‰ฮฝ, ฮบฮฑฮธฯ‰ฬ€ฯ‚ ฮบฮฑฮนฬ€ ฮœฯ‰ฯ…ฯƒฮทอ‚ฯ‚ ฮนฬ”ฯƒฯ„ฮฟฬฯฮทฯƒฮตฮฝ ฮฟฬ” ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮทฯ‚ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ, ฮฟฬ”ฬฯ„ฮน ฮตฬ“ฮบ ฯ„ฮทอ‚ฯ‚ ฮšฮฑฯ„ฮฟฯ…ฬฯฮฑฯ‚ ฬ”ฮ‘ฮฒฯฮฑฬฮผฯ‰อ… ฮตฬ“ฮณฮตฬฮฝฮฟฮฝฯ„ฮฟ ฯ€ฮฑฮนอ‚ฮดฮตฯ‚ ฮนฬ”ฮบฮฑฮฝฮฟฮนฬ.' "1.24. ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮฑฯ…ฬฯ„ฮทฮฝ ฮฟฯ…ฬ“อ‚ฮฝ ฯ„ฮทฬ€ฮฝ ฯ…ฬ”ฯ€ฮฟฬฮธฮตฯƒฮนฮฝ ฯ€ฮฟฮนฮตฮนอ‚ฯƒฮธฮฑฮน ฯ„ฮทฬ€ฮฝ ฮตฬ“ฮพฮตฬฯ„ฮฑฯƒฮนฮฝ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฑฬ“ฮฝฮฑฮณฮฝฯ‰ฯƒฮฟฮผฮตฬฮฝฮฟฯ…ฯ‚ ฯ€ฮฑฯฮฑฮบฮฑฮปฯ‰อ‚: ฯ†ฮฑฮฝฮตฮนอ‚ฯ„ฮฑฮน ฮณฮฑฬ€ฯ ฯƒฮบฮฟฯ€ฮฟฯ…ฮผฮตฬฮฝฮฟฮนฯ‚ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฮฟฯ…ฬ“ฮดฮตฬ€ฮฝ ฮฟฯ…ฬ“ฬฯ„' ฮฑฬ“ฬฮปฮฟฮณฮฟฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮฟฯ…ฬ“ฬฯ„ฮต ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮทฬ€ฮฝ ฮผฮตฮณฮฑฮปฮตฮนฮฟฬฯ„ฮทฯ„ฮฑ ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ†ฮนฮปฮฑฮฝฮธฯฯ‰ฯ€ฮนฬฮฑฮฝ ฮฑฬ“ฮฝฮฑฬฯฮผฮฟฯƒฯ„ฮฟฮฝ: ฯ€ฮฑฬฮฝฯ„ฮฑ ฮณฮฑฬ€ฯ ฯ„ฮทอ‚อ… ฯ„ฯ‰อ‚ฮฝ ฮฟฬ”ฬฮปฯ‰ฮฝ ฯ†ฯ…ฬฯƒฮตฮน ฯƒฯ…ฬฮผฯ†ฯ‰ฮฝฮฟฮฝ ฮตฬ“ฬฯ‡ฮตฮน ฯ„ฮทฬ€ฮฝ ฮดฮนฮฑฬฮธฮตฯƒฮนฮฝ, ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮฑฮนฬ“ฮฝฮนฯ„ฯ„ฮฟฮผฮตฬฮฝฮฟฯ… ฯ„ฮฟฯ…อ‚ ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮฟฯ… ฮดฮตฮพฮนฯ‰อ‚ฯ‚, ฯ„ฮฑฬ€ ฮด' ฮฑฬ“ฮปฮปฮทฮณฮฟฯฮฟฯ…อ‚ฮฝฯ„ฮฟฯ‚ ฮผฮตฯ„ฮฑฬ€ ฯƒฮตฮผฮฝฮฟฬฯ„ฮทฯ„ฮฟฯ‚, ฮฟฬ”ฬฯƒฮฑ ฮด' ฮตฬ“ฮพ ฮตฯ…ฬ“ฮธฮตฮนฬฮฑฯ‚ ฮปฮตฬฮณฮตฯƒฮธฮฑฮน ฯƒฯ…ฮฝฮตฬฯ†ฮตฯฮต, ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯฬ”ฮทฯ„ฯ‰อ‚ฯ‚ ฮตฬ“ฮผฯ†ฮฑฮฝฮนฬฮถฮฟฮฝฯ„ฮฟฯ‚." '1.25. ฮทฬ“ฮพฮนฬฮฟฯ… ฯ„ฮต ฯ€ฮฑฯ' ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮบฮฑฯ„ฮฑฯ‡ฮธฮทอ‚ฮฝฮฑฮน ฯ„ฮฟฯ…อ‚ ฯ€ฯฮฟฯƒฯ‰ฯ„ฮตฬฯฯ‰ ฯ‡ฯ‰ฯฮตฮนอ‚ฮฝ ฯ„ฮทอ‚ฯ‚ ฮฝฯ…ฮบฯ„ฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฯ†ฮฑฮนฯฮฟฯ…ฮผฮตฬฮฝฮทฯ‚, ฮบฮฟฬฯƒฮผฮฟฮฝ ฯ„ฮต ฯ†ฮตฬฯฯ‰ฮฝ ฮณฯ…ฮฝฮฑฮนฮบฮตฮนอ‚ฮฟฮฝ ฯ€ฮฟฮปฯ…ฯ„ฮตฮปฮทอ‚ ฯ€ฮนฯƒฯ„ฮตฯ…ฬฮตฮนฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮฟฯ…ฬ“ฮบ ฮฑฬ“ฯƒฯ†ฮฑฮปฮตฯƒฯ„ฮตฬฯฮฟฮนฯ‚ ฮตฬ“ฬฯ†ฮฑฯƒฮบฮตฮฝ ฮทฬ“ฬ€ ฯ„ฮฟฯ…ฬฯ„ฮฟฮนฯ‚, ฮฟฮนฬ”อ‚ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฯ‚ ฮตฬ“ฯ€ฮตฮนฯฮฑฬฮธฮท. ฯ„ฮตฮบฮผฮฑฮนฬฯฮตฯƒฮธฮฑฮน ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ„ฮทอ‚ฯ‚ ฮผฮทฯ„ฯฮฟฬ€ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฑฬ“ฮดฮตฮปฯ†ฮฟฯ…อ‚ ฯ†ฮนฮปฮฑฮฝฮธฯฯ‰ฯ€ฮนฬฮฑฮฝ ฮฑฯ…ฬ“ฯ„ฮทอ‚ฯ‚ ฮตฬ“ฬฮปฮตฮณฮตฮฝ, ฯ‰ฬ”ฯ‚ ฮฟฯ…ฬ“ ฮดฯ…ฯƒฯ‡ฮตฯฮฑฮฝฮฟฯ…อ‚ฯƒฮนฮฝ, ฮตฬ“ฮบ ฯ„ฮทอ‚ฯ‚ ฯ€ฮตฯฮนฬ€ ฮฑฯ…ฬ“ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฯฮตฯ„ฮทอ‚ฯ‚: ฮฟฯ…ฬ“ฮดฮตฬ€ ฮณฮฑฬ€ฯ ฮตฬ“ฬฯƒฮตฯƒฮธฮฑฮน ฮฒฮฑฯฯ…ฬ€ฯ‚ ฮผฮนฯƒฮธฮฟฬฮฝ ฯ„ฮต ฯ„ฮทอ‚ฯ‚ ฯ†ฮนฮปฮฟฮพฮตฮฝฮนฬฮฑฯ‚ ฯ„ฮตฮปฮตฬฯƒฮฑฯ‚ ฮบฮฑฮนฬ€ ฮดฮฑฯ€ฮฑฬฮฝฮฑฮนฯ‚ ฮนฬ“ฮดฮนฬฮฑฮนฯ‚ ฯ‡ฯฮทฯƒฮฑฬฮผฮตฮฝฮฟฯ‚." "1.25. ฯ„ฮฟฮนอ‚ฯ‚ ฮผฮตฬฮฝฯ„ฮฟฮน ฮฒฮฟฯ…ฮปฮฟฮผฮตฬฮฝฮฟฮนฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ฯ‚ ฮฑฮนฬ“ฯ„ฮนฬฮฑฯ‚ ฮตฬ”ฮบฮฑฬฯƒฯ„ฮฟฯ… ฯƒฮบฮฟฯ€ฮตฮนอ‚ฮฝ ฯ€ฮฟฮปฮปฮทฬ€ ฮณฮตฬฮฝฮฟฮนฯ„' ฮฑฬ“ฬ€ฮฝ ฮทฬ” ฮธฮตฯ‰ฯฮนฬฮฑ ฮบฮฑฮนฬ€ ฮปฮนฬฮฑฮฝ ฯ†ฮนฮปฮฟฬฯƒฮฟฯ†ฮฟฯ‚, ฮทฬ”ฬ€ฮฝ ฮตฬ“ฮณฯ‰ฬ€ ฮฝฯ…อ‚ฮฝ ฮผฮตฬ€ฮฝ ฯ…ฬ”ฯ€ฮตฯฮฒฮฑฬฮปฮปฮฟฮผฮฑฮน, ฮธฮตฮฟฯ…อ‚ ฮดฮตฬ€ ฮดฮนฮดฮฟฬฮฝฯ„ฮฟฯ‚ ฮทฬ”ฮผฮนอ‚ฮฝ ฯ‡ฯฮฟฬฮฝฮฟฮฝ ฯ€ฮตฮนฯฮฑฬฯƒฮฟฮผฮฑฮน ฮผฮตฯ„ฮฑฬ€ ฯ„ฮฑฯ…ฬฯ„ฮทฮฝ ฮณฯฮฑฬฯˆฮฑฮน ฯ„ฮทฬ€ฮฝ ฯ€ฯฮฑฮณฮผฮฑฯ„ฮตฮนฬฮฑฮฝ." "1.26. ฮฟฬ”ฯฯ‰อ‚ฮฝ ฮณฮฑฬ€ฯ ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฯ„ฯ‰อ‚อ… ฬ“ฮ™ฯƒฮฑฬฮบฯ‰อ… ฯƒฯ…ฮผฯ€ฮฑฯฮฟฬฮฝฯ„ฮฑ ฮบฮฑฮนฬ€ ฯ„ฮฟฯƒฮฑฯ…ฬฯ„ฮทอ… ฯ€ฮตฯฮนฬ€ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฯƒฯ€ฮฟฯ…ฮดฮทอ‚อ… ฯ‡ฯฯ‰ฬฮผฮตฮฝฮฟฮฝ ฮฑฬ“ฯ€ฯ‰ฬฯƒฮฑฯ„ฮฟ ฮฑฯ…ฬ“ฯ„ฮฟฬฮฝ. ฮฟฬ” ฮดฮตฬ€ ฯ„ฮฟฮนฮฟฯ…ฬฯ„ฮฟฯ… ฯ€ฮฑฬฮปฮนฮฝ ฮตฬ“ฮบ ฮผฮตฯ„ฮฑฮฒฮฟฮปฮทอ‚ฯ‚ ฯ„ฮทอ‚ฯ‚ ฮฑฬ“ฯ€ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฮฒฮฑฯƒฮบฮฑฬฮฝฮฟฯ… ฯ€ฮตฮนฯฮฑฮธฮตฮนฬ€ฯ‚ ฬ“ฮ‘ฮฒฮนฮผฮตฮปฮตฬฯ‡ฮฟฯ… ฯ„ฮฟฬฯ„ฮต ฮผฮตฬ€ฮฝ ฮฑฬ“ฮฝฮตฯ‡ฯ‰ฬฯฮทฯƒฮตฮฝ ฮตฮนฬ“ฯ‚ ฯ„ฮทฬ€ฮฝ ฮปฮตฮณฮฟฮผฮตฬฮฝฮทฮฝ ฮฆฮฑฬฯฮฑฮณฮณฮฑ ฯ‡ฯ‰ฯฮนฬฮฟฮฝ ฮฟฯ…ฬ“ ฮผฮฑฮบฯฮฑฬ€ฮฝ ฮ“ฮตฯฮฑฬฯฯ‰ฮฝ, ฮฟฬ“ฯฯ…ฬฯƒฯƒฮฟฮฝฯ„ฮน ฮด' ฮฑฯ…ฬ“ฯ„ฯ‰อ‚อ… ฯ†ฯฮตฬฮฑฯ ฯ€ฮฟฮนฮผฮตฬฮฝฮตฯ‚ ฮตฬ“ฯ€ฮนฯ€ฮตฯƒฮฟฬฮฝฯ„ฮตฯ‚ ฮตฮนฬ“ฯ‚ ฮผฮฑฬฯ‡ฮทฮฝ ฮตฬ“ฯ‡ฯ‰ฬฯฮทฯƒฮฑฮฝ ฮบฯ‰ฮปฯ…ฬฮฟฮฝฯ„ฮตฯ‚ ฯ„ฮฟฬ€ ฮตฬ“ฬฯฮณฮฟฮฝ, ฮบฮฑฮนฬ€ ฮผฮทฬ€ ฮฒฮฟฯ…ฮปฮทฮธฮตฬฮฝฯ„ฮฟฯ‚ ฯ†ฮนฮปฮฟฮฝฮนฮบฮตฮนอ‚ฮฝ ฮตฬ“ฬฮดฮฟฮพฮฑฮฝ ฮบฮตฮบฯฮฑฯ„ฮทฮบฮตฬฮฝฮฑฮน." '1.26. ฯ„ฯฮตฬฯˆฮฟฮผฮฑฮน ฮดฮตฬ€ ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฯ†ฮทฬฮณฮทฯƒฮนฮฝ ฮทฬ“ฬฮดฮท ฯ„ฯ‰อ‚ฮฝ ฯ€ฯฮฑฮณฮผฮฑฬฯ„ฯ‰ฮฝ ฮผฮฝฮทฯƒฮธฮตฮนฬ€ฯ‚ ฯ€ฯฮฟฬฯ„ฮตฯฮฟฮฝ ฯ‰ฬ”อ‚ฮฝ ฯ€ฮตฯฮนฬ€ ฯ„ฮทอ‚ฯ‚ ฯ„ฮฟฯ…อ‚ ฮบฮฟฬฯƒฮผฮฟฯ… ฮบฮฑฯ„ฮฑฯƒฮบฮตฯ…ฮทอ‚ฯ‚ ฮตฮนฬ“อ‚ฯ€ฮต ฮœฯ‰ฯ…ฯƒฮทอ‚ฯ‚: ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮด' ฮตฬ“ฮฝ ฯ„ฮฑฮนอ‚ฯ‚ ฮนฬ”ฮตฯฮฑฮนอ‚ฯ‚ ฮฒฮนฬฮฒฮปฮฟฮนฯ‚ ฮตฯ…ฬ”อ‚ฯฮฟฮฝ ฮฑฬ“ฮฝฮฑฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฑ. ฮตฬ“ฬฯ‡ฮตฮน ฮดฮตฬ€ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚:" "
3.91. ฮ”ฮนฮดฮฑฬฯƒฮบฮตฮน ฮผฮตฬ€ฮฝ ฮฟฯ…ฬ“อ‚ฮฝ ฮทฬ”ฮผฮฑอ‚ฯ‚ ฮฟฬ” ฯ€ฯฯ‰อ‚ฯ„ฮฟฯ‚ ฮปฮฟฬฮณฮฟฯ‚, ฮฟฬ”ฬฯ„ฮน ฮธฮตฮฟฬฯ‚ ฮตฬ“ฯƒฯ„ฮนฮฝ ฮตฮนฬ”อ‚ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฯ…อ‚ฯ„ฮฟฮฝ ฮดฮตฮนอ‚ ฯƒฮตฬฮฒฮตฯƒฮธฮฑฮน ฮผฮฟฬฮฝฮฟฮฝ: ฮฟฬ” ฮดฮตฬ€ ฮดฮตฯ…ฬฯ„ฮตฯฮฟฯ‚ ฮบฮตฮปฮตฯ…ฬฮตฮน ฮผฮทฮดฮตฮฝฮฟฬ€ฯ‚ ฮตฮนฬ“ฮบฮฟฬฮฝฮฑ ฮถฯ‰ฬอ…ฮฟฯ… ฯ€ฮฟฮนฮทฬฯƒฮฑฮฝฯ„ฮฑฯ‚ ฯ€ฯฮฟฯƒฮบฯ…ฮฝฮตฮนอ‚ฮฝ: ฮฟฬ” ฯ„ฯฮนฬฯ„ฮฟฯ‚ ฮดฮตฬ€ ฮตฬ“ฯ€ฮนฬ€ ฮผฮทฮดฮตฮฝฮนฬ€ ฯ†ฮฑฯ…ฬฮปฯ‰อ… ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฮฟฬ“ฮผฮฝฯ…ฬฮฝฮฑฮน: ฮฟฬ” ฮดฮตฬ€ ฯ„ฮตฬฯ„ฮฑฯฯ„ฮฟฯ‚ ฯ€ฮฑฯฮฑฯ„ฮทฯฮตฮนอ‚ฮฝ ฯ„ฮฑฬ€ฯ‚ ฮตฬ”ฮฒฮดฮฟฮผฮฑฬฮดฮฑฯ‚ ฮฑฬ“ฮฝฮฑฯ€ฮฑฯ…ฮฟฮผฮตฬฮฝฮฟฯ…ฯ‚ ฮฑฬ“ฯ€ฮฟฬ€ ฯ€ฮฑฮฝฯ„ฮฟฬ€ฯ‚ ฮตฬ“ฬฯฮณฮฟฯ…:
3.181. ฯ„ฮทฬฮฝ ฯ„ฮต ฮณฮฑฬ€ฯ ฯƒฮบฮทฮฝฮทฬ€ฮฝ ฯ„ฯฮนฮฑฬฮบฮฟฮฝฯ„ฮฑ ฯ€ฮทฯ‡ฯ‰อ‚ฮฝ ฮฟฯ…ฬ“อ‚ฯƒฮฑฮฝ ฮฝฮตฮนฬฮผฮฑฯ‚ ฮตฮนฬ“ฯ‚ ฯ„ฯฮนฬฮฑ ฮบฮฑฮนฬ€ ฮดฯ…ฬฮฟ ฮผฮตฬฯฮท ฯ€ฮฑอ‚ฯƒฮนฮฝ ฮฑฬ“ฮฝฮตฮนฬ€ฯ‚ ฯ„ฮฟฮนอ‚ฯ‚ ฮนฬ”ฮตฯฮตฯ…อ‚ฯƒฮนฮฝ ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮฒฮตฬฮฒฮทฮปฮฟฬฮฝ ฯ„ฮนฮฝฮฑ ฮบฮฑฮนฬ€ ฮบฮฟฮนฮฝฮฟฬ€ฮฝ ฯ„ฮฟฬฯ€ฮฟฮฝ, ฯ„ฮทฬ€ฮฝ ฮณฮทอ‚ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฮธฮฑฬฮปฮฑฯƒฯƒฮฑฮฝ ฮฑฬ“ฯ€ฮฟฯƒฮทฮผฮฑฮนฬฮฝฮตฮน: ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯ€ฮฑอ‚ฯƒฮนฬฮฝ ฮตฬ“ฯƒฯ„ฮนฮฝ ฮตฬ“ฯ€ฮนฮฒฮฑฯ„ฮฑฬ. ฯ„ฮทฬ€ฮฝ ฮดฮตฬ€ ฯ„ฯฮนฬฯ„ฮทฮฝ ฮผฮฟฮนอ‚ฯฮฑฮฝ ฮผฮฟฬฮฝฯ‰อ… ฯ€ฮตฯฮนฮตฬฮณฯฮฑฯˆฮต ฯ„ฯ‰อ‚อ… ฮธฮตฯ‰อ‚อ… ฮดฮนฮฑฬ€ ฯ„ฮฟฬ€ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฬ€ฮฝ ฮฑฬ“ฮฝฮตฯ€ฮนฬฮฒฮฑฯ„ฮฟฮฝ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฮนฯ‚. 3.182. ฮตฬ“ฯ€ฮนฬ ฯ„ฮต ฯ„ฮทอ‚อ… ฯ„ฯฮฑฯ€ฮตฬฮถฮทอ… ฯ„ฮฟฯ…ฬ€ฯ‚ ฮดฯ‰ฬฮดฮตฮบฮฑ ฯ„ฮนฮธฮตฮนฬ€ฯ‚ ฮฑฬ“ฬฯฯ„ฮฟฯ…ฯ‚ ฮฑฬ“ฯ€ฮฟฯƒฮทฮผฮฑฮนฬฮฝฮตฮน ฯ„ฮฟฬ€ฮฝ ฮตฬ“ฮฝฮนฮฑฯ…ฯ„ฮฟฬ€ฮฝ ฮตฮนฬ“ฯ‚ ฯ„ฮฟฯƒฮฟฯ…ฬฯ„ฮฟฯ…ฯ‚ ฮผฮทอ‚ฮฝฮฑฯ‚ ฮดฮนฮทอ…ฯฮทฮผฮตฬฮฝฮฟฮฝ. ฯ„ฮทฬ€ฮฝ ฮดฮตฬ€ ฮปฯ…ฯ‡ฮฝฮนฬฮฑฮฝ ฮตฬ“ฮพ ฮตฬ”ฮฒฮดฮฟฮผฮทฬฮบฮฟฮฝฯ„ฮฑ ฮผฮฟฯฮนฬฯ‰ฮฝ ฯ€ฮฟฮนฮทฬฯƒฮฑฯ‚ ฯƒฯ…ฮณฮบฮตฮนฮผฮตฬฮฝฮทฮฝ ฯ„ฮฑฬ€ฯ‚ ฯ„ฯ‰อ‚ฮฝ ฯ€ฮปฮฑฮฝฮทฯ„ฯ‰อ‚ฮฝ ฮดฮตฮบฮฑฮผฮฟฮนฯฮนฬฮฑฯ‚ ฮทฬ“อ…ฮฝฮนฬฮพฮฑฯ„ฮฟ: ฮบฮฑฮนฬ€ ฮปฯ…ฬฯ‡ฮฝฮฟฯ…ฯ‚ ฯ…ฬ”ฯ€ฮตฬ€ฯ ฮฑฯ…ฬ“ฯ„ฮทอ‚ฯ‚ ฮตฬ”ฯ€ฯ„ฮฑฬ, ฯ„ฯ‰อ‚ฮฝ ฯ€ฮปฮฑฮฝฮทฯ„ฯ‰อ‚ฮฝ ฯ„ฮทฬ€ฮฝ ฯ†ฮฟฯฮฑฬฮฝ: ฯ„ฮฟฯƒฮฟฯ…อ‚ฯ„ฮฟฮน ฮณฮฑฬฯ ฮตฮนฬ“ฯƒฮน ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฯฮนฮธฮผฮฟฬฮฝ.' "3.183. ฯ„ฮฑฬ ฯ„ฮต ฯ†ฮฑฬฯฯƒฮท ฮตฬ“ฮบ ฯ„ฮตฯƒฯƒฮฑฬฯฯ‰ฮฝ ฯ…ฬ”ฯ†ฮฑฮฝฮธฮตฬฮฝฯ„ฮฑ ฯ„ฮทฬ€ฮฝ ฯ„ฯ‰อ‚ฮฝ ฯƒฯ„ฮฟฮนฯ‡ฮตฮนฬฯ‰ฮฝ ฯ†ฯ…ฬฯƒฮนฮฝ ฮดฮทฮปฮฟฮนอ‚: ฮทฬ”ฬ ฯ„ฮต ฮณฮฑฬ€ฯ ฮฒฯ…ฬฯƒฯƒฮฟฯ‚ ฯ„ฮทฬ€ฮฝ ฮณฮทอ‚ฮฝ ฮฑฬ“ฯ€ฮฟฯƒฮทฮผฮฑฮนฬฮฝฮตฮนฮฝ ฮตฬ“ฬฮฟฮนฮบฮต ฮดฮนฮฑฬ€ ฯ„ฮฟฬ€ ฮตฬ“ฮพ ฮฑฯ…ฬ“ฯ„ฮทอ‚ฯ‚ ฮฑฬ“ฮฝฮตฮนอ‚ฯƒฮธฮฑฮน ฯ„ฮฟฬ€ ฮปฮนฬฮฝฮฟฮฝ, ฮทฬ”ฬ ฯ„ฮต ฯ€ฮฟฯฯ†ฯ…ฬฯฮฑ ฯ„ฮทฬ€ฮฝ ฮธฮฑฬฮปฮฑฯƒฯƒฮฑฮฝ ฯ„ฯ‰อ‚อ… ฯ€ฮตฯ†ฮฟฮนฮฝฮนอ‚ฯ‡ฮธฮฑฮน ฯ„ฯ‰อ‚ฮฝ ฮนฬ“ฯ‡ฮธฯ…ฬฯ‰ฮฝ ฯ„ฯ‰อ‚อ… ฮฑฮนฬ”ฬฮผฮฑฯ„ฮน, ฯ„ฮฟฬ€ฮฝ ฮดฮตฬ€ ฮฑฬ“ฮตฬฯฮฑ ฮฒฮฟฯ…ฬฮปฮตฯ„ฮฑฮน ฮดฮทฮปฮฟฯ…อ‚ฮฝ ฮฟฬ” ฯ…ฬ”ฮฑฬฮบฮนฮฝฮธฮฟฯ‚, ฮบฮฑฮนฬ€ ฮฟฬ” ฯ†ฮฟฮนอ‚ฮฝฮนฮพ ฮด' ฮฑฬ“ฬ€ฮฝ ฮตฮนฬ“ฬฮท ฯ„ฮตฮบฮผฮทฬฯฮนฮฟฮฝ ฯ„ฮฟฯ…อ‚ ฯ€ฯ…ฯฮฟฬฯ‚." "3.184. ฮฑฬ“ฯ€ฮฟฯƒฮทฮผฮฑฮนฬฮฝฮตฮน ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฮฟฬ” ฯ„ฮฟฯ…อ‚ ฮฑฬ“ฯฯ‡ฮนฮตฯฮตฬฯ‰ฯ‚ ฯ‡ฮนฯ„ฯ‰ฬ€ฮฝ ฯ„ฮทฬ€ฮฝ ฮณฮทอ‚ฮฝ ฮปฮนฬฮฝฮตฮฟฯ‚ ฯ‰ฬ“ฬฮฝ, ฮฟฬ” ฮดฮตฬ€ ฯ…ฬ”ฮฑฬฮบฮนฮฝฮธฮฟฯ‚ ฯ„ฮฟฬ€ฮฝ ฯ€ฮฟฬฮปฮฟฮฝ, ฮฑฬ“ฯƒฯ„ฯฮฑฯ€ฮฑฮนอ‚ฯ‚ ฮผฮตฬ€ฮฝ ฮบฮฑฯ„ฮฑฬ€ ฯ„ฮฟฯ…ฬ€ฯ‚ ฯฬ”ฮฟฮนฬฬˆฯƒฮบฮฟฯ…ฯ‚ ฮฑฬ“ฯ€ฮตฮนฮบฮฑฯƒฮผฮตฬฮฝฮฟฯ‚ ฮฒฯฮฟฮฝฯ„ฮฑฮนอ‚ฯ‚ ฮดฮตฬ€ ฮบฮฑฯ„ฮฑฬ€ ฯ„ฮฟฬ€ฮฝ ฯ„ฯ‰อ‚ฮฝ ฮบฯ‰ฮดฯ‰ฬฮฝฯ‰ฮฝ ฯˆฮฟฬฯ†ฮฟฮฝ. ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฮตฬ“ฯ†ฮฑฯ€ฯ„ฮนฬฮดฮฑ ฯ„ฮฟฯ…อ‚ ฯ€ฮฑฮฝฯ„ฮฟฬ€ฯ‚ ฯ„ฮทฬ€ฮฝ ฯ†ฯ…ฬฯƒฮนฮฝ ฮตฬ“ฮบ ฯ„ฮตฯƒฯƒฮฑฬฯฯ‰ฮฝ ฮดฮฟฯ‡ฮธฮตฮนอ‚ฯƒฮฑฮฝ ฮณฮตฮฝฮตฬฯƒฮธฮฑฮน ฯ„ฯ‰อ‚อ… ฮธฮตฯ‰อ‚อ… ฯ‡ฯฯ…ฯƒฯ‰อ‚อ… ฯƒฯ…ฮฝฯ…ฯ†ฮฑฯƒฮผฮตฬฮฝฮทฮฝ ฮบฮฑฯ„' ฮตฬ“ฯ€ฮนฬฮฝฮฟฮนฮฑฮฝ ฮฟฮนฬ“อ‚ฮผฮฑฮน ฯ„ฮทอ‚ฯ‚ ฯ€ฯฮฟฯƒฮฟฯ…ฬฯƒฮทฯ‚ ฮฑฬ”ฬฯ€ฮฑฯƒฮนฮฝ ฮฑฯ…ฬ“ฮณฮทอ‚ฯ‚." '3.185. ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮตฬ“ฯƒฯƒฮทอ‚ฮฝฮฑ ฮผฮตฬฯƒฮฟฮฝ ฮฟฬ“ฬฮฝฯ„ฮฑ ฯ„ฮทอ‚ฯ‚ ฮตฬ“ฯ†ฮฑฯ€ฯ„ฮนฬฮดฮฟฯ‚ ฮตฬ“ฮฝ ฯ„ฯฮฟฬฯ€ฯ‰อ… ฮณฮทอ‚ฯ‚ ฮตฬ“ฬฯ„ฮฑฮพฮต: ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮฑฯ…ฬ”ฬฯ„ฮท ฯ„ฮฟฬ€ฮฝ ฮผฮตฯƒฮฑฮนฬฯ„ฮฑฯ„ฮฟฮฝ ฯ„ฮฟฬฯ€ฮฟฮฝ ฮตฬ“ฬฯ‡ฮตฮน: ฮถฯ‰ฬฮฝฮทอ… ฯ„ฮต ฯ€ฮตฯฮนฮฟฮดฮตฯ…ฬฯƒฮฑฯ‚ ฯ„ฮฟฬ€ฮฝ ฯ‰ฬ“ฮบฮตฮฑฮฝฮฟฬ€ฮฝ ฮฑฬ“ฯ€ฮฟฯƒฮทฮผฮฑฮนฬฮฝฮตฮน: ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮฟฯ…ฬ”อ‚ฯ„ฮฟฯ‚ ฮตฬ“ฮผฯ€ฮตฯฮนฮตฮนฬฮปฮทฯ†ฮต ฯ„ฮฑฬ€ ฯ€ฮฑฬฮฝฯ„ฮฑ. ฮดฮทฮปฮฟฮนอ‚ ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮทฬ”ฬฮปฮนฮฟฮฝ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯƒฮตฮปฮทฬฮฝฮทฮฝ ฯ„ฯ‰อ‚ฮฝ ฯƒฮฑฯฮดฮฟฮฝฯ…ฬฯ‡ฯ‰ฮฝ ฮตฬ”ฮบฮฑฬฯ„ฮตฯฮฟฯ‚, ฮฟฮนฬ”อ‚ฯ‚ ฮตฬ“ฮฝฮตฯ€ฮฟฬฯฯ€ฯ‰ฯƒฮต ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฯฯ‡ฮนฮตฯฮตฬฮฑ.' "3.186. ฯ„ฮทฬฮฝ ฯ„ฮต ฮดฯ‰ฮดฮตฮบฮฑฬฮดฮฑ ฯ„ฯ‰อ‚ฮฝ ฮปฮนฬฮธฯ‰ฮฝ ฮตฮนฬ“ฬฯ„ฮต ฯ„ฮฟฯ…ฬ€ฯ‚ ฮผฮทอ‚ฮฝฮฑฬฯ‚ ฯ„ฮนฯ‚ ฮธฮตฬฮปฮฟฮน ฮฝฮฟฮตฮนอ‚ฮฝ, ฮตฮนฬ“ฬฯ„ฮต ฯ„ฮฟฬ€ฮฝ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฮฑฬ“ฯฮนฮธฮผฮฟฬ€ฮฝ ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฯƒฯ„ฮตฬฯฯ‰ฮฝ, ฮฟฬ”ฬ€ฮฝ ฮถฯ‰ฮดฮนฮฑฮบฮฟฬ€ฮฝ ฮบฯ…ฬฮบฮปฮฟฮฝ ฬ”ฬฮ•ฮปฮปฮทฮฝฮตฯ‚ ฮบฮฑฮปฮฟฯ…อ‚ฯƒฮน, ฯ„ฮทอ‚ฯ‚ ฮบฮฑฯ„' ฮตฬ“ฮบฮตฮนอ‚ฮฝฮฟ ฮณฮฝฯ‰ฬฮผฮทฯ‚ ฮฟฯ…ฬ“ฮบ ฮฑฬ“ฬ€ฮฝ ฮฑฬ”ฮผฮฑฬฯฯ„ฮฟฮน: ฮบฮฑฮนฬ€ ฮฟฬ” ฯ€ฮนอ‚ฮปฮฟฯ‚ ฮดฮตฬ ฮผฮฟฮน ฮดฮฟฮบฮตฮนอ‚ ฯ„ฮฟฬ€ฮฝ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฬ€ฮฝ ฯ„ฮตฮบฮผฮทฯฮนฮฟฯ…อ‚ฮฝ ฯ…ฬ”ฮฑฮบฮนฬฮฝฮธฮนฮฝฮฟฯ‚ ฯ€ฮตฯ€ฮฟฮนฮทฮผฮตฬฮฝฮฟฯ‚," "
3.203. ฮฟฬ” ฮผฮตฬ€ฮฝ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฬ€ฯ‚ ฮบฮฑฮธฮฑฯฮฟฬ€ฯ‚ ฮทฬ“อ‚ฮฝ, ฯ…ฬ”ฯ€ฮตฬ€ฯ ฮดฮตฬ€ ฯ„ฮทฬ€ฮฝ ฯƒฮบฮทฮฝฮทฬ€ฮฝ ฮผฮฟฬฮฝฮทฮฝ ฮทฬ“ฬฯ‡ฮปฯ…ฯƒฮตฮฝ ฮฟฯ…ฬ“ฬฯ„ฮต ฮฒฮฑฮธฮตฮนอ‚ ฯ€ฮฑฬฮฝฯ… ฮฝฮตฬฯ†ฮตฮน ฮบฮฑฮนฬ€ ฯ€ฯ…ฮบฮฝฯ‰อ‚อ… ฯ€ฮตฯฮนฮปฮฑฮฒฯ‰ฬ€ฮฝ ฮฑฯ…ฬ“ฯ„ฮทฬฮฝ, ฯ‰ฬ”ฬฯƒฯ„' ฮตฮนฬ“อ‚ฮฝฮฑฮน ฮดฮฟฬฮพฮฑฮน ฯ‡ฮตฮนฮผฮตฬฯฮนฮฟฮฝ, ฮฟฯ…ฬ“ฬฯ„ฮต ฮผฮทฬ€ฮฝ ฮปฮตฯ€ฯ„ฮฟฬ€ฮฝ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚, ฯ‰ฬ”ฬฯƒฯ„ฮต ฯ„ฮทฬ€ฮฝ ฮฟฬ“ฬฯˆฮนฮฝ ฮนฬ“ฯƒฯ‡ฯ…ฬฯƒฮฑฮน ฯ„ฮน ฮดฮน' ฮฑฯ…ฬ“ฯ„ฮฟฯ…อ‚ ฮบฮฑฯ„ฮฑฮฝฮฟฮทอ‚ฯƒฮฑฮน: ฮทฬ”ฮดฮตฮนอ‚ฮฑ ฮดฮตฬ€ ฮฑฬ“ฯ€' ฮฑฯ…ฬ“ฯ„ฮฟฯ…อ‚ ฮดฯฮฟฬฯƒฮฟฯ‚ ฮตฬ“ฬฯฯฮตฮน ฮบฮฑฮนฬ€ ฮธฮตฮฟฯ…อ‚ ฮดฮทฮปฮฟฯ…อ‚ฯƒฮฑ ฯ€ฮฑฯฮฟฯ…ฯƒฮนฬฮฑฮฝ ฯ„ฮฟฮนอ‚ฯ‚ ฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฮบฮฑฮนฬ€ ฮฒฮฟฯ…ฮปฮฟฮผฮตฬฮฝฮฟฮนฯ‚ ฮบฮฑฮนฬ€ ฯ€ฮตฯ€ฮนฯƒฯ„ฮตฯ…ฮบฮฟฬฯƒฮน." "
14.231. ฮจฮทฬฯ†ฮนฯƒฮผฮฑ ฮ”ฮทฮปฮนฬฯ‰ฮฝ. ฮตฬ“ฯ€' ฮฑฬ“ฬฯฯ‡ฮฟฮฝฯ„ฮฟฯ‚ ฮ’ฮฟฮนฯ‰ฯ„ฮฟฯ…อ‚ ฮผฮทฮฝฮฟฬ€ฯ‚ ฮ˜ฮฑฯฮณฮทฮปฮนฯ‰อ‚ฮฝฮฟฯ‚ ฮตฮนฬ“ฮบฮฟฯƒฯ„ฮทอ‚อ… ฯ‡ฯฮทฮผฮฑฯ„ฮนฯƒฮผฮฟฬ€ฯ‚ ฯƒฯ„ฯฮฑฯ„ฮทฮณฯ‰อ‚ฮฝ. ฮœฮฑอ‚ฯฮบฮฟฯ‚ ฮ ฮตฮนฬฯƒฯ‰ฮฝ ฯ€ฯฮตฯƒฮฒฮตฯ…ฯ„ฮทฬ€ฯ‚ ฮตฬ“ฮฝฮดฮทฮผฯ‰อ‚ฮฝ ฮตฬ“ฮฝ ฯ„ฮทอ‚อ… ฯ€ฮฟฬฮปฮตฮน ฮทฬ”ฮผฯ‰อ‚ฮฝ ฮฟฬ” ฮบฮฑฮนฬ€ ฯ„ฮตฯ„ฮฑฮณฮผฮตฬฮฝฮฟฯ‚ ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮทอ‚ฯ‚ ฯƒฯ„ฯฮฑฯ„ฮฟฮปฮฟฮณฮนฬฮฑฯ‚ ฯ€ฯฮฟฯƒฮบฮฑฮปฮตฯƒฮฑฬฮผฮตฮฝฮฟฯ‚ ฮทฬ”ฮผฮฑอ‚ฯ‚ ฮบฮฑฮนฬ€ ฮนฬ”ฮบฮฑฮฝฮฟฯ…ฬ€ฯ‚ ฯ„ฯ‰อ‚ฮฝ ฯ€ฮฟฮปฮนฯ„ฯ‰อ‚ฮฝ ฯ€ฯฮฟฯƒฮตฬฯ„ฮฑฮพฮตฮฝ," '14.232. ฮนฬ”ฬฮฝฮฑ ฮตฮนฬ“ฬ ฯ„ฮนฮฝฮตฬฯ‚ ฮตฮนฬ“ฯƒฮนฮฝ ฬ“ฮ™ฮฟฯ…ฮดฮฑฮนอ‚ฮฟฮน ฯ€ฮฟฮปฮนอ‚ฯ„ฮฑฮน ฬ”ฮกฯ‰ฮผฮฑฮนฬฯ‰ฮฝ ฯ„ฮฟฯ…ฬฯ„ฮฟฮนฯ‚ ฮผฮทฮดฮตฮนฬ€ฯ‚ ฮตฬ“ฮฝฮฟฯ‡ฮปฮทอ‚อ… ฯ€ฮตฯฮนฬ€ ฯƒฯ„ฯฮฑฯ„ฮตฮนฬฮฑฯ‚, ฮดฮนฮฑฬ€ ฯ„ฮฟฬ€ ฯ„ฮฟฬ€ฮฝ ฯ…ฬ”ฬฯ€ฮฑฯ„ฮฟฮฝ ฮ›ฮฟฯ…ฬฮบฮนฮฟฮฝ ฮšฮฟฯฮฝฮทฬฮปฮนฮฟฮฝ ฮ›ฮตฬฮฝฯ„ฮปฮฟฮฝ ฮดฮตฮนฯƒฮนฮดฮฑฮนฮผฮฟฮฝฮนฬฮฑฯ‚ ฮตฬ”ฬฮฝฮตฮบฮฑ ฮฑฬ“ฯ€ฮฟฮปฮตฮปฯ…ฮบฮตฬฮฝฮฑฮน ฯ„ฮฟฯ…ฬ€ฯ‚ ฬ“ฮ™ฮฟฯ…ฮดฮฑฮนฬฮฟฯ…ฯ‚ ฯ„ฮทอ‚ฯ‚ ฯƒฯ„ฯฮฑฯ„ฮตฮนฬฮฑฯ‚. ฮดฮนฮฟฬ€ ฯ€ฮตฮนฬฮธฮตฯƒฮธฮฑฮน ฮทฬ”ฮผฮฑอ‚ฯ‚ ฮดฮตฮนอ‚ ฯ„ฯ‰อ‚อ… ฯƒฯ„ฯฮฑฯ„ฮทฮณฯ‰อ‚อ…. ฮฟฬ”ฬฮผฮฟฮนฮฑ ฮดฮตฬ€ ฯ„ฮฟฯ…ฬฯ„ฮฟฮนฯ‚ ฮบฮฑฮนฬ€ ฮฃฮฑฯฮดฮนฮฑฮฝฮฟฮนฬ€ ฯ€ฮตฯฮนฬ€ ฮทฬ”ฮผฯ‰อ‚ฮฝ ฮตฬ“ฯˆฮทฯ†ฮนฬฯƒฮฑฮฝฯ„ฮฟ.
18.55. ฮ ฮนฮปฮฑอ‚ฯ„ฮฟฯ‚ ฮดฮตฬ€ ฮฟฬ” ฯ„ฮทอ‚ฯ‚ ฬ“ฮ™ฮฟฯ…ฮดฮฑฮนฬฮฑฯ‚ ฮทฬ”ฮณฮตฮผฯ‰ฬ€ฮฝ ฯƒฯ„ฯฮฑฯ„ฮนฮฑฬ€ฮฝ ฮตฬ“ฮบ ฮšฮฑฮนฯƒฮฑฯฮตฮนฬฮฑฯ‚ ฮฑฬ“ฮณฮฑฮณฯ‰ฬ€ฮฝ ฮบฮฑฮนฬ€ ฮผฮตฮธฮนฮดฯฯ…ฬฯƒฮฑฯ‚ ฯ‡ฮตฮนฮผฮฑฮดฮนฮฟฯ…อ‚ฯƒฮฑฮฝ ฮตฬ“ฮฝ ฬ”ฮ™ฮตฯฮฟฯƒฮฟฮปฯ…ฬฮผฮฟฮนฯ‚ ฮตฬ“ฯ€ฮนฬ€ ฮบฮฑฯ„ฮฑฮปฯ…ฬฯƒฮตฮน ฯ„ฯ‰อ‚ฮฝ ฮฝฮฟฮผฮนฬฮผฯ‰ฮฝ ฯ„ฯ‰อ‚ฮฝ ฬ“ฮ™ฮฟฯ…ฮดฮฑฮนฬˆฮบฯ‰อ‚ฮฝ ฮตฬ“ฯ†ฯฮฟฬฮฝฮทฯƒฮต, ฯ€ฯฮฟฯ„ฮฟฮผฮฑฬ€ฯ‚ ฮšฮฑฮนฬฯƒฮฑฯฮฟฯ‚, ฮฑฮนฬ”ฬ€ ฯ„ฮฑฮนอ‚ฯ‚ ฯƒฮทฮผฮฑฮนฬฮฑฮนฯ‚ ฯ€ฯฮฟฯƒฮทอ‚ฯƒฮฑฮฝ, ฮตฮนฬ“ฯƒฮฑฮณฮฟฬฮผฮตฮฝฮฟฯ‚ ฮตฮนฬ“ฯ‚ ฯ„ฮทฬ€ฮฝ ฯ€ฮฟฬฮปฮนฮฝ, ฮตฮนฬ“ฮบฮฟฬฮฝฯ‰ฮฝ ฯ€ฮฟฮนฬฮทฯƒฮนฮฝ ฮฑฬ“ฯ€ฮฑฮณฮฟฯฮตฯ…ฬฮฟฮฝฯ„ฮฟฯ‚ ฮทฬ”ฮผฮนอ‚ฮฝ ฯ„ฮฟฯ…อ‚ ฮฝฮฟฬฮผฮฟฯ….' '. None
1.18. 4. But because almost all our constitution depends on the wisdom of Moses, our legislator, I cannot avoid saying somewhat concerning him beforehand, though I shall do it briefly; I mean, because otherwise those that read my book may wonder how it comes to pass, that my discourse, which promises an account of laws and historical facts, contains so much of philosophy.
1.18. where Melchisedec, king of the city Salem, received him. That name signifies, the righteous king: and such he was, without dispute, insomuch that, on this account, he was made the priest of God: however, they afterward called Salem Jerusalem. 1.19. He also told her, that if she disobeyed God, and went on still in her way, she should perish; but if she would return back, she should become the mother of a son who should reign over that country. These admonitions she obeyed, and returned to her master and mistress, and obtained forgiveness. A little while afterwards, she bare Ismael; which may be interpreted Heard of God, because God had heard his motherโ€™s prayer. 1.19. The reader is therefore to know, that Moses deemed it exceeding necessary, that he who would conduct his own life well, and give laws to others, in the first place should consider the divine nature; and, upon the contemplation of Godโ€™s operations, should thereby imitate the best of all patterns, so far as it is possible for human nature to do, and to endeavor to follow after it: 1.21. He also entreated him to be at peace with him, and to make God propitious to him; and that if he thought fit to continue with him, he should have what he wanted in abundance; but that if he designed to go away, he should be honorably conducted, and have whatsoever supply he wanted when he came thither. 1.21. Now when Moses was desirous to teach this lesson to his countrymen, he did not begin the establishment of his laws after the same manner that other legislators did; I mean, upon contracts and other rights between one man and another, but by raising their minds upwards to regard God, and his creation of the world; and by persuading them, that we men are the most excellent of the creatures of God upon earth. Now when once he had brought them to submit to religion, he easily persuaded them to submit in all other things: 1.22. 4. When the lad was grown up, he married a wife, by birth an Egyptian, from whence the mother was herself derived originally. of this wife were born to Ismael twelve sons; Nabaioth, Kedar, Abdeel, Mabsam, Idumas, Masmaos, Masaos, Chodad, Theman, Jetur, Naphesus, Cadmas. 1.22. for as to other legislators, they followed fables, and by their discourses transferred the most reproachful of human vices unto the gods, and so afforded wicked men the most plausible excuses for their crimes; 1.23. Accordingly thou, my son, wilt now die, not in any common way of going out of the world, but sent to God, the Father of all men, beforehand, by thy own father, in the nature of a sacrifice. I suppose he thinks thee worthy to get clear of this world neither by disease, neither by war, nor by any other severe way, by which death usually comes upon men, 1.23. but as for our legislator, when he had once demonstrated that God was possessed of perfect virtue, he supposed that men also ought to strive after the participation of it; and on those who did not so think, and so believe, he inflicted the severest punishments. 1.24. And indeed Alexander Polyhistor gives his attestation to what I here say; who speaks thus: โ€œCleodemus the prophet, who was also called Malchus, who wrote a History of the Jews, in agreement with the History of Moses, their legislator, relates, that there were many sons born to Abraham by Keturah: 1.24. I exhort, therefore, my readers to examine this whole undertaking in that view; for thereby it will appear to them, that there is nothing therein disagreeable either to the majesty of God, or to his love to mankind; for all things have here a reference to the nature of the universe; while our legislator speaks some things wisely, but enigmatically, and others under a decent allegory, but still explains such things as required a direct explication plainly and expressly. 1.25. However, those that have a mind to know the reasons of every thing, may find here a very curious philosophical theory, which I now indeed shall wave the explication of; but if God afford me time for it, I will set about writing it after I have finished the present work. 1.25. She desired also that he would come and lodge with them, since the approach of the night gave him not time to proceed farther. And producing his precious ornaments for women, he said he desired to trust them to none more safely than to such as she had shown herself to be; and that he believed he might guess at the humanity of her mother and brother, that they would not be displeased, from the virtue he found in her; for he would not be burdensome, but would pay the hire for his entertainment, and spend his own money. 1.26. I shall now betake myself to the history before me, after I have first mentioned what Moses says of the creation of the world, which I find described in the sacred books after the manner following. 1.26. for when he saw that God was with Isaac, and took such great care of him, he drove him away from him. But Isaac, when he saw how envy had changed the temper of Abimelech retired to a place called the Valley, not far from Gerar: and as he was digging a well, the shepherds fell upon him, and began to fight, in order to hinder the work; and because he did not desire to contend, the shepherds seemed to get the better of him,
3.91. 5. The first commandment teaches us that there is but one God, and that we ought to worship him only. The second commands us not to make the image of any living creature to worship it. The third, that we must not swear by God in a false matter. The fourth, that we must keep the seventh day, by resting from all sorts of work.
3.181. When Moses distinguished the tabernacle into three parts, and allowed two of them to the priests, as a place accessible and common, he denoted the land and the sea, these being of general access to all; but he set apart the third division for God, because heaven is inaccessible to men. 3.182. And when he ordered twelve loaves to be set on the table, he denoted the year, as distinguished into so many months. By branching out the candlestick into seventy parts, he secretly intimated the Decani, or seventy divisions of the planets; and as to the seven lamps upon the candlesticks, they referred to the course of the planets, of which that is the number. 3.183. The veils, too, which were composed of four things, they declared the four elements; for the fine linen was proper to signify the earth, because the flax grows out of the earth; the purple signified the sea, because that color is dyed by the blood of a sea shell-fish; the blue is fit to signify the air; and the scarlet will naturally be an indication of fire. 3.184. Now the vestment of the high priest being made of linen, signified the earth; the blue denoted the sky, being like lightning in its pomegranates, and in the noise of the bells resembling thunder. And for the ephod, it showed that God had made the universe of four elements; and as for the gold interwoven, I suppose it related to the splendor by which all things are enlightened. 3.185. He also appointed the breastplate to be placed in the middle of the ephod, to resemble the earth, for that has the very middle place of the world. And the girdle which encompassed the high priest round, signified the ocean, for that goes round about and includes the universe. Each of the sardonyxes declares to us the sun and the moon; those, I mean, that were in the nature of buttons on the high priestโ€™s shoulders. 3.186. And for the twelve stones, whether we understand by them the months, or whether we understand the like number of the signs of that circle which the Greeks call the Zodiac, we shall not be mistaken in their meaning. And for the mitre, which was of a blue color, it seems to me to mean heaven;
3.203. The sky was clear, but there was a mist over the tabernacle only, encompassing it, but not with such a very deep and thick cloud as is seen in the winter season, nor yet in so thin a one as men might be able to discern any thing through it, but from it there dropped a sweet dew, and such a one as showed the presence of God to those that desired and believed it.
14.231. 14. The decree of the Delians. โ€œThe answer of the praetors, when Beotus was archon, on the twentieth day of the month Thargeleon. While Marcus Piso the lieutet lived in our city, who was also appointed over the choice of the soldiers, he called us, and many other of the citizens, and gave order, 14.232. that if there be here any Jews who are Roman citizens, no one is to give them any disturbance about going into the army, because Cornelius Lentulus, the consul, freed the Jews from going into the army, on account of the superstition they are under;โ€”you are therefore obliged to submit to the praetor.โ€ And the like decree was made by the Sardians about us also.
18.55. 1. But now Pilate, the procurator of Judea, removed the army from Caesarea to Jerusalem, to take their winter quarters there, in order to abolish the Jewish laws. So he introduced Caesarโ€™s effigies, which were upon the ensigns, and brought them into the city; whereas our law forbids us the very making of images;' '. None
35. Josephus Flavius, Jewish War, 2.128-2.131, 2.145, 2.154, 3.352, 5.213 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, funerary โ€ข Art, interpretation of symbols โ€ข Art, need for explanation โ€ข Judas the Essene, predictive art of (Josephus) โ€ข Moses, art โ€ข art, pagan โ€ข churches, art โ€ข healing and medicines, exorcism as healing art

 Found in books: Bickerman and Tropper (2007) 934, 937, 942; Brooke et al (2008) 80, 138, 139, 146; Levine (2005) 65; Taylor (2012) 61, 76, 199


2.128. ฮ ฯฮฟฬฯ‚ ฮณฮต ฮผฮทฬ€ฮฝ ฯ„ฮฟฬ€ ฮธฮตฮนอ‚ฮฟฮฝ ฮตฯ…ฬ“ฯƒฮตฮฒฮตฮนอ‚ฯ‚ ฮนฬ“ฮดฮนฬฯ‰ฯ‚: ฯ€ฯฮนฬ€ฮฝ ฮณฮฑฬ€ฯ ฮฑฬ“ฮฝฮฑฯƒฯ‡ฮตฮนอ‚ฮฝ ฯ„ฮฟฬ€ฮฝ ฮทฬ”ฬฮปฮนฮฟฮฝ ฮฟฯ…ฬ“ฮดฮตฬ€ฮฝ ฯ†ฮธฮตฬฮณฮณฮฟฮฝฯ„ฮฑฮน ฯ„ฯ‰อ‚ฮฝ ฮฒฮตฮฒฮทฬฮปฯ‰ฮฝ, ฯ€ฮฑฯ„ฯฮนฬฮฟฯ…ฯ‚ ฮดฮตฬ ฯ„ฮนฮฝฮฑฯ‚ ฮตฮนฬ“ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮตฯ…ฬ“ฯ‡ฮฑฬ€ฯ‚ ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮนฬ”ฮบฮตฯ„ฮตฯ…ฬฮฟฮฝฯ„ฮตฯ‚ ฮฑฬ“ฮฝฮฑฯ„ฮตฮนอ‚ฮปฮฑฮน. 2.129. ฮบฮฑฮนฬ€ ฮผฮตฯ„ฮฑฬ€ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯ€ฯฮฟฬ€ฯ‚ ฮฑฬ”ฬ€ฯ‚ ฮตฬ”ฬฮบฮฑฯƒฯ„ฮฟฮน ฯ„ฮตฬฯ‡ฮฝฮฑฯ‚ ฮนฬ“ฬฯƒฮฑฯƒฮนฮฝ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ„ฯ‰อ‚ฮฝ ฮตฬ“ฯ€ฮนฮผฮตฮปฮทฯ„ฯ‰อ‚ฮฝ ฮดฮนฮฑฯ†ฮนฬฮตฮฝฯ„ฮฑฮน, ฮบฮฑฮนฬ€ ฮผฮตฬฯ‡ฯฮน ฯ€ฮตฬฮผฯ€ฯ„ฮทฯ‚ ฯ‰ฬ”ฬฯฮฑฯ‚ ฮตฬ“ฯฮณฮฑฯƒฮฑฬฮผฮตฮฝฮฟฮน ฯƒฯ…ฮฝฯ„ฮฟฬฮฝฯ‰ฯ‚ ฯ€ฮฑฬฮปฮนฮฝ ฮตฮนฬ“ฯ‚ ฮตฬ”ฬ€ฮฝ ฯƒฯ…ฮฝฮฑฮธฯฮฟฮนฬฮถฮฟฮฝฯ„ฮฑฮน ฯ‡ฯ‰ฯฮนฬฮฟฮฝ, ฮถฯ‰ฯƒฮฑฬฮผฮตฮฝฮฟฮนฬ ฯ„ฮต ฯƒฮบฮตฯ€ฮฑฬฯƒฮผฮฑฯƒฮนฮฝ ฮปฮนฮฝฮฟฮนอ‚ฯ‚ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฮฑฬ“ฯ€ฮฟฮปฮฟฯ…ฬฮฟฮฝฯ„ฮฑฮน ฯ„ฮฟฬ€ ฯƒฯ‰อ‚ฮผฮฑ ฯˆฯ…ฯ‡ฯฮฟฮนอ‚ฯ‚ ฯ…ฬ”ฬฮดฮฑฯƒฮนฮฝ, ฮบฮฑฮนฬ€ ฮผฮตฯ„ฮฑฬ€ ฯ„ฮฑฯ…ฬฯ„ฮทฮฝ ฯ„ฮทฬ€ฮฝ ฮฑฬ”ฮณฮฝฮตฮนฬฮฑฮฝ ฮตฮนฬ“ฯ‚ ฮนฬ“ฬฮดฮนฮฟฮฝ ฮฟฮนฬ“ฬฮบฮทฮผฮฑ ฯƒฯ…ฮฝฮนฬฮฑฯƒฮนฮฝ, ฮตฬ“ฬฮฝฮธฮฑ ฮผฮทฮดฮตฮฝฮนฬ€ ฯ„ฯ‰อ‚ฮฝ ฮตฬ”ฯ„ฮตฯฮฟฮดฮฟฬฮพฯ‰ฮฝ ฮตฬ“ฯ€ฮนฯ„ฮตฬฯ„ฯฮฑฯ€ฯ„ฮฑฮน ฯ€ฮฑฯฮตฮปฮธฮตฮนอ‚ฮฝ: ฮฑฯ…ฬ“ฯ„ฮฟฮนฬ ฯ„ฮต ฮบฮฑฮธฮฑฯฮฟฮนฬ€ ฮบฮฑฮธฮฑฬฯ€ฮตฯ ฮตฮนฬ“ฯ‚ ฮฑฬ”ฬฮณฮนฮฟฬฮฝ ฯ„ฮน ฯ„ฮตฬฮผฮตฮฝฮฟฯ‚ ฯ€ฮฑฯฮฑฮณฮนฬฮฝฮฟฮฝฯ„ฮฑฮน ฯ„ฮฟฬ€ ฮดฮตฮนฯ€ฮฝฮทฯ„ฮทฬฯฮนฮฟฮฝ.' "2.131. ฯ€ฯฮฟฮบฮฑฯ„ฮตฯ…ฬฯ‡ฮตฯ„ฮฑฮน ฮด' ฮฟฬ” ฮนฬ”ฮตฯฮตฯ…ฬ€ฯ‚ ฯ„ฮทอ‚ฯ‚ ฯ„ฯฮฟฯ†ฮทอ‚ฯ‚, ฮบฮฑฮนฬ€ ฮณฮตฯ…ฬฯƒฮฑฯƒฮธฮฑฮนฬ ฯ„ฮนฮฝฮฑ ฯ€ฯฮนฬ€ฮฝ ฯ„ฮทอ‚ฯ‚ ฮตฯ…ฬ“ฯ‡ฮทอ‚ฯ‚ ฮฑฬ“ฮธฮตฬฮผฮนฯ„ฮฟฮฝ: ฮฑฬ“ฯฮนฯƒฯ„ฮฟฯ€ฮฟฮนฮทฯƒฮฑฬฮผฮตฮฝฮฟฯ‚ ฮด' ฮตฬ“ฯ€ฮตฯ…ฬฯ‡ฮตฯ„ฮฑฮน ฯ€ฮฑฬฮปฮนฮฝ: ฮฑฬ“ฯฯ‡ฮฟฬฮผฮตฮฝฮฟฮนฬ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ€ฮฑฯ…ฮฟฬฮผฮตฮฝฮฟฮน ฮณฮตฯฮฑฮนฬฯฮฟฯ…ฯƒฮน ฮธฮตฮฟฬ€ฮฝ ฯ‰ฬ”ฯ‚ ฯ‡ฮฟฯฮทฮณฮฟฬ€ฮฝ ฯ„ฮทอ‚ฯ‚ ฮถฯ‰ฮทอ‚ฯ‚. ฮตฬ“ฬฯ€ฮตฮนฮธ' ฯ‰ฬ”ฯ‚ ฮนฬ”ฮตฯฮฑฬ€ฯ‚ ฮบฮฑฯ„ฮฑฮธฮตฬฮผฮตฮฝฮฟฮน ฯ„ฮฑฬ€ฯ‚ ฮตฬ“ฯƒฮธฮทอ‚ฯ„ฮฑฯ‚ ฯ€ฮฑฬฮปฮนฮฝ ฮตฬ“ฯ€' ฮตฬ“ฬฯฮณฮฑ ฮผฮตฬฯ‡ฯฮน ฮดฮตฮนฬฮปฮทฯ‚ ฯ„ฯฮตฬฯ€ฮฟฮฝฯ„ฮฑฮน." "
2.145. ฮ ฮตฯฮนฬ€ ฮดฮตฬ€ ฯ„ฮฑฬ€ฯ‚ ฮบฯฮนฬฯƒฮตฮนฯ‚ ฮฑฬ“ฮบฯฮนฮฒฮตฬฯƒฯ„ฮฑฯ„ฮฟฮน ฮบฮฑฮนฬ€ ฮดฮนฬฮบฮฑฮนฮฟฮน, ฮบฮฑฮนฬ€ ฮดฮนฮบฮฑฬฮถฮฟฯ…ฯƒฮน ฮผฮตฬ€ฮฝ ฮฟฯ…ฬ“ฮบ ฮตฬ“ฮปฮฑฬฯ„ฯ„ฮฟฯ…ฯ‚ ฯ„ฯ‰อ‚ฮฝ ฮตฬ”ฮบฮฑฯ„ฮฟฬ€ฮฝ ฯƒฯ…ฮฝฮตฮปฮธฮฟฬฮฝฯ„ฮตฯ‚, ฯ„ฮฟฬ€ ฮด' ฮฟฬ”ฯฮนฯƒฮธฮตฬ€ฮฝ ฯ…ฬ”ฯ€' ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮบฮนฬฮฝฮทฯ„ฮฟฮฝ. ฯƒฮตฬฮฒฮฑฯ‚ ฮดฮตฬ€ ฮผฮตฬฮณฮฑ ฯ€ฮฑฯ' ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮผฮตฯ„ฮฑฬ€ ฯ„ฮฟฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฯ„ฮฟฯ…ฬ“ฬฮฝฮฟฮผฮฑ ฯ„ฮฟฯ…อ‚ ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮฟฯ…, ฮบฮฑฬ“ฬ€ฮฝ ฮฒฮปฮฑฯƒฯ†ฮทฮผฮทฬฯƒฮทอ… ฯ„ฮนฯ‚ ฮตฮนฬ“ฯ‚ ฯ„ฮฟฯ…อ‚ฯ„ฮฟฮฝ ฮบฮฟฮปฮฑฬฮถฮตฯ„ฮฑฮน ฮธฮฑฮฝฮฑฬฯ„ฯ‰อ…." "
2.154. ฮšฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮตฬ“ฬฯฯฯ‰ฯ„ฮฑฮน ฯ€ฮฑฯ' ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮทฬ”ฬฮดฮต ฮทฬ” ฮดฮฟฬฮพฮฑ, ฯ†ฮธฮฑฯฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฯ„ฮฑฬ€ ฯƒฯ‰ฬฮผฮฑฯ„ฮฑ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ…ฬ”ฬฮปฮทฮฝ ฮฟฯ…ฬ“ ฮผฮฟฬฮฝฮนฮผฮฟฮฝ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ, ฯ„ฮฑฬ€ฯ‚ ฮดฮตฬ€ ฯˆฯ…ฯ‡ฮฑฬ€ฯ‚ ฮฑฬ“ฮธฮฑฮฝฮฑฬฯ„ฮฟฯ…ฯ‚ ฮฑฬ“ฮตฮนฬ€ ฮดฮนฮฑฮผฮตฬฮฝฮตฮนฮฝ, ฮบฮฑฮนฬ€ ฯƒฯ…ฮผฯ€ฮปฮตฬฮบฮตฯƒฮธฮฑฮน ฮผฮตฬ€ฮฝ ฮตฬ“ฮบ ฯ„ฮฟฯ…อ‚ ฮปฮตฯ€ฯ„ฮฟฯ„ฮฑฬฯ„ฮฟฯ… ฯ†ฮฟฮนฯ„ฯ‰ฬฯƒฮฑฯ‚ ฮฑฮนฬ“ฮธฮตฬฯฮฟฯ‚ ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮตฮนฬ”ฯฮบฯ„ฮฑฮนอ‚ฯ‚ ฯ„ฮฟฮนอ‚ฯ‚ ฯƒฯ‰ฬฮผฮฑฯƒฮนฮฝ ฮนฬ“ฬฯ…ฮณฮณฮนฬ ฯ„ฮนฮฝฮน ฯ†ฯ…ฯƒฮนฮบฮทอ‚อ… ฮบฮฑฯ„ฮฑฯƒฯ€ฯ‰ฮผฮตฬฮฝฮฑฯ‚," '
3.352. ฮทฬ“อ‚ฮฝ ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฯ€ฮตฯฮนฬ€ ฮบฯฮนฬฯƒฮตฮนฯ‚ ฮฟฬ“ฮฝฮตฮนฬฯฯ‰ฮฝ ฮนฬ”ฮบฮฑฮฝฮฟฬ€ฯ‚ ฯƒฯ…ฮผฮฒฮฑฮปฮตฮนอ‚ฮฝ ฯ„ฮฑฬ€ ฮฑฬ“ฮผฯ†ฮนฮฒฮฟฬฮปฯ‰ฯ‚ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฮธฮตฮนฬฮฟฯ… ฮปฮตฮณฮฟฬฮผฮตฮฝฮฑ, ฯ„ฯ‰อ‚ฮฝ ฮณฮต ฮผฮทฬ€ฮฝ ฮนฬ”ฮตฯฯ‰อ‚ฮฝ ฮฒฮนฬฮฒฮปฯ‰ฮฝ ฮฟฯ…ฬ“ฮบ ฮทฬ“ฮณฮฝฮฟฬฮตฮน ฯ„ฮฑฬ€ฯ‚ ฯ€ฯฮฟฯ†ฮทฯ„ฮตฮนฬฮฑฯ‚ ฯ‰ฬ”ฯ‚ ฮฑฬ“ฬ€ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬฯ‚ ฯ„ฮต ฯ‰ฬ“ฬ€ฮฝ ฮนฬ”ฮตฯฮตฯ…ฬ€ฯ‚ ฮบฮฑฮนฬ€ ฮนฬ”ฮตฯฮตฬฯ‰ฮฝ ฮตฬ“ฬฮณฮณฮฟฮฝฮฟฯ‚:' "
5.213. ฮตฬ“ฮดฮฟฬฮบฮตฮน ฮณฮฑฬ€ฯ ฮฑฮนฬ“ฮฝฮนฬฯ„ฯ„ฮตฯƒฮธฮฑฮน ฯ„ฮทอ‚อ… ฮบฮฟฬฮบฮบฯ‰อ… ฮผฮตฬ€ฮฝ ฯ„ฮฟฬ€ ฯ€ฯ…อ‚ฯ, ฯ„ฮทอ‚อ… ฮฒฯ…ฬฯƒฯƒฯ‰อ… ฮดฮตฬ€ ฯ„ฮทฬ€ฮฝ ฮณฮทอ‚ฮฝ, ฯ„ฮทอ‚อ… ฮด' ฯ…ฬ”ฮฑฮบฮนฬฮฝฮธฯ‰อ… ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฮตฬฯฮฑ, ฮบฮฑฮนฬ€ ฯ„ฮทอ‚อ… ฯ€ฮฟฯฯ†ฯ…ฬฯฮฑอ… ฯ„ฮทฬ€ฮฝ ฮธฮฑฬฮปฮฑฯƒฯƒฮฑฮฝ, ฯ„ฯ‰อ‚ฮฝ ฮผฮตฬ€ฮฝ ฮตฬ“ฮบ ฯ„ฮทอ‚ฯ‚ ฯ‡ฯฮฟฮนฬฮฑฯ‚ ฮฟฬ”ฮผฮฟฮนฮฟฯ…ฮผฮตฬฮฝฯ‰ฮฝ, ฯ„ฮทอ‚ฯ‚ ฮดฮตฬ€ ฮฒฯ…ฬฯƒฯƒฮฟฯ… ฮบฮฑฮนฬ€ ฯ„ฮทอ‚ฯ‚ ฯ€ฮฟฯฯ†ฯ…ฬฯฮฑฯ‚ ฮดฮนฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮณฮตฬฮฝฮตฯƒฮนฮฝ, ฮตฬ“ฯ€ฮตฮนฮดฮทฬ€ ฯ„ฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮฑฬ“ฮฝฮฑฮดฮนฬฮดฯ‰ฯƒฮนฮฝ ฮทฬ” ฮณฮทอ‚, ฯ„ฮทฬ€ฮฝ ฮด' ฮทฬ” ฮธฮฑฬฮปฮฑฯƒฯƒฮฑ." '. None
2.128. 5. And as for their piety towards God, it is very extraordinary; for before sunrising they speak not a word about profane matters, but put up certain prayers which they have received from their forefathers, as if they made a supplication for its rising. 2.129. After this every one of them are sent away by their curators, to exercise some of those arts wherein they are skilled, in which they labor with great diligence till the fifth hour. After which they assemble themselves together again into one place; and when they have clothed themselves in white veils, they then bathe their bodies in cold water. And after this purification is over, they every one meet together in an apartment of their own, into which it is not permitted to any of another sect to enter; while they go, after a pure manner, into the dining-room, as into a certain holy temple, 2.131. but a priest says grace before meat; and it is unlawful for anyone to taste of the food before grace be said. The same priest, when he hath dined, says grace again after meat; and when they begin, and when they end, they praise God, as he that bestows their food upon them; after which they lay aside their white garments, and betake themselves to their labors again till the evening;
2.145. 9. But in the judgments they exercise they are most accurate and just, nor do they pass sentence by the votes of a court that is fewer than a hundred. And as to what is once determined by that number, it is unalterable. What they most of all honor, after God himself, is the name of their legislator Moses, whom, if anyone blaspheme, he is punished capitally.
2.154. 11. For their doctrine is this: That bodies are corruptible, and that the matter they are made of is not permanent; but that the souls are immortal, and continue forever; and that they come out of the most subtile air, and are united to their bodies as to prisons, into which they are drawn by a certain natural enticement;
3.352. Now Josephus was able to give shrewd conjectures about the interpretation of such dreams as have been ambiguously delivered by God. Moreover, he was not unacquainted with the prophecies contained in the sacred books, as being a priest himself, and of the posterity of priests:
5.213. for by the scarlet there seemed to be enigmatically signified fire, by the fine flax the earth, by the blue the air, and by the purple the sea; two of them having their colors the foundation of this resemblance; but the fine flax and the purple have their own origin for that foundation, the earth producing the one, and the sea the other.' '. None
36. Josephus Flavius, Against Apion, 1.37, 1.279, 2.75, 2.168, 2.218 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, funerary โ€ข Art, idol vs. image โ€ข Artistic Originality, Greece and Orient โ€ข Judas the Essene, predictive art of (Josephus) โ€ข Moses, art โ€ข art, pagan โ€ข catacombs, Bet Shearim, figural art โ€ข church fathers, figural art โ€ข lulav, in synagogue art

 Found in books: Bickerman and Tropper (2007) 871, 920, 932; Brooke et al (2008) 133, 138, 175, 178; Levine (2005) 68, 481; Taylor (2012) 92


1.37. ฮตฮนฬ“ฮบฮฟฬฯ„ฯ‰ฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ, ฮผฮฑอ‚ฮปฮปฮฟฮฝ ฮดฮตฬ€ ฮฑฬ“ฮฝฮฑฮณฮบฮฑฮนฬฯ‰ฯ‚, ฮฑฬ”ฬฯ„ฮต ฮผฮทฬฯ„ฮต ฯ„ฮฟฬ€ ฯ…ฬ”ฯ€ฮฟฮณฯฮฑฬฯ†ฮตฮนฮฝ ฮฑฯ…ฬ“ฯ„ฮตฮพฮฟฯ…ฯƒฮนฬฮฟฯ… ฯ€ฮฑอ‚ฯƒฮนฮฝ ฮฟฬ“ฬฮฝฯ„ฮฟฯ‚ ฮผฮทฬฯ„ฮต ฯ„ฮนฮฝฮฟฬ€ฯ‚ ฮตฬ“ฮฝ ฯ„ฮฟฮนอ‚ฯ‚ ฮณฯฮฑฯ†ฮฟฮผฮตฬฮฝฮฟฮนฯ‚ ฮตฬ“ฮฝฮฟฯ…ฬฯƒฮทฯ‚ ฮดฮนฮฑฯ†ฯ‰ฮฝฮนฬฮฑฯ‚, ฮฑฬ“ฮปฮปฮฑฬ€ ฮผฮฟฬฮฝฮฟฮฝ ฯ„ฯ‰อ‚ฮฝ ฯ€ฯฮฟฯ†ฮทฯ„ฯ‰อ‚ฮฝ ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮฑฬ“ฮฝฯ‰ฯ„ฮฑฬฯ„ฯ‰ ฮบฮฑฮนฬ€ ฯ€ฮฑฮปฮฑฮนฮฟฬฯ„ฮฑฯ„ฮฑ ฮบฮฑฯ„ฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮตฬ“ฯ€ฮนฬฯ€ฮฝฮฟฮนฮฑฮฝ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฯ€ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚ ฮผฮฑฮธฮฟฬฮฝฯ„ฯ‰ฮฝ, ฯ„ฮฑฬ€ ฮดฮตฬ€ ฮบฮฑฮธ' ฮฑฯ…ฬ”ฯ„ฮฟฯ…ฬ€ฯ‚ ฯ‰ฬ”ฯ‚ ฮตฬ“ฮณฮตฬฮฝฮตฯ„ฮฟ ฯƒฮฑฯ†ฯ‰อ‚ฯ‚ ฯƒฯ…ฮณฮณฯฮฑฯ†ฮฟฬฮฝฯ„ฯ‰ฮฝ," '
1.279. ฮ›ฮฟฮนฯ€ฮฟฬฮฝ ฮผฮฟฮน ฯ€ฯฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮตฮนฬ“ฯ€ฮตฮนอ‚ฮฝ ฯ€ฮตฯฮนฬ€ ฮœฯ‰ฯ…ฯƒฮตฬฯ‰ฯ‚. ฯ„ฮฟฯ…อ‚ฯ„ฮฟฮฝ ฮดฮตฬ€ ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฬฮฝฮดฯฮฑ ฮธฮฑฯ…ฮผฮฑฯƒฯ„ฮฟฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮ‘ฮนฬ“ฮณฯ…ฬฯ€ฯ„ฮนฮฟฮน ฮบฮฑฮนฬ€ ฮธฮตฮนอ‚ฮฟฮฝ ฮฝฮฟฮผฮนฬฮถฮฟฯ…ฯƒฮน, ฮฒฮฟฯ…ฬฮปฮฟฮฝฯ„ฮฑฮน ฮดฮตฬ€ ฯ€ฯฮฟฯƒฯ€ฮฟฮนฮตฮนอ‚ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮผฮตฯ„ฮฑฬ€ ฮฒฮปฮฑฯƒฯ†ฮทฮผฮนฬฮฑฯ‚ ฮฑฬ“ฯ€ฮนฮธฮฑฬฮฝฮฟฯ…, ฮปฮตฬฮณฮฟฮฝฯ„ฮตฯ‚ ฬ”ฮ—ฮปฮนฮฟฯ€ฮฟฮปฮนฬฯ„ฮทฮฝ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฯ„ฯ‰อ‚ฮฝ ฮตฬ“ฮบฮตฮนอ‚ฮธฮตฮฝ ฮนฬ”ฮตฯฮตฬฯ‰ฮฝ ฮตฬ”ฬฮฝฮฑ ฮดฮนฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮปฮตฬฯ€ฯฮฑฮฝ ฯƒฯ…ฮฝฮตฮพฮตฮปฮทฮปฮฑฮผฮตฬฮฝฮฟฮฝ.
2.75. ฮทฮฟฮฝฮฟฯฮตฮผ ฯ€ฯฮฑฮตฮฒฮตฯฮต ฯ…ฮนฮดฮตฮฑฮฝฯ„ฯ…ฯ? ฯ€ฮฟฯฯฮฟ ฮฝฮฟฯƒฯ„ฮตฯ ฮปฮตฮณฮนฯƒฮปฮฑฯ„ฮฟฯ, ฮฝฮฟฮฝ ฮธฯ…ฮฑฯƒฮน ฯ€ฯฮฟฯ€ฮทฮตฯ„ฮฑฮฝฯ‚ ฯฮฟฮผฮฑฮฝฮฟฯฯ…ฮผ ฯ€ฮฟฯ„ฮตฮฝฯ„ฮนฮฑฮผ ฮฝฮฟฮฝ ฮทฮฟฮฝฮฟฯฮฑฮฝฮดฮฑฮผ, ฯƒฮตฮด ฯ„ฮฑฮผฮธฯ…ฮฑฮผ ฮพฮฑฯ…ฯƒฮฑฮผ ฮฝฮตฮธฯ…ฮต ฮดฮตฮฟ ฮฝฮตฮธฯ…ฮต ฮทฮฟฮผฮนฮฝฮนฮฒฯ…ฯ‚ ฯ…ฯ„ฮนฮปฮตฮผ ฮดฮตฯƒฯ€ฮนฮพฮนฮตฮฝฯ‚, ฮตฯ„ ฮธฯ…ฮฟฮฝฮนฮฑฮผ ฯ„ฮฟฯ„ฮนฯ…ฯ‚ ฮฑฮฝฮนฮผฮฑฯ„ฮน, ฮผฯ…ฮปฯ„ฮฟ ฮผฮฑฮณฮนฯ‚ ฮดฮตฮน ฮนฮฝฮฑฮฝฮนฮผฮฑฯ„ฯ… ฯ€ฯฮฟฮฒฮฑฯ„ฯ…ฯ ฮนฮฝฯ†ฮตฯฮนฯ…ฯ‚ ฮนฮฝฯ„ฮตฯฮดฮนฯ‡ฮนฯ„ ฮนฮผฮฑฮณฮนฮฝฮตฯ‚ ฯ†ฮฑฮฒฯฮนฮพฮฑฯฮน.' "
2.168. ฮฟฬ”ฯ€ฮฟฮนอ‚ฮฟฯ‚ ฮดฮตฬ€ ฮบฮฑฯ„' ฮฟฯ…ฬ“ฯƒฮนฬฮฑฮฝ ฮตฬ“ฯƒฯ„ฮนฬ€ฮฝ ฮฑฬ“ฬฮณฮฝฯ‰ฯƒฯ„ฮฟฮฝ. ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯ€ฮตฯฮนฬ€ ฮธฮตฮฟฯ…อ‚ ฯ†ฯฮฟฮฝฮตฮนอ‚ฮฝ ฮฟฮนฬ” ฯƒฮฟฯ†ฯ‰ฬฯ„ฮฑฯ„ฮฟฮน ฯ€ฮฑฯ' ฬ”ฬฮ•ฮปฮปฮทฯƒฮนฮฝ ฮฟฬ”ฬฯ„ฮน ฮผฮตฬ€ฮฝ ฮตฬ“ฮดฮนฮดฮฑฬฯ‡ฮธฮทฯƒฮฑฮฝ ฮตฬ“ฮบฮตฮนฬฮฝฮฟฯ… ฯ„ฮฑฬ€ฯ‚ ฮฑฬ“ฯฯ‡ฮฑฬ€ฯ‚ ฯ€ฮฑฯฮฑฯƒฯ‡ฮฟฬฮฝฯ„ฮฟฯ‚, ฮตฬ“ฯ‰อ‚ ฮฝฯ…อ‚ฮฝ ฮปฮตฬฮณฮตฮนฮฝ, ฮฟฬ”ฬฯ„ฮน ฮด' ฮตฬ“ฯƒฯ„ฮนฬ€ ฮบฮฑฮปฮฑฬ€ ฮบฮฑฮนฬ€ ฯ€ฯฮตฬฯ€ฮฟฮฝฯ„ฮฑ ฯ„ฮทอ‚อ… ฯ„ฮฟฯ…อ‚ ฮธฮตฮฟฯ…อ‚ ฯ†ฯ…ฬฯƒฮตฮน ฮบฮฑฮนฬ€ ฮผฮตฮณฮฑฮปฮตฮนฮฟฬฯ„ฮทฯ„ฮน, ฯƒฯ†ฮฟฬฮดฯฮฑ ฮผฮตฮผฮฑฯฯ„ฯ…ฯฮทฬฮบฮฑฯƒฮน: ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮ ฯ…ฮธฮฑฮณฮฟฬฯฮฑฯ‚ ฮบฮฑฮนฬ€ ฬ“ฮ‘ฮฝฮฑฮพฮฑฮณฮฟฬฯฮฑฯ‚ ฮบฮฑฮนฬ€ ฮ ฮปฮฑฬฯ„ฯ‰ฮฝ ฮฟฮนฬ”ฬ ฯ„ฮต ฮผฮตฯ„' ฮตฬ“ฮบฮตฮนอ‚ฮฝฮฟฮฝ ฮฑฬ“ฯ€ฮฟฬ€ ฯ„ฮทอ‚ฯ‚ ฯƒฯ„ฮฟฮฑอ‚ฯ‚ ฯ†ฮนฮปฮฟฬฯƒฮฟฯ†ฮฟฮน ฮบฮฑฮนฬ€ ฮผฮนฮบฯฮฟฯ…อ‚ ฮดฮตฮนอ‚ฮฝ ฮฑฬ”ฬฯ€ฮฑฮฝฯ„ฮตฯ‚ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚" "
2.218. ฮบฮฑฮนฬ€ ฯ„ฮฟฮนฮฑฯ…ฬฯ„ฮท ฯ„ฮนฯ‚ ฮฑฬ“ฮฝฮฑฮบฮทฬฯฯ…ฮพฮนฯ‚, ฮฑฬ“ฮปฮป' ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฯ‚ ฮตฬ”ฬฮบฮฑฯƒฯ„ฮฟฯ‚ ฮฑฯ…ฬ”ฯ„ฯ‰อ‚อ… ฯ„ฮฟฬ€ ฯƒฯ…ฮฝฮตฮนฮดฮฟฬ€ฯ‚ ฮตฬ“ฬฯ‡ฯ‰ฮฝ ฮผฮฑฯฯ„ฯ…ฯฮฟฯ…อ‚ฮฝ ฯ€ฮตฯ€ฮนฬฯƒฯ„ฮตฯ…ฮบฮตฮฝ, ฯ„ฮฟฯ…อ‚ ฮผฮตฬ€ฮฝ ฮฝฮฟฮผฮฟฮธฮตฬฯ„ฮฟฯ… ฯ€ฯฮฟฯ†ฮทฯ„ฮตฯ…ฬฯƒฮฑฮฝฯ„ฮฟฯ‚, ฯ„ฮฟฯ…อ‚ ฮดฮตฬ€ ฮธฮตฮฟฯ…อ‚ ฯ„ฮทฬ€ฮฝ ฯ€ฮนฬฯƒฯ„ฮนฮฝ ฮนฬ“ฯƒฯ‡ฯ…ฯฮฑฬ€ฮฝ ฯ€ฮฑฯฮตฯƒฯ‡ฮทฮบฮฟฬฯ„ฮฟฯ‚, ฮฟฬ”ฬฯ„ฮน ฯ„ฮฟฮนอ‚ฯ‚ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฝฮฟฬฮผฮฟฯ…ฯ‚ ฮดฮนฮฑฯ†ฯ…ฮปฮฑฬฮพฮฑฯƒฮน ฮบฮฑฬ“ฬ€ฮฝ ฮตฮนฬ“ ฮดฮตฬฮฟฮน ฮธฮฝฮทฬฯƒฮบฮตฮนฮฝ ฯ…ฬ”ฯ€ฮตฬ€ฯ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ ฯ€ฯฮฟฮธฯ…ฬฮผฯ‰ฯ‚ ฮฑฬ“ฯ€ฮฟฮธฮฑฮฝฮตฮนอ‚ฮฝ ฮตฬ“ฬฮดฯ‰ฮบฮตฮฝ ฮฟฬ” ฮธฮตฮฟฬ€ฯ‚ ฮณฮตฮฝฮตฬฯƒฮธฮฑฮน ฯ„ฮต ฯ€ฮฑฬฮปฮนฮฝ ฮบฮฑฮนฬ€ ฮฒฮนฬฮฟฮฝ ฮฑฬ“ฮผฮตฮนฬฮฝฯ‰ ฮปฮฑฮฒฮตฮนอ‚ฮฝ ฮตฬ“ฮบ ฯ€ฮตฯฮนฯ„ฯฮฟฯ€ฮทอ‚ฯ‚."". None
1.37. and this is justly, or rather necessarily done, because every one is not permitted of his own accord to be a writer, nor is there any disagreement in what is written; they being only prophets that have written the original and earliest accounts of things as they learned them of God himself by inspiration; and others have written what hath happened in their own times, and that in a very distinct manner also. 8.
1.279. 31. It now remains that I debate with Manetho about Moses. Now the Egyptians acknowledge him to have been a wonderful, and a divine person; nay they would willingly lay claim to him themselves, though after a most abusive and incredible manner; and pretend that he was of Heliopolis, and one of the priests of that place, and was ejected out of it among the rest, on account of his leprosy;
2.75. But then our legislator hath forbidden us to make images, not by way of denunciation beforehand, that the Roman authority was not to be honored, but as despising a thing that was neither necessary nor useful for either God or man; and he forbade them, as we shall prove hereafter, to make these images for any part of the animal creation,
2.168. I do not now explain how these notions of God are the sentiments of the wisest among the Grecians, and how they were taught them upon the principles that he afforded them. However, they testify, with great assurance, that these notions are just, and agreeable to the nature of God, and to his majesty; for Pythagoras, and Anaxagoras, and Plato, and the Stoic philosophers that succeeded them, and almost all the rest, are of the same sentiments, and had the same notions of the nature of God;
2.218. but every good man hath his own conscience bearing witness to himself, and by virtue of our legislatorโ€™s prophetic spirit, and of the firm security God himself affords such a one, he believes that God hath made this grant to those that observe these laws, even though they be obliged readily to die for them, that they shall come into being again, and at a certain revolution of things shall receive a better life than they had enjoyed before. ''. None
37. Mishnah, Avodah Zarah, 3.4 (1st cent. CE - 3rd cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Art, imitation of models โ€ข Art, loss of pagan meaning for Christians and Jews โ€ข Art, religious art manufactured by Jews and Christians โ€ข art, pagan โ€ข seals, figural art

 Found in books: Bickerman and Tropper (2007) 907; Levine (2005) 229, 478


3.4. ืฉืึธืึทืœ ืคึผึฐืจื•ึนืงึฐืœื•ึนืก ื‘ึผึถืŸ ืคึดืœื•ึนืกึฐืคื•ึนืก ืึถืช ืจึทื‘ึผึธืŸ ื’ึผึทืžึฐืœึดื™ืึตืœ ื‘ึผึฐืขึทื›ึผื•ึน, ืฉืึถื”ึธื™ึธื” ืจื•ึนื—ึตืฅ ื‘ึผึทืžึผึถืจึฐื—ึธืฅ ืฉืึถืœ ืึทืคึฐืจื•ึนื“ึดื™ื˜ึดื™, ืึธืžึทืจ ืœื•ึน, ื›ึผึธืชื•ึผื‘ ื‘ึผึฐืชื•ึนืจึทืชึฐื›ึถื, ื•ึฐืœึนื ื™ึดื“ึฐื‘ึผึทืง ื‘ึผึฐื™ึธื“ึฐืšึธ ืžึฐืื•ึผืžึธื” ืžึดืŸ ื”ึทื—ึตืจึถื. ืžึดืคึผึฐื ึตื™ ืžึธื” ืึทืชึผึธื” ืจื•ึนื—ึตืฅ ื‘ึผึทืžึผึถืจึฐื—ึธืฅ ืฉืึถืœ ืึทืคึฐืจื•ึนื“ึดื™ื˜ึดื™. ืึธืžึทืจ ืœื•ึน, ืึตื™ืŸ ืžึฐืฉืึดื™ื‘ึดื™ืŸ ื‘ึผึทืžึผึถืจึฐื—ึธืฅ. ื•ึผื›ึฐืฉืึถื™ึผึธืฆึธื ืึธืžึทืจ ืœื•ึน, ืึฒื ึดื™ ืœึนื ื‘ึธืืชึดื™ ื‘ึดื’ึฐื‘ื•ึผืœึธื”ึผ, ื”ึดื™ื ื‘ึธืืชึธื” ื‘ึดื’ึฐื‘ื•ึผืœึดื™, ืึตื™ืŸ ืื•ึนืžึฐืจึดื™ื, ื ึทืขึฒืฉื‚ึถื” ืžึถืจึฐื—ึธืฅ ืœึฐืึทืคึฐืจื•ึนื“ึดื™ื˜ึดื™ ื ื•ึนื™, ืึถืœึผึธื ืื•ึนืžึฐืจึดื™ื, ื ึทืขึฒืฉื‚ึถื” ืึทืคึฐืจื•ึนื“ึดื™ื˜ึดื™ ื ื•ึนื™ ืœึทืžึผึถืจึฐื—ึธืฅ. ื“ึผึธื‘ึธืจ ืึทื—ึตืจ, ืึดื ื ื•ึนืชึฐื ึดื™ืŸ ืœึฐืšึธ ืžึธืžื•ึนืŸ ื”ึทืจึฐื‘ึผึตื”, ืึดื™ ืึทืชึผึธื” ื ึดื›ึฐื ึธืก ืœึทืขึฒื‘ื•ึนื“ึธื” ื–ึธืจึธื” ืฉืึถืœึผึฐืšึธ ืขึธืจื•ึนื ื•ึผื‘ึทืขึทืœ ืงึถืจึดื™ ื•ึผืžึทืฉืึฐืชึผึดื™ืŸ ื‘ึผึฐืคึธื ึถื™ื”ึธ, ื•ึฐื–ื•ึน ืขื•ึนืžึถื“ึถืช ืขึทืœ ืคึผึดื™ ื”ึทื‘ึผึดื™ื‘ ื•ึฐื›ึธืœ ื”ึธืขึธื ืžึทืฉืึฐืชึผึดื™ื ึดื™ืŸ ืœึฐืคึธื ึถื™ื”ึธ. ืœึนื ื ึถืึฑืžึทืจ ืึถืœึผึธื ืึฑืœึนื”ึตื™ื”ึถื. ืึถืช ืฉืึถื ึผื•ึนื”ึตื’ ื‘ึผื•ึน ืžึดืฉึผืื•ึผื ืึฑืœื•ึนื”ึผึท, ืึธืกื•ึผืจ. ื•ึฐืึถืช ืฉืึถืึตื™ื ื•ึน ื ื•ึนื”ึตื’ ื‘ึผื•ึน ืžึดืฉึผืื•ึผื ืึฑืœื•ึนื”ึผึท, ืžึปืชึผึธืจ:''. None
3.4. Proclos, son of a plosphos, asked Rabban Gamaliel in Acco when the latter was bathing in the bathhouse of aphrodite. He said to him, โ€œIt is written in your torah, โ€˜let nothing that has been proscribed stick to your hand (Deuteronomy 13:18)โ€™; why are you bathing in the bathhouse of Aphrodite?โ€ He replied to him, โ€œWe do not answer questions relating to torah in a bathhouse.โ€ When he came out, he said to him, โ€œI did not come into her domain, she has come into mine. People do not say, โ€˜the bath was made as an adornment for Aphroditeโ€™; rather they say, โ€˜Aphrodite was made as an adornment for the bath.โ€™ Another reason is, even if you were given a large sum of money, you would not enter the presence of your idol while you were nude or had experienced seminal emission, nor would you urinate before it. But this statue of Aphrodite stands by a sewer and all people urinate before it. In the torah it is only stated, โ€œtheir godsโ€ (Deuteronomy 12:3) what is treated as a god is prohibited, what is not treated as a deity is permitted.''. None
38. New Testament, 1 Peter, 5.4 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข art โ€ข crown, in Christian art

 Found in books: Brodd and Reed (2011) 165; Harkins and Maier (2022) 161


5.4. ฮบฮฑแฝถ ฯ†ฮฑฮฝฮตฯฯ‰ฮธฮญฮฝฯ„ฮฟฯ‚ ฯ„ฮฟแฟฆ แผ€ฯฯ‡ฮนฯ€ฮฟฮฏฮผฮตฮฝฮฟฯ‚ ฮบฮฟฮผฮนฮตแฟ–ฯƒฮธฮต ฯ„แฝธฮฝ แผ€ฮผฮฑฯฮฌฮฝฯ„ฮนฮฝฮฟฮฝ ฯ„แฟ†ฯ‚ ฮดฯŒฮพฮทฯ‚ ฯƒฯ„ฮญฯ†ฮฑฮฝฮฟฮฝ.''. None
5.4. When the chief Shepherd is revealed, you will receive the crown of glory that doesn't fade away. "". None
39. New Testament, Apocalypse, 4.6-4.11 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Moses, art โ€ข Roman art โ€ข art, โ€ข art, Qumran โ€ข art, priests โ€ข crown, in Christian art

 Found in books: Brodd and Reed (2011) 166; Brooke et al (2008) 52; Dijkstra (2020) 136; Rubenstein(1995) 9


4.6. ฮบฮฑแฝถ แผฮฝฯŽฯ€ฮนฮฟฮฝ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ… แฝกฯ‚ ฮธฮฌฮปฮฑฯƒฯƒฮฑ แฝ‘ฮฑฮปฮฏฮฝฮทแฝฮผฮฟฮฏฮฑ ฮบฯฯ…ฯƒฯ„ฮฌฮปฮปแฟณ. ฮบฮฑแฝถ แผฮฝ ฮผฮญฯƒแฟณ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ…ฮบฮฑแฝถฮบฯฮบฮปแฟณ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ… ฯ„ฮญฯƒฯƒฮตฯฮฑ ฮถแฟทฮฑ ฮณฮญฮผฮฟฮฝฯ„ฮฑ แฝ€ฯ†ฮธฮฑฮปฮผแฟถฮฝแผ”ฮผฯ€ฯฮฟฯƒฮธฮตฮฝ ฮบฮฑแฝถ แฝ„ฯ€ฮนฯƒฮธฮตฮฝยท 4.7. ฮบฮฑแฝถ ฯ„แฝธ ฮถแฟทฮฟฮฝฯ„แฝธ ฯ€ฯแฟถฯ„ฮฟฮฝแฝ…ฮผฮฟฮนฮฟฮฝฮปฮญฮฟฮฝฯ„ฮน, ฮบฮฑแฝถ ฯ„แฝธ ฮดฮตฯฯ„ฮตฯฮฟฮฝฮถแฟทฮฟฮฝ แฝ…ฮผฮฟฮนฮฟฮฝฮผฯŒฯƒฯ‡แฟณ, ฮบฮฑแฝถ ฯ„แฝธ ฯ„ฯฮฏฯ„ฮฟฮฝฮถแฟทฮฟฮฝ แผ”ฯ‡ฯ‰ฮฝฯ„แฝธ ฯ€ฯฯŒฯƒฯ‰ฯ€ฮฟฮฝแฝกฯ‚แผ€ฮฝฮธฯฯŽฯ€ฮฟฯ…, ฮบฮฑแฝถ ฯ„แฝธ ฯ„ฮญฯ„ฮฑฯฯ„ฮฟฮฝฮถแฟทฮฟฮฝ แฝ…ฮผฮฟฮนฮฟฮฝแผ€ฮตฯ„แฟทฯ€ฮตฯ„ฮฟฮผฮญฮฝแฟณยท 4.8. ฮบฮฑแฝถ ฯ„แฝฐ ฯ„ฮญฯƒฯƒฮตฯฮฑ ฮถแฟทฮฑ,แผ“ฮฝ ฮบฮฑฮธสผ แผ“ฮฝฮฑแฝฯ„แฟถฮฝ แผ”ฯ‡ฯ‰ฮฝแผ€ฮฝแฝฐ ฯ€ฯ„ฮญฯฯ…ฮณฮฑฯ‚ แผ•ฮพ, ฮบฯ…ฮบฮปฯŒฮธฮตฮฝฮบฮฑแฝถ แผ”ฯƒฯ‰ฮธฮตฮฝฮณฮญฮผฮฟฯ…ฯƒฮนฮฝ แฝ€ฯ†ฮธฮฑฮปฮผแฟถฮฝยทฮบฮฑแฝถ แผ€ฮฝฮฌฯ€ฮฑฯ…ฯƒฮนฮฝ ฮฟแฝฮบ แผ”ฯ‡ฮฟฯ…ฯƒฮนฮฝ แผกฮผฮญฯฮฑฯ‚ ฮบฮฑแฝถ ฮฝฯ…ฮบฯ„แฝธฯ‚ ฮปฮญฮณฮฟฮฝฯ„ฮตฯ‚ แผฮณฮนฮฟฯ‚ แผ…ฮณฮนฮฟฯ‚ แผ…ฮณฮนฮฟฯ‚ ฮšฯฯฮนฮฟฯ‚, แฝ ฮธฮตฯŒฯ‚, แฝ ฯ€ฮฑฮฝฯ„ฮฟฮบฯฮฌฯ„ฯ‰ฯ, แฝ แผฆฮฝ ฮบฮฑแฝถ แฝ แฝคฮฝ ฮบฮฑแฝถ แฝ แผฯฯ‡ฯŒฮผฮตฮฝฮฟฯ‚. 4.9. ฮšฮฑแฝถ แฝ…ฯ„ฮฑฮฝ ฮดฯŽฯƒฮฟฯ…ฯƒฮนฮฝ ฯ„แฝฐ ฮถแฟทฮฑ ฮดฯŒฮพฮฑฮฝ ฮบฮฑแฝถ ฯ„ฮนฮผแฝดฮฝ ฮบฮฑแฝถ ฮตแฝฯ‡ฮฑฯฮนฯƒฯ„ฮฏฮฑฮฝ ฯ„แฟทฮบฮฑฮธฮทฮผฮญฮฝแฟณ แผฯ€แฝถ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ…, ฯ„แฟท ฮถแฟถฮฝฯ„ฮน ฮตแผฐฯ‚ ฯ„ฮฟแฝบฯ‚ ฮฑแผฐแฟถฮฝฮฑฯ‚ฯ„แฟถฮฝ ฮฑแผฐฯŽฮฝฯ‰ฮฝ, 4.10. ฯ€ฮตฯƒฮฟแฟฆฮฝฯ„ฮฑฮน ฮฟแผฑ ฮตแผดฮบฮฟฯƒฮน ฯ„ฮญฯƒฯƒฮฑฯฮตฯ‚ ฯ€ฯฮตฯƒฮฒฯฯ„ฮตฯฮฟฮน แผฮฝฯŽฯ€ฮนฮฟฮฝ ฯ„ฮฟแฟฆฮบฮฑฮธฮทฮผฮญฮฝฮฟฯ… แผฯ€แฝถ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ…,ฮบฮฑแฝถ ฯ€ฯฮฟฯƒฮบฯ…ฮฝฮฎฯƒฮฟฯ…ฯƒฮนฮฝฯ„แฟท ฮถแฟถฮฝฯ„ฮน ฮตแผฐฯ‚ ฯ„ฮฟแฝบฯ‚ ฮฑแผฐแฟถฮฝฮฑฯ‚ฯ„แฟถฮฝ ฮฑแผฐฯŽฮฝฯ‰ฮฝ, ฮบฮฑแฝถ ฮฒฮฑฮปฮฟแฟฆฯƒฮนฮฝ ฯ„ฮฟแฝบฯ‚ ฯƒฯ„ฮตฯ†ฮฌฮฝฮฟฯ…ฯ‚ ฮฑแฝฯ„แฟถฮฝ แผฮฝฯŽฯ€ฮนฮฟฮฝ ฯ„ฮฟแฟฆ ฮธฯฯŒฮฝฮฟฯ…, ฮปฮญฮณฮฟฮฝฯ„ฮตฯ‚ 4.11. ' '. None
4.6. Before the throne was something like a sea of glass, like a crystal. In the midst of the throne, and around the throne were four living creatures full of eyes before and behind. 4.7. The first creature was like a lion, and the second creature like a calf, and the third creature had a face like a man, and the fourth was like a flying eagle. 4.8. The four living creatures, having each one of them six wings, are full of eyes around about and within. They have no rest day and night, saying, "Holy, holy, holy, holy, holy, holy, holy, holy, holy is the Lord God, the Almighty, who was and who is and who is to come!" 4.9. When the living creatures give glory, honor, and thanks to him who sits on the throne, to him who lives forever and ever, 4.10. the twenty-four elders fall down before him who sits on the throne, and worship him who lives forever and ever, and throw their crowns before the throne, saying, 4.11. "Worthy are you, our Lord and our God, the Holy One, to receive the glory, the honor, and the power, for you created all things, and because of your desire they existed, and were created!" ' '. None
40. New Testament, Mark, 14.26 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Roman art โ€ข music, liberal art of music (musica)

 Found in books: Dijkstra (2020) 121; Esler (2000) 781


14.26. ฮšฮฑแฝถ แฝ‘ฮผฮฝฮฎฯƒฮฑฮฝฯ„ฮตฯ‚ แผฮพแฟ†ฮปฮธฮฟฮฝ ฮตแผฐฯ‚ ฯ„แฝธ แฝŒฯฮฟฯ‚ ฯ„แฟถฮฝ แผ˜ฮปฮฑฮนแฟถฮฝ.''. None
14.26. When they had sung a hymn, they went out to the Mount of Olives. ''. None
41. New Testament, Matthew, 26.33 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Roman art โ€ข art

 Found in books: Dijkstra (2020) 121; Harkins and Maier (2022) 161


26.33. แผ€ฯ€ฮฟฮบฯฮนฮธฮตแฝถฯ‚ ฮดแฝฒ แฝ ฮ ฮญฯ„ฯฮฟฯ‚ ฮตแผถฯ€ฮตฮฝ ฮฑแฝฯ„แฟท ฮ•แผฐ ฯ€ฮฌฮฝฯ„ฮตฯ‚ ฯƒฮบฮฑฮฝฮดฮฑฮปฮนฯƒฮธฮฎฯƒฮฟฮฝฯ„ฮฑฮน แผฮฝ ฯƒฮฟฮฏ, แผฮณแฝผ ฮฟแฝฮดฮญฯ€ฮฟฯ„ฮต ฯƒฮบฮฑฮฝฮดฮฑฮปฮนฯƒฮธฮฎฯƒฮฟฮผฮฑฮน.''. None
26.33. But Peter answered him, "Even if all will be made to stumble because of you, I will never be made to stumble."''. None
42. Quintilian, Institutes of Oratory, 12.10.9 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Apelles, place among ancient artists โ€ข Lysippus, place among ancient artists โ€ข Myron, his place among ancient artists โ€ข Phidias, his place among ancient artists โ€ข Polyclitus, his place among ancient artists โ€ข Praxiteles, his place among ancient artists โ€ข Quintilian, judgment on artists โ€ข Zeuxis, place among ancient artists โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation โ€ข artist, canonization of โ€ข artist, styles of โ€ข place among ancient artists

 Found in books: Jenkyns (2013) 240, 241; Rutledge (2012) 90


12.10.9. \xa0On the other hand, Phidias is regarded as more gifted in his representation of gods station of men, and indeed for chryselephantine statues he is without a peer, as he would in truth be, even if he had produced nothing in this material beyond his Minerva at Athens and his Jupiter at Olympia in Elis, whose beauty is such that it is said to have added something even to the awe with which the god was already regarded: so perfectly did the majesty of the work give the impression of godhead. Lysippus and Praxiteles are asserted to be supreme as regards faithfulness to nature. For Demetrius is blamed for carrying realism too far, and is less concerned about the beauty than the truth of his work.''. None
43. Quintilian, Institutio Oratoria, 12.10.3-12.10.9 (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Apelles (artist) โ€ข Apelles, place among ancient artists โ€ข Lysippus, place among ancient artists โ€ข Myron, his place among ancient artists โ€ข Phidias, his place among ancient artists โ€ข Polyclitus, his place among ancient artists โ€ข Praxiteles, his place among ancient artists โ€ข Quintilian, judgment on artists โ€ข Zeuxis, place among ancient artists โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข artist, canonization of โ€ข artist, styles of โ€ข offering, art work as โ€ข place among ancient artists

 Found in books: Elsner (2007) 42, 183, 187; Rutledge (2012) 90


12.10.3. \xa0The first great painters, whose works deserve inspection for something more than their mere antiquity, are said to have been Polygnotus and Aglaophon, whose simple colouring has still such enthusiastic admirers that they prefer these almost primitive works, which may be regarded as the first foundations of the art that was to be, over the works of the greatest of their successors, their motive being, in my opinion, an ostentatious desire to seem persons of superior taste. 12.10.4. \xa0Later Zeuxis and Parrhasius contributed much to the progress of painting. These artists were separated by no great distance of time, since both flourished about the period of the Peloponnesian war; for example, Xenophon has preserved a conversation between Socrates and Parrhasius. The first-mentioned seems to have discovered the method of representing light and shade, while the latter is said to have devoted special attention to the treatment of line. 12.10.5. \xa0For Zeuxis emphasised the limbs of the human body, thinking thereby to add dignity and grandeur to his style: it is generally supposed that in this he followed the example of Homer, who likes to represent even his female characters as being of heroic mould. Parrhasius, on the other hand, was so fine a draughtsman that he has been styled the law-giver of his art, on the ground that all other artists take his representations of gods and heroes as models, as though no other course were possible. 12.10.6. \xa0It was, however, from about the period of the reign of Philip down to that of the successors of Alexander that painting flourished more especially, although the different artists are distinguished for different excellences. Proto­genes, for example, was renowned for accuracy, Pamphilus and Melanthius for soundness of taste, Antiphilus for facility, Theon of Samos for his depiction of imaginary scenes, known as ร\x86รŽยฑรŽยฝร\x84รŽยฑร\x83รŽยฏรŽยฑรŽยน, and Apelles for genius and grace, in the latter of which qualities he took especial pride. Euphranor, on the other hand, was admired on the ground that, while he ranked with the most eminent masters of other arts, he at the same time achieved a marvellous skill in the arts of sculpture and painting.' "12.10.7. \xa0The same differences exist between sculptors. The art of Callon and Hegesias is somewhat rude and recalls the Etruscans, but the work of Calamis has already begun to be less stiff, while Myron's statues show a greater form than had been achieved by the artists just mentioned. Polyclitus surpassed all others for care and grace, but although the majority of critics account him as the greatest of sculptors, to avoid making him faultless they express the opinion that his work is lacking in grandeur." '12.10.8. \xa0For while he gave the human form an ideal grace, he is thought to have been less successful in representing the dignity of the gods. He is further alleged to have shrunken from representing persons of maturer years, and to have ventured on nothing more difficult than a smooth and beardless face. But the qualities lacking in Polyclitus are allowed to have been possessed by Phidias and Alcamenes. 12.10.9. \xa0On the other hand, Phidias is regarded as more gifted in his representation of gods station of men, and indeed for chryselephantine statues he is without a peer, as he would in truth be, even if he had produced nothing in this material beyond his Minerva at Athens and his Jupiter at Olympia in Elis, whose beauty is such that it is said to have added something even to the awe with which the god was already regarded: so perfectly did the majesty of the work give the impression of godhead. Lysippus and Praxiteles are asserted to be supreme as regards faithfulness to nature. For Demetrius is blamed for carrying realism too far, and is less concerned about the beauty than the truth of his work.''. None
44. Tacitus, Annals, 15.37 (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, interpretation of symbols โ€ข Artist, works of art

 Found in books: Bickerman and Tropper (2007) 899; Lampe (2003) 62


15.37. Ipse quo fidem adquireret nihil usquam perinde laetum sibi, publicis locis struere convivia totaque urbe quasi domo uti. et celeberrimae luxu famaque epulae fuere quas a Tigellino paratas ut exemplum referam, ne saepius eadem prodigentia narranda sit. igitur in stagno Agrippae fabricatus est ratem cui superpositum convivium navium aliarum tractu moveretur. naves auro et ebore distinctae, remiges- que exoleti per aetates et scientiam libidinum componebantur. volucris et feras diversis e terris et animalia maris Oceano abusque petiverat. crepidinibus stagni lupanaria adstabant inlustribus feminis completa et contra scorta visebantur nudis corporibus. iam gestus motusque obsceni; et postquam tenebrae incedebant, quantum iuxta nemoris et circumiecta tecta consonare cantu et luminibus clarescere. ipse per licita atque inlicita foedatus nihil flagitii reliquerat quo corruptior ageret, nisi paucos post dies uni ex illo contaminatorum grege (nomen Pythagorae fuit) in modum sollemnium coniugiorum denupsisset. inditum imperatori flammeum, missi auspices, dos et genialis torus et faces nuptiales, cuncta denique spectata quae etiam in femina nox operit.''. None
15.37. \xa0He himself, to create the impression that no place gave him equal pleasure with Rome, began to serve banquets in the public places and to treat the entire city as his palace. In point of extravagance and notoriety, the most celebrated of the feasts was that arranged by Tigellinus; which I\xa0shall describe as a type, instead of narrating time and again the monotonous tale of prodigality. He constructed, then, a raft on the Pool of Agrippa, and superimposed a banquet, to be set in motion by other craft acting as tugs. The vessels were gay with gold and ivory, and the oarsmen were catamites marshalled according to their ages and their libidinous attainments. He had collected birds and wild beasts from the ends of the earth, and marine animals from the ocean itself. On the quays of the lake stood brothels, filled with women of high rank; and, opposite, naked harlots met the view. First came obscene gestures and dances; then, as darkness advanced, the whole of the neighbouring grove, together with the dwelling-houses around, began to echo with song and to glitter with lights. Nero himself, defiled by every natural and unnatural lust had left no abomination in reserve with which to crown his vicious existence; except that, a\xa0few days later, he became, with the full rites of legitimate marriage, the wife of one of that herd of degenerates, who bore the name of Pythagoras. The veil was drawn over the imperial head, witnesses were despatched to the scene; the dowry, the couch of wedded love, the nuptial torches, were there: everything, in fine, which night enshrouds even if a woman is the bride, was left open to the view. <''. None
45. None, None, nan (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข technitai (Artists of Dionysus) โ€ข young womens rituals, in Statius Achilleid, female artistic voice versus epic male voice

 Found in books: Csapo (2022) 118; Panoussi(2019) 261


46. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Art, imitation of models โ€ข blessings, figural art โ€ข seals, figural art

 Found in books: Bickerman and Tropper (2007) 912, 920, 937; Levine (2005) 226, 478


47. None, None, nan (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข blessings, figural art โ€ข seals, figural art

 Found in books: Bickerman and Tropper (2007) 920; Levine (2005) 226


48. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Artist, works of art โ€ข Vipsanius Agrippa, M., on public art โ€ข connoisseurship, art historical

 Found in books: Lampe (2003) 62; Rojas(2019) 164; Rutledge (2012) 58


49. None, None, nan (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Artistic metaphor, for training in virtue โ€ข Moses, art

 Found in books: Brooke et al (2008) 180; Gray (2021) 1


50. None, None, nan (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Artist, works of art โ€ข Hadrian, as artist โ€ข Nero, artistic aspirations โ€ข Petronius, and the decline of art โ€ข Pliny the Elder, on decline of art โ€ข Vitruvius, on decline of art โ€ข art expert, in Petroniusโ€™ Satyrica โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข art history, Petroniusโ€™ satire of โ€ข liberal arts or disciplines, listed or enumerated

 Found in books: Elsner (2007) 188, 192; Lampe (2003) 137; Pollmann and Vessey (2007) 158; Rutledge (2012) 84


51. None, None, nan (1st cent. CE - 1st cent. CE)
 Tagged with subjects: โ€ข Alexander the Great, repatriates Greek art from Persia โ€ข Apelles (artist) โ€ข Apelles, place among ancient artists โ€ข Art โ€ข Art, imitation of models โ€ข Art, interpretation of symbols โ€ข Art, need for explanation โ€ข Artist, works of art โ€ข Athenaeus, on eroticism in art โ€ข Epigonos, artist โ€ข Greek, art โ€ข Hadrian, as artist โ€ข Lysippus, place among ancient artists โ€ข Mercury/Hermes, and Cupid in art โ€ข Myron, his place among ancient artists โ€ข Nero, artistic aspirations โ€ข Nikeratos, artist โ€ข Nile, subject matter of art โ€ข Petronius, and the decline of art โ€ข Phidias, his place among ancient artists โ€ข Phyromachos, artist โ€ข Pliny the Elder, on decline of art โ€ข Pliny the Elder, on ignorance of art โ€ข Pliny the Elder, on public art โ€ข Pliny the Younger, on artists โ€ข Polyclitus, his place among ancient artists โ€ข Porcius Cato the Elder, M., on Greek art and culture โ€ข Praxiteles, his place among ancient artists โ€ข Quintilian, judgment on artists โ€ข Tullius Cicero, M., on artists โ€ข Valerius Maximus, and eroticism in art โ€ข Verres, C., appropriates art works in Syracuse โ€ข Vipsanius Agrippa, M., on public art โ€ข Vitruvius, on decline of art โ€ข Zeuxis, place among ancient artists โ€ข art โ€ข art expert, in Petroniusโ€™ Satyrica โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข art history, Petroniusโ€™ satire of โ€ข art, Roman โ€ข artist โ€ข artist, as critics โ€ข artist, canonization of โ€ข artist, styles of โ€ข artist, treatises by โ€ข artists and gods โ€ข eloquence, art of โ€ข liberal arts or disciplines, contrasted or combined with the Bible, biblical culture โ€ข liberal arts or disciplines, listed or enumerated โ€ข offering, art work as โ€ข place among ancient artists โ€ข place among ancient artists, his realism โ€ข style art history, and rhetoric

 Found in books: Bickerman and Tropper (2007) 905; Borg (2008) 106, 111, 114, 299; Elsner (2007) 42, 64, 65, 182, 183, 191, 192, 193, 293; Lampe (2003) 137, 179; Manolaraki (2012) 130; Marek (2019) 244; Miller and Clay (2019) 151; Pandey (2018) 99; Pollmann and Vessey (2007) 143; Rutledge (2012) 31, 32, 33, 37, 38, 43, 49, 58, 83, 84, 90, 99, 100, 104, 113, 226


52. None, None, nan (1st cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Greeks, and Italian art

 Found in books: Bickerman and Tropper (2007) 924; Parkins and Smith (1998) 37


53. Lucian, Essays In Portraiture, 6 (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Amazons, in art โ€ข nudity, art

 Found in books: Hubbard (2014) 35; Sweeney (2013) 140


6. Ly. Well, look; she is at work already. Observe her procedure. She begins with our Cnidian importation, from which she takes only the head; with the rest she is not concerned, as the statue is nude. The hair, the forehead, the exquisite eyebrows, she will keep as Praxiteles has rendered them; the eyes, too, those soft, yet bright glancing eyes, she leaves unaltered. But the cheeks and the front of the face are taken from the โ€˜Gardenโ€™ Goddess; and so are the lines of the hands, the shapely wrists, the delicately tapering fingers. Phidias and the Lemnian Athene will give the outline of the face, and the well proportioned nose, and lend new softness to the cheeks; and the same artist may shape her neck and closed lips, to resemble those of his Amazon. Calamis adorns her with Sosandraโ€™s modesty, Sosandraโ€™s grave half smile; the decent seemly dress is Sosandraโ€™s too, save that the head must not be veiled. For her stature, let it be that ofCnidian Aphrodite; once more we have recourse to Praxiteles.โ€” What think you, Polystratus? Is it a lovely portrait?''. None
54. Pausanias, Description of Greece, 7.18.9, 9.39.6 (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Incubation (Greek), ram skins in reliefs an artistic convention(?) โ€ข art discourse, art-historical โ€ข art discourse, ritualcentered โ€ข ritual, as focus of art discourse โ€ข technitai (Artists of Dionysus), at Rome

 Found in books: Csapo (2022) 119; Elsner (2007) 35; Renberg (2017) 287


7.18.9. แฝกฯƒฮฑฯฯ„ฯ‰ฯ‚ ฮดแฝฒ ฮบฮฑแฝถ แฝ…ฯƒฮฑ แผ„ฮปฮปฮฑ แผ€ฮณฮฌฮปฮผฮฑฯ„ฮฑ แผ”ฮบ ฯ„ฮต ฮ‘แผฐฯ„ฯ‰ฮปฮฏฮฑฯ‚ ฮบฮฑแฝถ ฯ€ฮฑฯแฝฐ แผˆฮบฮฑฯฮฝฮฌฮฝฯ‰ฮฝ, ฯ„แฝฐ ฮผแฝฒฮฝ ฯ€ฮฟฮปฮปแฝฐ แผฯ‚ ฯ„แฝดฮฝ ฮฮนฮบฯŒฯ€ฮฟฮปฮนฮฝ ฮบฮฟฮผฮนฯƒฮธแฟ†ฮฝฮฑฮน, ฮ ฮฑฯ„ฯฮตแฟฆฯƒฮน ฮดแฝฒ แฝ ฮ‘แฝ”ฮณฮฟฯ…ฯƒฯ„ฮฟฯ‚ แผ„ฮปฮปฮฑ ฯ„ฮต ฯ„แฟถฮฝ แผฮบ ฮšฮฑฮปฯ…ฮดแฟถฮฝฮฟฯ‚ ฮปฮฑฯ†ฯฯฯ‰ฮฝ ฮบฮฑแฝถ ฮดแฝด ฮบฮฑแฝถ ฯ„แฟ†ฯ‚ ฮ›ฮฑฯ†ฯฮฏฮฑฯ‚ แผ”ฮดฯ‰ฮบฮต ฯ„แฝธ แผ„ฮณฮฑฮปฮผฮฑ, แฝƒ ฮดแฝด ฮบฮฑแฝถ แผฯ‚ แผฮผแฝฒ แผ”ฯ„ฮน แผฮฝ ฯ„แฟ‡ แผ€ฮบฯฮฟฯ€ฯŒฮปฮตฮน ฯ„แฟ‡ ฮ ฮฑฯ„ฯฮญฯ‰ฮฝ ฮตแผถฯ‡ฮต ฯ„ฮนฮผฮฌฯ‚. ฮณฮตฮฝฮญฯƒฮธฮฑฮน ฮดแฝฒ แผฯ€ฮฏฮบฮปฮทฯƒฮนฮฝ ฯ„แฟ‡ ฮธฮตแฟท ฮ›ฮฑฯ†ฯฮฏฮฑฮฝ แผ€ฯ€แฝธ แผ€ฮฝฮดฯแฝธฯ‚ ฮฆฯ‰ฮบฮญฯ‰ฯ‚ ฯ†ฮฑฯƒฮฏยท ฮ›ฮฌฯ†ฯฮนฮฟฮฝ ฮณแฝฐฯ ฯ„แฝธฮฝ ฮšฮฑฯƒฯ„ฮฑฮปฮฏฮฟฯ… ฯ„ฮฟแฟฆ ฮ”ฮตฮปฯ†ฮฟแฟฆ ฮšฮฑฮปฯ…ฮดฯ‰ฮฝฮฏฮฟฮนฯ‚ แผฑฮดฯฯฯƒฮฑฯƒฮธฮฑฮน ฯ„แฝธ แผ„ฮณฮฑฮปฮผฮฑ ฯ„แฟ†ฯ‚ แผˆฯฯ„ฮญฮผฮนฮดฮฟฯ‚ ฯ„แฝธ แผ€ฯฯ‡ฮฑแฟ–ฮฟฮฝ, ฮฟแผฑ ฮดแฝฒ ฯ„แฟ†ฯ‚ แผˆฯฯ„ฮญฮผฮนฮดฮฟฯ‚ ฯ„แฝธ ฮผฮฎฮฝฮนฮผฮฑ ฯ„แฝธ
9.39.6. ฮบฮฑฮธสผ แผ‘ฮบฮฌฯƒฯ„ฮทฮฝ ฮดแฝฒ ฯ„แฟถฮฝ ฮธฯ…ฯƒฮนแฟถฮฝ แผ€ฮฝแฝดฯ ฮผฮฌฮฝฯ„ฮนฯ‚ ฯ€ฮฑฯแฝผฮฝ แผฯ‚ ฯ„ฮฟแฟฆ แผฑฮตฯฮตฮฏฮฟฯ… ฯ„แฝฐ ฯƒฯ€ฮปฮฌฮณฯ‡ฮฝฮฑ แผฮฝฮฟฯแพท, แผฮฝฮนฮดแฝผฮฝ ฮดแฝฒ ฯ€ฯฮฟฮธฮตฯƒฯ€ฮฏฮถฮตฮน ฯ„แฟท ฮบฮฑฯ„ฮนฯŒฮฝฯ„ฮน ฮตแผฐ ฮดแฝด ฮฑแฝฯ„แฝธฮฝ ฮตแฝฮผฮตฮฝแฝดฯ‚ แฝ ฮคฯฮฟฯ†ฯŽฮฝฮนฮฟฯ‚ ฮบฮฑแฝถ แผตฮปฮตฯ‰ฯ‚ ฮดฮญฮพฮตฯ„ฮฑฮน. ฯ„แฟถฮฝ ฮผแฝฒฮฝ ฮดแฝด แผ„ฮปฮปฯ‰ฮฝ แผฑฮตฯฮตฮฏฯ‰ฮฝ ฯ„แฝฐ ฯƒฯ€ฮปฮฌฮณฯ‡ฮฝฮฑ ฮฟแฝฯ‡ แฝฮผฮฟฮฏฯ‰ฯ‚ ฮดฮทฮปฮฟแฟ– ฯ„ฮฟแฟฆ ฮคฯฮฟฯ†ฯ‰ฮฝฮฏฮฟฯ… ฯ„แฝดฮฝ ฮณฮฝฯŽฮผฮทฮฝยท แผฮฝ ฮดแฝฒ ฮฝฯ…ฮบฯ„แฝถ แพ— ฮบฮฌฯ„ฮตฮนฯƒฮนฮฝ แผ•ฮบฮฑฯƒฯ„ฮฟฯ‚, แผฮฝ ฯ„ฮฑฯฯ„แฟƒ ฮบฯฮนแฝธฮฝ ฮธฯฮฟฯ…ฯƒฮนฮฝ แผฯ‚ ฮฒฯŒฮธฯฮฟฮฝ, แผฯ€ฮนฮบฮฑฮปฮฟฯฮผฮตฮฝฮฟฮน ฯ„แฝธฮฝ แผˆฮณฮฑฮผฮฎฮดฮทฮฝ. ฮธฯ…ฮผฮฌฯ„ฯ‰ฮฝ ฮดแฝฒ ฯ„แฟถฮฝ ฯ€ฯฯŒฯ„ฮตฯฮฟฮฝ ฯ€ฮตฯ†ฮทฮฝฯŒฯ„ฯ‰ฮฝ ฮฑแผฐฯƒฮฏฯ‰ฮฝ ฮปฯŒฮณฮฟฯ‚ แผฯƒฯ„แฝถฮฝ ฮฟแฝฮดฮตฮฏฯ‚, ฮตแผฐ ฮผแฝด ฮบฮฑแฝถ ฯ„ฮฟแฟฆฮดฮต ฯ„ฮฟแฟฆ ฮบฯฮนฮฟแฟฆ ฯ„แฝฐ ฯƒฯ€ฮปฮฌฮณฯ‡ฮฝฮฑ ฯ„แฝธ ฮฑแฝฯ„แฝธ ฮธฮญฮปฮฟฮน ฮปฮญฮณฮตฮนฮฝยท แฝฮผฮฟฮปฮฟฮณฮฟฯฮฝฯ„ฯ‰ฮฝ ฮดแฝฒ ฮบฮฑแฝถ ฯ„ฮฟฯฯ„ฯ‰ฮฝ, ฯ„ฯŒฯ„ฮต แผ•ฮบฮฑฯƒฯ„ฮฟฯ‚ แผคฮดฮท ฮบฮฌฯ„ฮตฮนฯƒฮนฮฝ ฮตแฝ”ฮตฮปฯ€ฮนฯ‚, ฮบฮฌฯ„ฮตฮนฯƒฮน ฮดแฝฒ ฮฟแฝ•ฯ„ฯ‰.''. None
7.18.9. Most of the images out of Aetolia and from Acaria were brought by Augustus' orders to Nicopolis, but to Patrae he gave, with other spoils from Calydon, the image of Laphria, which even in my time was still worshipped on the acropolis of Patrae . It is said that the goddess was surnamed Laphria after a man of Phocis, because the ancient image of Artemis was set up at Calydon by Laphrius, the son of Castalius, the son of Delphus." '
9.39.6. At each sacrifice a diviner is present, who looks into the entrails of the victim, and after an inspection prophesies to the person descending whether Trophonius will give him a kind and gracious reception. The entrails of the other victims do not declare the mind of Trophonius so much as a ram, which each inquirer sacrifices over a pit on the night he descends, calling upon Agamedes. Even though the previous sacrifices have appeared propitious, no account is taken of them unless the entrails of this ram indicate the same; but if they agree, then the inquirer descends in good hope. The procedure of the descent is this.'". None
55. Philostratus The Athenian, Life of Apollonius, 2.22, 4.7, 4.28, 6.4, 6.19 (2nd cent. CE - missingth cent. CE)
 Tagged with subjects: โ€ข Apollonius of Tyana, views on religious art โ€ข Art โ€ข Art theory โ€ข Art, funerary โ€ข Art, idol vs. image โ€ข Art, imitation of models โ€ข Art, interpretation of symbols โ€ข Art, loss of pagan meaning for Christians and Jews โ€ข Art, need for explanation โ€ข Art, religious art manufactured by Jews and Christians โ€ข Greek, art โ€ข Nile, subject matter of art โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation โ€ข art discourse, art-historical โ€ข art discourse, ritualcentered โ€ข ritual, as focus of art discourse

 Found in books: Bickerman and Tropper (2007) 895, 905, 909, 935; Demoen and Praet (2009) 147, 150, 154, 155; Elsner (2007) 37; Jenkyns (2013) 240; Manolaraki (2012) 293, 301, 302, 303, 304, 305, 306; Rutledge (2012) 31


2.22. ฮฟฬ”ฬ€ฮฝ ฮดฮตฬ€ ฮดฮนฮตฬฯ„ฯฮนฮฒฮตฮฝ ฮตฬ“ฮฝ ฯ„ฯ‰อ‚อ… ฮนฬ”ฮตฯฯ‰อ‚อ… ฯ‡ฯฮฟฬฮฝฮฟฮฝ, ฯ€ฮฟฮปฯ…ฬ€ฯ‚ ฮดฮตฬ€ ฮฟฯ…ฬ”อ‚ฯ„ฮฟฯ‚ ฮตฬ“ฮณฮตฬฮฝฮตฯ„ฮฟ, ฮตฬ“ฬฯƒฯ„' ฮฑฬ“ฬ€ฮฝ ฮฑฬ“ฮณฮณฮตฮปฮธฮทอ‚อ… ฯ„ฯ‰อ‚อ… ฮฒฮฑฯƒฮนฮปฮตฮนอ‚ ฮพฮตฬฮฝฮฟฯ…ฯ‚ ฮทฬ”ฬฮบฮตฮนฮฝ, โ€œฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮนโ€ ฮตฬ“ฬฯ†ฮท ฮฟฬ” ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮฟฯ‚, โ€œฮตฬ“ฬฯƒฯ„ฮน ฯ„ฮน ฮณฯฮฑฯ†ฮนฮบฮทฬ;โ€ โ€œฮตฮนฬ“ฬ ฮณฮตโ€ ฮตฮนฬ“อ‚ฯ€ฮต โ€œฮบฮฑฮนฬ€ ฮฑฬ“ฮปฮทฬฮธฮตฮนฮฑ.โ€ โ€œฯ€ฯฮฑฬฯ„ฯ„ฮตฮน ฮดฮตฬ€ ฯ„ฮนฬ ฮทฬ” ฯ„ฮตฬฯ‡ฮฝฮท ฮฑฯ…ฬ”ฬฯ„ฮท;โ€ โ€œฯ„ฮฑฬ€ ฯ‡ฯฯ‰ฬฮผฮฑฯ„ฮฑโ€ ฮตฬ“ฬฯ†ฮท โ€œฮพฯ…ฮณฮบฮตฯฮฑฬฮฝฮฝฯ…ฯƒฮนฮฝ, ฮฟฬ”ฯ€ฮฟฬฯƒฮฑ ฮตฬ“ฯƒฯ„ฮนฬ, ฯ„ฮฑฬ€ ฮบฯ…ฮฑฮฝฮฑอ‚ ฯ„ฮฟฮนอ‚ฯ‚ ฮฒฮฑฯ„ฯฮฑฯ‡ฮตฮนฬฮฟฮนฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ ฮปฮตฯ…ฮบฮฑฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฮผฮตฬฮปฮฑฯƒฮน ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ ฯ€ฯ…ฯฯƒฮฑฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฯ‰ฬ“ฯ‡ฯฮฟฮนอ‚ฯ‚.โ€ โ€œฯ„ฮฑฯ…ฯ„ฮนฬ€ ฮดฮตฬ€โ€ ฮทฬ“อ‚ ฮด' ฮฟฬ”ฬ€ฯ‚ โ€œฯ…ฬ”ฯ€ฮตฬ€ฯ ฯ„ฮนฬฮฝฮฟฯ‚ ฮผฮนฬฮณฮฝฯ…ฯƒฮนฮฝ; ฮฟฯ…ฬ“ ฮณฮฑฬ€ฯ ฯ…ฬ”ฯ€ฮตฬ€ฯ ฮผฮฟฬฮฝฮฟฯ… ฯ„ฮฟฯ…อ‚ ฮฑฬ“ฬฮฝฮธฮฟฯ…ฯ‚, ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮฑฮนฬ” ฮบฮทฬฯฮนฮฝฮฑฮน.โ€ โ€œฯ…ฬ”ฯ€ฮตฬ€ฯ ฮผฮนฮผฮทฬฯƒฮตฯ‰ฯ‚โ€ ฮตฬ“ฬฯ†ฮท โ€œฮบฮฑฮนฬ€ ฯ„ฮฟฯ…อ‚ ฮบฯ…ฬฮฝฮฑ ฯ„ฮต ฮตฬ“ฮพฮตฮนฮบฮฑฬฯƒฮฑฮน ฮบฮฑฮนฬ€ ฮนฬ”ฬฯ€ฯ€ฮฟฮฝ ฮบฮฑฮนฬ€ ฮฑฬ“ฬฮฝฮธฯฯ‰ฯ€ฮฟฮฝ ฮบฮฑฮนฬ€ ฮฝฮฑฯ…อ‚ฮฝ ฮบฮฑฮนฬ€ ฮฟฬ”ฯ€ฮฟฬฯƒฮฑ ฮฟฬ”ฯฮฑอ‚อ… ฮฟฬ” ฮทฬ”ฬฮปฮนฮฟฯ‚: ฮทฬ“ฬฮดฮท ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮทฬ”ฬฮปฮนฮฟฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮตฬ“ฮพฮตฮนฮบฮฑฬฮถฮตฮน ฯ„ฮฟฯ„ฮตฬ€ ฮผฮตฬ€ฮฝ ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮตฯ„ฯ„ฮฑฬฯฯ‰ฮฝ ฮนฬ”ฬฯ€ฯ€ฯ‰ฮฝ, ฮฟฮนฬ”อ‚ฮฟฯ‚ ฮตฬ“ฮฝฯ„ฮฑฯ…อ‚ฮธฮฑ ฮปฮตฬฮณฮตฯ„ฮฑฮน ฯ†ฮฑฮนฬฮฝฮตฯƒฮธฮฑฮน, ฯ„ฮฟฯ„ฮตฬ€ ฮด' ฮฑฯ…ฬ“อ‚ ฮบฮฑฮนฬ€ ฮดฮนฮฑฯ€ฯ…ฯฯƒฮตฯ…ฬฮฟฮฝฯ„ฮฑ ฯ„ฮฟฯ…อ‚ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฯ…อ‚, ฮตฬ“ฯ€ฮตฮนฮดฮฑฬ€ฮฝ ฮฑฮนฬ“ฮธฮตฬฯฮฑ ฯ…ฬ”ฯ€ฮฟฮณฯฮฑฬฯ†ฮทอ… ฮบฮฑฮนฬ€ ฮธฮตฯ‰อ‚ฮฝ ฮฟฮนฬ“อ‚ฮบฮฟฮฝ.โ€ โ€œฮผฮนฬฮผฮทฯƒฮนฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ ฮทฬ” ฮณฯฮฑฯ†ฮนฮบฮทฬ, ฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน;โ€ โ€œฯ„ฮนฬ ฮดฮตฬ€ ฮฑฬ“ฬฮปฮปฮฟ;โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮตฮนฬ“ ฮณฮฑฬ€ฯ ฮผฮทฬ€ ฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฯ€ฯฮฑฬฯ„ฯ„ฮฟฮน, ฮณฮตฮปฮฟฮนฬฮฑ ฮดฮฟฬฮพฮตฮน ฯ‡ฯฯ‰ฬฮผฮฑฯ„ฮฑ ฯ€ฮฟฮนฮฟฯ…อ‚ฯƒฮฑ ฮตฯ…ฬ“ฮทฬฮธฯ‰ฯ‚.โ€ โ€œฯ„ฮฑฬ€ ฮด' ฮตฬ“ฮฝ ฯ„ฯ‰อ‚อ… ฮฟฯ…ฬ“ฯฮฑฮฝฯ‰อ‚อ…โ€ ฮตฬ“ฬฯ†ฮท โ€œฮฒฮปฮตฯ€ฮฟฬฮผฮตฮฝฮฑ, ฮตฬ“ฯ€ฮตฮนฮดฮฑฬ€ฮฝ ฮฑฮนฬ” ฮฝฮตฯ†ฮตฬฮปฮฑฮน ฮดฮนฮฑฯƒฯ€ฮฑฯƒฮธฯ‰อ‚ฯƒฮนฮฝ ฮฑฬ“ฯ€' ฮฑฬ“ฮปฮปฮทฬฮปฯ‰ฮฝ, ฯ„ฮฟฯ…ฬ€ฯ‚ ฮบฮตฮฝฯ„ฮฑฯ…ฬฯฮฟฯ…ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฯฮฑฮณฮตฮปฮฑฬฯ†ฮฟฯ…ฯ‚ ฮบฮฑฮนฬ€, ฮฝฮทฬ€ ฮ”ฮนฬ', ฮฟฮนฬ” ฮปฯ…ฬฮบฮฟฮน ฯ„ฮต ฮบฮฑฮนฬ€ ฮฟฮนฬ” ฮนฬ”ฬฯ€ฯ€ฮฟฮน, ฯ„ฮนฬ ฯ†ฮทฬฯƒฮตฮนฯ‚; ฮฑฬ“อ‚ฯ' ฮฟฯ…ฬ“ ฮผฮนฮผฮทฯ„ฮนฮบฮทอ‚ฯ‚ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฮตฬ“ฬฯฮณฮฑ;โ€ โ€œฮตฬ“ฬฮฟฮนฮบฮตฮฝ,โ€ ฮตฬ“ฬฯ†ฮท. โ€œฮถฯ‰ฮณฯฮฑฬฯ†ฮฟฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ ฮฟฬ” ฮธฮตฮฟฬฯ‚, ฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฮบฮฑฮนฬ€ ฮบฮฑฯ„ฮฑฮปฮนฯ€ฯ‰ฬ€ฮฝ ฯ„ฮฟฬ€ ฯ€ฯ„ฮทฮฝฮฟฬ€ฮฝ ฮฑฬ”ฬฯฮผฮฑ, ฮตฬ“ฯ†' ฮฟฯ…ฬ”อ‚ ฯ€ฮฟฯฮตฯ…ฬฮตฯ„ฮฑฮน ฮดฮนฮฑฮบฮฟฯƒฮผฯ‰อ‚ฮฝ ฯ„ฮฑฬ€ ฮธฮตฮนอ‚ฮฑฬ ฯ„ฮต ฮบฮฑฮนฬ€ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮตฮนฮฑ, ฮบฮฑฬฮธฮทฯ„ฮฑฮน ฯ„ฮฟฬฯ„ฮต ฮฑฬ“ฮธฯ…ฬฯฯ‰ฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮณฯฮฑฬฯ†ฯ‰ฮฝ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ, ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮฟฮนฬ” ฯ€ฮฑฮนอ‚ฮดฮตฯ‚ ฮตฬ“ฮฝ ฯ„ฮทอ‚อ… ฯˆฮฑฬฮผฮผฯ‰อ…;โ€ ฮทฬ“ฯฯ…ฮธฯฮนฬฮฑฯƒฮตฮฝ ฮฟฬ” ฮ”ฮฑฬฮผฮนฯ‚ ฮตฬ“ฯ‚ ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฮฑฬ“ฬฯ„ฮฟฯ€ฮฟฮฝ ฮตฬ“ฮบฯ€ฮตฯƒฮตฮนอ‚ฮฝ ฮดฮฟฬฮพฮฑฮฝฯ„ฮฟฯ‚ ฯ„ฮฟฯ…อ‚ ฮปฮฟฬฮณฮฟฯ…. ฮฟฯ…ฬ“ฯ‡ ฯ…ฬ”ฯ€ฮตฯฮนฮดฯ‰ฬ€ฮฝ ฮฟฯ…ฬ“อ‚ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮฟฬ” ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮฟฯ‚, ฮฟฯ…ฬ“ฮดฮตฬ€ ฮณฮฑฬ€ฯ ฯ€ฮนฮบฯฮฟฬ€ฯ‚ ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮฑฬ€ฯ‚ ฮตฬ“ฮปฮตฬฮณฮพฮตฮนฯ‚ ฮทฬ“อ‚ฮฝ, โ€œฮฑฬ“ฮปฮปฮฑฬ€ ฮผฮทฬ€ ฯ„ฮฟฯ…อ‚ฯ„ฮฟโ€ ฮตฬ“ฬฯ†ฮท โ€œฮฒฮฟฯ…ฬฮปฮตฮน ฮปฮตฬฮณฮตฮนฮฝ, ฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฯ„ฮฟฬ€ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮผฮตฬ€ฮฝ ฮฑฬ“ฬฯƒฮทฮผฮฑฬ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ‰ฬ”ฯ‚ ฮตฬ“ฬฯ„ฯ…ฯ‡ฮต ฮดฮนฮฑฬ€ ฯ„ฮฟฯ…อ‚ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฯ…อ‚ ฯ†ฮตฬฯฮตฯƒฮธฮฑฮน ฯ„ฮฟฬฮณฮต ฮตฬ“ฯ€ฮนฬ€ ฯ„ฯ‰อ‚อ… ฮธฮตฯ‰อ‚อ…, ฮทฬ”ฮผฮฑอ‚ฯ‚ ฮดฮตฬ€ ฯ†ฯ…ฬฯƒฮตฮน ฯ„ฮฟฬ€ ฮผฮนฮผฮทฯ„ฮนฮบฮฟฬ€ฮฝ ฮตฬ“ฬฯ‡ฮฟฮฝฯ„ฮฑฯ‚ ฮฑฬ“ฮฝฮฑฯฯฯ…ฮธฮผฮนฬฮถฮตฮนฮฝ ฯ„ฮต ฮฑฯ…ฬ“ฯ„ฮฑฬ€ ฮบฮฑฮนฬ€ ฯ€ฮฟฮนฮตฮนอ‚ฮฝ;โ€ โ€œฮผฮฑอ‚ฮปฮปฮฟฮฝโ€ ฮตฬ“ฬฯ†ฮท โ€œฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฮทฬ”ฮณฯ‰ฬฮผฮตฮธฮฑ, ฯ‰ฬ“อ‚ ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮต, ฯ€ฮนฮธฮฑฮฝฯ‰ฬฯ„ฮตฯฮฟฮฝ ฮณฮฑฬ€ฯ ฮบฮฑฮนฬ€ ฯ€ฮฟฮปฮปฯ‰อ‚อ… ฮฒฮตฬฮปฯ„ฮนฮฟฮฝ.โ€ โ€œฮดฮนฯ„ฯ„ฮทฬ€ ฮฑฬ“ฬฯฮฑ ฮทฬ” ฮผฮนฮผฮทฯ„ฮนฮบฮทฬ, ฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮทฬ”ฮณฯ‰ฬฮผฮตฮธฮฑ ฮฟฮนฬ”ฬฮฑฮฝ ฯ„ฮทอ‚อ… ฯ‡ฮตฮนฯฮนฬ€ ฮฑฬ“ฯ€ฮฟฮผฮนฮผฮตฮนอ‚ฯƒฮธฮฑฮน ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚อ… ฮฝฯ‰อ‚อ…, ฮณฯฮฑฯ†ฮนฮบฮทฬ€ฮฝ ฮดฮตฬ€ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฯ„ฮฑฯ…ฬฯ„ฮทฮฝ, ฯ„ฮทฬ€ฮฝ ฮด' ฮฑฯ…ฬ“อ‚ ฮผฮฟฬฮฝฯ‰อ… ฯ„ฯ‰อ‚อ… ฮฝฯ‰อ‚อ… ฮตฮนฬ“ฮบฮฑฬฮถฮตฮนฮฝ.โ€ โ€œฮฟฯ…ฬ“ ฮดฮนฯ„ฯ„ฮทฬฮฝ,โ€ ฮตฬ“ฬฯ†ฮท ฮฟฬ” ฮ”ฮฑฬฮผฮนฯ‚ โ€œฮฑฬ“ฮปฮปฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฯ„ฮตฮปฮตฯ‰ฯ„ฮตฬฯฮฑฮฝ ฮทฬ”ฮณฮตฮนอ‚ฯƒฮธฮฑฮน ฯ€ฯฮฟฯƒฮทฬฮบฮตฮน ฮณฯฮฑฯ†ฮนฮบฮทฬฮฝ ฮณฮต ฮฟฯ…ฬ“อ‚ฯƒฮฑฮฝ, ฮทฬ”ฬ€ ฮดฯ…ฬฮฝฮฑฯ„ฮฑฮน ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚อ… ฮฝฯ‰อ‚อ… ฮบฮฑฮนฬ€ ฯ„ฮทอ‚อ… ฯ‡ฮตฮนฯฮนฬ€ ฮตฬ“ฮพฮตฮนฮบฮฑฬฯƒฮฑฮน, ฯ„ฮทฬ€ฮฝ ฮดฮตฬ€ ฮตฬ”ฯ„ฮตฬฯฮฑฮฝ ฮตฬ“ฮบฮตฮนฬฮฝฮทฯ‚ ฮผฮฟฬฯฮนฮฟฮฝ, ฮตฬ“ฯ€ฮตฮนฮดฮทฬ€ ฮพฯ…ฮฝฮนฬฮทฯƒฮน ฮผฮตฬ€ฮฝ ฮบฮฑฮนฬ€ ฮผฮนฮผฮตฮนอ‚ฯ„ฮฑฮน ฯ„ฯ‰อ‚อ… ฮฝฯ‰อ‚อ… ฮบฮฑฮนฬ€ ฮผฮทฬ€ ฮณฯฮฑฯ†ฮนฮบฮฟฬฯ‚ ฯ„ฮนฯ‚ ฯ‰ฬ“ฬฮฝ, ฯ„ฮทอ‚อ… ฯ‡ฮตฮนฯฮนฬ€ ฮดฮตฬ€ ฮฟฯ…ฬ“ฮบ ฮฑฬ“ฬ€ฮฝ ฮตฬ“ฯ‚ ฯ„ฮฟฬ€ ฮณฯฮฑฬฯ†ฮตฮนฮฝ ฮฑฯ…ฬ“ฯ„ฮฑฬ€ ฯ‡ฯฮทฬฯƒฮฑฮนฯ„ฮฟ.โ€ โ€œฮฑฬ“อ‚ฯฮฑ,โ€ ฮตฬ“ฬฯ†ฮท โ€œฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฯ€ฮตฯ€ฮทฯฯ‰ฮผฮตฬฮฝฮฟฯ‚ ฯ„ฮทฬ€ฮฝ ฯ‡ฮตฮนอ‚ฯฮฑ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ€ฮปฮทฮณฮทอ‚ฯ‚ ฯ„ฮนฮฝฮฟฯ‚ ฮทฬ“ฬ€ ฮฝฮฟฬฯƒฮฟฯ…;โ€ โ€œฮผฮฑฬ€ ฮ”ฮนฬ'โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฑฬ“ฮปฮป' ฯ…ฬ”ฯ€ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฮผฮทฬฯ„ฮต ฮณฯฮฑฯ†ฮนฬฮดฮฟฯ‚ ฯ„ฮนฮฝฮฟฬ€ฯ‚ ฮทฬ”อ‚ฯ†ฮธฮฑฮน, ฮผฮทฬฯ„ฮต ฮฟฬ“ฯฮณฮฑฬฮฝฮฟฯ… ฯ„ฮนฮฝฮฟฬ€ฯ‚ ฮทฬ“ฬ€ ฯ‡ฯฯ‰ฬฮผฮฑฯ„ฮฟฯ‚, ฮฑฬ“ฮปฮป' ฮฑฬ“ฮผฮฑฮธฯ‰อ‚ฯ‚ ฮตฬ“ฬฯ‡ฮตฮนฮฝ ฯ„ฮฟฯ…อ‚ ฮณฯฮฑฬฯ†ฮตฮนฮฝ.โ€ โ€œฮฟฯ…ฬ“ฮบฮฟฯ…อ‚ฮฝ,โ€ ฮตฬ“ฬฯ†ฮท โ€œฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฮฑฬ“ฬฮผฯ†ฯ‰ ฮฟฬ”ฮผฮฟฮปฮฟฮณฮฟฯ…อ‚ฮผฮตฮฝ ฮผฮนฮผฮทฯ„ฮนฮบฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮตฬ“ฮบ ฯ†ฯ…ฬฯƒฮตฯ‰ฯ‚ ฯ„ฮฟฮนอ‚ฯ‚ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฮนฯ‚ ฮทฬ”ฬฮบฮตฮนฮฝ, ฯ„ฮทฬ€ฮฝ ฮณฯฮฑฯ†ฮนฮบฮทฬ€ฮฝ ฮดฮตฬ€ ฮตฬ“ฮบ ฯ„ฮตฬฯ‡ฮฝฮทฯ‚. ฯ„ฮฟฯ…ฯ„ฮนฬ€ ฮด' ฮฑฬ“ฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ€ฮตฯฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ€ฮปฮฑฯƒฯ„ฮนฮบฮทฬ€ฮฝ ฯ†ฮฑฮนฬฮฝฮฟฮนฯ„ฮฟ. ฯ„ฮทฬ€ฮฝ ฮดฮตฬ€ ฮดฮทฬ€ ฮถฯ‰ฮณฯฮฑฯ†ฮนฬฮฑฮฝ ฮฑฯ…ฬ“ฯ„ฮทฬ€ฮฝ ฮฟฯ…ฬ“ฬ ฮผฮฟฮน ฮดฮฟฮบฮตฮนอ‚ฯ‚ ฮผฮฟฬฮฝฮฟฮฝ ฯ„ฮทฬ€ฮฝ ฮดฮนฮฑฬ€ ฯ„ฯ‰อ‚ฮฝ ฯ‡ฯฯ‰ฮผฮฑฬฯ„ฯ‰ฮฝ ฮทฬ”ฮณฮตฮนอ‚ฯƒฮธฮฑฮน, ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮตฬ”ฬ€ฮฝ ฯ‡ฯฯ‰อ‚ฮผฮฑ ฮตฬ“ฯ‚ ฮฑฯ…ฬ“ฯ„ฮทฬ€ฮฝ ฮทฬ“ฬฯฮบฮตฯƒฮต ฯ„ฮฟฮนอ‚ฯ‚ ฮณฮต ฮฑฬ“ฯฯ‡ฮฑฮนฮฟฯ„ฮตฬฯฮฟฮนฯ‚ ฯ„ฯ‰อ‚ฮฝ ฮณฯฮฑฯ†ฮตฬฯ‰ฮฝ ฮบฮฑฮนฬ€ ฯ€ฯฮฟฮนฬˆฮฟฯ…อ‚ฯƒฮฑ ฯ„ฮตฯ„ฯ„ฮฑฬฯฯ‰ฮฝ ฮตฮนฬ“อ‚ฯ„ฮฑ ฯ€ฮปฮตฮนฮฟฬฮฝฯ‰ฮฝ ฮทฬ”ฬฯˆฮฑฯ„ฮฟ, ฮฑฬ“ฮปฮปฮฑฬ€ ฮบฮฑฮนฬ€ ฮณฯฮฑฮผฮผฮทฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฮฑฬ“ฬฮฝฮตฯ… ฯ‡ฯฯ‰ฬฮผฮฑฯ„ฮฟฯ‚, ฮฟฬ”ฬ€ ฮดฮทฬ€ ฯƒฮบฮนฮฑอ‚ฯ‚ ฯ„ฮต ฮพฯ…ฬฮณฮบฮตฮนฯ„ฮฑฮน ฮบฮฑฮนฬ€ ฯ†ฯ‰ฯ„ฮฟฬฯ‚, ฮถฯ‰ฮณฯฮฑฯ†ฮนฬฮฑฮฝ ฯ€ฯฮฟฯƒฮทฬฮบฮตฮน ฮบฮฑฮปฮตฮนอ‚ฮฝ: ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮตฬ“ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮฟฬ”ฮผฮฟฮนฮฟฬฯ„ฮทฯ‚ ฯ„ฮต ฮฟฬ”ฯฮฑอ‚ฯ„ฮฑฮน ฮตฮนฬ“อ‚ฮดฮฟฬฯ‚ ฯ„ฮต ฮบฮฑฮนฬ€ ฮฝฮฟฯ…อ‚ฯ‚ ฮบฮฑฮนฬ€ ฮฑฮนฬ“ฮดฯ‰ฬ€ฯ‚ ฮบฮฑฮนฬ€ ฮธฯฮฑฯƒฯ…ฬฯ„ฮทฯ‚, ฮบฮฑฮนฬฯ„ฮฟฮน ฯ‡ฮทฯฮตฯ…ฬฮตฮน ฯ‡ฯฯ‰ฮผฮฑฬฯ„ฯ‰ฮฝ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ, ฮบฮฑฮนฬ€ ฮฟฯ…ฬ“ฬฯ„ฮต ฮฑฮนฬ”อ‚ฮผฮฑ ฮตฬ“ฮฝฯƒฮทฮผฮฑฮนฬฮฝฮตฮน ฮฟฯ…ฬ“ฬฯ„ฮต ฮบฮฟฬฮผฮทฯ‚ ฯ„ฮนฮฝฮฟฬ€ฯ‚ ฮทฬ“ฬ€ ฯ…ฬ”ฯ€ฮทฬฮฝฮทฯ‚ ฮฑฬ“ฬฮฝฮธฮฟฯ‚, ฮฑฬ“ฮปฮปฮฑฬ€ ฮผฮฟฮฝฮฟฯ„ฯฮฟฬฯ€ฯ‰ฯ‚ ฮพฯ…ฮฝฯ„ฮนฮธฮตฬฮผฮตฮฝฮฑ ฯ„ฯ‰อ‚อ… ฯ„ฮต ฮพฮฑฮฝฮธฯ‰อ‚อ… ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฯ‰อ… ฮตฬ“ฬฮฟฮนฮบฮต ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚อ… ฮปฮตฯ…ฮบฯ‰อ‚อ…, ฮบฮฑฬ“ฬ€ฮฝ ฯ„ฮฟฯ…ฬฯ„ฯ‰ฮฝ ฯ„ฮนฮฝฮฑฬ€ ฯ„ฯ‰อ‚ฮฝ ฬ“ฮ™ฮฝฮดฯ‰อ‚ฮฝ ฮปฮตฯ…ฮบฮทอ‚อ… ฯ„ฮทอ‚อ… ฮณฯฮฑฮผฮผฮทอ‚อ… ฮณฯฮฑฬฯˆฯ‰ฮผฮตฮฝ, ฮผฮตฬฮปฮฑฯ‚ ฮดฮทฬฯ€ฮฟฯ… ฮดฮฟฬฮพฮตฮน, ฯ„ฮฟฬ€ ฮณฮฑฬ€ฯ ฯ…ฬ”ฯ€ฮฟฬฯƒฮนฮผฮฟฮฝ ฯ„ฮทอ‚ฯ‚ ฯฬ”ฮนฮฝฮฟฬ€ฯ‚ ฮบฮฑฮนฬ€ ฮฟฮนฬ” ฮฟฬ“ฯฮธฮฟฮนฬ€ ฮฒฮฟฬฯƒฯ„ฯฯ…ฯ‡ฮฟฮน ฮบฮฑฮนฬ€ ฮทฬ” ฯ€ฮตฯฮนฯ„ฯ„ฮทฬ€ ฮณฮตฬฮฝฯ…ฯ‚ ฮบฮฑฮนฬ€ ฮทฬ” ฯ€ฮตฯฮนฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฮฟฬ“ฯ†ฮธฮฑฮปฮผฮฟฮนอ‚ฯ‚ ฮฟฮนฬ”อ‚ฮฟฮฝ ฮตฬ“ฬฮบฯ€ฮปฮทฮพฮนฯ‚ ฮผฮตฮปฮฑฮนฬฮฝฮตฮน ฯ„ฮฑฬ€ ฮฟฬ”ฯฯ‰ฬฮผฮตฮฝฮฑ ฮบฮฑฮนฬ€ ฬ“ฮ™ฮฝฮดฮฟฬ€ฮฝ ฯ…ฬ”ฯ€ฮฟฮณฯฮฑฬฯ†ฮตฮน ฯ„ฮฟฮนอ‚ฯ‚ ฮณฮต ฮผฮทฬ€ ฮฑฬ“ฮฝฮฟฮทฬฯ„ฯ‰ฯ‚ ฮฟฬ”ฯฯ‰อ‚ฯƒฮนฮฝ. ฮฟฬ”ฬฮธฮตฮฝ ฮตฮนฬ“ฬฯ€ฮฟฮนฮผ' ฮฑฬ“ฬ€ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฟฬ”ฯฯ‰อ‚ฮฝฯ„ฮฑฯ‚ ฯ„ฮฑฬ€ ฯ„ฮทอ‚ฯ‚ ฮณฯฮฑฯ†ฮนฮบฮทอ‚ฯ‚ ฮตฬ“ฬฯฮณฮฑ ฮผฮนฮผฮทฯ„ฮนฮบฮทอ‚ฯ‚ ฮดฮตฮนอ‚ฯƒฮธฮฑฮน: ฮฟฯ…ฬ“ ฮณฮฑฬ€ฯ ฮฑฬ“ฬ€ฮฝ ฮตฬ“ฯ€ฮฑฮนฮฝฮตฬฯƒฮตฮนฮตฬ ฯ„ฮนฯ‚ ฯ„ฮฟฬ€ฮฝ ฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฟฮฝ ฮนฬ”ฬฯ€ฯ€ฮฟฮฝ ฮทฬ“ฬ€ ฯ„ฮฑฯ…อ‚ฯฮฟฮฝ ฮผฮทฬ€ ฯ„ฮฟฬ€ ฮถฯ‰อ‚อ…ฮฟฮฝ ฮตฬ“ฮฝฮธฯ…ฮผฮทฮธฮตฮนฬฯ‚, ฯ‰ฬ”อ‚อ… ฮตฮนฬ“ฬฮบฮฑฯƒฯ„ฮฑฮน, ฮฟฯ…ฬ“ฮด' ฮฑฬ“ฬ€ฮฝ ฯ„ฮฟฬ€ฮฝ ฮ‘ฮนฬ“ฬฮฑฮฝฯ„ฮฑฬ ฯ„ฮนฯ‚ ฯ„ฮฟฬ€ฮฝ ฮคฮนฮผฮฟฮผฮฑฬฯ‡ฮฟฯ… ฮฑฬ“ฮณฮฑฯƒฮธฮตฮนฬฮท, ฮฟฬ”ฬ€ฯ‚ ฮดฮทฬ€ ฮฑฬ“ฮฝฮฑฮณฮตฬฮณฯฮฑฯ€ฯ„ฮฑฮน ฮฑฯ…ฬ“ฯ„ฯ‰อ‚อ… ฮผฮตฮผฮทฮฝฯ‰ฬฯ‚, ฮตฮนฬ“ ฮผฮทฬ€ ฮฑฬ“ฮฝฮฑฮปฮฑฬฮฒฮฟฮน ฯ„ฮน ฮตฬ“ฯ‚ ฯ„ฮฟฬ€ฮฝ ฮฝฮฟฯ…อ‚ฮฝ ฮ‘ฮนฬ“ฬฮฑฮฝฯ„ฮฟฯ‚ ฮตฮนฬ“ฬฮดฯ‰ฮปฮฟฮฝ ฮบฮฑฮนฬ€ ฯ‰ฬ”ฯ‚ ฮตฮนฬ“ฮบฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฯ€ฮตฮบฯ„ฮฟฮฝฮฟฬฯ„ฮฑ ฯ„ฮฑฬ€ ฮตฬ“ฮฝ ฯ„ฮทอ‚อ… ฮคฯฮฟฮนฬฮฑอ… ฮฒฮฟฯ…ฮบฮฟฬฮปฮนฮฑ ฮบฮฑฮธฮทอ‚ฯƒฮธฮฑฮน ฮฑฬ“ฯ€ฮตฮนฯฮทฮบฮฟฬฯ„ฮฑ, ฮฒฮฟฯ…ฮปฮทฬ€ฮฝ ฯ€ฮฟฮนฮฟฯ…ฬฮผฮตฮฝฮฟฮฝ ฮบฮฑฮนฬ€ ฮตฬ”ฮฑฯ…ฯ„ฮฟฬ€ฮฝ ฮบฯ„ฮตฮนอ‚ฮฝฮฑฮน. ฯ„ฮฑฯ…ฯ„ฮนฬ€ ฮดฮตฬ, ฯ‰ฬ“อ‚ ฮ”ฮฑฬฮผฮน, ฯ„ฮฑฬ€ ฯ„ฮฟฯ…อ‚ ฮ ฯ‰ฬฯฮฟฯ… ฮดฮฑฮนฬฮดฮฑฮปฮฑ ฮผฮทฬฯ„ฮต ฯ‡ฮฑฮปฮบฮตฯ…ฯ„ฮนฮบฮทอ‚ฯ‚ ฮผฮฟฬฮฝฮฟฮฝ ฮฑฬ“ฯ€ฮฟฯ†ฮฑฮนฮฝฯ‰ฬฮผฮตฮธฮฑ, ฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฟฮนฯ‚ ฮณฮฑฬ€ฯ ฮตฮนฬ“ฬฮบฮฑฯƒฯ„ฮฑฮน, ฮผฮทฬฯ„ฮต ฮณฯฮฑฯ†ฮนฮบฮทอ‚ฯ‚, ฮตฬ“ฯ€ฮตฮนฮดฮทฬ€ ฮตฬ“ฯ‡ฮฑฮปฮบฮตฯ…ฬฮธฮท, ฮฑฬ“ฮปฮป' ฮทฬ”ฮณฯ‰ฬฮผฮตฮธฮฑ ฯƒฮฟฯ†ฮนฬฯƒฮฑฯƒฮธฮฑฮน ฮฑฯ…ฬ“ฯ„ฮฑฬ€ ฮณฯฮฑฯ†ฮนฮบฮฟฬฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ‡ฮฑฮปฮบฮตฯ…ฯ„ฮนฮบฮฟฬ€ฮฝ ฮตฬ”ฬฮฝฮฑ ฮฑฬ“ฬฮฝฮดฯฮฑ, ฮฟฮนฬ”อ‚ฮฟฮฝ ฮดฮทฬ ฯ„ฮน ฯ€ฮฑฯ' ฬ”ฮŸฮผฮทฬฯฯ‰อ… ฯ„ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฬ”ฮ—ฯ†ฮฑฮนฬฯƒฯ„ฮฟฯ… ฯ€ฮตฯฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ„ฮฟฯ…อ‚ ฬ“ฮ‘ฯ‡ฮนฮปฮปฮตฬฯ‰ฯ‚ ฮฑฬ“ฯƒฯ€ฮนฬฮดฮฑ ฮฑฬ“ฮฝฮฑฯ†ฮฑฮนฬฮฝฮตฯ„ฮฑฮน. ฮผฮตฯƒฯ„ฮฑฬ€ ฮณฮฑฬ€ฯ ฮบฮฑฮนฬ€ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮฟฬ“ฮปฮปฯ…ฬฮฝฯ„ฯ‰ฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮฟฬ“ฮปฮปฯ…ฮผฮตฬฮฝฯ‰ฮฝ, ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฮณฮทอ‚ฮฝ ฮทฬ”อ…ฮผฮฑฯ„ฯ‰อ‚ฯƒฮธฮฑฮน ฯ†ฮทฬฯƒฮตฮนฯ‚ ฯ‡ฮฑฮปฮบฮทอ‚ฮฝ ฮฟฯ…ฬ“อ‚ฯƒฮฑฮฝ.โ€" "
4.7. ฯƒฯ€ฮฟฯ…ฮดฮทอ‚อ… ฮดฮตฬ€ ฮฟฬ”ฯฯ‰อ‚ฮฝ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฃฮผฯ…ฯฮฝฮฑฮนฬฮฟฯ…ฯ‚ ฮฑฬ”ฯ€ฮฑฬฮฝฯ„ฯ‰ฮฝ ฮฑฬ”ฯ€ฯ„ฮฟฮผฮตฬฮฝฮฟฯ…ฯ‚ ฮปฮฟฬฮณฯ‰ฮฝ ฮตฬ“ฯ€ฮตฯฯฯ‰ฬฮฝฮฝฯ…ฮต ฮบฮฑฮนฬ€ ฯƒฯ€ฮฟฯ…ฮดฮฑฮนฮฟฯ„ฮตฬฯฮฟฯ…ฯ‚ ฮตฬ“ฯ€ฮฟฮนฬฮตฮน, ฯ†ฯฮฟฮฝฮตฮนอ‚ฮฝ ฯ„ฮต ฮตฬ“ฮบฮตฬฮปฮตฯ…ฮตฮฝ ฮตฬ“ฯ†' ฮตฬ”ฮฑฯ…ฯ„ฮฟฮนอ‚ฯ‚ ฮผฮฑอ‚ฮปฮปฮฟฮฝ ฮทฬ“ฬ€ ฯ„ฯ‰อ‚อ… ฯ„ฮทอ‚ฯ‚ ฯ€ฮฟฬฮปฮตฯ‰ฯ‚ ฮตฮนฬ“ฬฮดฮตฮน, ฮบฮฑฮนฬ€ ฮณฮฑฬฯ, ฮตฮนฬ“ ฮบฮฑฮนฬ€ ฮบฮฑฮปฮปฮนฬฯƒฯ„ฮท ฯ€ฮฟฬฮปฮตฯ‰ฮฝ, ฮฟฬ”ฯ€ฮฟฬฯƒฮฑฮน ฯ…ฬ”ฯ€ฮฟฬ€ ฮทฬ”ฮปฮนฬฯ‰อ… ฮตฮนฬ“ฯƒฮนฬ, ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฯ€ฮตฬฮปฮฑฮณฮฟฯ‚ ฮฟฮนฬ“ฮบฮตฮนฮฟฯ…อ‚ฯ„ฮฑฮน, ฮถฮตฯ†ฯ…ฬฯฮฟฯ… ฯ„ฮต ฯ€ฮทฮณฮฑฬ€ฯ‚ ฮตฬ“ฬฯ‡ฮตฮน, ฮฑฬ“ฮปฮป' ฮฑฬ“ฮฝฮดฯฮฑฬฯƒฮนฮฝ ฮตฬ“ฯƒฯ„ฮตฯ†ฮฑฮฝฯ‰อ‚ฯƒฮธฮฑฮน ฮฑฯ…ฬ“ฯ„ฮทฬ€ฮฝ ฮทฬ”ฬฮดฮนฮฟฮฝ ฮทฬ“ฬ€ ฯƒฯ„ฮฟฮฑฮนอ‚ฯ‚ ฯ„ฮต ฮบฮฑฮนฬ€ ฮณฯฮฑฯ†ฮฑฮนอ‚ฯ‚ ฮบฮฑฮนฬ€ ฯ‡ฯฯ…ฯƒฯ‰อ‚อ… ฯ€ฮปฮตฮนฬฮฟฮฝฮน ฯ„ฮฟฯ…อ‚ ฮฟฬ“ฬฮฝฯ„ฮฟฯ‚. ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮณฮฑฬ€ฯ ฮฟฮนฬ“ฮบฮฟฮดฮฟฮผฮทฬฮผฮฑฯ„ฮฑ ฮตฬ“ฯ€ฮนฬ€ ฯ„ฮฑฯ…ฬ“ฯ„ฮฟฯ…อ‚ ฮผฮตฬฮฝฮตฮนฮฝ ฮฟฯ…ฬ“ฮดฮฑฮผฮฟฯ…อ‚ ฮฟฬ”ฯฯ‰ฬฮผฮตฮฝฮฑ ฯ€ฮปฮทฬ€ฮฝ ฮตฬ“ฮบฮตฮนฬฮฝฮฟฯ… ฯ„ฮฟฯ…อ‚ ฮผฮตฬฯฮฟฯ…ฯ‚ ฯ„ฮทอ‚ฯ‚ ฮณฮทอ‚ฯ‚, ฮตฬ“ฮฝ ฯ‰ฬ”อ‚อ… ฮตฬ“ฯƒฯ„ฮนฮฝ, ฮฑฬ“ฬฮฝฮดฯฮฑฯ‚ ฮดฮตฬ€ ฮฑฬ“ฮณฮฑฮธฮฟฯ…ฬ€ฯ‚ ฯ€ฮฑฮฝฯ„ฮฑฯ‡ฮฟฯ…อ‚ ฮผฮตฬ€ฮฝ ฮฟฬ”ฯฮฑอ‚ฯƒฮธฮฑฮน, ฯ€ฮฑฮฝฯ„ฮฑฯ‡ฮฟฯ…อ‚ ฮดฮตฬ€ ฯ†ฮธฮตฬฮณฮณฮตฯƒฮธฮฑฮน, ฯ„ฮทฬ€ฮฝ ฮดฮตฬ€ ฯ€ฮฟฬฮปฮนฮฝ, ฮทฬ”อ‚ฯ‚ ฮณฮตฮณฮฟฬฮฝฮฑฯƒฮนฮฝ, ฮฑฬ“ฯ€ฮฟฯ†ฮฑฮนฬฮฝฮตฮนฮฝ ฯ„ฮฟฯƒฮฑฯ…ฬฯ„ฮทฮฝ, ฮฟฬ”ฬฯƒฮฟฮน ฯ€ฮตฯ ฮฑฯ…ฬ“ฯ„ฮฟฮนฬ€ ฮณฮทอ‚ฮฝ ฮตฬ“ฯ€ฮตฮปฮธฮตฮนอ‚ฮฝ ฮดฯ…ฬฮฝฮฑฮฝฯ„ฮฑฮน. ฮตฬ“ฬฮปฮตฮณฮต ฮดฮตฬ€ ฯ„ฮฑฬ€ฯ‚ ฮผฮตฬ€ฮฝ ฯ€ฮฟฬฮปฮตฮนฯ‚ ฯ„ฮฑฬ€ฯ‚ ฮฟฯ…ฬ”ฬฯ„ฯ‰ ฮบฮฑฮปฮฑฬ€ฯ‚ ฮตฬ“ฮฟฮนฮบฮตฬฮฝฮฑฮน ฯ„ฯ‰อ‚อ… ฯ„ฮฟฯ…อ‚ ฮ”ฮนฮฟฬ€ฯ‚ ฮฑฬ“ฮณฮฑฬฮปฮผฮฑฯ„ฮน, ฮฟฬ”ฬ€ฯ‚ ฮตฬ“ฮฝ ฬ“ฮŸฮปฯ…ฮผฯ€ฮนฬฮฑอ… ฯ„ฯ‰อ‚อ… ฮฆฮตฮนฮดฮนฬฮฑอ… ฮตฬ“ฮบฯ€ฮตฯ€ฮฟฮนฬฮทฯ„ฮฑฮน, ฮบฮฑฮธฮทอ‚ฯƒฮธฮฑฮน ฮณฮฑฬ€ฯ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ โ€” ฮฟฯ…ฬ”ฬฯ„ฯ‰ฯ‚ ฯ„ฯ‰อ‚อ… ฮดฮทฮผฮนฮฟฯ…ฯฮณฯ‰อ‚อ… ฮตฬ“ฬฮดฮฟฮพฮต โ€” ฯ„ฮฟฯ…ฬ€ฯ‚ ฮดฮตฬ€ ฮฑฬ“ฬฮฝฮดฯฮฑฯ‚ ฮตฬ“ฯ€ฮนฬ€ ฯ€ฮฑฬฮฝฯ„ฮฑ ฮทฬ”ฬฮบฮฟฮฝฯ„ฮฑฯ‚ ฮผฮทฮดฮตฬ€ฮฝ ฮฑฬ“ฯ€ฮตฮฟฮนฮบฮตฬฮฝฮฑฮน ฯ„ฮฟฯ…อ‚ ฬ”ฮŸฮผฮทฯฮตฮนฬฮฟฯ… ฮ”ฮนฮฟฬฯ‚, ฮฟฬ”ฬ€ฯ‚ ฮตฬ“ฮฝ ฯ€ฮฟฮปฮปฮฑฮนอ‚ฯ‚ ฮนฬ“ฮดฮตฬฮฑฮนฯ‚ ฬ”ฮŸฮผฮทฬฯฯ‰อ… ฯ€ฮตฯ€ฮฟฮนฬฮทฯ„ฮฑฮน ฮธฮฑฯ…ฮผฮฑฯƒฮนฯ‰ฬฯ„ฮตฯฮฟฮฝ ฮพฯ…ฮณฮบฮตฮนฬฮผฮตฮฝฮฟฯ‚ ฯ„ฮฟฯ…อ‚ ฮตฬ“ฮปฮตฯ†ฮฑฮฝฯ„ฮนฬฮฝฮฟฯ…: ฯ„ฮฟฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮณฮฑฬ€ฯ ฮตฬ“ฮฝ ฮณฮทอ‚อ… ฯ†ฮฑฮนฬฮฝฮตฯƒฮธฮฑฮน, ฯ„ฮฟฬ€ฮฝ ฮดฮตฬ€ ฮตฬ“ฯ‚ ฯ€ฮฑฬฮฝฯ„ฮฑ ฮตฬ“ฮฝ ฯ„ฯ‰อ‚อ… ฮฟฯ…ฬ“ฯฮฑฮฝฯ‰อ‚อ… ฯ…ฬ”ฯ€ฮฟฮฝฮฟฮตฮนอ‚ฯƒฮธฮฑฮน." "
4.28. ฮนฬ“ฮดฯ‰ฬ€ฮฝ ฮดฮตฬ€ ฮตฬ“ฯ‚ ฯ„ฮฟฬ€ ฮตฬ”ฬฮดฮฟฯ‚ ฯ„ฮฟฬ€ ฮตฬ“ฮฝ ฬ“ฮŸฮปฯ…ฮผฯ€ฮนฬฮฑอ… โ€œฯ‡ฮฑฮนอ‚ฯฮต,โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฑฬ“ฮณฮฑฮธฮตฬ€ ฮ–ฮตฯ…อ‚, ฯƒฯ…ฬ€ ฮณฮฑฬ€ฯ ฮฟฯ…ฬ”ฬฯ„ฯ‰ ฯ„ฮน ฮฑฬ“ฮณฮฑฮธฮฟฬฯ‚, ฯ‰ฬ”ฯ‚ ฮบฮฑฮนฬ€ ฯƒฮฑฯ…ฯ„ฮฟฯ…อ‚ ฮบฮฟฮนฮฝฯ‰ฮฝฮทอ‚ฯƒฮฑฮน ฯ„ฮฟฮนอ‚ฯ‚ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฮนฯ‚.โ€ ฮตฬ“ฮพฮทฮณฮทฬฯƒฮฑฯ„ฮฟ ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฯ‡ฮฑฮปฮบฮฟฯ…อ‚ฮฝ ฮœฮนฬฮปฯ‰ฮฝฮฑ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฮปฮฟฬฮณฮฟฮฝ ฯ„ฮฟฯ…อ‚ ฯ€ฮตฯฮนฬ€ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฯƒฯ‡ฮทฬฮผฮฑฯ„ฮฟฯ‚. ฮฟฬ” ฮณฮฑฬ€ฯ ฮœฮนฬฮปฯ‰ฮฝ ฮตฬ”ฯƒฯ„ฮฑฬฮฝฮฑฮน ฮผฮตฬ€ฮฝ ฮตฬ“ฯ€ฮนฬ€ ฮดฮนฬฯƒฮบฮฟฯ… ฮดฮฟฮบฮตฮนอ‚ ฯ„ฯ‰ฬ€ ฯ€ฮฟฬฮดฮต ฮฑฬ“ฬฮผฯ†ฯ‰ ฯƒฯ…ฮผฮฒฮตฮฒฮทฮบฯ‰ฬฯ‚, ฯฬ”ฮฟฬฮฑฮฝ ฮดฮตฬ€ ฮพฯ…ฮฝฮตฬฯ‡ฮตฮน ฯ„ฮทอ‚อ… ฮฑฬ“ฯฮนฯƒฯ„ฮตฯฮฑอ‚อ…, ฮทฬ” ฮดฮตฮพฮนฮฑฬ€ ฮดฮตฬ, ฮฟฬ“ฯฮธฮฟฮนฬ€ ฯ„ฮทอ‚ฯ‚ ฯ‡ฮตฮนฯฮฟฬ€ฯ‚ ฮตฬ“ฮบฮตฮนฬฮฝฮทฯ‚ ฮฟฮนฬ” ฮดฮฑฬฮบฯ„ฯ…ฮปฮฟฮน ฮบฮฑฮนฬ€ ฮฟฮนฬ”อ‚ฮฟฮฝ ฮดฮนฮตฮนฬฯฮฟฮฝฯ„ฮตฯ‚. ฮฟฮนฬ” ฮผฮตฬ€ฮฝ ฮดฮทฬ€ ฮบฮฑฯ„' ฬ“ฮŸฮปฯ…ฮผฯ€ฮนฬฮฑฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฬ“ฮ‘ฯฮบฮฑฮดฮนฬฮฑฮฝ ฮปฮฟฬฮณฮฟฮน ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฮธฮปฮทฯ„ฮทฬ€ฮฝ ฮนฬ”ฯƒฯ„ฮฟฯฮฟฯ…อ‚ฯƒฮน ฯ„ฮฟฯ…อ‚ฯ„ฮฟฮฝ ฮฑฬ“ฬฯ„ฯฮตฯ€ฯ„ฮฟฮฝ ฮณฮตฮฝฮตฬฯƒฮธฮฑฮน ฮบฮฑฮนฬ€ ฮผฮทฬ€ ฮตฬ“ฮบฮฒฮนฮฒฮฑฯƒฮธฮทอ‚ฮฝฮฑฮนฬ ฯ€ฮฟฯ„ฮต ฯ„ฮฟฯ…อ‚ ฯ‡ฯ‰ฬฯฮฟฯ…, ฮตฬ“ฮฝ ฯ‰ฬ”อ‚อ… ฮตฬ“ฬฯƒฯ„ฮท, ฮดฮทฮปฮฟฯ…อ‚ฯƒฮธฮฑฮน ฮดฮตฬ€ ฯ„ฮฟฬ€ ฮผฮตฬ€ฮฝ ฮฑฬ“ฯ€ฯฮนฬ€ฮพ ฯ„ฯ‰อ‚ฮฝ ฮดฮฑฮบฯ„ฯ…ฬฮปฯ‰ฮฝ ฮตฬ“ฮฝ ฯ„ฮทอ‚อ… ฮพฯ…ฮฝฮฟฯ‡ฮทอ‚อ… ฯ„ฮทอ‚ฯ‚ ฯฬ”ฮฟฬฮฑฯ‚, ฯ„ฮฟฬ€ ฮดฮตฬ€ ฮผฮทฮด' ฮฑฬ“ฬ€ฮฝ ฯƒฯ‡ฮนฯƒฮธฮทอ‚ฮฝฮฑฮนฬ ฯ€ฮฟฯ„' ฮฑฬ“ฯ€' ฮฑฬ“ฮปฮปฮทฬฮปฯ‰ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฯ…ฬฯ‚, ฮตฮนฬ“ฬ ฯ„ฮนฯ‚ ฯ€ฯฮฟฬ€ฯ‚ ฮตฬ”ฬฮฝฮฑ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ ฮฑฬ”ฮผฮนฮปฮปฯ‰อ‚อ…ฯ„ฮฟ, ฯ„ฯ‰อ‚อ… ฯ„ฮฑฬ€ฯ‚ ฮดฮนฮฑฯ†ฯ…ฮฑฬ€ฯ‚ ฮตฬ“ฮฝ ฮฟฬ“ฯฮธฮฟฮนอ‚ฯ‚ ฯ„ฮฟฮนอ‚ฯ‚ ฮดฮฑฮบฯ„ฯ…ฬฮปฮฟฮนฯ‚ ฮตฯ…ฬ“อ‚ ฮพฯ…ฮฝฮทฯฮผฮฟฬฯƒฮธฮฑฮน, ฯ„ฮทฬ€ฮฝ ฯ„ฮฑฮนฮฝฮนฬฮฑฮฝ ฮดฮตฬ, ฮทฬ”ฬ€ฮฝ ฮฑฬ“ฮฝฮฑฮดฮตฮนอ‚ฯ„ฮฑฮน, ฯƒฯ‰ฯ†ฯฮฟฯƒฯ…ฬฮฝฮทฯ‚ ฮทฬ”ฮณฮฟฯ…อ‚ฮฝฯ„ฮฑฮน ฮพฯ…ฬฮผฮฒฮฟฮปฮฟฮฝ. ฮฟฬ” ฮดฮตฬ€ ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮฟฯ‚ ฯƒฮฟฯ†ฯ‰อ‚ฯ‚ ฮผฮตฬ€ฮฝ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ ฮตฬ“ฯ€ฮนฮฝฮตฮฝฮฟฮทอ‚ฯƒฮธฮฑฮน ฯ„ฮฑฯ…อ‚ฯ„ฮฑ, ฯƒฮฟฯ†ฯ‰ฬฯ„ฮตฯฮฑ ฮดฮตฬ€ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฯ„ฮฑฬ€ ฮฑฬ“ฮปฮทฮธฮตฬฯƒฯ„ฮตฯฮฑ. โ€œฯ‰ฬ”ฯ‚ ฮดฮตฬ€ ฮณฮนฮณฮฝฯ‰ฬฯƒฮบฮฟฮนฯ„ฮต ฯ„ฮฟฬ€ฮฝ ฮฝฮฟฯ…อ‚ฮฝ ฯ„ฮฟฯ…อ‚ ฮœฮนฬฮปฯ‰ฮฝฮฟฯ‚, ฮšฯฮฟฯ„ฯ‰ฮฝฮนฮฑอ‚ฯ„ฮฑฮน ฯ„ฮฟฬ€ฮฝ ฮฑฬ“ฮธฮปฮทฯ„ฮทฬ€ฮฝ ฯ„ฮฟฯ…อ‚ฯ„ฮฟฮฝ ฮนฬ”ฮตฯฮตฬฮฑ ฮตฬ“ฯƒฯ„ฮทฬฯƒฮฑฮฝฯ„ฮฟ ฯ„ฮทอ‚ฯ‚ ฬ”ฬฮ—ฯฮฑฯ‚. ฯ„ฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮดฮทฬ€ ฮผฮนฬฯ„ฯฮฑฮฝ ฮฟฬ”ฬ ฯ„ฮน ฯ‡ฯฮทฬ€ ฮฝฮฟฮตฮนอ‚ฮฝ, ฯ„ฮนฬ ฮฑฬ“ฬ€ฮฝ ฮตฬ“ฮพฮทฮณฮฟฮนฬฮผฮทฮฝ ฮตฬ“ฬฯ„ฮน, ฮผฮฝฮทฮผฮฟฮฝฮตฯ…ฬฯƒฮฑฯ‚ ฮนฬ”ฮตฯฮตฬฯ‰ฯ‚ ฮฑฬ“ฮฝฮดฯฮฟฬฯ‚; ฮทฬ” ฯฬ”ฮฟฬฮฑ ฮดฮตฬ€ ฮผฮฟฬฮฝฮท ฯ†ฯ…ฯ„ฯ‰อ‚ฮฝ ฯ„ฮทอ‚อ… ฬ”ฬฮ—ฯฮฑอ… ฯ†ฯ…ฬฮตฯ„ฮฑฮน, ฮฟฬ” ฮดฮตฬ€ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฯ€ฮฟฯƒฮนฬ€ ฮดฮนฬฯƒฮบฮฟฯ‚, ฮตฬ“ฯ€ฮนฬ€ ฮฑฬ“ฯƒฯ€ฮนฮดฮนฬฮฟฯ… ฮฒฮตฮฒฮทฮบฯ‰ฬ€ฯ‚ ฮฟฬ” ฮนฬ”ฮตฯฮตฯ…ฬ€ฯ‚ ฯ„ฮทอ‚อ… ฬ”ฬฮ—ฯฮฑอ… ฮตฯ…ฬ“ฬฯ‡ฮตฯ„ฮฑฮน, ฯ„ฮฟฯ…ฯ„ฮนฬ€ ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฮทฬ” ฮดฮตฮพฮนฮฑฬ€ ฯƒฮทฮผฮฑฮนฬฮฝฮตฮน, ฯ„ฮฟฬ€ ฮดฮตฬ€ ฮตฬ“ฬฯฮณฮฟฮฝ ฯ„ฯ‰อ‚ฮฝ ฮดฮฑฮบฯ„ฯ…ฬฮปฯ‰ฮฝ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฮผฮทฬฯ€ฯ‰ ฮดฮนฮตฯƒฯ„ฯ‰ฬ€ฯ‚ ฯ„ฮทอ‚อ… ฮฑฬ“ฯฯ‡ฮฑฮนฬฮฑอ… ฮฑฬ“ฮณฮฑฮปฮผฮฑฯ„ฮฟฯ€ฮฟฮนฮนฬฮฑอ… ฯ€ฯฮฟฯƒฮบฮตฮนฬฯƒฮธฯ‰.โ€" "
6.4. ฮบฮฑฬ“ฮบฮตฮนอ‚ฮฝฮฑ ฮฑฬ“ฮพฮนฮฟฮผฮฝฮทฮผฮฟฬฮฝฮตฯ…ฯ„ฮฑ ฮตฯ…ฬ”อ‚ฯฮฟฮฝ ฯ„ฮฟฯ…อ‚ ฮฑฬ“ฮฝฮดฯฮฟฬฯ‚: ฮตฬ“ฯฮฑอ‚ฮฝ ฯ„ฮนฯ‚ ฮตฬ“ฮดฮฟฬฮบฮตฮน ฯ„ฮฟฯ…อ‚ ฯ„ฮทอ‚ฯ‚ ฬ“ฮ‘ฯ†ฯฮฟฮดฮนฬฯ„ฮทฯ‚ ฮตฬ”ฬฮดฮฟฯ…ฯ‚, ฮฟฬ”ฬ€ ฮตฬ“ฮฝ ฮšฮฝฮนฬฮดฯ‰อ… ฮณฯ…ฮผฮฝฮฟฬ€ฮฝ ฮนฬ”ฬฮดฯฯ…ฯ„ฮฑฮน, ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮฑฬ“ฮฝฮตฯ„ฮนฬฮธฮตฮน, ฯ„ฮฑฬ€ ฮด' ฮฑฬ“ฮฝฮฑฮธฮทฬฯƒฮตฮนฮฝ ฮตฬ“ฬฯ†ฮฑฯƒฮบฮตฮฝ ฯ…ฬ”ฯ€ฮตฬ€ฯ ฯ„ฮฟฯ…อ‚ ฮณฮฑฬฮผฮฟฯ…, ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฮฝฮนฬฯ‰อ… ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฮฑฬ“ฬฮปฮปฯ‰ฯ‚ ฮผฮตฬ€ฮฝ ฮฑฬ“ฬฯ„ฮฟฯ€ฮฑ ฮตฬ“ฮดฮฟฬฮบฮตฮน ฯ„ฮฑฯ…อ‚ฯ„ฮฑ, ฮตฬ“ฯ€ฮตฮนฬ€ ฮดฮตฬ€ ฮผฮทฬ€ ฯ€ฮฑฯฮทอ…ฯ„ฮตฮนอ‚ฯ„ฮฟ ฮทฬ” ฮšฮฝฮนฬฮดฮฟฯ‚, ฮฑฬ“ฮปฮป' ฮตฬ“ฮฝฮฑฯฮณฮตฯƒฯ„ฮตฬฯฮฑฮฝ ฮตฬ“ฬฯ†ฮฑฯƒฮฑฮฝ ฯ„ฮทฬ€ฮฝ ฮธฮตฮฟฬ€ฮฝ ฮดฮฟฬฮพฮตฮนฮฝ, ฮตฮนฬ“ ฮตฬ“ฯฯ‰อ‚อ…ฯ„ฮฟ, ฮตฬ“ฬฮดฮฟฮพฮต ฯ„ฯ‰อ‚อ… ฮฑฬ“ฮฝฮดฯฮนฬ€ ฮบฮฑฮธฮทอ‚ฯฮฑฮน ฯ„ฮฟฬ€ ฮนฬ”ฮตฯฮฟฬ€ฮฝ ฯ„ฮทอ‚ฯ‚ ฮฑฬ“ฮฝฮฟฮนฬฮฑฯ‚ ฯ„ฮฑฯ…ฬฯ„ฮทฯ‚, ฮบฮฑฮนฬ€ ฮตฬ“ฯฮฟฮผฮตฬฮฝฯ‰ฮฝ ฯ„ฯ‰อ‚ฮฝ ฮšฮฝฮนฮดฮนฬฯ‰ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬฮฝ, ฮตฮนฬ“ฬ ฯ„ฮน ฮฒฮฟฯ…ฬฮปฮฟฮนฯ„ฮฟ ฯ„ฯ‰อ‚ฮฝ ฮธฯ…ฯ„ฮนฮบฯ‰อ‚ฮฝ ฮทฬ“ฬ€ ฮตฯ…ฬ“ฮบฯ„ฮนฮบฯ‰อ‚ฮฝ ฮดฮนฮฟฯฮธฮฟฯ…อ‚ฯƒฮธฮฑฮน โ€œฮฟฬ“ฯ†ฮธฮฑฮปฮผฮฟฯ…ฬ€ฯ‚โ€ ฮตฬ“ฬฯ†ฮท โ€œฮดฮนฮฟฯฮธฯ‰ฬฯƒฮฟฮผฮฑฮน, ฯ„ฮฑฬ€ ฮดฮตฬ€ ฯ„ฮฟฯ…อ‚ ฮนฬ”ฮตฯฮฟฯ…อ‚ ฯ€ฮฑฬฯ„ฯฮนฮฑ ฮตฬ“ฯ‡ฮตฬฯ„ฯ‰, ฯ‰ฬ”ฯ‚ ฮตฬ“ฬฯ‡ฮตฮน.โ€ ฮบฮฑฮปฮตฬฯƒฮฑฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ ฯ„ฮฟฬ€ฮฝ ฮธฯฯ…ฯ€ฯ„ฮฟฬฮผฮตฮฝฮฟฮฝ ฮทฬ“ฬฯฮตฯ„ฮฟ ฮฑฯ…ฬ“ฯ„ฮฟฬฮฝ, ฮตฮนฬ“ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฮฝฮตฮฝฮฟฬฮผฮนฮบฮต, ฯ„ฮฟฯ…อ‚ ฮด' ฮฟฯ…ฬ”ฬฯ„ฯ‰ ฮฝฮฟฮผฮนฬฮถฮตฮนฮฝ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฯ†ฮทฬฯƒฮฑฮฝฯ„ฮฟฯ‚, ฯ‰ฬ”ฯ‚ ฮบฮฑฮนฬ€ ฮตฬ“ฯฮฑอ‚ฮฝ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ, ฮบฮฑฮนฬ€ ฯ„ฯ‰อ‚ฮฝ ฮณฮฑฬฮผฯ‰ฮฝ ฮผฮฝฮทฮผฮฟฮฝฮตฯ…ฬฯƒฮฑฮฝฯ„ฮฟฯ‚, ฮฟฯ…ฬ”ฬ€ฯ‚ ฮธฯ…ฬฯƒฮตฮนฮฝ ฮทฬ”ฮณฮตฮนอ‚ฯ„ฮฟ, โ€œฯƒฮตฬ€ ฮผฮตฬ€ฮฝ ฯ€ฮฟฮนฮทฯ„ฮฑฮนฬ€โ€ ฮตฬ“ฬฯ†ฮท โ€œฮตฬ“ฯ€ฮฑฮนฬฯฮฟฯ…ฯƒฮน ฯ„ฮฟฯ…ฬ€ฯ‚ ฬ“ฮ‘ฮณฯ‡ฮนฬฯƒฮฑฯ‚ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮ ฮทฮปฮตฬฮฑฯ‚ ฮธฮตฮฑฮนอ‚ฯ‚ ฮพฯ…ฮถฯ…ฮณฮทอ‚ฮฝฮฑฮน ฮตฮนฬ“ฯ€ฮฟฬฮฝฯ„ฮตฯ‚, ฮตฬ“ฮณฯ‰ฬ€ ฮดฮตฬ€ ฯ€ฮตฯฮนฬ€ ฯ„ฮฟฯ…อ‚ ฮตฬ“ฯฮฑอ‚ฮฝ ฮบฮฑฮนฬ€ ฮตฬ“ฯฮฑอ‚ฯƒฮธฮฑฮน ฯ„ฮฟฬฮดฮต ฮณฮนฮณฮฝฯ‰ฬฯƒฮบฯ‰: ฮธฮตฮฟฮนฬ€ ฮธฮตฯ‰อ‚ฮฝ ฮฑฬ“ฬฮฝฮธฯฯ‰ฯ€ฮฟฮน ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฯ‰ฮฝ ฮธฮทฯฮนฬฮฑ ฮธฮทฯฮนฬฯ‰ฮฝ ฮบฮฑฮนฬ€ ฮบฮฑฮธฮฑฬฯ€ฮฑฮพ ฮฟฬ”ฬฮผฮฟฮนฮฑ ฮฟฬ”ฮผฮฟฮนฬฯ‰ฮฝ ฮตฬ“ฯฮฑอ‚อ… ฮตฬ“ฯ€ฮนฬ€ ฯ„ฯ‰อ‚อ… ฮตฬ“ฬฯ„ฯ…ฮผฮฑ ฮบฮฑฮนฬ€ ฮพฯ…ฮณฮณฮตฮฝฮทอ‚ ฯ„ฮนฬฮบฯ„ฮตฮนฮฝ, ฯ„ฮฟฬ€ ฮดฮตฬ€ ฮตฬ”ฯ„ฮตฯฮฟฮณฮตฮฝฮตฬ€ฯ‚ ฯ„ฯ‰อ‚อ… ฮผฮทฬ€ ฮฟฬ”ฮผฮฟฮนฬฯ‰อ… ฮพฯ…ฮฝฮตฮปฮธฮฟฬ€ฮฝ ฮฟฯ…ฬ“ฬฯ„ฮต ฮถฯ…ฮณฮฟฬ€ฯ‚ ฮฟฯ…ฬ“ฬฯ„ฮต ฮตฬ“ฬฯฯ‰ฯ‚. ฮตฮนฬ“ ฮดฮตฬ€ ฮตฬ“ฮฝฮตฮธฯ…ฮผฮฟฯ…อ‚ ฯ„ฮฑฬ€ ฬ“ฮ™ฮพฮนฬฮฟฮฝฮฟฯ‚, ฮฟฯ…ฬ“ฮด' ฮฑฬ“ฬ€ฮฝ ฮตฬ“ฯ‚ ฮตฬ“ฬฮฝฮฝฮฟฮนฮฑฮฝ ฮบฮฑฮธฮนฬฯƒฯ„ฮฑฯƒฮฟ ฯ„ฮฟฯ…อ‚ ฮผฮทฬ€ ฮฟฬ”ฮผฮฟฮนฬฯ‰ฮฝ ฮตฬ“ฯฮฑอ‚ฮฝ. ฮฑฬ“ฮปฮป' ฮตฬ“ฮบฮตฮนอ‚ฮฝฮฟฯ‚ ฮผฮตฬ€ฮฝ ฯ„ฯฮฟฯ‡ฯ‰อ‚อ… ฮตฮนฬ“ฮบฮฑฯƒฮผฮตฬฮฝฮฟฯ‚ ฮดฮน' ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฯ…อ‚ ฮบฮฝฮฑฬฮผฯ€ฯ„ฮตฯ„ฮฑฮน, ฯƒฯ…ฬ€ ฮด', ฮตฮนฬ“ ฮผฮทฬ€ ฮฑฬ“ฬฯ€ฮตฮน ฯ„ฮฟฯ…อ‚ ฮนฬ”ฮตฯฮฟฯ…อ‚, ฮฑฬ“ฯ€ฮฟฮปฮตฮนอ‚ ฮตฬ“ฮฝ ฮฑฬ”ฯ€ฮฑฬฯƒฮทอ… ฯ„ฮทอ‚อ… ฮณฮทอ‚อ… ฮฟฯ…ฬ“ฮด' ฮฑฬ“ฮฝฯ„ฮตฮนฯ€ฮตฮนอ‚ฮฝ ฮตฬ“ฬฯ‡ฯ‰ฮฝ ฯ„ฮฟฬ€ ฮผฮทฬ€ ฮฟฯ…ฬ“ ฮดฮนฬฮบฮฑฮนฮฑ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฮตฬ“ฯ€ฮนฬ€ ฯƒฮฟฮนฬ€ ฮณฮฝฯ‰อ‚ฮฝฮฑฮน.โ€ ฯ‰ฬ”อ‚ฮดฮต ฮทฬ” ฯ€ฮฑฯฮฟฮนฮฝฮนฬฮฑ ฮตฬ“ฯƒฮฒฮตฬฯƒฮธฮท ฮบฮฑฮนฬ€ ฮฑฬ“ฯ€ฮทอ‚ฮปฮธฮตฮฝ ฮฟฬ” ฯ†ฮฑฬฯƒฮบฯ‰ฮฝ ฮตฬ“ฯฮฑอ‚ฮฝ ฯ…ฬ”ฯ€ฮตฬ€ฯ ฮพฯ…ฮณฮณฮฝฯ‰ฬฮผฮทฯ‚ ฮธฯ…ฬฯƒฮฑฯ‚." "
6.4. ฯ…ฬ”ฯ€ฮฟฬ€ ฯ„ฮฟฯ…ฬฯ„ฯ‰อ… ฮทฬ”ฮณฮตฮผฮฟฬฮฝฮน ฯ€ฮฑฯฮตฮปฮธฮตฮนอ‚ฮฝ ฯ†ฮฑฯƒฮนฮฝ ฮตฬ“ฯ‚ ฯ„ฮฟฬ€ ฯ„ฮตฬฮผฮตฮฝฮฟฯ‚ ฯ„ฮฟฯ…อ‚ ฮœฮตฬฮผฮฝฮฟฮฝฮฟฯ‚. ฯ€ฮตฯฮนฬ€ ฮดฮตฬ€ ฯ„ฮฟฯ…อ‚ ฮœฮตฬฮผฮฝฮฟฮฝฮฟฯ‚ ฯ„ฮฑฬฮดฮต ฮฑฬ“ฮฝฮฑฮณฯฮฑฬฯ†ฮตฮน ฮ”ฮฑฬฮผฮนฯ‚: ฬ“ฮ—ฮฟฯ…อ‚ฯ‚ ฮผฮตฬ€ฮฝ ฯ€ฮฑฮนอ‚ฮดฮฑ ฮณฮตฮฝฮตฬฯƒฮธฮฑฮน ฮฑฯ…ฬ“ฯ„ฮฟฬฮฝ, ฮฑฬ“ฯ€ฮฟฮธฮฑฮฝฮตฮนอ‚ฮฝ ฮดฮตฬ€ ฮฟฯ…ฬ“ฮบ ฮตฬ“ฮฝ ฮคฯฮฟฮนฬฮฑอ…, ฮฟฬ”ฬฯ„ฮน ฮผฮทฮดฮตฬ€ ฮฑฬ“ฯ†ฮนฮบฮตฬฯƒฮธฮฑฮน ฮตฬ“ฯ‚ ฮคฯฮฟฮนฬฮฑฮฝ, ฮฑฬ“ฮปฮป' ฮตฬ“ฮฝ ฮ‘ฮนฬ“ฮธฮนฮฟฯ€ฮนฬฮฑอ… ฯ„ฮตฮปฮตฯ…ฯ„ฮทอ‚ฯƒฮฑฮน ฮฒฮฑฯƒฮนฮปฮตฯ…ฬฯƒฮฑฮฝฯ„ฮฑ ฮ‘ฮนฬ“ฮธฮนฮฟฬฯ€ฯ‰ฮฝ ฮณฮตฮฝฮตฮฑฬ€ฯ‚ ฯ€ฮตฬฮฝฯ„ฮต. ฮฟฮนฬ” ฮด', ฮตฬ“ฯ€ฮตฮนฮดฮทฬ€ ฮผฮฑฮบฯฮฟฮฒฮนฯ‰ฬฯ„ฮฑฯ„ฮฟฮน ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฯ‰ฮฝ ฮตฮนฬ“ฯƒฮนฬฮฝ, ฮฟฬ“ฮปฮฟฯ†ฯ…ฬฯฮฟฮฝฯ„ฮฑฮน ฯ„ฮฟฬ€ฮฝ ฮœฮตฬฮผฮฝฮฟฮฝฮฑ ฯ‰ฬ”ฯ‚ ฮบฮฟฮผฮนฮดฮทอ‚อ… ฮฝฮตฬฮฟฮฝ ฮบฮฑฮนฬ€ ฮฟฬ”ฬฯƒฮฑ ฮตฬ“ฯ€ฮนฬ€ ฮฑฬ“ฯ‰ฬฯฯ‰อ… ฮบฮปฮฑฮนฬฮฟฯ…ฯƒฮน, ฯ„ฮฟฬ€ ฮดฮตฬ€ ฯ‡ฯ‰ฯฮนฬฮฟฮฝ, ฮตฬ“ฮฝ ฯ‰ฬ”อ‚อ… ฮนฬ”ฬฮดฯฯ…ฯ„ฮฑฮน, ฯ†ฮฑฯƒฮนฬ€ ฮผฮตฬ€ฮฝ ฯ€ฯฮฟฯƒฮตฮฟฮนฮบฮตฬฮฝฮฑฮน ฮฑฬ“ฮณฮฟฯฮฑอ‚อ… ฮฑฬ“ฯฯ‡ฮฑฮนฬฮฑอ…, ฮฟฮนฬ”อ‚ฮฑฮน ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮณฮฟฯฯ‰อ‚ฮฝ ฮตฬ“ฮฝ ฯ€ฮฟฬฮปฮตฯƒฮนฬ ฯ€ฮฟฯ„ฮต ฮฟฮนฬ“ฮบฮทฮธฮตฮนฬฯƒฮฑฮนฯ‚ ฮปฮตฮนฬฯ€ฮฟฮฝฯ„ฮฑฮน ฯƒฯ„ฮทฮปฯ‰อ‚ฮฝ ฯ€ฮฑฯฮตฯ‡ฮฟฬฮผฮตฮฝฮฑฮน ฯ„ฯฯ…ฬฯ†ฮท ฮบฮฑฮนฬ€ ฯ„ฮตฮนฯ‡ฯ‰อ‚ฮฝ ฮนฬ“ฬฯ‡ฮฝฮท ฮบฮฑฮนฬ€ ฮธฮฑฬฮบฮฟฯ…ฯ‚ ฮบฮฑฮนฬ€ ฯ†ฮปฮนฮฑฬ€ฯ‚ ฮตฬ”ฯฮผฯ‰อ‚ฮฝ ฯ„ฮต ฮฑฬ“ฮณฮฑฬฮปฮผฮฑฯ„ฮฑ, ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ‡ฮตฮนฯฯ‰อ‚ฮฝ ฮดฮนฮตฯ†ฮธฮฟฯฮฟฬฯ„ฮฑ, ฯ„ฮฑฬ€ ฮดฮตฬ€ ฯ…ฬ”ฯ€ฮฟฬ€ ฯ‡ฯฮฟฬฮฝฮฟฯ…. ฯ„ฮฟฬ€ ฮดฮตฬ€ ฮฑฬ“ฬฮณฮฑฮปฮผฮฑ ฯ„ฮตฯ„ฯฮฑฬฯ†ฮธฮฑฮน ฯ€ฯฮฟฬ€ฯ‚ ฮฑฬ“ฮบฯ„ฮนอ‚ฮฝฮฑ ฮผฮทฬฯ€ฯ‰ ฮณฮตฮฝฮตฮนฮฑฬฯƒฮบฮฟฮฝ, ฮปฮนฬฮธฮฟฯ… ฮดฮตฬ€ ฮตฮนฬ“อ‚ฮฝฮฑฮน ฮผฮตฬฮปฮฑฮฝฮฟฯ‚, ฮพฯ…ฮผฮฒฮตฮฒฮทฮบฮตฬฮฝฮฑฮน ฮดฮตฬ€ ฯ„ฯ‰ฬ€ ฯ€ฮฟฬฮดฮต ฮฑฬ“ฬฮผฯ†ฯ‰ ฮบฮฑฯ„ฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฮณฮฑฮปฮผฮฑฯ„ฮฟฯ€ฮฟฮนฮนฬฮฑฮฝ ฯ„ฮทฬ€ฮฝ ฮตฬ“ฯ€ฮนฬ€ ฮ”ฮฑฮนฮดฮฑฬฮปฮฟฯ… ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ฯ‚ ฯ‡ฮตฮนอ‚ฯฮฑฯ‚ ฮฑฬ“ฯ€ฮตฯฮตฮนฬฮดฮตฮนฮฝ ฮฟฬ“ฯฮธฮฑฬ€ฯ‚ ฮตฬ“ฯ‚ ฯ„ฮฟฬ€ฮฝ ฮธฮฑอ‚ฮบฮฟฮฝ, ฮบฮฑฮธฮทอ‚ฯƒฮธฮฑฮน ฮณฮฑฬ€ฯ ฮตฬ“ฮฝ ฮฟฬ”ฯฮผฮทอ‚อ… ฯ„ฮฟฯ…อ‚ ฯ…ฬ”ฯ€ฮฑฮฝฮนฬฯƒฯ„ฮฑฯƒฮธฮฑฮน. ฯ„ฮฟฬ€ ฮดฮตฬ€ ฯƒฯ‡ฮทอ‚ฮผฮฑ ฯ„ฮฟฯ…อ‚ฯ„ฮฟ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฯ„ฯ‰อ‚ฮฝ ฮฟฬ“ฯ†ฮธฮฑฮปฮผฯ‰อ‚ฮฝ ฮฝฮฟฯ…อ‚ฮฝ ฮบฮฑฮนฬ€ ฮฟฬ”ฯ€ฮฟฬฯƒฮฑ ฯ„ฮฟฯ…อ‚ ฯƒฯ„ฮฟฬฮผฮฑฯ„ฮฟฯ‚ ฯ‰ฬ”ฯ‚ ฯ†ฮธฮตฮณฮพฮฟฮผฮตฬฮฝฮฟฯ… ฮฑฬ”ฬอ…ฮดฮฟฯ…ฯƒฮน, ฯ„ฮฟฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮฑฬ“ฬฮปฮปฮฟฮฝ ฯ‡ฯฮฟฬฮฝฮฟฮฝ ฮทฬ”อ‚ฯ„ฯ„ฮฟฮฝ ฮธฮฑฯ…ฮผฮฑฬฯƒฮฑฮน ฯ†ฮฑฯƒฮนฬฮฝ, ฮฟฯ…ฬ“ฬฯ€ฯ‰ ฮณฮฑฬ€ฯ ฮตฬ“ฮฝฮตฯฮณฮฑฬ€ ฯ†ฮฑฮนฬฮฝฮตฯƒฮธฮฑฮน, ฯ€ฯฮฟฯƒฮฒฮฑฮปฮฟฯ…ฬฯƒฮทฯ‚ ฮดฮตฬ€ ฯ„ฮฟฬ€ ฮฑฬ“ฬฮณฮฑฮปฮผฮฑ ฯ„ฮทอ‚ฯ‚ ฮฑฬ“ฮบฯ„ฮนอ‚ฮฝฮฟฯ‚, ฯ„ฮฟฯ…ฯ„ฮนฬ€ ฮดฮตฬ€ ฮณฮนฬฮณฮฝฮตฯƒฮธฮฑฮน ฯ€ฮตฯฮนฬ€ ฮทฬ”ฮปฮนฬฮฟฯ… ฮตฬ“ฯ€ฮนฯ„ฮฟฮปฮฑฬฯ‚, ฮผฮทฬ€ ฮบฮฑฯ„ฮฑฯƒฯ‡ฮตฮนอ‚ฮฝ ฯ„ฮฟฬ€ ฮธฮฑฯ…อ‚ฮผฮฑ, ฯ†ฮธฮตฬฮณฮพฮฑฯƒฮธฮฑฮน ฮผฮตฬ€ฮฝ ฮณฮฑฬ€ฯ ฯ€ฮฑฯฮฑฯ‡ฯฮทอ‚ฮผฮฑ ฯ„ฮทอ‚ฯ‚ ฮฑฬ“ฮบฯ„ฮนอ‚ฮฝฮฟฯ‚ ฮตฬ“ฮปฮธฮฟฯ…ฬฯƒฮทฯ‚ ฮฑฯ…ฬ“ฯ„ฯ‰อ‚อ… ฮตฬ“ฯ€ฮนฬ€ ฯƒฯ„ฮฟฬฮผฮฑ, ฯ†ฮฑฮนฮดฯฮฟฯ…ฬ€ฯ‚ ฮดฮตฬ€ ฮนฬ”ฯƒฯ„ฮฑฬฮฝฮฑฮน ฯ„ฮฟฯ…ฬ€ฯ‚ ฮฟฬ“ฯ†ฮธฮฑฮปฮผฮฟฯ…ฬ€ฯ‚ ฮดฮฟฬฮพฮฑฮน ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮฟฬ€ ฯ†ฯ‰อ‚ฯ‚, ฮฟฮนฬ”อ‚ฮฑ ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฯ‰ฮฝ ฮฟฮนฬ” ฮตฯ…ฬ“ฮทฬฮปฮนฮฟฮน. ฯ„ฮฟฬฯ„ฮต ฮพฯ…ฮฝฮตฮนอ‚ฮฝฮฑฮน ฮปฮตฬฮณฮฟฯ…ฯƒฮนฮฝ, ฮฟฬ”ฬฯ„ฮน ฯ„ฯ‰อ‚อ… ฬ”ฮ—ฮปฮนฬฯ‰อ… ฮดฮฟฮบฮตฮนอ‚ ฯ…ฬ”ฯ€ฮฑฮฝฮนฬฯƒฯ„ฮฑฯƒฮธฮฑฮน, ฮบฮฑฮธฮฑฬฯ€ฮตฯ ฮฟฮนฬ” ฯ„ฮฟฬ€ ฮบฯฮตฮนอ‚ฯ„ฯ„ฮฟฮฝ ฮฟฬ“ฯฮธฮฟฮนฬ€ ฮธฮตฯฮฑฯ€ฮตฯ…ฬฮฟฮฝฯ„ฮตฯ‚. ฮธฯ…ฬฯƒฮฑฮฝฯ„ฮตฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ ฬ”ฮ—ฮปฮนฬฯ‰อ… ฯ„ฮต ฮ‘ฮนฬ“ฮธฮนฬฮฟฯ€ฮน ฮบฮฑฮนฬ€ ฬ“ฮ—ฯ‰ฬอ…ฯ‰อ… ฮœฮตฬฮผฮฝฮฟฮฝฮน, ฯ„ฮฟฯ…ฯ„ฮนฬ€ ฮณฮฑฬ€ฯ ฮตฬ“ฬฯ†ฯฮฑฮถฮฟฮฝ ฮฟฮนฬ” ฮนฬ”ฮตฯฮตฮนอ‚ฯ‚, ฯ„ฮฟฬ€ฮฝ ฮผฮตฬ€ฮฝ ฮฑฬ“ฯ€ฮฟฬ€ ฯ„ฮฟฯ…อ‚ ฮฑฮนฬ“ฬฮธฮตฮนฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮธฮฑฬฮปฯ€ฮตฮนฮฝ, ฯ„ฮฟฬ€ฮฝ ฮดฮตฬ€ ฮฑฬ“ฯ€ฮฟฬ€ ฯ„ฮทอ‚ฯ‚ ฮผฮทฯ„ฯฮฟฬ€ฯ‚ ฮตฬ“ฯ€ฮฟฮฝฮฟฮผฮฑฬฮถฮฟฮฝฯ„ฮตฯ‚, ฮตฬ“ฯ€ฮฟฯฮตฯ…ฬฮฟฮฝฯ„ฮฟ ฮตฬ“ฯ€ฮนฬ€ ฮบฮฑฮผฮทฬฮปฯ‰ฮฝ ฮตฬ“ฯ‚ ฯ„ฮฑฬ€ ฯ„ฯ‰อ‚ฮฝ ฮ“ฯ…ฮผฮฝฯ‰อ‚ฮฝ ฮทฬ“ฬฮธฮท." "
6.19. โ€œฮตฬ“ฯฯ‰ฬฯ„ฮฑ,โ€ ฮตฬ“ฬฯ†ฮฑฯƒฮฑฮฝ โ€œฮตฬ”ฬฯ€ฮตฯ„ฮฑฮน ฮณฮฑฬฯ ฯ€ฮฟฯ… ฮตฬ“ฯฯ‰ฯ„ฮทฬฯƒฮตฮน ฮปฮฟฬฮณฮฟฯ‚.โ€ ฮบฮฑฮนฬ€ ฮฟฬ” ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮฟฯ‚ โ€œฯ€ฮตฯฮนฬ€ ฮธฮตฯ‰อ‚ฮฝโ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฯ…ฬ”ฮผฮฑอ‚ฯ‚ ฮตฬ“ฯฮทฬฯƒฮฟฮผฮฑฮน ฯ€ฯฯ‰อ‚ฯ„ฮฟฮฝ, ฯ„ฮนฬ ฮผฮฑฮธฮฟฬฮฝฯ„ฮตฯ‚ ฮฑฬ“ฬฯ„ฮฟฯ€ฮฑ ฮบฮฑฮนฬ€ ฮณฮตฮปฮฟฮนอ‚ฮฑ ฮธฮตฯ‰อ‚ฮฝ ฮตฮนฬ“ฬฮดฮท ฯ€ฮฑฯฮฑฮดฮตฮดฯ‰ฬฮบฮฑฯ„ฮต ฯ„ฮฟฮนอ‚ฯ‚ ฮดฮตฯ…อ‚ฯฮฟ ฮฑฬ“ฮฝฮธฯฯ‰ฬฯ€ฮฟฮนฯ‚ ฯ€ฮปฮทฬ€ฮฝ ฮฟฬ“ฮปฮนฬฮณฯ‰ฮฝ: ฮฟฬ“ฮปฮนฬฮณฯ‰ฮฝ ฮณฮฑฬฯ; ฯ€ฮฑฬฮฝฯ… ฮผฮตฬฮฝฯ„ฮฟฮน ฮฟฬ“ฮปฮนฬฮณฯ‰ฮฝ, ฮฑฬ”ฬ€ ฯƒฮฟฯ†ฯ‰อ‚ฯ‚ ฮบฮฑฮนฬ€ ฮธฮตฮฟฮตฮนฮดฯ‰อ‚ฯ‚ ฮนฬ”ฬฮดฯฯ…ฯ„ฮฑฮน, ฯ„ฮฑฬ€ ฮปฮฟฮนฯ€ฮฑฬ€ ฮด' ฯ…ฬ”ฮผฯ‰อ‚ฮฝ ฮนฬ”ฮตฯฮฑฬ€ ฮถฯ‰ฬอ…ฯ‰ฮฝ ฮฑฬ“ฮปฮฟฬฮณฯ‰ฮฝ ฮบฮฑฮนฬ€ ฮฑฬ“ฮดฮฟฬฮพฯ‰ฮฝ ฯ„ฮนฮผฮฑฮนฬ€ ฮผฮฑอ‚ฮปฮปฮฟฮฝ ฮทฬ“ฬ€ ฮธฮตฯ‰อ‚ฮฝ ฯ†ฮฑฮนฬฮฝฮฟฮฝฯ„ฮฑฮน.โ€ ฮดฯ…ฯƒฯ‡ฮตฯฮฑฬฮฝฮฑฯ‚ ฮดฮตฬ€ ฮฟฬ” ฮ˜ฮตฯƒฯ€ฮตฯƒฮนฬฯ‰ฮฝ โ€œฯ„ฮฑฬ€ ฮดฮตฬ€ ฯ€ฮฑฯ' ฯ…ฬ”ฮผฮนอ‚ฮฝโ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฑฬ“ฮณฮฑฬฮปฮผฮฑฯ„ฮฑ ฯ€ฯ‰อ‚ฯ‚ ฮนฬ”ฮดฯฯ…อ‚ฯƒฮธฮฑฮน ฯ†ฮทฬฯƒฮตฮนฯ‚;โ€ โ€œฯ‰ฬ”ฬฯ‚ ฮณฮตโ€ ฮตฬ“ฬฯ†ฮท โ€œฮบฮฑฬฮปฮปฮนฯƒฯ„ฮฟฬฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮธฮตฮฟฯ†ฮนฮปฮตฬฯƒฯ„ฮฑฯ„ฮฟฮฝ ฮดฮทฮผฮนฮฟฯ…ฯฮณฮตฮนอ‚ฮฝ ฮธฮตฮฟฯ…ฬฯ‚.โ€ โ€œฯ„ฮฟฬ€ฮฝ ฮ”ฮนฬฮฑ ฯ€ฮฟฯ… ฮปฮตฬฮณฮตฮนฯ‚โ€ ฮตฮนฬ“อ‚ฯ€ฮต โ€œฯ„ฮฟฬ€ฮฝ ฮตฬ“ฮฝ ฯ„ฮทอ‚อ… ฬ“ฮŸฮปฯ…ฮผฯ€ฮนฬฮฑอ… ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฯ„ฮทอ‚ฯ‚ ฬ“ฮ‘ฮธฮทฮฝฮฑอ‚ฯ‚ ฮตฬ”ฬฮดฮฟฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฯ„ฮทอ‚ฯ‚ ฮšฮฝฮนฮดฮนฬฮฑฯ‚ ฯ„ฮต ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฯ„ฮทอ‚ฯ‚ ฬ“ฮ‘ฯฮณฮตฮนฬฮฑฯ‚ ฮบฮฑฮนฬ€ ฮฟฬ”ฯ€ฮฟฬฯƒฮฑ ฯ‰ฬ”อ‚ฮดฮต ฮบฮฑฮปฮฑฬ€ ฮบฮฑฮนฬ€ ฮผฮตฯƒฯ„ฮฑฬ€ ฯ‰ฬ”ฬฯฮฑฯ‚.โ€ โ€œฮฟฯ…ฬ“ ฮผฮฟฬฮฝฮฟฮฝโ€ ฮตฬ“ฬฯ†ฮท โ€œฯ„ฮฑฯ…อ‚ฯ„ฮฑ, ฮฑฬ“ฮปฮปฮฑฬ€ ฮบฮฑฮนฬ€ ฮบฮฑฮธฮฑฬฯ€ฮฑฮพ ฯ„ฮทฬ€ฮฝ ฮผฮตฬ€ฮฝ ฯ€ฮฑฯฮฑฬ€ ฯ„ฮฟฮนอ‚ฯ‚ ฮฑฬ“ฬฮปฮปฮฟฮนฯ‚ ฮฑฬ“ฮณฮฑฮปฮผฮฑฯ„ฮฟฯ€ฮฟฮนฮนฬฮฑฮฝ ฮฑฬ”ฬฯ€ฯ„ฮตฯƒฮธฮฑฮนฬ ฯ†ฮทฮผฮน ฯ„ฮฟฯ…อ‚ ฯ€ฯฮฟฯƒฮทฬฮบฮฟฮฝฯ„ฮฟฯ‚, ฯ…ฬ”ฮผฮฑอ‚ฯ‚ ฮดฮตฬ€ ฮบฮฑฯ„ฮฑฮณฮตฮปฮฑอ‚ฮฝ ฯ„ฮฟฯ…อ‚ ฮธฮตฮนฬฮฟฯ… ฮผฮฑอ‚ฮปฮปฮฟฮฝ ฮทฬ“ฬ€ ฮฝฮฟฮผฮนฬฮถฮตฮนฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ.โ€ โ€œฮฟฮนฬ” ฮฆฮตฮนฮดฮนฬฮฑฮน ฮดฮตฬ€โ€ ฮตฮนฬ“อ‚ฯ€ฮต:โ€œฮบฮฑฮนฬ€ ฮฟฮนฬ” ฮ ฯฮฑฮพฮนฯ„ฮตฬฮปฮตฮนฯ‚ ฮผฯ‰อ‚ฮฝ ฮฑฬ“ฮฝฮตฮปฮธฮฟฬฮฝฯ„ฮตฯ‚ ฮตฬ“ฯ‚ ฮฟฯ…ฬ“ฯฮฑฮฝฮฟฬ€ฮฝ ฮบฮฑฮนฬ€ ฮฑฬ“ฯ€ฮฟฮผฮฑฮพฮฑฬฮผฮตฮฝฮฟฮน ฯ„ฮฑฬ€ ฯ„ฯ‰อ‚ฮฝ ฮธฮตฯ‰อ‚ฮฝ ฮตฮนฬ“ฬฮดฮท ฯ„ฮตฬฯ‡ฮฝฮทฮฝ ฮฑฯ…ฬ“ฯ„ฮฑฬ€ ฮตฬ“ฯ€ฮฟฮนฮฟฯ…อ‚ฮฝฯ„ฮฟ, ฮทฬ“ฬ€ ฮตฬ”ฬฯ„ฮตฯฮฟฬฮฝ ฯ„ฮน ฮทฬ“อ‚ฮฝ, ฮฟฬ”ฬ€ ฮตฬ“ฯ†ฮนฬฯƒฯ„ฮท ฮฑฯ…ฬ“ฯ„ฮฟฯ…ฬ€ฯ‚ ฯ„ฯ‰อ‚อ… ฯ€ฮปฮฑฬฯ„ฯ„ฮตฮนฮฝ;โ€ โ€œฮตฬ”ฬฯ„ฮตฯฮฟฮฝโ€ ฮตฬ“ฬฯ†ฮท โ€œฮบฮฑฮนฬ€ ฮผฮตฯƒฯ„ฮฟฬฮฝ ฮณฮต ฯƒฮฟฯ†ฮนฬฮฑฯ‚ ฯ€ฯฮฑอ‚ฮณฮผฮฑ.โ€ โ€œฯ€ฮฟฮนอ‚ฮฟฮฝ;โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฟฯ…ฬ“ ฮณฮฑฬ€ฯ ฮฑฬ“ฬฮฝ ฯ„ฮน ฯ€ฮฑฯฮฑฬ€ ฯ„ฮทฬ€ฮฝ ฮผฮนฬฮผฮทฯƒฮนฮฝ ฮตฮนฬ“ฬฯ€ฮฟฮนฯ‚.โ€ โ€œฯ†ฮฑฮฝฯ„ฮฑฯƒฮนฬฮฑโ€ ฮตฬ“ฬฯ†ฮท โ€œฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮตฮนฬ“ฯฮณฮฑฬฯƒฮฑฯ„ฮฟ ฯƒฮฟฯ†ฯ‰ฯ„ฮตฬฯฮฑ ฮผฮนฮผฮทฬฯƒฮตฯ‰ฯ‚ ฮดฮทฮผฮนฮฟฯ…ฯฮณฮฟฬฯ‚: ฮผฮนฬฮผฮทฯƒฮนฯ‚ ฮผฮตฬ€ฮฝ ฮณฮฑฬ€ฯ ฮดฮทฮผฮนฮฟฯ…ฯฮณฮทฬฯƒฮตฮน, ฮฟฬ”ฬ€ ฮตฮนฬ“อ‚ฮดฮตฮฝ, ฯ†ฮฑฮฝฯ„ฮฑฯƒฮนฬฮฑ ฮดฮตฬ€ ฮบฮฑฮนฬ€ ฮฟฬ”ฬ€ ฮผฮทฬ€ ฮตฮนฬ“อ‚ฮดฮตฮฝ, ฯ…ฬ”ฯ€ฮฟฮธฮทฬฯƒฮตฯ„ฮฑฮน ฮณฮฑฬ€ฯ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮทฬ€ฮฝ ฮฑฬ“ฮฝฮฑฯ†ฮฟฯฮฑฬ€ฮฝ ฯ„ฮฟฯ…อ‚ ฮฟฬ“ฬฮฝฯ„ฮฟฯ‚, ฮบฮฑฮนฬ€ ฮผฮนฬฮผฮทฯƒฮนฮฝ ฮผฮตฬ€ฮฝ ฯ€ฮฟฮปฮปฮฑฬฮบฮนฯ‚ ฮตฬ“ฮบฮบฯฮฟฯ…ฬฮตฮน ฮตฬ“ฬฮบฯ€ฮปฮทฮพฮนฯ‚, ฯ†ฮฑฮฝฯ„ฮฑฯƒฮนฬฮฑฮฝ ฮดฮตฬ€ ฮฟฯ…ฬ“ฮดฮตฬฮฝ, ฯ‡ฯ‰ฯฮตฮนอ‚ ฮณฮฑฬ€ฯ ฮฑฬ“ฮฝฮตฬฮบฯ€ฮปฮทฮบฯ„ฮฟฯ‚ ฯ€ฯฮฟฬ€ฯ‚ ฮฟฬ”ฬ€ ฮฑฯ…ฬ“ฯ„ฮทฬ€ ฯ…ฬ”ฯ€ฮตฬฮธฮตฯ„ฮฟ. ฮดฮตฮนอ‚ ฮดฮตฬ ฯ€ฮฟฯ… ฮ”ฮนฮฟฬ€ฯ‚ ฮผฮตฬ€ฮฝ ฮตฬ“ฮฝฮธฯ…ฮผฮทฮธฮตฬฮฝฯ„ฮฑ ฮตฮนฬ“อ‚ฮดฮฟฯ‚ ฮฟฬ”ฯฮฑอ‚ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฬ€ฮฝ ฮพฯ…ฬ€ฮฝ ฮฟฯ…ฬ“ฯฮฑฮฝฯ‰อ‚อ… ฮบฮฑฮนฬ€ ฯ‰ฬ”ฬฯฮฑฮนฯ‚ ฮบฮฑฮนฬ€ ฮฑฬ“ฬฯƒฯ„ฯฮฟฮนฯ‚, ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮฟฬ” ฮฆฮตฮนฮดฮนฬฮฑฯ‚ ฯ„ฮฟฬฯ„ฮต ฯ‰ฬ”ฬฯฮผฮทฯƒฮตฮฝ, ฬ“ฮ‘ฮธฮทฮฝฮฑอ‚ฮฝ ฮดฮตฬ€ ฮดฮทฮผฮนฮฟฯ…ฯฮณฮทฬฯƒฮตฮนฮฝ ฮผฮตฬฮปฮปฮฟฮฝฯ„ฮฑ ฯƒฯ„ฯฮฑฯ„ฮฟฬฯ€ฮตฮดฮฑ ฮตฬ“ฮฝฮฝฮฟฮตฮนอ‚ฮฝ ฮบฮฑฮนฬ€ ฮผฮทอ‚ฯ„ฮนฮฝ ฮบฮฑฮนฬ€ ฯ„ฮตฬฯ‡ฮฝฮฑฯ‚ ฮบฮฑฮนฬ€ ฯ‰ฬ”ฯ‚ ฮ”ฮนฮฟฬ€ฯ‚ ฮฑฯ…ฬ“ฯ„ฮฟฯ…อ‚ ฮฑฬ“ฮฝฮตฬฮธฮฟฯฮตฮฝ. ฮตฮนฬ“ ฮดฮตฬ€ ฮนฬ”ฮตฬฯฮฑฮบฮฑ ฮทฬ“ฬ€ ฮณฮปฮฑฯ…อ‚ฮบฮฑ ฮทฬ“ฬ€ ฮปฯ…ฬฮบฮฟฮฝ ฮทฬ“ฬ€ ฮบฯ…ฬฮฝฮฑ ฮตฬ“ฯฮณฮฑฯƒฮฑฬฮผฮตฮฝฮฟฯ‚ ฮตฬ“ฯ‚ ฯ„ฮฑฬ€ ฮนฬ”ฮตฯฮฑฬ€ ฯ†ฮตฬฯฮฟฮนฯ‚ ฮฑฬ“ฮฝฯ„ฮนฬ€ ฬ”ฮ•ฯฮผฮฟฯ…อ‚ ฯ„ฮต ฮบฮฑฮนฬ€ ฬ“ฮ‘ฮธฮทฮฝฮฑอ‚ฯ‚ ฮบฮฑฮนฬ€ ฬ“ฮ‘ฯ€ฮฟฬฮปฮปฯ‰ฮฝฮฟฯ‚, ฯ„ฮฑฬ€ ฮผฮตฬ€ฮฝ ฮธฮทฯฮนฬฮฑ ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ ฮฟฬ“ฬฯฮฝฮตฮฑ ฮถฮทฮปฯ‰ฯ„ฮฑฬ€ ฮดฮฟฬฮพฮตฮน ฯ„ฯ‰อ‚ฮฝ ฮตฮนฬ“ฮบฮฟฬฮฝฯ‰ฮฝ, ฮฟฮนฬ” ฮดฮตฬ€ ฮธฮตฮฟฮนฬ€ ฯ€ฮฑฯฮฑฯ€ฮฟฮปฯ…ฬ€ ฯ„ฮทอ‚ฯ‚ ฮฑฯ…ฬ”ฯ„ฯ‰อ‚ฮฝ ฮดฮฟฬฮพฮทฯ‚ ฮตฬ”ฯƒฯ„ฮทฬฮพฮฟฯ…ฯƒฮนฮฝ.โ€ โ€œฮตฬ“ฬฮฟฮนฮบฮฑฯ‚โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฑฬ“ฮฒฮฑฯƒฮฑฮฝฮนฬฯƒฯ„ฯ‰ฯ‚ ฮตฬ“ฮพฮตฯ„ฮฑฬฮถฮตฮนฮฝ ฯ„ฮฑฬ€ ฮทฬ”ฮผฮตฬฯ„ฮตฯฮฑ: ฯƒฮฟฯ†ฮฟฬ€ฮฝ ฮณฮฑฬฯ, ฮตฮนฬ“ฬฯ€ฮตฯ ฯ„ฮน ฮ‘ฮนฬ“ฮณฯ…ฯ€ฯ„ฮนฬฯ‰ฮฝ, ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฮผฮทฬ€ ฮธฯฮฑฯƒฯ…ฬฮฝฮตฯƒฮธฮฑฮน ฮตฬ“ฯ‚ ฯ„ฮฑฬ€ ฯ„ฯ‰อ‚ฮฝ ฮธฮตฯ‰อ‚ฮฝ ฮตฮนฬ“ฬฮดฮท, ฮพฯ…ฮผฮฒฮฟฮปฮนฮบฮฑฬ€ ฮดฮตฬ€ ฮฑฯ…ฬ“ฯ„ฮฑฬ€ ฯ€ฮฟฮนฮตฮนอ‚ฯƒฮธฮฑฮน ฮบฮฑฮนฬ€ ฯ…ฬ”ฯ€ฮฟฮฝฮฟฮฟฯ…ฬฮผฮตฮฝฮฑ, ฮบฮฑฮนฬ€ ฮณฮฑฬ€ฯ ฮฑฬ“ฬ€ฮฝ ฮบฮฑฮนฬ€ ฯƒฮตฮผฮฝฮฟฬฯ„ฮตฯฮฑ ฮฟฯ…ฬ”ฬฯ„ฯ‰ ฯ†ฮฑฮนฬฮฝฮฟฮนฯ„ฮฟ.โ€ ฮณฮตฮปฮฑฬฯƒฮฑฯ‚ ฮฟฯ…ฬ“อ‚ฮฝ ฮฟฬ” ฬ“ฮ‘ฯ€ฮฟฮปฮปฯ‰ฬฮฝฮนฮฟฯ‚ โ€œฯ‰ฬ“อ‚ ฮฑฬ“ฬฮฝฮธฯฯ‰ฯ€ฮฟฮน,โ€ ฮตฬ“ฬฯ†ฮท โ€œฮผฮตฮณฮฑฬฮปฮฑ ฯ…ฬ”ฮผฮนอ‚ฮฝ ฮฑฬ“ฯ€ฮฟฮปฮตฬฮปฮฑฯ…ฯ„ฮฑฮน ฯ„ฮทอ‚ฯ‚ ฮ‘ฮนฬ“ฮณฯ…ฯ€ฯ„ฮนฬฯ‰ฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮ‘ฮนฬ“ฮธฮนฮฟฬฯ€ฯ‰ฮฝ ฯƒฮฟฯ†ฮนฬฮฑฯ‚, ฮตฮนฬ“ ฯƒฮตฮผฮฝฮฟฬฯ„ฮตฯฮฟฮฝ ฯ…ฬ”ฮผฯ‰อ‚ฮฝ ฮบฮฑฮนฬ€ ฮธฮตฮฟฮตฮนฮดฮตฬฯƒฯ„ฮตฯฮฟฮฝ ฮบฯ…ฬฯ‰ฮฝ ฮดฮฟฬฮพฮตฮน ฮบฮฑฮนฬ€ ฮนฬ“อ‚ฮฒฮนฯ‚ ฮบฮฑฮนฬ€ ฯ„ฯฮฑฬฮณฮฟฯ‚, ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮณฮฑฬ€ฯ ฮ˜ฮตฯƒฯ€ฮตฯƒฮนฬฯ‰ฮฝฮฟฯ‚ ฮฑฬ“ฮบฮฟฯ…ฬฯ‰ ฯ„ฮฟฯ…อ‚ ฯƒฮฟฯ†ฮฟฯ…อ‚. ฯƒฮตฮผฮฝฮฟฬ€ฮฝ ฮดฮตฬ€ ฮดฮทฬ€ ฮทฬ“ฬ€ ฮตฬ“ฬฮผฯ†ฮฟฮฒฮฟฮฝ ฯ„ฮนฬ ฮตฬ“ฮฝ ฯ„ฮฟฯ…ฬฯ„ฮฟฮนฯ‚; ฯ„ฮฟฯ…ฬ€ฯ‚ ฮณฮฑฬ€ฯ ฮตฬ“ฯ€ฮนฮฟฬฯฮบฮฟฯ…ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฯ…ฬ€ฯ‚ ฮนฬ”ฮตฯฮฟฯƒฯ…ฬฮปฮฟฯ…ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฑฬ€ ฮฒฯ‰ฮผฮฟฮปฮฟฬฯ‡ฮฑ ฮตฬ“ฬฮธฮฝฮท ฮบฮฑฯ„ฮฑฯ†ฯฮฟฮฝฮตฮนอ‚ฮฝ ฯ„ฯ‰อ‚ฮฝ ฯ„ฮฟฮนฮฟฯ…ฬฯ„ฯ‰ฮฝ ฮนฬ”ฮตฯฯ‰อ‚ฮฝ ฮตฮนฬ“ฮบฮฟฬ€ฯ‚ ฮผฮฑอ‚ฮปฮปฮฟฮฝ ฮทฬ“ฬ€ ฮดฮตฮดฮนฮตฬฮฝฮฑฮน ฮฑฯ…ฬ“ฯ„ฮฑฬ, ฮตฮนฬ“ ฮดฮตฬ€ ฯƒฮตฮผฮฝฮฟฬฯ„ฮตฯฮฑ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฯ…ฬ”ฯ€ฮฟฮฝฮฟฮฟฯ…ฬฮผฮตฮฝฮฑ, ฯ€ฮฟฮปฮปฯ‰อ‚อ… ฯƒฮตฮผฮฝฮฟฬฯ„ฮตฯฮฟฮฝ ฮฑฬ“ฬ€ฮฝ ฮตฬ“ฬฯ€ฯฮฑฯ„ฯ„ฮฟฮฝ ฮฟฮนฬ” ฮธฮตฮฟฮนฬ€ ฮบฮฑฯ„' ฮ‘ฮนฬ“ฬฮณฯ…ฯ€ฯ„ฮฟฮฝ, ฮตฮนฬ“ ฮผฮทฬ€ ฮนฬ”ฬฮดฯฯ…ฯ„ฮฟฬ ฯ„ฮน ฮฑฯ…ฬ“ฯ„ฯ‰อ‚ฮฝ ฮฑฬ“ฬฮณฮฑฮปฮผฮฑ, ฮฑฬ“ฮปฮป' ฮตฬ”ฬฯ„ฮตฯฮฟฮฝ ฯ„ฯฮฟฬฯ€ฮฟฮฝ ฯƒฮฟฯ†ฯ‰ฬฯ„ฮตฯฮฟฬฮฝ ฯ„ฮต ฮบฮฑฮนฬ€ ฮฑฬ“ฯ€ฮฟฯฯฮทฯ„ฮฟฬฯ„ฮตฯฮฟฮฝ ฯ„ฮทอ‚อ… ฮธฮตฮฟฮปฮฟฮณฮนฬฮฑอ… ฮตฬ“ฯ‡ฯฮทอ‚ฯƒฮธฮต: ฮทฬ“อ‚ฮฝ ฮณฮฑฬฯ ฯ€ฮฟฯ… ฮฝฮตฯ‰ฬ€ฯ‚ ฮผฮตฬ€ฮฝ ฮฑฯ…ฬ“ฯ„ฮฟฮนอ‚ฯ‚ ฮตฬ“ฮพฮฟฮนฮบฮฟฮดฮฟฮผฮทอ‚ฯƒฮฑฮน ฮบฮฑฮนฬ€ ฮฒฯ‰ฮผฮฟฯ…ฬ€ฯ‚ ฮฟฬ”ฯฮนฬฮถฮตฮนฮฝ ฮบฮฑฮนฬ€ ฮฑฬ”ฬ€ ฯ‡ฯฮทฬ€ ฮธฯ…ฬฮตฮนฮฝ ฮบฮฑฮนฬ€ ฮฑฬ”ฬ€ ฮผฮทฬ€ ฯ‡ฯฮทฬ€ ฮบฮฑฮนฬ€ ฮฟฬ”ฯ€ฮทฮฝฮนฬฮบฮฑ ฮบฮฑฮนฬ€ ฮตฬ“ฯ†' ฮฟฬ”ฬฯƒฮฟฮฝ ฮบฮฑฮนฬ€ ฮฟฬ”ฬ ฯ„ฮน ฮปฮตฬฮณฮฟฮฝฯ„ฮฑฯ‚ ฮทฬ“ฬ€ ฮดฯฯ‰อ‚ฮฝฯ„ฮฑฯ‚, ฮฑฬ“ฬฮณฮฑฮปฮผฮฑ ฮดฮตฬ€ ฮผฮทฬ€ ฮตฬ“ฯƒฯ†ฮตฬฯฮตฮนฮฝ, ฮฑฬ“ฮปฮปฮฑฬ€ ฯ„ฮฑฬ€ ฮตฮนฬ“ฬฮดฮท ฯ„ฯ‰อ‚ฮฝ ฮธฮตฯ‰อ‚ฮฝ ฮบฮฑฯ„ฮฑฮปฮตฮนฬฯ€ฮตฮนฮฝ ฯ„ฮฟฮนอ‚ฯ‚ ฯ„ฮฑฬ€ ฮนฬ”ฮตฯฮฑฬ€ ฮตฬ“ฯƒฯ†ฮฟฮนฯ„ฯ‰อ‚ฯƒฮนฮฝ, ฮฑฬ“ฮฝฮฑฮณฯฮฑฬฯ†ฮตฮน ฮณฮฑฬฯ ฯ„ฮน ฮทฬ” ฮณฮฝฯ‰ฬฮผฮท ฮบฮฑฮนฬ€ ฮฑฬ“ฮฝฮฑฯ„ฯ…ฯ€ฮฟฯ…อ‚ฯ„ฮฑฮน ฮดฮทฮผฮนฮฟฯ…ฯฮณฮนฬฮฑฯ‚ ฮบฯฮตฮนอ‚ฯ„ฯ„ฮฟฮฝ, ฯ…ฬ”ฮผฮตฮนอ‚ฯ‚ ฮดฮตฬ€ ฮฑฬ“ฯ†ฮทฬอ…ฯฮทฯƒฮธฮต ฯ„ฮฟฯ…ฬ€ฯ‚ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฮฟฬ”ฯฮฑอ‚ฯƒฮธฮฑฮน ฮบฮฑฮปฯ‰อ‚ฯ‚ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ ฯ…ฬ”ฯ€ฮฟฮฝฮฟฮตฮนอ‚ฯƒฮธฮฑฮน.โ€ ฯ€ฯฮฟฬ€ฯ‚ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮฟฬ” ฮ˜ฮตฯƒฯ€ฮตฯƒฮนฬฯ‰ฮฝ, โ€œฮตฬ“ฮณฮตฬฮฝฮตฯ„ฮฟฬ ฯ„ฮนฯ‚โ€ ฮตฬ“ฬฯ†ฮท โ€œฮฃฯ‰ฮบฯฮฑฬฯ„ฮทฯ‚ ฬ“ฮ‘ฮธฮทฮฝฮฑฮนอ‚ฮฟฯ‚ ฮฑฬ“ฮฝฮฟฬฮทฯ„ฮฟฯ‚, ฯ‰ฬ”ฬฯƒฯ€ฮตฯ ฮทฬ”ฮผฮตฮนอ‚ฯ‚, ฮณฮตฬฯฯ‰ฮฝ, ฮฟฬ”ฬ€ฯ‚ ฯ„ฮฟฬ€ฮฝ ฮบฯ…ฬฮฝฮฑ ฮบฮฑฮนฬ€ ฯ„ฮฟฬ€ฮฝ ฯ‡ฮทอ‚ฮฝฮฑ ฮบฮฑฮนฬ€ ฯ„ฮทฬ€ฮฝ ฯ€ฮปฮฑฬฯ„ฮฑฮฝฮฟฮฝ ฮธฮตฮฟฯ…ฬฯ‚ ฯ„ฮต ฮทฬ”ฮณฮตฮนอ‚ฯ„ฮฟ ฮบฮฑฮนฬ€ ฯ‰ฬ“ฬฮผฮฝฯ….โ€ โ€œฮฟฯ…ฬ“ฮบ ฮฑฬ“ฮฝฮฟฬฮทฯ„ฮฟฯ‚,โ€ ฮตฮนฬ“อ‚ฯ€ฮตฮฝ โ€œฮฑฬ“ฮปฮปฮฑฬ€ ฮธฮตฮนอ‚ฮฟฯ‚ ฮบฮฑฮนฬ€ ฮฑฬ“ฯ„ฮตฯ‡ฮฝฯ‰อ‚ฯ‚ ฯƒฮฟฯ†ฮฟฬฯ‚, ฯ‰ฬ“ฬฮผฮฝฯ… ฮณฮฑฬ€ฯ ฯ„ฮฑฯ…อ‚ฯ„ฮฑ ฮฟฯ…ฬ“ฯ‡' ฯ‰ฬ”ฯ‚ ฮธฮตฮฟฯ…ฬฯ‚, ฮฑฬ“ฮปฮป' ฮนฬ”ฬฮฝฮฑ ฮผฮทฬ€ ฮธฮตฮฟฯ…ฬ€ฯ‚ ฮฟฬ“ฮผฮฝฯ…ฬฮฟฮน.โ€"". 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2.22. While he was waiting in the Temple, โ€” and it took a long time for the king to be informed that strangers had arrived, โ€” Apollonius said: O Damis, is there such a thing as painting? Why yes, he answered, if there be any such thing as truth. And what does this art do? It mixes together, replied Damis, all the colors there are, blue with green, and white with black, and red with yellow. And for what reason, said the other, does it mix these? For it isn't merely to get a color, like dyed wax. It is, said Damis, for the sake of imitation, and to get a likeness of a dog, or a horse, or a man, or a ship, or of anything else under the sun; and what is more, you see the sun himself represented, sometimes borne upon a four horse car, as he is said to be seen here, and sometimes again traversing the heaven with his torch, in case you are depicting the ether and the home of the gods. Then, O Damis, painting is imitation? And what else could it be? said he: for if it did not effect that, it would voted to be an idle playing with colors. And, said the other, the things which are seen in heaven, whenever the clouds are torn away from one another, I mean the centaurs and stag-antelopes, yes, and the wolves too, and the horses, what have you got to say about them? Are we not to regard them as works of imitation? It would seem so, he replied. Then, Damis, God is a painter, and has left his winged chariot, upon which he travels, as he disposes of affairs human and divine, and he sits down on these occasions to amuse himself by drawing these pictures, as children make figures in the sand. Damis blushed, for he felt that his argument was reduced to such an absurdity. But Apollonius, on his side, had no wish to humiliate him, for he was not unfeeling in his refutations of people, and said: But I am sure, Damis, you did not mean that; rather that these figures flit through the heaven not only without meaning, but, so far as providence is concerned, by mere chance; while we who by nature are prone to imitation rearrange and create them in these regular figures. We may, he said, rather consider this to be the case, O Apollonius, for it is more probable, and a much sounder idea. Then, O Damis, the mimetic art is twofold, and we may regard the one kind as an employment of the hands and mind in producing imitations, and declare that this is painting, whereas the other kind consists in making likenesses with the mind alone. Not twofold, replied Damis, for we ought to regard the former as the more perfect and more complete kind, being anyhow painting and a faculty of making likenesses with the help both of mind and hand; but we must regard the other kind as a department that, since its possessor perceives and imitates with the mind, without having the delineative faculty, and would never use his hand in depicting its objects. Then, said Apollonius, you mean, Damis, that the hand may be disabled by a blow or by disease? No, he answered, but it is disabled, because it has never handled pencil nor any instrument or color, and has never learned to draw. Then, said the other, we are both of us, Damis, agreed that man owes his mimetic faculty to nature, but his power of painting to art. And the same would appear to be true of plastic art. But, methinks, you would not confine painting itself to the mere use of colors, for a single color was often found sufficient for this purpose by our older painters; and as the art advanced, it employed four, and later, yet more; but we must also concede the name of a painting to an outline drawn without any color at all, and composed merely of shadow and light. For in such designs we see a resemblance, we see form and expression, and modesty and bravery, although they are altogether devoid of color; and neither blood is represented, nor the color of a man's hair or beard; nevertheless these compositions in monochrome are likenesses of people either tawny or white, and if we drew one of these Indians with a pencil without color, yet he would be known for a negro, for his flat nose, and his stiff curling locks and prominent jaw, and a certain gleam about his eyes, would give a black look to the picture and depict an Indian to the eyes of all those who have intelligence. And for this reason I should say that those who look at works of painting and drawing require a mimetic faculty; for no one could appreciate or admire a picture of a horse or of a bull, unless he had formed an idea of the picture represented. Nor again could one admire a picture of Ajax, by the painter Timomachus, which represents him in a state of madness, unless one had conceived in one's mind first an idea or notion of Ajax, and had entertained the probability that after killing the flocks in Troy he would sit down exhausted and even meditate suicide. But these elaborate works of Porus we cannot, Damis, regard as works of brass founding alone, for they are cast in brass; so let us regard them as the chefs d'oeuvre of a man who is both painter and brass-founder at once, and as similar to the work of Hephaestus upon the shield of Achilles, as revealed in Homer. For they are crowded together in that work too men slaying and slain, and you would say that the earth was stained with gore, though it is made of brass." '
4.7. And remarking the zeal with which the people of Smyrna devoted themselves to all sorts of compositions, he encouraged them and increased their zeal, and urged them to take pride rather in themselves than in the beauty of their city; for although they had the most beautiful of cities under the sun, and although they had a friendly sea at their doors, which held the springs of the zephyr, nevertheless, it was more pleasing for the city to be crowned with men than with porticos and pictures, or even with gold in excess of what they needed. For, he said, public edifices remain where they are, and are nowhere seen except in that particular part of the earth where they exist, but good men are conspicuous everywhere, and everywhere they utter their thoughts; and so they can magnify the city more to which they belong, in proportion to the numbers in which they are able to visit any part of the earth.And he said that cities which are beautiful in the same way as Smyrna was, resemble the statue of Zeus wrought in Olympia by Phidias; for there Zeus sits, just as it pleased the artist that he should, whereas men who visit all regions of the earth may be well compared with the Homeric Zeus, who is represented by Homer under many shapes, and is a more wonderful creation than the image made of ivory; for the latter is only to be seen upon earth, but the former is an ideal presence imagined everywhere in heaven.' "
4.28. And looking at the statue set up at Olympia, he said: Hail, O thou good Zeus, for thou art so good that thou dost impart thine own nature unto mankind. And he also gave them an account of the brazen statue of Milo and explained the attitude of this figure. For this Milo is seen standing on a disk with his two feet close together, and in his left hand he grasps a pomegranate, whole of his right hand the fingers are extended and pressed together as if to pass through a chink. Now among the people of Olympia and Arcadia the story told about this athlete is, that he was so inflexible that he could never be induced to leave the spot on which he stood; and they infer the grip of the clenched fingers from the way he grasps the pomegranate, and that they could never be separated from another, however much you struggled with any one of them, because the intervals between the extended fingers are very close; and they say that the fillet with which his head is bound is a symbol of temperance and sobriety. Apollonius while admitting that this account was wisely conceived, said that the truth was still wiser. In order that you may know, said he, the meaning of the statue of Milo, the people of Croton made this athlete a priest of Hera. As to the meaning then of this mitre, I need not explain it further than by reminding you that the hero was a priest. But the pomegranate is the only fruit which is grown in honor of Hera; and the disk beneath his feet means that the priest is standing on a small shield to offer his prayer to Hera; and this is also indicated by his right hand. As for the artist's rendering the fingers and feet, between which he has left no interval, that you may ascribe to the antique style of the sculpture." "
6.4. Under his guidance, they say, they went on to the sacred enclosure of Memnon, of whom Damis gives the following account. He says that he was the son of the Dawn, and that he did not meet his death in Troy, where indeed he never went; but that he died in Ethiopia after ruling the land for five generations. But his countrymen being the longest lived of men, still mourn him as a mere youth and deplore his untimely death. But the place in which his statue is set up resembles, they tell us, an ancient market-place, such as remain in cities that were long ago inhabited, and where we come on broken stumps and fragments of columns, and find traces of walls as well as seats and jambs of doors, and images of Hermes, some destroyed by the hand of man, others by that of time. Now this statue, says Damis, was turned towards the sunrise, and was that of a youth still unbearded; and it was made of a black stone, and the two feet were joined together after the style in which statues were made in the time of Daedalus; and the arms of the figure were perpendicular to the seat pressing upon it, for though the figure was still sitting it was represented in the very act of rising up. We hear much of this attitude of the statue, and of the expression of its eyes, and of how the lips seem about to speak; but they say that they had no opportunity of admiring these effects until they saw them realized; for when the sun's rays fell upon the statue, and this happened exactly at dawn, they could not restrain their admiration; for the lips spoke immediately the sun's ray touched them, and the eyes seemed to stand out and gleam against the light as do those of men who love to bask in the sun. Then they say they understood that the figure was of one in the act of rising and making obeisance to the sun, in the way those do who worship the powers above standing erect. They accordingly offered a sacrifice to the Sun of Ethiopia and to Memnon of the Dawn, for this the priests recommended them to do, explaining that one name was derived from the words signifying to burn and be warm 1 and the other from his mother. Having done this they set out upon camels for the home of the naked philosophers." "
6.19. Ask, they said, for you know question comes first and argument follows on it. It is about the gods that I would like to ask you a question first, namely, what induced you to impart, as your tradition, to the people of this country forms of the gods that are absurd and grotesque in all but a few cases? In a few cases, do I say? I would rather say that in very few are the gods' images fashioned in a wise and god-like manner, for the mass of your shrines seem to have been erected in honor rather of irrational and ignoble animals than of gods. Thespesion, resenting these remarks, said: And your own images in Greece, how are they fashioned? In the way, he replied, in which it is best and most reverent to construct images of the gods. I suppose you allude, said the other, to the statue of Zeus in Olympia, and to the image of Athena and to that of the Cnidian goddess and to that of the Argive goddess and to other images equally beautiful and full of charm? Not only to these, replied Apollonius, but without exception I maintain, that whereas in other lands statuary has scrupulously observed decency and fitness, you rather make ridicule of the gods than really believe in them. Your artists, then, like Phidias, said the other, and like Praxiteles, went up, I suppose, to heaven and took a copy of the forms of the gods, and then reproduced these by their art or was there any other influence which presided over and guided their molding? There was, said Apollonius, and an influence pregt with wisdom and genius. What was that? said the other, for I do not think you can adduce any except imitation. Imagination, said Apollonius, wrought these works, a wiser and subtler artist by far than imitation; for imitation can only create as its handiwork what it has seen, but imagination equally what it has not seen; for it will conceive of its ideal with reference to the reality, and imitation is often baffled by terror, but imagination by nothing; for it marches undismayed to the goal which it has itself laid down. When you entertain a notion of Zeus you must, I suppose, envisage him along with heaven and seasons and stars, as Phidias in his day endeavoured to do, and if you would fashion an image of Athena you must imagine in your mind armies and cunning, and handicrafts, and how she leapt out of Zeus himself. But if you make a hawk or an owl or a wolf or a dog, and put it in your temples instead of Hermes or Athena or Apollo, your animals and your birds may be esteemed and of much price as likenesses, but the gods will be very much lowered in their dignity. I think, said the other, that you criticize our religion very superficially; for if the Egyptians have any wisdom, they show it by their deep respect and reverence in the representation of the gods, and by the circumstance that they fashion their forms as symbols of a profound inner meaning, so as to enhance their solemnity and august character. Apollonius thereon merely laughed and said: My good friends, you have indeed greatly profited by the wisdom of Egypt and Ethiopia, if your dog and your ibis and your goat seem particularly august and god-like, for this is what I learn from Thespesion the sage.But what is there that is august or awe-inspiring in these images? Is it not likely that perjurers and temple-thieves and all the rabble of low jesters will despise such holy objects rather than dread them; and if they are to be held for the hidden meanings which they convey, surely the gods in Egypt would have met with much greater reverence, if no images of them had ever been set up at all, and if you had planned your theology along other lines wiser and more mysterious. For I imagine you might have built temples for them, and have fixed the altars and laid down rules about what to sacrifice and what not, and when and on what scale, and with what liturgies and rites, without introducing any image at all, but leaving it to those who frequented the temples to imagine the images of the gods; for the mind can more or less delineate and figure them to itself better than can any artist; but you have denied to the gods the privilege of beauty both of the outer eye and of an inner suggestion. Thespesion replied and said: There was a certain Athenian, called Socrates, a foolish old man like ourselves, who thought that the dog and the goose and the plane tree were gods and used to swear by them. He was not foolish, said Apollonius, but a divine and unfeignedly wise man; for he did not swear by these objects on the understanding that they were gods, but to save himself from swearing by the gods."". None
56. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Artist, works of art โ€ข art

 Found in books: Harkins and Maier (2022) 167; Lampe (2003) 426


57. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Apelles (artist) โ€ข art, Roman

 Found in books: Borg (2008) 114, 122; Elsner (2007) 293


58. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข architecture and art, Roman appreciation โ€ข art โ€ข art and architecture, Roman appreciation

 Found in books: Harkins and Maier (2022) 164; Jenkyns (2013) 240


59. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, as aphrodisiac โ€ข Art, idol vs. image โ€ข Art, loss of pagan meaning for Christians and Jews โ€ข Art, nudity โ€ข Art, religious art manufactured by Jews and Christians โ€ข art โ€ข art expert, in Petroniusโ€™ Satyrica โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข lover, as viewer of erotic art โ€ข nature and art, in the Greek novels โ€ข visual arts

 Found in books: Bickerman and Tropper (2007) 908; Cueva et al. (2018a) 133; Elsner (2007) 185, 189; Pinheiro et al (2015) 116; Repath and Whitmarsh (2022) 11


60. None, None, nan (2nd cent. CE - 2nd cent. CE)
 Tagged with subjects: โ€ข Athenaeus, on eroticism in art โ€ข Lucian, and erotic response to art โ€ข Valerius Maximus, and eroticism in art โ€ข drapery, artistic treatment of

 Found in books: Rutledge (2012) 113, 114; Steiner (2001) 231


61. Babylonian Talmud, Sukkah, None (3rd cent. CE - 6th cent. CE)
 Tagged with subjects: โ€ข Moses, art โ€ข art, โ€ข art, Qumran โ€ข art, priests

 Found in books: Brooke et al (2008) 30, 31; Rubenstein(1995) 247


5a. ื•ืชื ื™ื ืจ\' ื™ื•ืกื™ ืื•ืžืจ ืžืขื•ืœื ืœื ื™ืจื“ื” ืฉื›ื™ื ื” ืœืžื˜ื” ื•ืœื ืขืœื• ืžืฉื” ื•ืืœื™ื”ื• ืœืžืจื•ื ืฉื ืืžืจ (ืชื”ืœื™ื ืงื˜ื•, ื˜ื–) ื”ืฉืžื™ื ืฉืžื™ื ืœื”\' ื•ื”ืืจืฅ ื ืชืŸ ืœื‘ื ื™ ืื“ื,ื•ืœื ื™ืจื“ื” ืฉื›ื™ื ื” ืœืžื˜ื” ื•ื”ื›ืชื™ื‘ (ืฉืžื•ืช ื™ื˜, ื›) ื•ื™ืจื“ ื”\' ืขืœ ื”ืจ ืกื™ื ื™ ืœืžืขืœื” ืžืขืฉืจื” ื˜ืคื—ื™ื ื•ื”ื›ืชื™ื‘ (ื–ื›ืจื™ื” ื™ื“, ื“) ื•ืขืžื“ื• ืจื’ืœื™ื• ื‘ื™ื•ื ื”ื”ื•ื ืขืœ ื”ืจ ื”ื–ื™ืชื™ื ืœืžืขืœื” ืžืขืฉืจื” ื˜ืคื—ื™ื,ื•ืœื ืขืœื• ืžืฉื” ื•ืืœื™ื”ื• ืœืžืจื•ื ื•ื”ื›ืชื™ื‘ (ืฉืžื•ืช ื™ื˜, ื’) ื•ืžืฉื” ืขืœื” ืืœ ื”ืืœื”ื™ื ืœืžื˜ื” ืžืขืฉืจื” ื•ื”ื›ืชื™ื‘ (ืžืœื›ื™ื ื‘ ื‘, ื™ื) ื•ื™ืขืœ ืืœื™ื”ื• ื‘ืกืขืจื” ื”ืฉืžื™ื ืœืžื˜ื” ืžืขืฉืจื” ื•ื”ื›ืชื™ื‘ (ืื™ื•ื‘ ื›ื•, ื˜) ืžืื—ื– ืคื ื™ ื›ืกื ืคืจืฉื– ืขืœื™ื• ืขื ื ื• ื•ืืžืจ ืจ\' ืชื ื—ื•ื ืžืœืžื“ ืฉืคื™ืจืฉ ืฉื“ื™ ืžื–ื™ื• ืฉื›ื™ื ืชื• ื•ืขื ื ื• ืขืœื™ื• ืœืžื˜ื” ืžืขืฉืจื”,ืžื›ืœ ืžืงื•ื ืžืื—ื– ืคื ื™ ื›ืกื ื›ืชื™ื‘ ืื™ืฉืชืจื‘ื•ื‘ื™ ืื™ืฉืชืจื‘ื‘ ืœื™ื” ื›ืกื ืขื“ ืขืฉืจื” ื•ื ืงื˜ ื‘ื™ื”,ื‘ืฉืœืžื ืืจื•ืŸ ืชืฉืขื” ื“ื›ืชื™ื‘ (ืฉืžื•ืช ื›ื”, ื™) ื•ืขืฉื• ืืจื•ืŸ ืขืฆื™ ืฉื˜ื™ื ืืžืชื™ื ื•ื—ืฆื™ ืืจื›ื• ื•ืืžื” ื•ื—ืฆื™ ืจื—ื‘ื• ื•ืืžื” ื•ื—ืฆื™ ืงื•ืžืชื• ืืœื ื›ืคื•ืจืช ื˜ืคื— ืžื ืœืŸ ื“ืชื ื™ ืจื‘ื™ ื—ื ื™ื ื ื›ืœ ื”ื›ืœื™ื ืฉืขืฉื” ืžืฉื” ื ืชื ื” ื‘ื”ืŸ ืชื•ืจื” ืžื“ืช ืืจื›ืŸ ื•ืžื“ืช ืจื—ื‘ืŸ ื•ืžื“ืช ืงื•ืžืชืŸ ื›ืคื•ืจืช ืžื“ืช ืืจื›ื” ื•ืžื“ืช ืจื—ื‘ื” ื ืชื ื” ืžื“ืช ืงื•ืžืชื” ืœื ื ืชื ื”,ืฆื ื•ืœืžื“ ืžืคื—ื•ืช ืฉื‘ื›ืœื™ื ืฉื ืืžืจ (ืฉืžื•ืช ื›ื”, ื›ื”) ื•ืขืฉื™ืช ืœื• ืžืกื’ืจืช ื˜ืคื— ืกื‘ื™ื‘ ืžื” ืœื”ืœืŸ ื˜ืคื— ืืฃ ื›ืืŸ ื˜ืคื— ื•ื ื™ืœืฃ ืžื›ืœื™ื ื’ื•ืคื™ื™ื”ื• ืชืคืฉืช ืžืจื•ื‘ื” ืœื ืชืคืฉืช ืชืคืฉืช ืžื•ืขื˜ ืชืคืฉืช,ื•ื ื™ืœืฃ ืžืฆื™ืฅ ื“ืชื ื™ื ืฆื™ืฅ ื“ื•ืžื” ื›ืžื™ืŸ ื˜ืก ืฉืœ ื–ื”ื‘ ื•ืจื—ื‘ ื‘\' ืืฆื‘ืขื•ืช ื•ืžื•ืงืฃ ืžืื–ืŸ ืœืื–ืŸ ื•ื›ืชื•ื‘ ืขืœื™ื• ื‘\' ืฉื™ื˜ื™ืŸ ื™ื•"ื“ ื”"ื ืžืœืžืขืœื” ื•ืงื“ืฉ ืœืž"ื“ ืžืœืžื˜ื” ื•ื"ืจ ืืœื™ืขื–ืจ ื‘ืจ\' ื™ื•ืกื™ ืื ื™ ืจืื™ืชื™ื• ื‘ืจื•ืžื™ ื•ื›ืชื•ื‘ ืขืœื™ื• ืงื“ืฉ ืœื”\' ื‘ืฉื™ื˜ื” ืื—ืช,ื“ื ื™ืŸ ื›ืœื™ ืžื›ืœื™ ื•ืื™ืŸ ื“ื ื™ืŸ ื›ืœื™ ืžืชื›ืฉื™ื˜,ื•ื ื™ืœืฃ ืžื–ืจ ื“ืืžืจ ืžืจ ื–ืจ ืžืฉื”ื• ื“ื ื™ืŸ ื›ืœื™ ืžื›ืœื™ ื•ืื™ืŸ ื“ื ื™ืŸ ื›ืœื™ ืžื”ื›ืฉืจ ื›ืœื™ ืื™ ื”ื›ื™ ืžืกื’ืจืช ื ืžื™ ื”ื›ืฉืจ ื›ืœื™ ื”ื•ื ืžืกื’ืจืชื• ืœืžื˜ื” ื”ื™ืชื”,ื”ื ื™ื—ื ืœืžืืŸ ื“ืืžืจ ืžืกื’ืจืชื• ืœืžื˜ื” ื”ื™ืชื” ืืœื ืœืžืืŸ ื“ืืžืจ ืžืกื’ืจืชื• ืœืžืขืœื” ื”ื™ืชื” ืžืื™ ืื™ื›ื ืœืžื™ืžืจ ื”ืื™ ื”ื›ืฉืจ ื›ืœื™ ื”ื•ื,ืืœื ื“ื ื™ืŸ ื“ื‘ืจ ืฉื ืชื ื” ื‘ื• ืชื•ืจื” ืžื“ื” ืžื“ื‘ืจ ืฉื ืชื ื” ื‘ื• ืชื•ืจื” ืžื“ื” ื•ืืœ ื™ื•ื›ื™ื—ื• ืฆื™ืฅ ื•ื–ืจ ืฉืœื ื ืชื ื” ื‘ื”ืŸ ืชื•ืจื” ืžื“ื” ื›ืœืœ,ืจื‘ ื”ื•ื ื ืืžืจ ืžื”ื›ื (ื•ื™ืงืจื ื˜ื–, ื™ื“) ืขืœ ืคื ื™ ื”ื›ืคื•ืจืช ืงื“ืžื” ื•ืื™ืŸ ืคื ื™ื ืคื—ื•ืช ืžื˜ืคื—,ื•ืื™ืžื ื›ืืคื™''. None
5a. and it is taught in a baraita that Rabbi Yosei says: The Divine Presence never actually descended below, and Moses and Elijah never actually ascended to heaven on high, as it is stated: โ€œThe heavens are the heavens of the Lord, and the earth He gave to the children of manโ€ (Psalms 115:16), indicating that these are two distinct domains. Apparently, from ten handbreadths upward is considered a separate domain. Consequently, any sukka that is not at least ten handbreadths high is not considered an independent domain and is unfit.,The Gemara asks: And did the Divine Presence never descend below ten handbreadths? But isnโ€™t it written: โ€œAnd God descended onto Mount Sinaiโ€ (Exodus 19:20)? rThe Gemara answers: Although God descended below, He always remained ten handbreadths above the ground. Since from ten handbreadths and above it is a separate domain, in fact, the Divine Presence never descended to the domain of this world. rThe Gemara asks: But isnโ€™t it written: โ€œAnd on that day His feet will stand on the Mount of Olivesโ€ (Zechariah 14:4)? The Gemara answers: Here, too, He will remain ten handbreadths above the ground.,The Gemara asks: And did Moses and Elijah never ascend to the heavens on high? But isnโ€™t it written: โ€œAnd Moses went up to Godโ€ (Exodus 19:3)? rThe Gemara answers: Nevertheless, he remained below ten handbreadths adjacent to the ground. rThe Gemara asks: But isnโ€™t it written: โ€œAnd Elijah went up by a whirlwind heavenwardโ€ (II Kings 2:11)? rThe Gemara answers: Here, too, it was below ten handbreadths. rThe Gemara asks: But isnโ€™t it written: โ€œHe grasps the face of the throne, and spreads His cloud upon himโ€ (Job 26:9)? And Rabbi Tanแธฅum said: This teaches that the Almighty spread of the radiance of His Divine Presence and of His cloud upon him. Apparently, Moses was in the cloud with God. rThe Gemara answers: Here, too, it was below ten handbreadths.,The Gemara asks: In any case: โ€œHe grasps the face of the throne,โ€ is written, indicating that Moses took hold of the Throne of Glory. The Gemara rejects this: The throne was extended for him down to ten handbreadths and Moses grasped it; however, he remained below ten handbreadths. And since the Divine Presence speaks to Moses from above the Ark cover ten handbreadths above the ground, clearly a height of ten handbreadths is a distinct domain.,The Gemara wonders about the proof offered: Granted, the height of the Ark was nine handbreadths, as it is written: โ€œAnd they shall make an Ark of acacia wood; two cubits and a half shall be its length, and a cubit and a half its breadth, and a cubit and a half its heightโ€ (Exodus 25:10), and one and a half cubits equal nine handbreadths. However, from where do we derive the fact that the thickness of the Ark cover was one handbreadth? The Torah never states its dimensions explicitly, as Rabbi แธคanina taught: For all the vessels that Moses crafted for the Tabernacle, the Torah provided in their regard the dimension of their length, the dimension of their width, and the dimension of their height. However, for the Ark cover, the Torah provided the dimension of its length and the dimension of its width; but the Torah did not provide the dimension of its height.,The Gemara answers: Go out and learn from the smallest dimension mentioned in connection with any of the Tabernacle vessels, as it is stated with regard to the shewbread table: โ€œAnd you shall make unto it a border of a handbreadth aroundโ€ (Exodus 25:25). Just as there, the frame measures one handbreadth, so too, here, the thickness of the Ark cover measures a single handbreadth. The Gemara asks: And let us derive the thickness of the Ark cover from the vessels themselves, the smallest of which measures a cubit. The Gemara answers: If you grasped many, you did not grasp anything; if you grasped few, you grasped something. If there are two possible sources from which to derive the dimension of the Ark cover, then without conclusive proof one may not presume that the Torah intended to teach the larger dimension. Rather, the presumption is that the Torah is teaching the smaller dimension, which is included in the larger measure.,The Gemara asks: If so, let us derive the thickness of the Ark cover from the frontplate, which is even smaller than a handbreadth, as it is taught in a baraita: The frontplate is a type of plate made of gold that is two fingerbreadths wide and stretches from ear to ear. And written upon it are two lines: The letters yod, heh, vav, heh, the name of God, above; and the word kodesh, spelled kuf, dalet, shin, followed by the letter lamed, below. Together it spelled kodesh laHashem, meaning: Sacred to the Lord, with yod, heh, vav, heh written on the upper line in deference to the name of God. Rabbi Eliezer, son of Rabbi Yosei, said: I saw the frontplate in the emperorโ€™s treasury in Rome, where it was taken together with the other Temple vessels when the Temple was destroyed, and upon it was written: Sacred to the Lord, on one line. Why not derive the thickness of the Ark cover from the frontplate and say that it was only two fingerbreadths?,The Gemara answers: One derives the dimension of a vessel from the dimension of a vessel, and one does not derive the dimension of a vessel from the dimension of an ornament. The frontplate is not one of the Tabernacle vessels but one of the ornaments of the High Priest.,The Gemara suggests: Let us derive the thickness of the Ark cover from the crown featured atop several of the Tabernacle vessels, as the Master said: This crown, with regard to which the Torah did not specify its dimensions, could be any size. The Gemara answers: One derives the dimension of a vessel from the dimension of a vessel, and one does not derive the dimension of a vessel from the dimension of the finish of a vessel that serves decorative purposes. The Gemara asks: If it is so that one does not derive the dimensions of a vessel from the dimensions of the finish of a vessel, then how can dimensions be derived from the border of the table, which is also the finish of a vessel and not an integral part of the table? The Gemara answers: The border of the table was below, between the legs of the table, and the tabletop rested upon it. As it supports the table, it is an integral part of the table and not merely decoration.,The Gemara asks: This works out well according to the one who said that its border was below the tabletop; however, according to the one who said that its border was above the tabletop, what can be said? According to that opinion, this border is indeed the finish of a vessel.,Rather, the thickness of the Ark cover must be derived from a different source. One derives the missing dimensions of an object for which the Torah provided part of its dimension, e.g., the Ark cover, for which the Torah provided the dimensions of length and width, from an object for which the Torah provided its dimension, e.g., the border of the table. And the frontplate and the crown, for which the Torah did not provide any dimension at all, and their dimensions were determined by the Sages, will not prove anything. It is certainly appropriate to derive the dimension of the thickness of the Ark cover from that which was stated clearly in the Torah.,Rav Huna said that the thickness of the Ark cover is derived from here: โ€œUpon the face of penei the Ark cover on the eastโ€ (Leviticus 16:14), and there is no face panim of a person that measures less than one handbreadth.,The Gemara asks: And why say that the face in the verse is specifically the face of a person? Say that the Ark cover is like the face''. None
62. None, None, nan (3rd cent. CE - 4th cent. CE)
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Art, imitation of models โ€ข Art, loss of pagan meaning for Christians and Jews โ€ข Art, religious art manufactured by Jews and Christians โ€ข art, early Christian โ€ข art, mosaics and ivory carving โ€ข art, sculpture in the round

 Found in books: Bickerman and Tropper (2007) 907, 911, 924; Esler (2000) 762


63. None, None, nan (3rd cent. CE - 4th cent. CE)
 Tagged with subjects: โ€ข theurgy (hieratic art) โ€ข theurgy and hieratic art (แผฑฮตฯฮฑฯ„ฮนฮบแฝด ฯ„ฮญฯ‡ฮฝฮทโ€Ž)

 Found in books: Dillon and Timotin (2015) 15, 16, 152, 170, 171, 176, 181; d, Hoine and Martijn (2017) 237


64. None, None, nan (3rd cent. CE - 3rd cent. CE)
 Tagged with subjects: โ€ข Art, artistic representation โ€ข Artistic metaphor, for training in virtue โ€ข art gallery, in Petroniusโ€™ Satyrica

 Found in books: Corrigan and Rasimus (2013) 331; Elsner (2007) 187; Gray (2021) 209


65. Ammianus Marcellinus, History, 16.10.13-16.10.15 (4th cent. CE - 4th cent. CE)
 Tagged with subjects: โ€ข Pliny the Elder, on ignorance of art โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation โ€ข art, Roman imperial

 Found in books: Esler (2000) 35; Jenkyns (2013) 263; Rutledge (2012) 104


16.10.13. So then he entered Rome, the home of empire and of every virtue, and when he had come to the Rostra, the most renowned forum of ancient dominion, he stood amazed; and on every side on which his eyes rested he was dazzled by the array of marvellous sights. He addressed the nobles in the senate-house and the populace from the tribunal, and being welcomed to the palace with manifold attentions, he enjoyed a longed-for pleasure; and on several occasions, when holding equestrian games, he took delight in the sallies of the commons, who were neither presumptuous nor regardless of their old-time freedom, while he himself also respectfully observed the due mean. 16.10.14. For he did not (as in the case of other cities) permit the contests to be terminated at his own discretion, but left them (as the custom is) to various chances. Then, as he surveyed the sections of the city and its suburbs, lying within the summits of the seven hills, along their slopes, or on level ground, he thought that whatever first met his gaze towered above all the rest: the sanctuaries of Tarpeian Jove so far surpassing as things divine excel those of earth; the baths built up to the measure of provinces; the huge bulk of the amphitheatre, strengthened by its framework of Tiburtine stone, Travertine. to whose top human eyesight barely ascends; the Pantheon like a rounded city-district, Regio here refers to one of the regions, or districts, into which the city was divided. vaulted over in lofty beauty; and the exalted heights which rise with platforms to which one may mount, and bear the likenesses of former emperors; The columns of Trajan, Antoninus Pius, and Marcus Aurelius. The platform at the top was reached by a stairway within the column. the Temple of the City, The double temple of Venus and Roma, built by Hadriian and dedicated in A.D. 135 the Forum of Peace, The Forum Pacis, or Vespasiani, was begun by Vespasian in A.D. 71, after the taking of Jerusalem, and dedicated in 75. It lay behind the basilica Aemilia. the Theatre of Pompey, Built in 55 B.C. in the Campus Martius. the Oleum, A building for musical performances, erected by Domitian, probably near his Stadium. the Stadium, The Stadium of Domitian in the Campus Martius, the shape and size of which is almost exactly preserved by the modern Piazza Navona. and amongst these the other adornments of the Eternal City. 16.10.15. But when he came to the Forum of Trajan, a construction unique under the heavens, as we believe, and admirable even in the uimous opinion of the gods, he stood fast in amazement, turning his attention to the gigantic complex about him, beggaring description and never again to be imitated by mortal men. Therefore abandoning all hope of attempting anything like it, he said that he would and could copy Trajanโ€™s steed alone, which stands in the centre of the vestibule, carrying the emperor himself.''. None
66. Augustine, On Christian Doctrine, 2.16.26, 2.18.28 (4th cent. CE - 5th cent. CE)
 Tagged with subjects: โ€ข Augustine, survey of โ€˜liberal artsโ€™ in Book โ€ข music, liberal art of music (musica)

 Found in books: Esler (2000) 780; Pollmann and Vessey (2007) 129, 130


2.16.26. 23. In the case of figurative signs, again, if ignorance of any of them should chance to bring the reader to a stand-still, their meaning is to be traced partly by the knowledge of languages, partly by the knowledge of things. The pool of Siloam, for example, where the man whose eyes our Lord had anointed with clay made out of spittle was commanded to wash, has a figurative significance, and undoubtedly conveys a secret sense; but yet if the evangelist had not interpreted that name, John 9:7 a meaning so important would lie unnoticed. And we cannot doubt that, in the same way, many Hebrew names which have not been interpreted by the writers of those books, would, if any one could interpret them, be of great value and service in solving the enigmas of Scripture. And a number of men skilled in that language have conferred no small benefit on posterity by explaining all these words without reference to their place in Scripture, and telling us what Adam means, what Eve, what Abraham, what Moses, and also the names of places, what Jerusalem signifies, or Sion, or Sinai, or Lebanon, or Jordan, and whatever other names in that language we are not acquainted with. And when these names have been investigated and explained, many figurative expressions in Scripture become clear. 24. Ignorance of things, too, renders figurative expressions obscure, as when we do not know the nature of the animals, or minerals, or plants, which are frequently referred to in Scripture by way of comparison. The fact so well known about the serpent, for example, that to protect its head it will present its whole body to its assailants - how much light it throws upon the meaning of our Lord's command, that we should be wise as serpents; Matthew 10:16 that is to say, that for the sake of our head, which is Christ, we should willingly offer our body to the persecutors, lest the Christian faith should, as it were, be destroyed in us, if to save the body we deny our God! Or again, the statement that the serpent gets rid of its old skin by squeezing itself through a narrow hole, and thus acquires new strength - how appropriately it fits in with the direction to imitate the wisdom of the serpent, and to put off the old man, as the apostle says, that we may put on the new; Ephesians 4:22 and to put it off, too, by coming through a narrow place, according to the saying of our Lord, Enter ye in at the strait gate! Matthew 7:13 As, then, knowledge of the nature of the serpent throws light upon many metaphors which Scripture is accustomed to draw from that animal, so ignorance of other animals, which are no less frequently mentioned by way of comparison, is a very great drawback to the reader. And so in regard to minerals and plants: knowledge of the carbuncle, for instance, which shines in the dark, throws light upon many of the dark places in books too, where it is used metaphorically; and ignorance of the beryl or the adamant often shuts the doors of knowledge. And the only reason why we find it easy to understand that perpetual peace is indicated by the olive branch which the dove brought with it when it returned to the ark, Genesis 8:11 is that we know both that the smooth touch of olive oil is not easily spoiled by a fluid of another kind, and that the tree itself is an evergreen. Many, again, by reason of their ignorance of hyssop, not knowing the virtue it has in cleansing the lungs, nor the power it is said to have of piercing rocks with its roots, although it is a small and insignificant plant, cannot make out why it is said, Purge me with hyssop, and I shall be clean. 25. Ignorance of numbers, too, prevents us from understanding things that are set down in Scripture in a figurative and mystical way. A candid mind, if I may so speak, cannot but be anxious, for example, to ascertain what is meant by the fact that Moses and Elijah, and our Lord Himself, all fasted for forty days. And except by knowledge of and reflection upon the number, the difficulty of explaining the figure involved in this action cannot be got over. For the number contains ten four times, indicating the knowledge of all things, and that knowledge interwoven with time. For both the diurnal and the annual revolutions are accomplished in periods numbering four each; the diurnal in the hours of the morning, the noontide, the evening, and the night; the annual in the spring, summer, autumn, and winter months. Now while we live in time, we must abstain and fast from all joy in time, for the sake of that eternity in which we wish to live; al though by the passage of time we are taught this very lesson of despising time and seeking eternity. Further, the number ten signifies the knowledge of the Creator and the creature, for there is a trinity in the Creator; and the number seven indicates the creature, because of the life and the body. For the life consists of three parts, whence also God is to be loved with the whole heart, the whole soul, and the whole mind; and it is very clear that in the body there are four elements of which it is made up. In this number ten, therefore, when it is placed before us in connection with time, that is, when it is taken four times we are admonished to live unstained by, and not partaking of, any delight in time, that is, to fast for forty days. of this we are admonished by the law personified in Moses, by prophecy personified in Elijah, and by our Lord Himself, who, as if receiving the witness both of the law and the prophets, appeared on the mount between the other two, while His three disciples looked on in amazement. Next, we have to inquire in the same way, how out of the number forty springs the number fifty, which in our religion has no ordinary sacredness attached to it on account of the Pentecost, and how this number taken thrice on account of the three divisions of time, before the law, under the law, and under grace, or perhaps on account of the name of the Father, Son, and Holy Spirit, and the Trinity itself being added over and above, has reference to the mystery of the most Holy Church, and reaches to the number of the one hundred and fifty-three fishes which were taken after the resurrection of our Lord, when the nets were cast out on the right-hand side of the boat. John 21:11 And in the same way, many other numbers and combinations of numbers are used in the sacred writings, to convey instruction under a figurative guise, and ignorance of numbers often shuts out the reader from this instruction. 26. Not a few things, too, are closed against us and obscured by ignorance of music. One man, for example, has not unskillfully explained some metaphors from the difference between the psaltery and the harp. And it is a question which it is not out of place for learned men to discuss, whether there is any musical law that compels the psaltery of ten chords to have just so many strings; or whether, if there be no such law, the number itself is not on that very account the more to be considered as of sacred significance, either with reference to the ten commandments of the law (and if again any question is raised about that number, we can only refer it to the Creator and the creature), or with reference to the number ten itself as interpreted above. And the number of years the temple was in building, which is mentioned in the gospel John 2:20 - viz., forty-six - has a certain undefinable musical sound, and when referred to the structure of our Lord's body, in relation to which the temple was mentioned, compels many heretics to confess that our Lord put on, not a false, but a true and human body. And in several places in the Holy Scriptures we find both numbers and music mentioned with honor. " '
2.18.28. 28. But whether the fact is as Varro has related, or is not so, still we ought not to give up music because of the superstition of the heathen, if we can derive anything from it that is of use for the understanding of Holy Scripture; nor does it follow that we must busy ourselves with their theatrical trumpery because we enter upon an investigation about harps and other instruments, that may help us to lay hold upon spiritual things. For we ought not to refuse to learn letters because they say that Mercury discovered them; nor because they have dedicated temples to Justice and Virtue, and prefer to worship in the form of stones things that ought to have their place in the heart, ought we on that account to forsake justice and virtue. Nay, but let every good and true Christian understand that wherever truth may be found, it belongs to his Master; and while he recognizes and acknowledges the truth, even in their religious literature, let him reject the figments of superstition, and let him grieve over and avoid men who, when they knew God, glorified him not as God, neither were thankful; but became vain in their imaginations, and their foolish heart was darkened. Professing themselves to be wise, they became fools, and changed the glory of the uncorruptible God into an image made like to corruptible man, and to birds, and four-footed beasts, and creeping things. Romans 1:21-23 '". None
67. None, None, nan (7th cent. CE - 7th cent. CE)
 Tagged with subjects: โ€ข Noah, non-artistic proofs โ€ข Savior, ลกarฤซสฟa (Ar. โ€œlawโ€) โ€ข สฟiแนฃma (Ar. โ€œinfallibility of prophetsโ€, โ€œimpeccability,โ€ โ€œimmunity from sinโ€)

 Found in books: Gwynne (2004) 99; Zawanowska and Wilk (2022) 286


68. Babylonian Talmud, Avodah Zarah, None
 Tagged with subjects: โ€ข Art โ€ข Art, idol vs. image โ€ข Art, religious art manufactured by Jews and Christians โ€ข art, pagan

 Found in books: Bickerman and Tropper (2007) 923; Levine (2005) 483


43a. ื”ื ื™ ืื™ืŸ ืฆื•ืจืช ื“ืจืงื•ืŸ ืœื,ืืœื ืคืฉื™ื˜ื ื‘ืžื•ืฆื ื•ื›ื“ืชื ืŸ ื”ืžื•ืฆื ื›ืœื™ื ื•ืขืœื™ื”ื ืฆื•ืจืช ื—ืžื”,ืจื™ืฉื ื•ืกื™ืคื ื‘ืžื•ืฆื ื•ืžืฆื™ืขืชื ื‘ืขื•ืฉื”,ืืžืจ ืื‘ื™ื™ ืื™ืŸ ืจื™ืฉื ื•ืกื™ืคื ื‘ืžื•ืฆื ื•ืžืฆื™ืขืชื ื‘ืขื•ืฉื”,ืจื‘ื ืืžืจ ื›ื•ืœื” ื‘ืžื•ืฆื ื•ืžืฆื™ืขืชื ืจื‘ื™ ื™ื”ื•ื“ื” ื”ื™ื ื“ืชื ื™ื ืจื‘ื™ ื™ื”ื•ื“ื” ืžื•ืกื™ืฃ ืืฃ ื“ืžื•ืช ืžื ื™ืงื” ื•ืกืจ ืืคื™ืก ืžื ื™ืงื” ืขืœ ืฉื ื—ื•ื” ืฉืžื ื™ืงื” ื›ืœ ื”ืขื•ืœื ื›ื•ืœื• ืกืจ ืืคื™ืก ืขืœ ืฉื ื™ื•ืกืฃ ืฉืกืจ ื•ืžืคื™ืก ืืช ื›ืœ ื”ืขื•ืœื ื›ื•ืœื• ื•ื”ื•ื ื“ื ืงื™ื˜ ื’ืจื™ื•ื ื•ืงื ื›ื™ื™ืœ ื•ื”ื™ื ื“ื ืงื˜ื ื‘ืŸ ื•ืงื ืžื ื™ืงื”:,ืชื ื• ืจื‘ื ืŸ ืื™ื–ื”ื• ืฆื•ืจืช ื“ืจืงื•ืŸ ืคื™ืจืฉ ืจืฉื‘"ื ื›ืœ ืฉื™ืฉ ืœื• ืฆื™ืฆื™ืŸ ื‘ื™ืŸ ืคืจืงื™ื• ืžื—ื•ื™ ืจื‘ื™ ืืกื™ ื‘ื™ืŸ ืคืจืงื™ ืฆื•ืืจ ืืžืจ ืจ\' ื—ืžื ื‘ืจื‘ื™ ื—ื ื™ื ื ื”ืœื›ื” ื›ืจ"ืฉ ื‘ืŸ ืืœืขื–ืจ,ืืžืจ ืจื‘ื” ื‘ืจ ื‘ืจ ื—ื ื” ืืžืจ ืจื‘ื™ ื™ื”ื•ืฉืข ื‘ืŸ ืœื•ื™ ืคืขื ืื—ืช ื”ื™ื™ืชื™ ืžื”ืœืš ืื—ืจ ืจ\' ืืœืขื–ืจ ื”ืงืคืจ ื‘ืจื™ื‘ื™ ื‘ื“ืจืš ื•ืžืฆื ืฉื ื˜ื‘ืขืช ื•ืขืœื™ื” ืฆื•ืจืช ื“ืจืงื•ืŸ ื•ืžืฆื ืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ืงื˜ืŸ ื•ืœื ืืžืจ ืœื• ื›ืœื•ื ืžืฆื ืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ื’ื“ื•ืœ ื•ืืžืจ ืœื• ื‘ื˜ืœื” ื•ืœื ื‘ื˜ืœื” ืกื˜ืจื• ื•ื‘ื˜ืœื”,ืฉ"ืž ืชืœืช ืฉ"ืž ืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ืžื‘ื˜ืœ ืขื‘ื•ื“ืช ื›ื•ื›ื‘ื™ื ืฉืœื• ื•ืฉืœ ื—ื‘ื™ืจื• ื•ืฉ"ืž ื™ื•ื“ืข ื‘ื˜ื™ื‘ ืฉืœ ืขื‘ื•ื“ืช ื›ื•ื›ื‘ื™ื ื•ืžืฉืžืฉื™ื” ืžื‘ื˜ืœ ื•ืฉืื™ื ื• ื™ื•ื“ืข ื‘ื˜ื™ื‘ ืขื‘ื•ื“ืช ื›ื•ื›ื‘ื™ื ื•ืžืฉืžืฉื™ื” ืื™ื ื• ืžื‘ื˜ืœ ื•ืฉ"ืž ืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ืžื‘ื˜ืœ ื‘ืขืœ ื›ืจื—ื•,ืžื’ื“ืฃ ื‘ื” ืจื‘ื™ ื—ื ื™ื ื ื•ืœื™ืช ืœื™ื” ืœืจื‘ื™ ืืœืขื–ืจ ื”ืงืคืจ ื‘ืจื™ื‘ื™ ื”ื ื“ืชื ืŸ ื”ืžืฆื™ืœ ืžืŸ ื”ืืจื™ ื•ืžืŸ ื”ื“ื•ื‘ ื•ืžืŸ ื”ื ืžืจ ื•ืžืŸ ื”ื’ื™ื™ืก ื•ืžืŸ ื”ื ื”ืจ ื•ืžื–ื•ื˜ื• ืฉืœ ื™ื ื•ืžืฉืœื•ืœื™ืชื• ืฉืœ ื ื”ืจ ื•ื”ืžื•ืฆื ื‘ืกืจื˜ื™ื ื•ืคืœื˜ื™ื ื’ื“ื•ืœื” ื•ื‘ื›ืœ ืžืงื•ื ืฉื”ืจื‘ื™ื ืžืฆื•ื™ืŸ ืฉื ื”ืจื™ ืืœื• ืฉืœื• ืžืคื ื™ ืฉื”ื‘ืขืœื™ื ืžืชื™ื™ืืฉื™ืŸ ืžื”ืŸ,ืืžืจ ืื‘ื™ื™ ื ื”ื™ ื“ืžื™ื ื” ืžื™ื™ืืฉ ืžืื™ืกื•ืจื ืžื™ ืžื™ื™ืืฉ ืžื™ืžืจ ืืžืจ ืื™ ืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ืžืฉื›ื— ืœื” ืžืคืœื— ืคืœื— ืœื” ืื™ ื™ืฉืจืืœ ืžืฉื›ื— ืœื” ืื™ื™ื“ื™ ื“ื“ืžื™ื” ื™ืงืจื™ืŸ ืžื–ื‘ื™ืŸ ืœื” ืœืขื•ื‘ื“ ื›ื•ื›ื‘ื™ื ื•ืคืœื— ืœื”:,ืชื ืŸ ื”ืชื ื“ืžื•ืช ืฆื•ืจื•ืช ืœื‘ื ื•ืช ื”ื™ื” ืœื• ืœืจ"ื’ ื‘ืขืœื™ื™ืชื• ื‘ื˜ื‘ืœื ื‘ื›ื•ืชืœ ืฉื‘ื”ืŸ ืžืจืื” ืืช ื”ื”ื“ื™ื•ื˜ื•ืช ื•ืื•ืžืจ ืœื”ืŸ ื›ื–ื” ืจืื™ืชื ืื• ื›ื–ื” ืจืื™ืชื,ื•ืžื™ ืฉืจื™ ื•ื”ื›ืชื™ื‘ (ืฉืžื•ืช ื›, ื›ื’) ืœื ืชืขืฉื•ืŸ ืืชื™ ืœื ืชืขืฉื•ืŸ ื›ื“ืžื•ืช ืฉืžืฉื™ ื”ืžืฉืžืฉื™ื ืœืคื ื™,ืืžืจ ืื‘ื™ื™ ืœื ืืกืจื” ืชื•ืจื” ืืœื ืฉืžืฉื™ืŸ ืฉืืคืฉืจ ืœืขืฉื•ืช ื›ืžื•ืชืŸ,ื›ื“ืชื ื™ื ืœื ื™ืขืฉื” ืื“ื ื‘ื™ืช ืชื‘ื ื™ืช ื”ื™ื›ืœ ืื›ืกื“ืจื” ืชื‘ื ื™ืช ืื•ืœื ื—ืฆืจ ืชื‘ื ื™ืช ืขื–ืจื” ืฉื•ืœื—ืŸ ืชื‘ื ื™ืช ืฉื•ืœื—ืŸ ืžื ื•ืจื” ืชื‘ื ื™ืช ืžื ื•ืจื” ืื‘ืœ ื”ื•ื ืขื•ืฉื” ืฉืœ ื”\' ื•ืฉืœ ื•\' ื•ืฉืœ ื—\' ื•ืฉืœ ื–\' ืœื ื™ืขืฉื” ืืคื™ืœื• ืฉืœ ืฉืืจ ืžื™ื ื™ ืžืชื›ื•ืช,ืจื‘ื™ ื™ื•ืกื™ ื‘ืจ ื™ื”ื•ื“ื” ืื•ืžืจ ืืฃ ืฉืœ ืขืฅ ืœื ื™ืขืฉื” ื›ื“ืจืš ืฉืขืฉื• ื‘ื™ืช ื—ืฉืžื•ื ืื™,ืืžืจื• ืœื• ืžืฉื ืจืื™ื” ืฉืคื•ื“ื™ืŸ ืฉืœ ื‘ืจื–ืœ ื”ื™ื• ื•ื—ื•ืคื™ืŸ ื‘ื‘ืขืฅ ื”ืขืฉื™ืจื• ืขืฉืื•ื ืฉืœ ื›ืกืฃ ื—ื–ืจื• ื•ื”ืขืฉื™ืจื• ืขืฉืื•ื ืฉืœ ื–ื”ื‘,ื•ืฉืžืฉื™ืŸ ืฉืื™ ืืคืฉืจ ืœืขืฉื•ืช ื›ืžื•ืชืŸ ืžื™ ืฉืจื™ ื•ื”ืชื ื™ื ืœื ืชืขืฉื•ืŸ ืืชื™ ืœื ืชืขืฉื•ืŸ ื›ื“ืžื•ืช ืฉืžืฉื™ ื”ืžืฉืžืฉื™ื ืœืคื ื™ ื‘ืžืจื•ื,ืืžืจ ืื‘ื™ื™'43b. ืœื ืืกืจื” ืชื•ืจื” ืืœื ื‘ื“ืžื•ืช ื“\' ืคื ื™ื ื‘ื”ื“ื™ ื”ื“ื“ื™,ืืœื ืžืขืชื” ืคืจืฆื•ืฃ ืื“ื ืœื—ื•ื“ื™ื” ืชืฉืชืจื™ ืืœืžื” ืชื ื™ื ื›ืœ ื”ืคืจืฆื•ืคื•ืช ืžื•ืชืจื™ืŸ ื—ื•ืฅ ืžืคืจืฆื•ืฃ ืื“ื,ืืžืจ ืจื‘ ื™ื”ื•ื“ื” ื‘ืจื™ื” ื“ืจื‘ ื™ื”ื•ืฉืข ืžืคืจืงื™ื” ื“ืจื‘ื™ ื™ื”ื•ืฉืข ืฉืžื™ืข ืœื™ ืœื ืชืขืฉื•ืŸ ืืชื™ ืœื ืชืขืฉื•ืŸ ืื•ืชื™ ืื‘ืœ ืฉืืจ ืฉืžืฉื™ืŸ ืฉืจื™,ื•ืฉืืจ ืฉืžืฉื™ืŸ ืžื™ ืฉืจื™ ื•ื”ืชื ื™ื (ืฉืžื•ืช ื›, ื›ื’) ืœื ืชืขืฉื•ืŸ ืืชื™ ืœื ืชืขืฉื•ืŸ ื›ื“ืžื•ืช ืฉืžืฉื™ ื”ืžืฉืžืฉื™ืŸ ืœืคื ื™ ื‘ืžืจื•ื ื›ื’ื•ืŸ ืื•ืคื ื™ื ื•ืฉืจืคื™ื ื•ื—ื™ื•ืช ื”ืงื“ืฉ ื•ืžืœืื›ื™ ื”ืฉืจืช,ืืžืจ ืื‘ื™ื™ ืœื ืืกืจื” ืชื•ืจื” ืืœื ืฉืžืฉื™ืŸ ืฉื‘ืžื“ื•ืจ ื”ืขืœื™ื•ืŸ,ื•ืฉื‘ืžื“ื•ืจ ื”ืชื—ืชื•ืŸ ืžื™ ืฉืจื™ ื•ื”ืชื ื™ื ืืฉืจ ื‘ืฉืžื™ื ืœืจื‘ื•ืช ื—ืžื” ื•ืœื‘ื ื” ื›ื•ื›ื‘ื™ื ื•ืžื–ืœื•ืช ืžืžืขืœ ืœืจื‘ื•ืช ืžืœืื›ื™ ื”ืฉืจืช,ื›ื™ ืชื ื™ื ื”ื”ื™ื ืœืขื•ื‘ื“ื,ืื™ ืœืขื•ื‘ื“ื ืืคื™ืœื• ืฉื™ืœืฉื•ืœ ืงื˜ืŸ ื ืžื™ ืื™ืŸ ื”ื›ื™ ื ืžื™ ื•ืžืกื™ืคื™ื” ื“ืงืจื ื ืคืงื ื“ืชื ื™ื ืืฉืจ ื‘ืืจืฅ ืœืจื‘ื•ืช ื™ืžื™ื ื•ื ื”ืจื•ืช ื”ืจื™ื ื•ื’ื‘ืขื•ืช ืžืชื—ืช ืœืจื‘ื•ืช ืฉื™ืœืฉื•ืœ ืงื˜ืŸ,ื•ืขืฉื™ื™ื” ื’ืจื™ื“ืชื ืžื™ ืฉืจื™ ื•ื”ืชื ื™ื ืœื ืชืขืฉื•ืŸ ืืชื™ ืœื ืชืขืฉื•ืŸ ื›ื“ืžื•ืช ืฉืžืฉื™ ื”ืžืฉืžืฉื™ืŸ ืœืคื ื™ ื‘ืžืจื•ื ื›ื’ื•ืŸ ื—ืžื” ื•ืœื‘ื ื” ื›ื•ื›ื‘ื™ื ื•ืžื–ืœื•ืช,ืฉืื ื™ ืจ"ื’ ื“ืื—ืจื™ื ืขืฉื• ืœื•,ื•ื”ื ืจื‘ ื™ื”ื•ื“ื” ื“ืื—ืจื™ื ืขืฉื• ืœื• ื•ื"ืœ ืฉืžื•ืืœ ืœืจื‘ ื™ื”ื•ื“ื” ืฉื™ื ื ื ืกืžื™ ืขื™ื ื™ื” ื“ื“ื™ืŸ,ื”ืชื ื‘ื—ื•ืชืžื• ื‘ื•ืœื˜ ื•ืžืฉื•ื ื—ืฉื“ื ื“ืชื ื™ื ื˜ื‘ืขืช ืฉื—ื•ืชืžื” ื‘ื•ืœื˜ ืืกื•ืจ ืœื”ื ื™ื—ื” ื•ืžื•ืชืจ ืœื—ืชื•ื ื‘ื” ื—ื•ืชืžื” ืฉื•ืงืข ืžื•ืชืจ ืœื”ื ื™ื—ื” ื•ืืกื•ืจ ืœื—ืชื•ื ื‘ื”,ื•ืžื™ ื—ื™ื™ืฉื™ื ืŸ ืœื—ืฉื“ื ื•ื”ื ื‘ื™ ื›ื ื™ืฉืชื ื“ืฉืฃ ื•ื™ืชื™ื‘ ื‘ื ื”ืจื“ืขื ื“ืื•ืงืžื™ ื‘ื™ื” ืื ื“ืจื˜ื ื•ื”ื•ื• ืขื™ื™ืœื™ ื‘ื™ื” ืื‘ื•ื” ื“ืฉืžื•ืืœ ื•ืœื•ื™ ื•ืžืฆืœื• ื‘ื’ื•ื™ื” ื•ืœื ื—ื™ื™ืฉื™ ืœื—ืฉื“ื ืจื‘ื™ื ืฉืื ื™,ื•ื”ื ืจื‘ืŸ ื’ืžืœื™ืืœ ื“ื™ื—ื™ื“ ื”ื•ื” ื›ื™ื•ืŸ ื“ื ืฉื™ื ื”ื•ื ืฉื›ื™ื—ื™ ืจื‘ื™ื ื’ื‘ื™ื” ื•ืื™ื‘ืขื™ืช ืื™ืžื ื“ืคืจืงื™ื ื”ื•ืื™,ื•ืื™ื‘ืขื™ืช ืื™ืžื ืœื”ืชืœืžื“ ืฉืื ื™ ื“ืชื ื™ื (ื“ื‘ืจื™ื ื™ื—, ื˜) ืœื ืชืœืžื“ ืœืขืฉื•ืช ืื‘ืœ ืืชื” ืœืžื“ ืœื”ื‘ื™ืŸ ื•ืœื”ื•ืจื•ืช:,ืจืฉื‘"ื’ ืื•ืžืจ ื•ื›ื•\': ืื™ื–ื• ื”ืŸ ืžื›ื•ื‘ื“ื™ืŸ ื•ืื™ื–ื• ื”ืŸ ืžื‘ื•ื–ื™ืŸ,ืืžืจ ืจื‘ ืžื›ื•ื‘ื“ื™ืŸ ืœืžืขืœื” ืžืŸ ื”ืžื™ื ืžื‘ื•ื–ื™ืŸ ืœืžื˜ื” ืžืŸ ื”ืžื™ื ื•ืฉืžื•ืืœ ืืžืจ ืืœื• ื•ืืœื• ืžื‘ื•ื–ื™ืŸ ื”ืŸ ืืœื ืืœื• ื”ืŸ ืžื›ื•ื‘ื“ื™ืŸ ืฉืขืœ ื”ืฉื™ืจื™ืŸ ื•ืขืœ ื”ื ื–ืžื™ื ื•ืขืœ ื”ื˜ื‘ืขื•ืช,ืชื ื™ื ื›ื•ื•ืชื™ื” ื“ืฉืžื•ืืœ ืžื›ื•ื‘ื“ื™ืŸ ืฉืขืœ ื”ืฉื™ืจื™ืŸ ื•ืขืœ ื”ื ื–ืžื™ื ื•ืขืœ ื”ื˜ื‘ืขื•ืช ืžื‘ื•ื–ื™ืŸ ืฉืขืœ ื”ื™ื•ืจื•ืช ื•ืขืœ ื”ืงื•ืžืงืžืกื™ืŸ ื•ืขืœ ืžื—ืžื™ ื—ืžื™ื ื•ืฉืขืœ ื”ืกื“ื™ื ื™ืŸ ื•ืขืœ ื”ืžื˜ืคื—ื•ืช:,
43a. The Sages interpret this verse as referring to the heavenly constellations, which indicates that it is prohibited to form only these figures, but it is not prohibited to form a figure of a dragon.,Rather, the Gemara concludes, it is obvious that this halakha is referring to a case where one finds a vessel with the figure of a dragon, and this is as we learned in the mishna: In the case of one who finds vessels, and upon them is a figure of the sun, a figure of the moon, or a figure of a dragon, he must take them and cast them into the Dead Sea.,The Gemara asks about the lack of consistency between the clauses of Rav Sheshetโ€™s statement: Can it be that the first clause and the last clause are referring to a case where one finds vessels with the specified figures, and the middle clause is referring to a case where one forms these figures?,Abaye said: Indeed, the first clause and the last clause are referring to cases where one finds vessels with figures, and the middle clause is referring to a case where one forms figures.,Rava said: The entire statement of Rav Sheshet is referring to a case where one finds vessels with these figures, and the middle clause is in accordance with the opinion of Rabbi Yehuda. As it is taught in a baraita that Rabbi Yehuda adds to the list of forbidden figures even a figure of a nursing woman and Sar Apis. The figure of a nursing woman is worshipped as it symbolizes Eve, who nurses the entire world. The figure of Sar Apis is worshipped as it symbolizes Joseph, who ruled over sar and appeased mefis the entire world by distributing food during the seven years of famine (see Genesis, chapter 41). But the figure of Sar Apis is forbidden only when it is holding a dry measure and measuring with it; and the figure of a nursing woman is forbidden only when she is holding a child and nursing it.,ยง The Sages taught: What is a figure of a dragon? Rabbi Shimon ben Elazar explained: It is any figure that has scales between its joints. Rabbi Asi motioned with his hands to depict scales between the joints of the neck. Rabbi แธคama, son of Rabbi แธคanina, says: The halakha is in accordance with the opinion of Rabbi Shimon ben Elazar.,Rabba bar bar แธคana says that Rabbi Yehoshua ben Levi says: Once, I was following Rabbi Elazar HaKappar the Distinguished on the road, and he found a ring there, and there was a figure of a dragon on it. And he then encountered a minor gentile boy, but did not say anything to him. He then encountered an adult gentile, and said to him: Revoke the ringโ€™s idolatrous status. But the gentile did not revoke it. Rabbi Elazar HaKappar then slapped him across his face, whereupon the gentile succumbed and revoked its idolatrous status.,The Gemara comments: Learn from this incident the following three halakhot: Learn from it that a gentile can revoke the idolatrous status of both his object of idol worship and that of another gentile. And learn from the fact that Rabbi Elazar HaKappar waited to find an adult gentile, that only one who is aware of the nature of idol worship and its accessories can revoke the idolโ€™s status, but one who is not aware of the nature of idol worship and its accessories, such as a minor, cannot revoke the idolโ€™s status. And finally, learn from it that a gentile can revoke the status of an idol even against his will.,Rabbi แธคanina ridiculed this ruling and asked: But why was it necessary to have a gentile actively revoke the idolatrous status of the ring? Doesnโ€™t Rabbi Elazar HaKappar the Distinguished maintain in accordance with that which we learned in a baraita: In the case of one who saves an object from a lion, or from a bear, or from a cheetah, or from a troop of soldiers, or from a river, or from the tide of the sea, or from the flooding of a river, or similarly one who finds an object in a main thoroughfare or in a large plaza, or for that matter, anywhere frequented by the public, in all these cases, the objects belong to him, because the owners despair of recovering them? Therefore, in the case of a lost ring with an idolatrous figure on it, its idolatrous status is automatically revoked, as its owner despairs of recovering it.,Abaye said: Granted, the owner despairs of recovering the object itself, but does he despair of its forbidden meโ€™issura idolatrous status? The owner does not assume that the object will never be worshipped again; rather, he says to himself: If a gentile finds it, he will worship it. If a Jew finds it, since it is valuable, he will sell it to a gentile who will then worship it. Therefore, Rabbi Elazar HaKappar had to have the ringโ€™s idolatrous status revoked.,ยง We learned in a mishna there (Rosh HaShana 24a): Rabban Gamliel had diagrams of the different figures of moons drawn on a tablet that hung on the wall of his attic, which he would show to the ordinary people hahedyotot who came to testify about sighting the new moon but who were unable to adequately describe what they had seen. And he would say to them: Did you see an image like this, or did you see an image like that?,The Gemara asks: And is it permitted to form these figures? But isnโ€™t it written: โ€œYou shall not make with Me gods of silver, or gods of goldโ€ (Exodus 20:20), which is interpreted to mean: You shall not make figures of My attendants who serve before Me, i.e., those celestial bodies that were created to serve God, including the sun and the moon.,In answering, Abaye said: The Torah prohibited only the figures of those attendants that one can possibly reproduce something that is truly in their likeness. Since it is impossible to reproduce the sun and the moon, the prohibition does not apply to these entities.,As it is taught in a baraita: A person may not construct a house in the exact image of the Sanctuary, nor a portico in the exact image of the Entrance Hall of the Sanctuary, nor a courtyard corresponding to the Temple courtyard, nor a table corresponding to the Table in the Temple, nor a candelabrum corresponding to the Candelabrum in the Temple. But one may fashion a candelabrum of five or of six or of eight lamps. And one may not fashion a candelabrum of seven lamps even if he constructs it from other kinds of metal rather than gold, as in extenuating circumstances the Candelabrum in the Temple may be fashioned from other metals.,The baraita continues: Rabbi Yosei bar Yehuda says: One may not fashion a candelabrum of wood either, in the manner that the kings of the Hasmonean monarchy fashioned it. When they first purified the Temple they had to fashion the Candelabrum out of wood as no other material was available. Since a wooden candelabrum is fit for the Temple, it is prohibited to fashion one of this kind for oneself.,The Rabbis said to Rabbi Yosei bar Yehuda: Do you seek to cite a proof from there, i.e., from the Hasmonean era, that a candelabrum fashioned of wood is fit for the Temple? During that era the branches of the Candelabrum were fashioned from spits shappudin of iron, and they covered them with tin bevaโ€™atz. Later, when they grew richer and could afford a Candelabrum of higher-quality material, they fashioned the Candelabrum from silver. When they grew even richer, they fashioned the Candelabrum from gold. In any event, Abaye proves from this baraita that the prohibition against forming a figure applies only to items that can be reconstructed in an accurate manner. Since this is not possible in the case of the moon, Rabban Gamlielโ€™s figures were permitted.,The Gemara asks: And is it actually permitted to fashion figures of those attendants of God concerning which it is impossible to reproduce their likeness? But isnโ€™t it taught in a baraita that the verse: โ€œYou shall not make with Me gods of silverโ€ (Exodus 20:20), is interpreted to mean: You shall not make figures of My attendants who serve before Me on high? Apparently, this includes the sun and the moon.,Abaye said:'43b. This does not include the sun and the moon, as the Torah prohibits the fashioning only of a figure of all four faces of the creatures of the Divine Chariot together (see Ezekiel 1:10). All other figures, which are not in the likeness of the ministering angels, are permitted.,The Gemara raises a difficulty: If that is so, let the fashioning of a figure of a human face alone be permitted. Why then is it taught in a baraita: Figures of all faces are permitted, except for the human face?,Rav Yehuda, son of Rav Yehoshua, said: I heard in a lecture of Rabbi Yehoshua that there is a different reason why one may not fashion a figure of a human face; the verse states: โ€œYou shall not make with Me itiโ€ (Exodus 20:20). This can be read as: You shall not make Me oti. Since the human being was created in the image of God (see Genesis 1:27), it is prohibited to fashion an image of a human being. But fashioning figures of other attendants of God is permitted.,The Gemara asks: And is it permitted to fashion figures of other attendants of God? But isnโ€™t it taught in another baraita that the verse: โ€œYou shall not make with Me gods of silverโ€ (Exodus 20:20), is interpreted to mean that you shall not make figures of My attendants who serve before Me on high, for example, ofanim, and seraphim, and the sacred แธฅayyot, and the ministering angels?,Abaye said: The Torah prohibits fashioning figures of only those attendants that are in the upper heaven, i.e., the supreme angels in the highest firmament, but it does not prohibit fashioning the celestial bodies, e.g., the sun and the moon, despite the fact that they too are located in heaven.,The Gemara asks: And is it permitted to fashion figures of those bodies that are in the lower heaven? But isnโ€™t it taught in a baraita with regard to the verse: โ€œYou shall not make for yourself any graven image, nor any manner of likeness, of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earthโ€ (Exodus 20:4): The phrase โ€œthat is in heavenโ€ serves to include the sun, and the moon, the stars, and the constellations. The term โ€œaboveโ€ serves to include the ministering angels. Apparently, it is prohibited to fashion a figure even of the celestial bodies that are in the lower heaven.,The Gemara answers: When that baraita is taught, it is in reference to the prohibition against worshipping them. There is no prohibition against forming a figure in their likeness.,The Gemara asks: If that baraita is referring to the prohibition against worshipping them, then why does it mention only celestial bodies? It is prohibited to worship even a tiny worm. The Gemara answers: Yes, it is indeed so; and this prohibition is derived from the latter clause of that verse, as it is taught in a baraita: โ€œThat is in the earthโ€ serves to include seas, and rivers, mountains, and hills. The word โ€œbeneathโ€ serves to include a tiny worm.,The Gemara asks: And is the mere fashioning of figures of the celestial bodies permitted? But isnโ€™t it taught in another baraita that the verse: โ€œYou shall not make with Me gods of silverโ€ (Exodus 20:20), is interpreted to mean that you shall not make figures of My attendants who serve before Me on high, for example: The sun, and the moon, the stars, and the constellations. This is proof that it is prohibited to fashion figures of the sun and the moon. Consequently, the solution proposed by Abaye is rejected, leaving the difficulty of Rabban Gamlielโ€™s diagram unresolved.,The Gemara proposes an alternative resolution: The case of Rabban Gamliel is different, as others, i.e., gentiles, fashioned those figures for him, and it is prohibited for a Jew only to fashion such figures; there is no prohibition against having them in oneโ€™s possession.,The Gemara asks: But there is the case of Rav Yehuda, where others fashioned for him a seal with a figure of a person on it, and Shmuel said to Rav Yehuda, who was his student: Sharp-witted one shina, destroy this oneโ€™s eyes, i.e., disfigure it, as it is prohibited even to have a figure of a human being in oneโ€™s possession.,The Gemara answers: There, in the case of Rav Yehuda, his was a protruding seal, i.e., the figure projected from the ring, and Shmuel prohibited it due to the potential suspicion that he had an object of idol worship in his possession. As it is taught in a baraita: In the case of a ring whose seal protrudes, it is prohibited to place it on oneโ€™s finger due to suspicion of idol worship, but it is permitted to seal objects with it. In this case, the act of sealing forms a figure that is sunken below the surface of the object upon which the seal was impressed, which is not prohibited. If its seal is sunken, it is permitted to place it on oneโ€™s finger, but it is prohibited to seal objects with it, as that forms a protruding figure.,The Gemara asks: And are we concerned about arousing suspicion due to the use of a human figure? But what about that synagogue that had been destroyed in Eretz Yisrael and was reestablished in Nehardeโ€™a, and they erected a statue of the king in it? And nevertheless, Shmuelโ€™s father and Levi would enter and pray in it, and they were not concerned about arousing suspicion. The Gemara answers: A public institution is different; the public is not suspected of having idolatrous intentions. Rather, it is assumed that the statue is there exclusively for ornamental purposes.,The Gemara asks: But wasnโ€™t Rabban Gamliel an individual? According to this reasoning, his figures of the moon should have been forbidden as they would have aroused suspicion. The Gemara answers: Since he was the Nasi, the head of the Sanhedrin, members of the public would often be found with him, and therefore there was no room for suspicion. And if you wish, say there is an alternative answer, namely, that these figures were not whole; rather, they were formed from pieces of figures that had to be assembled. Only complete figures are forbidden.,And if you wish, say there is yet another answer: Fashioning figures in order to teach oneself is different, as it is taught in a baraita with regard to the verse: โ€œYou shall not learn to do like the abominations of those nationsโ€ (Deuteronomy 18:9): But you may learn in order to understand the matter yourself and teach it to others. In other words, it is permitted to perform certain acts for the sake of Torah study that would otherwise be prohibited.,ยง The mishna (42b) teaches that Rabban Shimon ben Gamliel says: Those figures that are upon respectable vessels are forbidden. Those that are upon disgraceful vessels are permitted. The Gemara asks: Which vessels are considered respectable and which are considered disgraceful?,Rav says: These terms do not represent different types of vessels, but rather the location of the figure upon the vessel. A respectable location for an idolatrous figure is on the side of the vessel above the level of the water or food contents; a disgraceful location is below the water level. And Shmuel says: Both these and those locations on eating utensils are disgraceful. Rather, these are respectable locations: Upon bracelets, or upon nose rings, or upon rings.,The Gemara comments: It is taught in a baraita in accordance with the opinion of Shmuel (Tosefta 5:1): Respectable locations for idolatrous figures are upon bracelets, or upon nose rings, or upon rings. Disgraceful locations are upon large pots, or upon small kettles hakumkemasin, or upon samovars, or upon sheets, or upon towels.,Rabbi Yosei says: When one encounters an idol, he should grind the idol and throw the dust to the wind or cast it into the sea. The Rabbis said to him: What is the good of that? That also gives a Jew benefit from the idol, as it becomes fertilizer for his crops, and deriving any kind of benefit is prohibited, as it is stated: โ€œAnd nothing of the proscribed items shall cleave to your handโ€ (Deuteronomy 13:18).,It is taught in a baraita (Tosefta 3:16): Rabbi Yosei said to them: But isnโ€™t it already stated: โ€œAnd your sin, '. None
69. Strabo, Geography, 7.7.6, 8.6.23
 Tagged with subjects: โ€ข Epigonos, artist โ€ข Greek, art โ€ข Nikeratos, artist โ€ข Nile, subject matter of art โ€ข Phyromachos, artist โ€ข technitai (Artists of Dionysus) โ€ข technitai (Artists of Dionysus), at Rome

 Found in books: Csapo (2022) 118, 119; Manolaraki (2012) 32; Marek (2019) 244; Rutledge (2012) 37


7.7.6. Next comes the mouth of the Ambracian Gulf. Although the mouth of this gulf is but slightly more than four stadia wide, the circumference is as much as three hundred stadia; and it has good harbors everywhere. That part of the country which is on the right as one sails in is inhabited by the Greek Acarians. Here too, near the mouth, is the sacred precinct of the Actian Apollo โ€” a hill on which the sanctuary stands; and at the foot of the hill is a plain which contains a sacred grove and a naval station, the naval station where Caesar dedicated as first fruits of his victory the squadron of ten ships โ€” from vessel with single bank of oars to vessel with ten; however, not only the boats, it is said, but also the boat-houses have been wiped out by fire. On the left of the mouth are Nicopolis and the country of the Epeirote Cassopaeans, which extends as far as the recess of the gulf near Ambracia. Ambracia lies only a short distance above the recess; it was founded by Gorgus, the son of Cypselus. The River Aracthus flows past Ambracia; it is navigable inland for only a few stadia, from the sea to Ambracia, although it rises in Mount Tymphe and the Paroraea. Now this city enjoyed an exceptional prosperity in earlier times (at any rate the gulf was named after it), and it was adorned most of all by Pyrrhus, who made the place his royal residence. In later times, however, the Macedonians and the Romans, by their continuous wars, so completely reduced both this and the other Epeirote cities because of their disobedience that finally Augustus, seeing that the cities had utterly failed, settled what inhabitants were left in one city together the city on this gulf which was called by him Nicopolis; and he so named it after the victory which he won in the naval battle before the mouth of the gulf over Antonius and Cleopatra the queen of the Egyptians, who was also present at the fight. Nicopolis is populous, and its numbers are increasing daily, since it has not only a considerable territory and the adornment taken from the spoils of the battle, but also, in its suburbs, the thoroughly equipped sacred precinct โ€” one part of it being in a sacred grove that contains a gymnasium and a stadium for the celebration of the quinquennial games, the other part being on the hill that is sacred to Apollo and lies above the grove. These games โ€” the Actia, sacred to Actian Apollo โ€” have been designated as Olympian, and they are superintended by the Lacedemonians. The other settlements are dependencies of Nicopolis. In earlier times also the Actian Games were wont to be celebrated in honor of the god by the inhabitants of the surrounding country โ€” games in which the prize was a wreath โ€” but at the present time they have been set in greater honor by Caesar.' "
8.6.23. The Corinthians, when they were subject to Philip, not only sided with him in his quarrel with the Romans, but individually behaved so contemptuously towards the Romans that certain persons ventured to pour down filth upon the Roman ambassadors when passing by their house. For this and other offences, however, they soon paid the penalty, for a considerable army was sent thither, and the city itself was razed to the ground by Leucius Mummius; and the other countries as far as Macedonia became subject to the Romans, different commanders being sent into different countries; but the Sikyonians obtained most of the Corinthian country. Polybius, who speaks in a tone of pity of the events connected with the capture of Corinth, goes on to speak of the disregard shown by the army for the works of art and votive offerings; for he says that he was present and saw paintings that had been flung to the ground and saw the soldiers playing dice on these. Among the paintings he names that of Dionysus by Aristeides, to which, according to some writers, the saying, Nothing in comparison with the Dionysus, referred; and also the painting of Heracles in torture in the robe of Deianeira. Now I have not seen the latter, but I saw the Dionysus, a most beautiful work, on the walls of the sanctuary of Ceres in Rome; but when recently the temple was burned, the painting perished with it. And I may almost say that the most and best of the other dedicatory offerings at Rome came from there; and the cities in the neighborhood of Rome also obtained some; for Mummius, being magimous rather than fond of art, as they say, readily shared with those who asked. And when Lucullus built the sanctuary of Good Fortune and a portico, he asked Mummius for the use of the statues which he had, saying that he would adorn the sanctuary with them until the dedication and then give them back. However, he did not give them back, but dedicated them to the goddess, and then bade Mummius to take them away if he wished. But Mummius took it lightly, for he cared nothing about them, so that he gained more repute than the man who dedicated them. Now after Corinth had remained deserted for a long time, it was restored again, because of its favorable position, by the deified Caesar, who colonized it with people that belonged for the most part to the freedmen class. And when these were removing the ruins and at the same time digging open the graves, they found numbers of terra-cotta reliefs, and also many bronze vessels. And since they admired the workmanship they left no grave unransacked; so that, well supplied with such things and disposing of them at a high price, they filled Rome with Corinthian mortuaries, for thus they called the things taken from the graves, and in particular the earthenware. Now at the outset the earthenware was very highly prized, like the bronzes of Corinthian workmanship, but later they ceased to care much for them, since the supply of earthen vessels failed and most of them were not even well executed. The city of the Corinthians, then, was always great and wealthy, and it was well equipped with men skilled both in the affairs of state and in the craftsman's arts; for both here and in Sikyon the arts of painting and modelling and all such arts of the craftsman flourished most. The city had territory, however, that was not very fertile, but rifted and rough; and from this fact all have called Corinth beetling, and use the proverb, Corinth is both beetle-browed and full of hollows."'. None
70. Vergil, Aeneis, 1.464, 5.704, 6.847-6.853, 8.608-8.728
 Tagged with subjects: โ€ข Orpheus,, as symbol of failure of art โ€ข Vespasian, patronizes artists โ€ข architecture and art, Roman appreciation โ€ข art and architecture, Roman appreciation โ€ข art expert, in Petroniusโ€™ Satyrica โ€ข art gallery, in Petroniusโ€™ Satyrica โ€ข art history, Petroniusโ€™ satire of โ€ข art work, as object of gaze โ€ข arts, Roman anxiety about Greek โ€ข arts, mimetic โ€ข city, as locus of art โ€ข ethical qualities, artifice, skill (ars) โ€ข gaze, focused on work of art โ€ข power, of artists and authors โ€ข response, emotional, to work of art, in Virgilโ€™s Aeneid โ€ข sexual subjects in art, as customary entertainment โ€ข sexual subjects in art, in Vergilโ€™s Aeneid โ€ข wonder, inspired by gazing at work of art

 Found in books: Elsner (2007) 79, 81, 195; Farrell (2021) 180, 232; Jenkyns (2013) 262; Johnson (2008) 31; Oksanish (2019) 60; Pandey (2018) 80; Perkell (1989) 43, 83; Rutledge (2012) 299


1.464. Sic ait, atque animum pictura pascit ii,
5.704. Tum senior Nautes, unum Tritonia Pallas
6.847. Excudent alii spirantia mollius aera, 6.848. credo equidem, vivos ducent de marmore voltus, 6.849. orabunt causas melius, caelique meatus 6.850. describent radio, et surgentia sidera dicent: 6.851. tu regere imperio populos, Romane, memento; 6.852. hae tibi erunt artes; pacisque imponere morem, 6.853. parcere subiectis, et debellare superbos.
8.608. At Venus aetherios inter dea candida nimbos 8.609. dona ferens aderat; natumque in valle reducta 8.610. ut procul egelido secretum flumine vidit, 8.611. talibus adfata est dictis seque obtulit ultro: 8.612. En perfecta mei promissa coniugis arte 8.613. munera, ne mox aut Laurentis, nate, superbos 8.614. aut acrem dubites in proelia poscere Turnum. 8.615. Dixit et amplexus nati Cytherea petivit, 8.616. arma sub adversa posuit radiantia quercu. 8.617. Ille, deae donis et tanto laetus honore, 8.618. expleri nequit atque oculos per singula volvit 8.619. miraturque interque manus et bracchia versat 8.620. terribilem cristis galeam flammasque vomentem 8.621. fatiferumque ensem, loricam ex aere rigentem 8.622. sanguineam ingentem, qualis cum caerula nubes 8.623. solis inardescit radiis longeque refulget; 8.625. hastamque et clipei non enarrabile textum. 8.626. Illic res Italas Romanorumque triumphos 8.627. haud vatum ignarus venturique inscius aevi 8.628. fecerat ignipotens, illic genus omne futurae 8.629. stirpis ab Ascanio. pugnataque in ordine bella. 8.630. Fecerat et viridi fetam Mavortis in antro 8.631. procubuisse lupam, geminos huic ubera circum 8.632. ludere pendentis pueros et lambere matrem 8.633. impavidos, illam tereti cervice reflexa 8.634. mulcere alternos et corpora fingere lingua. 8.635. Nec procul hinc Romam et raptas sine more Sabinas 8.636. consessu caveae magnis circensibus actis 8.637. addiderat subitoque novum consurgere bellum 8.638. Romulidis Tatioque seni Curibusque severis. 8.639. Post idem inter se posito certamine reges 8.640. armati Iovis ante aram paterasque tenentes 8.641. stabant et caesa iungebant foedera porca. 8.642. Haud procul inde citae Mettum in diversa quadrigae 8.643. distulerant, at tu dictis, Albane, maneres, 8.644. raptabatque viri mendacis viscera Tullus 8.645. per silvam, et sparsi rorabant sanguine vepres. 8.646. Nec non Tarquinium eiectum Porsenna iubebat 8.647. accipere ingentique urbem obsidione premebat: 8.648. Aeneadae in ferrum pro libertate ruebant. 8.649. Illum indigti similem similemque miti 8.650. aspiceres, pontem auderet quia vellere Cocles 8.651. et fluvium vinclis innaret Cloelia ruptis. 8.652. In summo custos Tarpeiae Manlius arcis 8.653. stabat pro templo et Capitolia celsa tenebat, 8.654. Romuleoque recens horrebat regia culmo. 8.655. Atque hic auratis volitans argenteus anser 8.656. porticibus Gallos in limine adesse canebat. 8.657. Galli per dumos aderant arcemque tenebant, 8.658. defensi tenebris et dono noctis opacae: 8.659. aurea caesaries ollis atque aurea vestis, 8.660. virgatis lucent sagulis, tum lactea colla 8.661. auro innectuntur, duo quisque Alpina coruscant 8.662. gaesa manu, scutis protecti corpora longis. 8.663. Hic exsultantis Salios nudosque Lupercos 8.664. lanigerosque apices et lapsa ancilia caelo 8.665. extuderat, castae ducebant sacra per urbem 8.666. pilentis matres in mollibus. Hinc procul addit 8.667. Tartareas etiam sedes, alta ostia Ditis, 8.668. et scelerum poenas et te, Catilina, minaci 8.669. pendentem scopulo Furiarumque ora trementem, 8.670. secretosque pios, his dantem iura Catonem. 8.671. Haec inter tumidi late maris ibat imago 8.672. aurea, sed fluctu spumabant caerula cano; 8.673. et circum argento clari delphines in orbem 8.674. aequora verrebant caudis aestumque secabant. 8.675. In medio classis aeratas, Actia bella, 8.676. cernere erat, totumque instructo Marte videres 8.677. fervere Leucaten auroque effulgere fluctus. 8.678. Hinc Augustus agens Italos in proelia Caesar 8.679. cum patribus populoque, penatibus et magnis dis, 8.680. stans celsa in puppi; geminas cui tempora flammas 8.681. laeta vomunt patriumque aperitur vertice sidus. 8.682. Parte alia ventis et dis Agrippa secundis 8.683. arduus agmen agens; cui, belli insigne superbum, 8.684. tempora navali fulgent rostrata corona. 8.685. Hinc ope barbarica variisque Antonius armis, 8.686. victor ab Aurorae populis et litore rubro, 8.687. Aegyptum viresque Orientis et ultima secum 8.688. Bactra vehit, sequiturque (nefas) Aegyptia coniunx. 8.689. Una omnes ruere, ac totum spumare reductis 8.690. convolsum remis rostrisque tridentibus aequor. 8.691. alta petunt: pelago credas innare revolsas 8.692. Cycladas aut montis concurrere montibus altos, 8.693. tanta mole viri turritis puppibus instant. 8.694. stuppea flamma manu telisque volatile ferrum 8.695. spargitur, arva nova Neptunia caede rubescunt. 8.696. Regina in mediis patrio vocat agmina sistro 8.697. necdum etiam geminos a tergo respicit anguis. 8.698. omnigenumque deum monstra et latrator Anubis 8.699. contra Neptunum et Venerem contraque Minervam 8.700. tela tenent. Saevit medio in certamine Mavors 8.701. caelatus ferro tristesque ex aethere Dirae, 8.702. et scissa gaudens vadit Discordia palla, 8.703. quam cum sanguineo sequitur Bellona flagello. 8.704. Actius haec cernens arcum tendebat Apollo 8.705. desuper: omnis eo terrore Aegyptus et Indi, 8.706. omnis Arabs, omnes vertebant terga Sabaei. 8.707. Ipsa videbatur ventis regina vocatis 8.708. vela dare et laxos iam iamque inmittere funis. 8.709. Illam inter caedes pallentem morte futura 8.710. fecerat Ignipotens undis et Iapyge ferri, 8.711. contra autem magno maerentem corpore Nilum 8.712. pandentemque sinus et tota veste vocantem 8.713. caeruleum in gremium latebrosaque flumina victos. 8.714. At Caesar, triplici invectus Romana triumpho 8.715. moenia, dis Italis votum inmortale sacrabat, 8.716. maxuma tercentum totam delubra per urbem. 8.717. Laetitia ludisque viae plausuque fremebant; 8.718. omnibus in templis matrum chorus, omnibus arae; 8.719. ante aras terram caesi stravere iuvenci. 8.720. Ipse, sedens niveo candentis limine Phoebi, 8.721. dona recognoscit populorum aptatque superbis 8.722. postibus; incedunt victae longo ordine gentes, 8.723. quam variae linguis, habitu tam vestis et armis. 8.725. hic Lelegas Carasque sagittiferosque Gelonos 8.726. finxerat; Euphrates ibat iam mollior undis, 8.727. extremique hominum Morini, Rhenusque bicornis, 8.728. indomitique Dahae, et pontem indignatus Araxes.' '. None
1.464. lace up in purple buskin. Yonder lies
5.704. of game and contest, summoned to his side
6.847. Lo! on the left and right at feast reclined 6.848. Are other blessed souls, whose chorus sings 6.849. Victorious paeans on the fragrant air 6.850. of laurel groves; and hence to earth outpours 6.851. Eridanus, through forests rolling free. 6.852. Here dwell the brave who for their native land 6.853. Fell wounded on the field; here holy priests
8.608. ummoned Evander. From his couch arose ' "8.609. the royal sire, and o'er his aged frame " '8.610. a tunic threw, tying beneath his feet 8.611. the Tuscan sandals: an Arcadian sword, 8.612. girt at his left, was over one shoulder slung, 8.613. his cloak of panther trailing from behind. 8.614. A pair of watch-dogs from the lofty door 8.615. ran close, their lord attending, as he sought 8.616. his guest Aeneas; for his princely soul 8.617. remembered faithfully his former word, 8.618. and promised gift. Aeneas with like mind ' "8.619. was stirring early. King Evander's son " '8.620. Pallas was at his side; Achates too 8.621. accompanied his friend. All these conjoin 8.622. in hand-clasp and good-morrow, taking seats 8.623. in midcourt of the house, and give the hour 8.625. โ€œGreat leader of the Teucrians, while thy life 8.626. in safety stands, I call not Trojan power 8.627. vanquished or fallen. But to help thy war 8.628. my small means match not thy redoubled name. 8.629. Yon Tuscan river is my bound. That way 8.630. Rutulia thrusts us hard and chafes our wall 8.631. with loud, besieging arms. But I propose 8.632. to league with thee a numerous array 8.633. of kings and mighty tribes, which fortune strange 8.634. now brings to thy defence. Thou comest here 8.635. because the Fates intend. Not far from ours 8.636. a city on an ancient rock is seen, 8.637. Agylla, which a warlike Lydian clan 8.638. built on the Tuscan hills. It prospered well 8.639. for many a year, then under the proud yoke 8.640. of King Mezentius it came and bore 8.641. his cruel sway. Why tell the loathsome deeds 8.642. and crimes unspeakable the despot wrought? 8.643. May Heaven requite them on his impious head 8.644. and on his children! For he used to chain 8.645. dead men to living, hand on hand was laid 8.646. and face on face,โ€”torment incredible! 8.647. Till, locked in blood-stained, horrible embrace, 8.648. a lingering death they found. But at the last 8.649. his people rose in furious despair, 8.650. and while he blasphemously raged, assailed 8.651. his life and throne, cut down his guards 8.652. and fired his regal dwellings; he, the while, 8.653. escaped immediate death and fied away 8.654. to the Rutulian land, to find defence 8.655. in Turnus hospitality. To-day 8.656. Etruria, to righteous anger stirred, 8.657. demands with urgent arms her guilty King. 8.658. To their large host, Aeneas, I will give 8.659. an added strength, thyself. For yonder shores 8.660. re-echo with the tumult and the cry 8.661. of ships in close array; their eager lords 8.662. are clamoring for battle. But the song 8.663. of the gray omen-giver thus declares 8.664. their destiny: โ€˜O goodly princes born 8.665. of old Maeonian lineage! Ye that are 8.666. the bloom and glory of an ancient race, 8.667. whom just occasions now and noble rage 8.668. enflame against Mezentius your foe, 8.669. it is decreed that yonder nation proud 8.670. hall never submit to chiefs Italian-born. 8.671. Seek ye a king from far!โ€™ So in the field ' "8.672. inert and fearful lies Etruria's force, " '8.673. disarmed by oracles. Their Tarchon sent 8.674. envoys who bore a sceptre and a crown 8.675. even to me, and prayed I should assume ' "8.676. the sacred emblems of Etruria's king, " '8.677. and lead their host to war. But unto me 8.678. cold, sluggish age, now barren and outworn, 8.679. denies new kingdoms, and my slow-paced powers 8.680. run to brave deeds no more. Nor could I urge ' "8.681. my son, who by his Sabine mother's line " '8.682. is half Italian-born. Thyself art he, 8.683. whose birth illustrious and manly prime 8.684. fate favors and celestial powers approve. 8.685. Therefore go forth, O bravest chief and King 8.686. of Troy and Italy ! To thee I give 8.687. the hope and consolation of our throne, 8.688. pallas, my son, and bid him find in thee 8.689. a master and example, while he learns ' "8.690. the soldier's arduous toil. With thy brave deeds " '8.691. let him familiar grow, and reverence thee 8.692. with youthful love and honor. In his train 8.693. two hundred horsemen of Arcadia, 8.694. our choicest men-at-arms, shall ride; and he 8.695. in his own name an equal band shall bring 8.696. to follow only thee.โ€ Such the discourse. 8.697. With meditative brows and downcast eyes 8.698. Aeneas and Achates, sad at heart, 8.699. mused on unnumbered perils yet to come. ' "8.700. But out of cloudless sky Cythera's Queen " "8.701. gave sudden signal: from th' ethereal dome " '8.702. a thunder-peal and flash of quivering fire 8.703. tumultuous broke, as if the world would fall, 8.704. and bellowing Tuscan trumpets shook the air. 8.705. All eyes look up. Again and yet again 8.706. crashed the terrible din, and where the sky 8.707. looked clearest hung a visionary cloud, 8.708. whence through the brightness blazed resounding arms. ' "8.709. All hearts stood still. But Troy 's heroic son " '8.710. knew that his mother in the skies redeemed 8.711. her pledge in sound of thunder: so he cried, 8.712. โ€œSeek not, my friend, seek not thyself to read ' "8.713. the meaning of the omen. 'T is to me " '8.714. Olympus calls. My goddess-mother gave 8.715. long since her promise of a heavenly sign 8.716. if war should burst; and that her power would bring 8.717. a panoply from Vulcan through the air, 8.718. to help us at our need. Alas, what deaths ' "8.719. over Laurentum's ill-starred host impend! " '8.720. O Turnus, what a reckoning thou shalt pay 8.721. to me in arms! O Tiber, in thy wave 8.722. what helms and shields and mighty soldiers slain 8.723. hall in confusion roll! Yea, let them lead 8.725. He said: and from the lofty throne uprose. 8.726. Straightway he roused anew the slumbering fire 8.727. acred to Hercules, and glad at heart 8.728. adored, as yesterday, the household gods ' '. None
71. Vergil, Eclogues, 10.69
 Tagged with subjects: โ€ข Ars Amatoria (Ovid),, as cause of exile โ€ข Ovid, Ars and Remedia as philosophical in their own right โ€ข anxiety, artistic โ€ข audience, power dynamic between artist and โ€ข death, triumph of art over โ€ข ideology, as function of art โ€ข power, artist /audience relationship and

 Found in books: Bowditch (2001) 122, 128, 129; Johnson (2008) 5, 151; Williams and Vol (2022) 136


10.69. and you, my love, grow with them. And meanwhile' '. None
72. Vergil, Georgics, 2.174-2.175, 3.7, 3.11-3.36, 4.464-4.466, 4.469-4.472, 4.475-4.477, 4.481-4.484, 4.488, 4.490-4.493, 4.495, 4.507-4.520, 4.523-4.527
 Tagged with subjects: โ€ข Muses, artistic presentation of works of the โ€ข Orpheus,, as symbol of failure of art โ€ข Ovid, Ars amatoria โ€ข anxiety, artistic โ€ข ars โ€ข artists and gods โ€ข city, as locus of art โ€ข hubris,, artistic arrogance โ€ข ivory, as artistic medium โ€ข nature, transgressed by art โ€ข power, of artists and authors โ€ข sexual subjects in art, Orpheus and โ€ข sexual subjects in art, eroticdidacticism

 Found in books: Clay and Vergados (2022) 218; Elsner (2007) 127; Johnson (2008) 35, 100, 101; Pandey (2018) 216, 221, 222, 223, 227, 228; Perkell (1989) 42, 43, 81, 82, 83; Thorsen et al. (2021) 106


2.174. magna virum; tibi res antiquae laudis et artem 2.175. ingredior, sanctos ausus recludere fontis,
3.7. Hippodameque umeroque Pelops insignis eburno,
3.11. Aonio rediens deducam vertice Musas; 3.12. primus Idumaeas referam tibi, Mantua, palmas, 3.13. et viridi in campo templum de marmore ponam 3.14. propter aquam. Tardis ingens ubi flexibus errat 3.15. Mincius et tenera praetexit arundine ripas. 3.16. In medio mihi Caesar erit templumque tenebit: 3.17. illi victor ego et Tyrio conspectus in ostro 3.18. centum quadriiugos agitabo ad flumina currus. 3.19. Cuncta mihi Alpheum linquens lucosque Molorchi 3.20. cursibus et crudo decernet Graecia caestu. 3.21. Ipse caput tonsae foliis ornatus olivae 3.22. dona feram. Iam nunc sollemnis ducere pompas 3.23. ad delubra iuvat caesosque videre iuvencos, 3.24. vel scaena ut versis discedat frontibus utque 3.25. purpurea intexti tollant aulaea Britanni. 3.26. In foribus pugnam ex auro solidoque elephanto 3.27. Gangaridum faciam victorisque arma Quirini, 3.28. atque hic undantem bello magnumque fluentem 3.29. Nilum ac navali surgentis aere columnas. 3.30. Addam urbes Asiae domitas pulsumque Niphaten 3.31. fidentemque fuga Parthum versisque sagittis, 3.32. et duo rapta manu diverso ex hoste tropaea 3.33. bisque triumphatas utroque ab litore gentes. 3.34. Stabunt et Parii lapides, spirantia signa, 3.35. Assaraci proles demissaeque ab Iove gentis 3.36. nomina, Trosque parens et Troiae Cynthius auctor.
4.464. Ipse cava solans aegrum testudine amorem 4.465. te, dulcis coniunx, te solo in litore secum, 4.466. te veniente die, te decedente canebat.
4.469. ingressus manesque adiit regemque tremendum 4.470. nesciaque humanis precibus mansuescere corda. 4.471. At cantu commotae Erebi de sedibus imis 4.472. umbrae ibant tenues simulacraque luce carentum,
4.475. matres atque viri defunctaque corpora vita 4.476. magimum heroum, pueri innuptaeque puellae, 4.477. impositique rogis iuvenes ante ora parentum,
4.481. Quin ipsae stupuere domus atque intima Leti 4.482. tartara caeruleosque implexae crinibus angues 4.483. Eumenides, tenuitque inhians tria Cerberus ora 4.484. atque Ixionii vento rota constitit orbis.
4.488. cum subita incautum dementia cepit amantem,
4.490. Restitit Eurydicenque suam iam luce sub ipsa 4.491. immemor heu! victusque animi respexit. Ibi omnis 4.492. effusus labor atque immitis rupta tyranni 4.493. foedera, terque fragor stagnis auditus Avernis.
4.495. quis tantus furor? En iterum crudelia retro
4.507. Septem illum totos perhibent ex ordine menses 4.508. rupe sub aeria deserti ad Strymonis undam 4.509. flesse sibi et gelidis haec evolvisse sub antris 4.510. mulcentem tigres et agentem carmine quercus; 4.511. qualis populea maerens philomela sub umbra 4.512. amissos queritur fetus, quos durus arator 4.513. observans nido implumes detraxit; at illa 4.514. flet noctem ramoque sedens miserabile carmen 4.515. integrat et maestis late loca questibus implet. 4.516. Nulla Venus, non ulli animum flexere hymenaei. 4.517. Solus Hyperboreas glacies Tanaimque nivalem 4.518. arvaque Rhipaeis numquam viduata pruinis 4.519. lustrabat raptam Eurydicen atque inrita Ditis 4.520. dona querens; spretae Ciconum quo munere matres
4.523. Tum quoque marmorea caput a cervice revulsum 4.524. gurgite cum medio portans Oeagrius Hebrus 4.525. volveret, Eurydicen vox ipsa et frigida lingua 4.526. โ€œah miseram Eurydicen!โ€ anima fugiente vocabat: 4.527. โ€œEurydicenโ€ toto referebant flumine ripae.โ€''. None
2.174. And ease the panting breathlessness of age. 2.175. But no, not Mede-land with its wealth of woods,
3.7. Busiris, and his altars? or by whom
3.11. Keen charioteer? Needs must a path be tried, 3.12. By which I too may lift me from the dust, 3.13. And float triumphant through the mouths of men. 3.14. Yea, I shall be the first, so life endure, 3.15. To lead the Muses with me, as I pa 3.16. To mine own country from the Aonian height; 3.17. I, 4.464. Arched mountain-wise closed round him, and within 4.465. Its mighty bosom welcomed, and let speed 4.466. To the deep river-bed. And now, with eye
4.469. And echoing groves, he went, and, stunned by that 4.470. Stupendous whirl of waters, separate saw 4.471. All streams beneath the mighty earth that glide, 4.472. Phasis and Lycus, and that fountain-head
4.475. And Hypanis that roars amid his rocks, 4.476. And Mysian Caicus, and, bull-browed' "4.477. 'Twixt either gilded horn, 4.495. โ€œIn Neptune's gulf Carpathian dwells a seer," '
4.507. And grant a prosperous end. For save by force 4.508. No rede will he vouchsafe, nor shalt thou bend 4.509. His soul by praying; whom once made captive, ply 4.510. With rigorous force and fetters; against these 4.511. His wiles will break and spend themselves in vain. 4.512. I, when the sun has lit his noontide fires, 4.513. When the blades thirst, and cattle love the shade,' "4.514. Myself will guide thee to the old man's haunt," '4.515. Whither he hies him weary from the waves, 4.516. That thou mayst safelier steal upon his sleep. 4.517. But when thou hast gripped him fast with hand and gyve, 4.518. Then divers forms and bestial semblance 4.519. Shall mock thy grasp; for sudden he will change 4.520. To bristly boar, fell tigress, dragon scaled,
4.523. The fetters, or in showery drops anon 4.524. Dissolve and vanish. But the more he shift 4.525. His endless transformations, thou, my son, 4.526. More straitlier clench the clinging bands, until' "4.527. His body's shape return to that thou sawest,"'. None
73. None, None, nan
 Tagged with subjects: โ€ข Artists โ€ข women, occupations/functions/titles, artists

 Found in books: Eckhardt (2019) 171; Marek (2019) 465


74. None, None, nan
 Tagged with subjects: โ€ข Cicero, influence of De officiis on Ars amatoria โ€ข art of life

 Found in books: Long (2006) 30; Williams and Vol (2022) 80


75. None, None, nan
 Tagged with subjects: โ€ข Artists โ€ข Dionysiac artists,

 Found in books: Eckhardt (2019) 134; Gabrielsen and Paganini (2021) 146


76. None, None, nan
 Tagged with subjects: โ€ข Artists โ€ข Artists of Dionysus/Dionysiac Guilds (Dionysiakoi Technitai) โ€ข technitai (Artists of Dionysus), Athenian association โ€ข technitai (Artists of Dionysus), Cyprian association (Paphos) โ€ข technitai (Artists of Dionysus), Egyptian association (Alexandria, Ptolemais, Cyprus) โ€ข technitai (Artists of Dionysus), Ionian-Hellespontine association (Pergamum, Teos) โ€ข technitai (Artists of Dionysus), Isthmian-Nemean association (Argos, Chalcis, Corinth, Opus, Thebes) โ€ข technitai (Artists of Dionysus), benefactors of (ฯ†ฮนฮปฮฟฯ„ฮตฯ‡ฮฝแฟ–ฯ„ฮฑฮน) โ€ข technitai (Artists of Dionysus), supporting royal ideology

 Found in books: Csapo (2022) 39, 43, 45, 46, 49, 50; Eckhardt (2019) 134; Liapis and Petrides (2019) 165, 166


77. None, None, nan
 Tagged with subjects: โ€ข Artists โ€ข Dionysiac artists,

 Found in books: Eckhardt (2019) 132, 142; Gabrielsen and Paganini (2021) 55


78. None, None, nan
 Tagged with subjects: โ€ข Ars Amatoria (Ovid) โ€ข ars

 Found in books: Clay and Vergados (2022) 227; Green (2014) 57





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