1. Hebrew Bible, Deuteronomy, 4.15-4.19, 17.10, 31.9, 32.11 (9th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Art โข Art, idol vs. image โข Art, official character โข Moses, art โข ahl al-raสพy (Ar. โpeople of [legal] opinionโ) โข ahl al-แธฅadฤซแนฏ (Ar. โscholars of Traditionโ) โข art, Qumran โข art, pagan โข art, priests โข catacombs, Bet Shearim, figural art โข church fathers, figural art โข figural art โข ijtihฤd (Ar. โdiligent 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 ึดืฉืึฐืึทืจึฐืชึผึถื ืึฐืึนื ืึฐื ึทืคึฐืฉืึนืชึตืืึถื ืึผึดื ืึนื ืจึฐืึดืืชึถื ืึผึธืึพืชึผึฐืืึผื ึธื ืึผึฐืืึนื ืึผึดืึผึถืจ ืึฐืืึธื ืึฒืึตืืึถื ืึผึฐืึนืจึตื ืึดืชึผืึนืึฐ ืึธืึตืฉืื 4.16. ืคึผึถืึพืชึผึทืฉืึฐืึดืชืึผื ืึทืขึฒืฉืึดืืชึถื ืึธืึถื ืคึผึถืกึถื ืชึผึฐืืึผื ึทืช ืึผึธืึพืกึธืึถื ืชึผึทืึฐื ึดืืช ืึธืึธืจ ืืึน ื ึฐืงึตืึธืื 4.17. ืชึผึทืึฐื ึดืืช ืึผึธืึพืึผึฐืึตืึธื ืึฒืฉืึถืจ ืึผึธืึธืจึถืฅ ืชึผึทืึฐื ึดืืช ืึผึธืึพืฆึดืคึผืึนืจ ืึผึธื ึธืฃ ืึฒืฉืึถืจ ืชึผึธืขืึผืฃ ืึผึทืฉืึผึธืึธืึดืื 4.18. ืชึผึทืึฐื ึดืืช ืึผึธืึพืจึนืึตืฉื ืึผึธืึฒืึธืึธื ืชึผึทืึฐื ึดืืช ืึผึธืึพืึผึธืึธื ืึฒืฉืึถืจึพืึผึทืึผึทืึดื ืึดืชึผึทืึทืช ืึธืึธืจึถืฅื 4.19. ืึผืคึถืึพืชึผึดืฉืึผึธื ืขึตืื ึถืืึธ ืึทืฉืึผึธืึทืึฐืึธื ืึฐืจึธืึดืืชึธ ืึถืชึพืึทืฉืึผึถืึถืฉื ืึฐืึถืชึพืึทืึผึธืจึตืึท ืึฐืึถืชึพืึทืึผืึนืึธืึดืื ืึผึนื ืฆึฐืึธื ืึทืฉืึผึธืึทืึดื ืึฐื ึดืึผึทืึฐืชึผึธ ืึฐืึดืฉืึฐืชึผึทืึฒืึดืืชึธ ืึธืึถื ืึทืขึฒืึทืึฐืชึผึธื ืึฒืฉืึถืจ ืึธืึทืง ืึฐืืึธื ืึฑืึนืึถืืึธ ืึนืชึธื ืึฐืึนื ืึธืขึทืึผึดืื ืชึผึทืึทืช ืึผึธืึพืึทืฉืึผึธืึธืึดืื' '
31.9. ืึทืึผึดืึฐืชึผึนื ืึนืฉืึถื ืึถืชึพืึทืชึผืึนืจึธื ืึทืึผึนืืช ืึทืึผึดืชึผึฐื ึธืึผ ืึถืึพืึทืึผึนืึฒื ึดืื ืึผึฐื ึตื ืึตืึดื ืึทื ึผึนืฉืึฐืึดืื ืึถืชึพืึฒืจืึนื ืึผึฐืจึดืืช ืึฐืืึธื ืึฐืึถืึพืึผึธืึพืึดืงึฐื ึตื ืึดืฉืึฐืจึธืึตืื
32.11. ืึผึฐื ึถืฉืึถืจ ืึธืขึดืืจ ืงึดื ึผืึน ืขึทืึพืึผืึนืึธืึธืื ืึฐืจึทืึตืฃ ืึดืคึฐืจึนืฉื ืึผึฐื ึธืคึธืื ืึดืงึผึธืึตืืึผ ืึดืฉืึผึธืึตืืึผ ืขึทืึพืึถืึฐืจึธืชืึนื''. None | 4.15. Take ye therefore good heed unto yourselvesโfor 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 |
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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: โข Art โข Art, funerary โข Art, idol vs. image โข Art, official character โข Jews, as blind to identity of Christ, depicted in art โข Moses, art โข art and architecture โข art, โข art, Qumran โข art, early Christian โข art, medieval Christian, depiction of Jews โข art, origins anddevelopment โข art, priests โข clothing, signification of, in medieval Christian art โข hypostasis (of God), สฟibฤda (Ar. โpietyโ) โข ijmฤสฟ (Ar. โconsensusโ) โข maสฟrifat Allฤh (Ar. โknowledge of Godโ) โข pallium, signification in medieval Christian art โข priests, Jewish, depiction in medieval Jewish art โข synagogues, art โข taqlฤซd (Ar. โtraditionโ)
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. ืึทืึผึนืืึถืจ ืึธื ึนืึดื ืึฑืึนืึตื ืึธืึดืืึธ ืึฑืึนืึตื ืึทืึฐืจึธืึธื ืึฑืึนืึตื ืึดืฆึฐืึธืง ืึตืืึนืึตื ืึทืขึฒืงึนื ืึทืึผึทืกึฐืชึผึตืจ ืึนืฉืึถื ืคึผึธื ึธืื ืึผึดื ืึธืจึตื ืึตืึทืึผึดืื ืึถืึพืึธืึฑืึนืึดืืื
3.15. ืึทืึผึนืืึถืจ ืขืึนื ืึฑืึนืึดืื ืึถืึพืึนืฉืึถื ืึผึนืึพืชึนืืึทืจ ืึถืึพืึผึฐื ึตื ืึดืฉืึฐืจึธืึตื ืึฐืืึธื ืึฑืึนืึตื ืึฒืึนืชึตืืึถื ืึฑืึนืึตื ืึทืึฐืจึธืึธื ืึฑืึนืึตื ืึดืฆึฐืึธืง ืึตืืึนืึตื ืึทืขึฒืงึนื ืฉืึฐืึธืึทื ึดื ืึฒืึตืืึถื ืึถืึพืฉืึผึฐืึดื ืึฐืขึนืึธื ืึฐืึถื ืึดืึฐืจึดื ืึฐืึนืจ ืึผึนืจื
14.19. ืึทืึผึดืกึผึทืข ืึทืึฐืึทืึฐ ืึธืึฑืึนืึดืื ืึทืึนืึตืึฐ ืึดืคึฐื ึตื ืึทืึฒื ึตื ืึดืฉืึฐืจึธืึตื ืึทืึผึตืึถืึฐ ืึตืึทืึฒืจึตืืึถื ืึทืึผึดืกึผึทืข ืขึทืึผืึผื ืึถืขึธื ึธื ืึดืคึผึฐื ึตืืึถื ืึทืึผึทืขึฒืึนื ืึตืึทืึฒืจึตืืึถืื
16.7. ืึผืึนืงึถืจ ืึผืจึฐืึดืืชึถื ืึถืชึพืึผึฐืืึนื ืึฐืืึธื ืึผึฐืฉืึธืึฐืขืึน ืึถืชึพืชึผึฐืึปื ึผึนืชึตืืึถื ืขึทืึพืึฐืืึธื ืึฐื ึทืึฐื ืึผ ืึธื ืึผึดื ืชืืื ื ืชึทืึผึดืื ืึผ ืขึธืึตืื ืึผื 16.8. ืึทืึผึนืืึถืจ ืึนืฉืึถื ืึผึฐืชึตืช ืึฐืืึธื ืึธืึถื ืึผึธืขึถืจึถื ืึผึธืฉืึธืจ ืึถืึฑืึนื ืึฐืึถืึถื ืึผึทืึผึนืงึถืจ ืึดืฉืึฐืึผึนืขึท ืึผึดืฉืึฐืึนืขึท ืึฐืืึธื ืึถืชึพืชึผึฐืึปื ึผึนืชึตืืึถื ืึฒืฉืึถืจึพืึทืชึผึถื ืึทืึผึดืื ึดื ืขึธืึธืื ืึฐื ึทืึฐื ืึผ ืึธื ืึนืึพืขึธืึตืื ืึผ ืชึฐืึปื ึผึนืชึตืืึถื ืึผึดื ืขึทืึพืึฐืืึธืื 16.9. ืึทืึผึนืืึถืจ ืึนืฉืึถื ืึถืึพืึทืึฒืจึนื ืึฑืึนืจ ืึถืึพืึผึธืึพืขึฒืึทืช ืึผึฐื ึตื ืึดืฉืึฐืจึธืึตื ืงึดืจึฐืืึผ ืึดืคึฐื ึตื ืึฐืืึธื ืึผึดื ืฉืึธืึทืข ืึตืช ืชึผึฐืึปื ึผึนืชึตืืึถืื' '
17.6. ืึดื ึฐื ึดื ืขึนืึตื ืึฐืคึธื ึถืืึธ ืฉืึผึธื ืขึทืึพืึทืฆึผืึผืจ ืึผึฐืึนืจึตื ืึฐืึดืึผึดืืชึธ ืึทืฆึผืึผืจ ืึฐืึธืฆึฐืืึผ ืึดืึผึถื ึผืึผ ืึทืึดื ืึฐืฉืึธืชึธื ืึธืขึธื ืึทืึผึทืขึทืฉื ืึผึตื ืึนืฉืึถื ืึฐืขึตืื ึตื ืึดืงึฐื ึตื ืึดืฉืึฐืจึธืึตืื
20.4. ืึนื ืชึทืขึฒืฉืึถืึพืึฐืึธ ืคึถืกึถื ืึฐืึธืึพืชึผึฐืืึผื ึธื ืึฒืฉืึถืจ ืึผึทืฉืึผึธืึทืึดื ืึดืึผึทืขึทื ืึทืึฒืฉืึถืจ ืึผึธืึธืจึถืฅ ืึดืชึผึธึทืึทืช ืึทืึฒืฉืึถืจ ืึผึทืึผึทืึดื ืึดืชึผึทืึทืช ืึธืึธืจึถืฅ
21.28. ืึฐืึดืึพืึดืึผึทื ืฉืืึนืจ ืึถืชึพืึดืืฉื ืืึน ืึถืชึพืึดืฉืึผึธื ืึธืึตืช ืกึธืงืึนื ืึดืกึผึธืงึตื ืึทืฉืึผืึนืจ ืึฐืึนื ืึตืึธืึตื ืึถืชึพืึผึฐืฉืึธืจืึน ืึผืึทืขึทื ืึทืฉืึผืึนืจ ื ึธืงึดืื''. None | 3.6. Moreover He said: โI 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: โThus 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: โThis 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: โSay 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 |
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3. Hebrew Bible, Leviticus, 23.40, 23.43 (9th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Samaritans, art โข art, โข artisans, artists โข basilica-type synagogue, plan, mosaic, mosaic, artistic motifs โข lulav, in synagogue art
Found in books: Levine (2005) 216; Rubenstein(1995) 247, 308
23.43. ืึฐืึทืขึทื ืึตืึฐืขืึผ ืึนืจึนืชึตืืึถื ืึผึดื ืึทืกึผึปืึผืึนืช ืืึนืฉืึทืึฐืชึผึดื ืึถืชึพืึผึฐื ึตื ืึดืฉืึฐืจึธืึตื ืึผึฐืืึนืฆึดืืึดื ืืึนืชึธื ืึตืึถืจึถืฅ ืึดืฆึฐืจึธืึดื ืึฒื ึดื ืึฐืืึธื ืึฑืึนืึตืืึถืื' '. 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 |
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4. Hebrew Bible, Numbers, 21.9 (9th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Moses, art โข art and architecture โข seals, figural art
Found in books: Brooke et al (2008) 321; Levine (2005) 225
21.9. ืึทืึผึทืขึทืฉื ืึนืฉืึถื ื ึฐืึทืฉื ื ึฐืึนืฉืึถืช ืึทืึฐืฉืึดืึตืืึผ ืขึทืึพืึทื ึผึตืก ืึฐืึธืึธื ืึดืึพื ึธืฉืึทืึฐ ืึทื ึผึธืึธืฉื ืึถืชึพืึดืืฉื ืึฐืึดืึผึดืื ืึถืึพื ึฐืึทืฉื ืึทื ึผึฐืึนืฉืึถืช ืึธืึธืื''. 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 |
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5. Hebrew Bible, Psalms, 24.7, 24.9 (9th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Moses, art โข art, Qumran โข art, pagan โข art, priests โข zabลซr (Ar. โPsalmsโ, concept)
Found in books: Brooke et al (2008) 53, 66; Levine (2005) 32; Zawanowska and Wilk (2022) 222
24.7. ืฉืึฐืืึผ ืฉืึฐืขึธืจึดืื ืจึธืืฉืึตืืึถื ืึฐืึดื ึผึธืฉืึฐืืึผ ืคึผึดืชึฐืึตื ืขืึนืึธื ืึฐืึธืืึนื ืึถืึถืึฐ ืึทืึผึธืืึนืื
24.9. ืฉืึฐืืึผ ืฉืึฐืขึธืจึดืื ืจึธืืฉืึตืืึถื ืึผืฉืึฐืืึผ ืคึผึดืชึฐืึตื ืขืึนืึธื ืึฐืึธืึนื ืึถืึถืึฐ ืึทืึผึธืืึนืื' '. 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 |
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6. None, None, nan (9th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Moses, art โข art, Qumran โข art, priests โข popular culture See reception history, and art
Found in books: Brooke et al (2008) 51, 55; Sneed (2022) 239
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7. Hebrew Bible, Isaiah, 6.3 (8th cent. BCE - 5th cent. BCE)
Tagged with subjects: โข Art โข Art, funerary โข Art, loss of pagan meaning for Christians and Jews โข Moses, art โข art, Qumran โข art, priests
Found in books: Bickerman and Tropper (2007) 935; Brooke et al (2008) 34, 49, 50, 52, 250
6.3. ืึฐืงึธืจึธื ืึถื ืึถืึพืึถื ืึฐืึธืึทืจ ืงึธืืึนืฉื ืงึธืืึนืฉื ืงึธืืึนืฉื ืึฐืืึธื ืฆึฐืึธืืึนืช ืึฐืึนื ืึธืึพืึธืึธืจึถืฅ ืึผึฐืืึนืืึนื''. 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 |
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8. None, None, nan (8th cent. BCE - 7th cent. BCE)
Tagged with subjects: โข Minoan-Mycenaean religion and art, Aphrodite in โข art work, as object of gaze โข audience, artistic strategies as reaction to โข gaze, focused on work of art โข response, emotional, to work of art, in Virgilโs Aeneid โข wonder, inspired by gazing at work of art
Found in books: Elsner (2007) 80; Johnson (2008) 36; Simon (2021) 265
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9. Hebrew Bible, 1 Chronicles, 28.2, 28.11-28.13, 28.19 (5th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Moses, art โข Qiแนฃaแนฃ al-anbiyฤสพ (Ar. โTales of the Prophetsโ, genre), al-Quds (Ar. โJerusalem,โ โTempleโ) โข art, Qumran โข art, priests โข faแนฃl (dual. faแนฃlayn, Ar. โ[thematic] unit,โ โepisodeโ) โข qiแนฃแนฃa (Ar. โstoryโ) โข tawqฤซf (Ar. โinstruction from Godโ) โข สฟiแนฃma (Ar. โinfallibility of prophetsโ, โimpeccability,โ โimmunity from sinโ)
Found in books: Brooke et al (2008) 66, 102, 106, 274; Zawanowska and Wilk (2022) 89, 90, 96, 99
28.2. ืึทืึผึธืงึธื ืึผึธืึดืื ืึทืึผึถืึถืึฐ ืขึทืึพืจึทืึฐืึธืื ืึทืึผึนืืึถืจ ืฉืึฐืึธืขืึผื ึดื ืึทืึทื ืึฐืขึทืึผึดื ืึฒื ึดื ืขึดืึพืึฐืึธืึดื ืึดืึฐื ืึนืช ืึผึตืืช ืึฐื ืึผืึธื ืึทืึฒืจืึนื ืึผึฐืจึดืืชึพืึฐืืึธื ืึฐืึทืึฒืึนื ืจึทืึฐืึตื ืึฑืึนืึตืื ืึผ ืึทืึฒืึดืื ืึนืชึดื ืึดืึฐื ืึนืชื
28.2. ืึทืึผึนืืึถืจ ืึผึธืึดืื ืึดืฉืึฐืึนืึนื ืึฐื ืึน ืึฒืึทืง ืึถืึฑืึทืฅ ืึทืขึฒืฉืึตื ืึทืึพืชึผึดืืจึธื ืึฐืึทืึพืชึผึตืึธืช ืึผึดื ืึฐืืึธื ืึฑืึนืึดืื ืึฑืึนืึทื ืขึดืึผึธืึฐ ืึนื ืึทืจึฐืคึผึฐืึธ ืึฐืึนื ืึทืขึทืึฐืึถืึผึธ ืขึทืึพืึดืึฐืืึนืช ืึผึธืึพืึฐืึถืืึถืช ืขึฒืืึนืึทืช ืึผึตืืชึพืึฐืืึธืื
28.11. ืึทืึผึดืชึผึตื ืึผึธืึดืื ืึดืฉืึฐืึนืึนื ืึฐื ืึน ืึถืชึพืชึผึทืึฐื ึดืืช ืึธืืึผืึธื ืึฐืึถืชึพืึผึธืชึผึธืื ืึฐืึทื ึฐืึทืึผึธืื ืึทืขึฒืึดืึผึนืชึธืื ืึทืึฒืึธืจึธืื ืึทืคึผึฐื ึดืืึดืื ืึผืึตืืช ืึทืึผึทืคึผึนืจึถืชื 28.12. ืึฐืชึทืึฐื ึดืืช ืึผึนื ืึฒืฉืึถืจ ืึธืึธื ืึธืจืึผืึท ืขึดืึผืึน ืึฐืึทืฆึฐืจืึนืช ืึผึตืืชึพืึฐืืึธื ืึผืึฐืึธืึพืึทืึผึฐืฉืึธืืึนืช ืกึธืึดืื ืึฐืึนืฆึฐืจืึนืช ืึผึตืืช ืึธืึฑืึนืึดืื ืึผืึฐืึนืฆึฐืจืึนืช ืึทืงึผึณืึธืฉืึดืืื 28.13. ืึผืึฐืึทืึฐืึฐืงืึนืช ืึทืึผึนืึฒื ึดืื ืึฐืึทืึฐืึดืึผึดื ืึผืึฐืึธืึพืึฐืึถืืึถืช ืขึฒืืึนืึทืช ืึผึตืืชึพืึฐืืึธื ืึผืึฐืึธืึพืึผึฐืึตื ืขึฒืืึนืึทืช ืึผึตืืชึพืึฐืืึธืื
28.19. ืึทืึผึนื ืึผึดืึฐืชึธื ืึดืึผึทื ืึฐืืึธื ืขึธืึทื ืึดืฉืึฐืึผึดืื ืึผึนื ืึทืึฐืึฒืืึนืช ืึทืชึผึทืึฐื ึดืืชื''. None | 28.2. Then David the king stood up upon his feet, and said: โHear 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. โAll 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 |
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10. Herodotus, Histories, 3.17-3.25, 3.131, 9.27.4 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: โข Amazons, in the figurative arts โข Egyptian, art โข Hippocrates, works,, Art of Medicine โข Lucian, as self-conscious reception artist โข 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. ฮผฮตฯแฝฐ ฮดแฝฒ ฯฮฑแฟฆฯฮฑ แฝ ฮฮฑฮผฮฒฯฯฮทฯ แผฮฒฮฟฯ
ฮปฮตฯฯฮฑฯฮฟ ฯฯฮนฯฮฑฯฮฏฮฑฯ ฯฯฯฮฑฯฮทฮฏฮฑฯ, แผฯฮฏ ฯฮต ฮฮฑฯฯฮทฮดฮฟฮฝฮฏฮฟฯ
ฯ ฮบฮฑแฝถ แผฯแฝถ แผฮผฮผฯฮฝฮฏฮฟฯ
ฯ ฮบฮฑแฝถ แผฯแฝถ ฯฮฟแฝบฯ ฮผฮฑฮบฯฮฟฮฒฮฏฮฟฯ
ฯ ฮแผฐฮธฮฏฮฟฯฮฑฯ, ฮฟแผฐฮบฮทฮผฮญฮฝฮฟฯ
ฯ ฮดแฝฒ ฮฮนฮฒฯฮทฯ แผฯแฝถ ฯแฟ ฮฝฮฟฯฮฏแฟ ฮธฮฑฮปฮฌฯฯแฟยท ฮฒฮฟฯ
ฮปฮตฯ
ฮฟฮผฮญฮฝแฟณ ฮดฮญ ฮฟแผฑ แผฮดฮฟฮพฮต แผฯแฝถ ฮผแฝฒฮฝ ฮฮฑฯฯฮทฮดฮฟฮฝฮฏฮฟฯ
ฯ ฯแฝธฮฝ ฮฝฮฑฯ
ฯฮนฮบแฝธฮฝ ฯฯฯฮฑฯแฝธฮฝ แผฯฮฟฯฯฮญฮปฮปฮตฮนฮฝ, แผฯแฝถ ฮดแฝฒ แผฮผฮผฯฮฝฮฏฮฟฯ
ฯ ฯฮฟแฟฆ ฯฮตฮถฮฟแฟฆ แผฯฮฟฮบฯฮฏฮฝฮฑฮฝฯฮฑ, แผฯแฝถ ฮดแฝฒ ฯฮฟแฝบฯ ฮแผฐฮธฮฏฮฟฯฮฑฯ ฮบฮฑฯฯฯฯฮฑฯ ฯฯแฟถฯฮฟฮฝ, แฝฯฮฟฮผฮญฮฝฮฟฯ
ฯ ฯฮต ฯแฝดฮฝ แผฮฝ ฯฮฟฯฯฮฟฮนฯฮน ฯฮฟแฟฯฮน ฮแผฐฮธฮฏฮฟฯฮน ฮปฮตฮณฮฟฮผฮญฮฝฮทฮฝ ฮตแผถฮฝฮฑฮน แผกฮปฮฏฮฟฯ
ฯฯฮฌฯฮตฮถฮฑฮฝ ฮตแผฐ แผฯฯฮน แผฮปฮทฮธฮญฯฯ, ฮบฮฑแฝถ ฯฯแฝธฯ ฯฮฑฯฯแฟ ฯแฝฐ แผฮปฮปฮฑ ฮบฮฑฯฮฟฯฮฟฮผฮญฮฝฮฟฯ
ฯ, ฮดแฟถฯฮฑ ฮดแฝฒ ฯแฟท ฮปฯฮณแฟณ ฯฮญฯฮฟฮฝฯฮฑฯ ฯแฟท ฮฒฮฑฯฮนฮปฮญฮน ฮฑแฝฯแฟถฮฝ. 3.18. แผก ฮดแฝฒ ฯฯฮฌฯฮตฮถฮฑ ฯฮฟแฟฆ แผกฮปฮฏฮฟฯ
ฯฮฟฮนฮฎฮดฮต ฯฮนฯ ฮปฮญฮณฮตฯฮฑฮน ฮตแผถฮฝฮฑฮน, ฮปฮตฮนฮผแฝผฮฝ แผฯฯแฝถ แผฮฝ ฯแฟท ฯฯฮฟฮฑฯฯฮตฮฏแฟณ แผฯฮฏฯฮปฮตฮฟฯ ฮบฯฮตแฟถฮฝ แผฯฮธแฟถฮฝ ฯฮฌฮฝฯฯฮฝ ฯแฟถฮฝ ฯฮตฯฯฮฑฯฯฮดฯฮฝ, แผฯ ฯแฝธฮฝ ฯแฝฐฯ ฮผแฝฒฮฝ ฮฝฯฮบฯฮฑฯ แผฯฮนฯฮทฮดฮตฯฮฟฮฝฯฮฑฯ ฯฮนฮธฮญฮฝฮฑฮน ฯแฝฐ ฮบฯฮญฮฑ ฯฮฟแฝบฯ แผฮฝ ฯฮญฮปฮตฯ แผฮบฮฌฯฯฮฟฯฮต แผฯฮฝฯฮฑฯ ฯแฟถฮฝ แผฯฯแฟถฮฝ, ฯแฝฐฯ ฮดแฝฒ แผกฮผฮญฯฮฑฯ ฮดฮฑฮฏฮฝฯ
ฯฮธฮฑฮน ฯฯฮฟฯฮนฯฮฝฯฮฑ ฯแฝธฮฝ ฮฒฮฟฯ
ฮปฯฮผฮตฮฝฮฟฮฝ. ฯฮฌฮฝฮฑฮน ฮดแฝฒ ฯฮฟแฝบฯ แผฯฮนฯฯฯฮฏฮฟฯ
ฯ ฯฮฑแฟฆฯฮฑ ฯแฝดฮฝ ฮณแฟฮฝ ฮฑแฝฯแฝดฮฝ แผฮฝฮฑฮดฮนฮดฯฮฝฮฑฮน แผฮบฮฌฯฯฮฟฯฮต. 3.19. แผก ฮผแฝฒฮฝ ฮดแฝด ฯฯฮฌฯฮตฮถฮฑ ฯฮฟแฟฆ แผกฮปฮฏฮฟฯ
ฮบฮฑฮปฮตฮฟฮผฮญฮฝฮท ฮปฮญฮณฮตฯฮฑฮน ฮตแผถฮฝฮฑฮน ฯฮฟฮนฮฎฮดฮต. ฮฮฑฮผฮฒฯฯแฟ ฮดแฝฒ แฝกฯ แผฮดฮฟฮพฮต ฯฮญฮผฯฮตฮนฮฝ ฯฮฟแฝบฯ ฮบฮฑฯฮฑฯฮบฯฯฮฟฯ
ฯ, ฮฑแฝฯฮฏฮบฮฑ ฮผฮตฯฮตฯฮญฮผฯฮตฯฮฟ แผฮพ แผฮปฮตฯฮฑฮฝฯฮฏฮฝฮทฯ ฯฯฮปฮนฮฟฯ ฯแฟถฮฝ แผธฯฮธฯ
ฮฟฯฮฌฮณฯฮฝ แผฮฝฮดฯแฟถฮฝ ฯฮฟแฝบฯ แผฯฮนฯฯฮฑฮผฮญฮฝฮฟฯ
ฯ ฯแฝดฮฝ ฮแผฐฮธฮนฮฟฯฮฏฮดฮฑ ฮณฮปแฟถฯฯฮฑฮฝ. แผฮฝ แพง ฮดแฝฒ ฯฮฟฯฯฮฟฯ
ฯ ฮผฮตฯฮฎฮนฯฮฑฮฝ, แผฮฝ ฯฮฟฯฯแฟณ แผฮบฮญฮปฮตฯ
ฮต แผฯแฝถ ฯแฝดฮฝ ฮฮฑฯฯฮทฮดฯฮฝฮฑ ฯฮปฮญฮตฮนฮฝ ฯแฝธฮฝ ฮฝฮฑฯ
ฯฮนฮบแฝธฮฝ ฯฯฯฮฑฯฯฮฝ. ฮฆฮฟฮฏฮฝฮนฮบฮตฯ ฮดแฝฒ ฮฟแฝฮบ แผฯฮฑฯฮฑฮฝ ฯฮฟฮนฮฎฯฮตฮนฮฝ ฯฮฑแฟฆฯฮฑยท แฝฯฮบฮฏฮฟฮนฯฮน ฮณแฝฐฯ ฮผฮตฮณฮฌฮปฮฟฮนฯฮน แผฮฝฮดฮตฮดฮญฯฮธฮฑฮน, ฮบฮฑแฝถ ฮฟแฝฮบ แผฮฝ ฯฮฟฮนฮญฮตฮนฮฝ แฝ
ฯฮนฮฑ แผฯแฝถ ฯฮฟแฝบฯ ฯฮฑแฟฮดฮฑฯ ฯฮฟแฝบฯ แผฯฯ
ฯแฟถฮฝ ฯฯฯฮฑฯฮตฯ
ฯฮผฮตฮฝฮฟฮน. ฮฆฮฟฮนฮฝฮฏฮบฯฮฝ ฮดแฝฒ ฮฟแฝ ฮฒฮฟฯ
ฮปฮฟฮผฮญฮฝฯฮฝ ฮฟแผฑ ฮปฮฟฮนฯฮฟแฝถ ฮฟแฝฮบ แผฮพฮนฯฮผฮฑฯฮฟฮน แผฮณฮฏฮฝฮฟฮฝฯฮฟ. ฮฮฑฯฯฮทฮดฯฮฝฮนฮฟฮน ฮผฮญฮฝ ฮฝฯ
ฮฝ ฮฟแฝฯฯ ฮดฮฟฯ
ฮปฮฟฯฯฮฝฮทฮฝ ฮดฮนฮญฯฯ
ฮณฮฟฮฝ ฯฯแฝธฯ ฮ ฮตฯฯฮญฯฮฝยท ฮฮฑฮผฮฒฯฯฮทฯ ฮณแฝฐฯ ฮฒฮฏฮทฮฝ ฮฟแฝฮบ แผฮดฮนฮบฮฑฮฏฮฟฯ
ฯฯฮฟฯฯฮญฯฮตฮนฮฝ ฮฆฮฟฮฏฮฝฮนฮพฮน, แฝ
ฯฮน ฯฯฮญฮฑฯ ฯฮต ฮฑแฝฯฮฟแฝบฯ แผฮดฮตฮดฯฮบฮตฯฮฑฮฝ ฮ ฮญฯฯแฟฯฮน ฮบฮฑแฝถ ฯแพถฯ แผฮบ ฮฆฮฟฮนฮฝฮฏฮบฯฮฝ แผคฯฯฮทฯฮฟ แฝ ฮฝฮฑฯ
ฯฮนฮบแฝธฯ ฯฯฯฮฑฯฯฯ. ฮดฯฮฝฯฮตฯ ฮดแฝฒ ฮบฮฑแฝถ ฮฯฯฯฮนฮฟฮน ฯฯฮญฮฑฯ ฮฑแฝฯฮฟแฝบฯ ฮ ฮญฯฯแฟฯฮน แผฯฯฯฮฑฯฮตฯฮฟฮฝฯฮฟ แผฯสผ ฮแผดฮณฯ
ฯฯฮฟฮฝ. 3.20. แผฯฮตฮฏฯฮต ฮดแฝฒ ฯแฟท ฮฮฑฮผฮฒฯฯแฟ แผฮบ ฯแฟฯ แผฮปฮตฯฮฑฮฝฯฮฏฮฝฮทฯ แผฯฮฏฮบฮฟฮฝฯฮฟ ฮฟแผฑ แผธฯฮธฯ
ฮฟฯฮฌฮณฮฟฮน, แผฯฮตฮผฯฮต ฮฑแฝฯฮฟแฝบฯ แผฯ ฯฮฟแฝบฯ ฮแผฐฮธฮฏฮฟฯฮฑฯ แผฮฝฯฮตฮนฮปฮฌฮผฮตฮฝฮฟฯ ฯแฝฐ ฮปฮญฮณฮตฮนฮฝ ฯฯแฟฮฝ ฮบฮฑแฝถ ฮดแฟถฯฮฑ ฯฮญฯฮฟฮฝฯฮฑฯ ฯฮฟฯฯฯฯฮตฯฮฝ ฯฮต ฮตแผทฮผฮฑ ฮบฮฑแฝถ ฯฯฯฯฮตฮฟฮฝ ฯฯฯฮตฯฯแฝธฮฝ ฯฮตฯฮนฮฑฯ
ฯฮญฮฝฮนฮฟฮฝ ฮบฮฑแฝถ ฯฮญฮปฮนฮฑ ฮบฮฑแฝถ ฮผฯฯฮฟฯ
แผฮปฮฌฮฒฮฑฯฯฯฮฟฮฝ ฮบฮฑแฝถ ฯฮฟฮนฮฝฮนฮบฮทฮฏฮฟฯ
ฮฟแผดฮฝฮฟฯ
ฮบฮฌฮดฮฟฮฝ. ฮฟแผฑ ฮดแฝฒ ฮแผฐฮธฮฏฮฟฯฮตฯ ฮฟแฝฯฮฟฮน, แผฯ ฯฮฟแฝบฯ แผฯฮญฯฮตฮผฯฮต แฝ ฮฮฑฮผฮฒฯฯฮทฯ, ฮปฮญฮณฮฟฮฝฯฮฑฮน ฮตแผถฮฝฮฑฮน ฮผฮญฮณฮนฯฯฮฟฮน ฮบฮฑแฝถ ฮบฮฌฮปฮปฮนฯฯฮฟฮน แผฮฝฮธฯฯฯฯฮฝ ฯฮฌฮฝฯฯฮฝ. ฮฝฯฮผฮฟฮนฯฮน ฮดแฝฒ ฮบฮฑแฝถ แผฮปฮปฮฟฮนฯฮน ฯฯแพถฯฮธฮฑฮน ฮฑแฝฯฮฟแฝบฯ ฮบฮตฯฯฯฮนฯฮผฮญฮฝฮฟฮนฯฮน ฯแฟถฮฝ แผฮปฮปฯฮฝ แผฮฝฮธฯฯฯฯฮฝ ฮบฮฑแฝถ ฮดแฝด ฮบฮฑแฝถ ฮบฮฑฯแฝฐ ฯแฝดฮฝ ฮฒฮฑฯฮนฮปฮทฮฏฮทฮฝ ฯฮฟฮนแฟทฮดฮตยท ฯแฝธฮฝ แผฮฝ ฯแฟถฮฝ แผฯฯแฟถฮฝ ฮบฯฮฏฮฝฯฯฮน ฮผฮญฮณฮนฯฯฯฮฝ ฯฮต ฮตแผถฮฝฮฑฮน ฮบฮฑแฝถ ฮบฮฑฯแฝฐ ฯแฝธ ฮผฮญฮณฮฑฮธฮฟฯ แผฯฮตฮนฮฝ ฯแฝดฮฝ แผฐฯฯฯฮฝ, ฯฮฟแฟฆฯฮฟฮฝ แผฮพฮนฮฟแฟฆฯฮน ฮฒฮฑฯฮนฮปฮตฯฮตฮนฮฝ. 3.21. แผฯ ฯฮฟฯฯฮฟฯ
ฯ ฮดแฝด แฝฆฮฝ ฯฮฟแฝบฯ แผฮฝฮดฯฮฑฯ แฝกฯ แผฯฮฏฮบฮฟฮฝฯฮฟ ฮฟแผฑ แผธฯฮธฯ
ฮฟฯฮฌฮณฮฟฮน, ฮดฮนฮดฯฮฝฯฮตฯ ฯแฝฐ ฮดแฟถฯฮฑ ฯแฟท, ฮฒฮฑฯฮนฮปฮญฮน ฮฑแฝฯแฟถฮฝ แผฮปฮตฮณฮฟฮฝ ฯฮฌฮดฮต. โฮฒฮฑฯฮนฮปฮตแฝบฯ แฝ ฮ ฮตฯฯฮญฯฮฝ ฮฮฑฮผฮฒฯฯฮทฯ, ฮฒฮฟฯ
ฮปฯฮผฮตฮฝฮฟฯ ฯฮฏฮปฮฟฯ ฮบฮฑแฝถ ฮพฮตแฟฮฝฯฯ ฯฮฟฮน ฮณฮตฮฝฮญฯฮธฮฑฮน, แผกฮผฮญฮฑฯ ฯฮต แผฯฮญฯฮตฮผฯฮต แผฯ ฮปฯฮณฮฟฯ
ฯ ฯฮฟฮน แผฮปฮธฮตแฟฮฝ ฮบฮตฮปฮตฯฯฮฝ, ฮบฮฑแฝถ ฮดแฟถฯฮฑ ฯฮฑแฟฆฯฮฌ ฯฮฟฮน ฮดฮนฮดฮฟแฟ ฯฮฟแฟฯฮน ฮบฮฑแฝถ ฮฑแฝฯแฝธฯ ฮผฮฌฮปฮนฯฯฮฑ แผฅฮดฮตฯฮฑฮน ฯฯฮตฯฮผฮตฮฝฮฟฯ.โ แฝ ฮดแฝฒ ฮแผฐฮธฮฏฮฟฯ ฮผฮฑฮธแฝผฮฝ แฝ
ฯฮน ฮบฮฑฯฯฯฯฮฑฮน แผฅฮบฮฟฮนฮตฮฝ, ฮปฮญฮณฮตฮน ฯฯแฝธฯ ฮฑแฝฯฮฟแฝบฯ ฯฮฟฮนฮฌฮดฮต. โฮฟแฝฯฮต แฝ ฮ ฮตฯฯฮญฯฮฝ ฮฒฮฑฯฮนฮปฮตแฝบฯ ฮดแฟถฯฮฑ แฝฮผฮญฮฑฯ แผฯฮตฮผฯฮต ฯฮญฯฮฟฮฝฯฮฑฯ ฯฯฮฟฯฮนฮผแฟถฮฝ ฯฮฟฮปฮปฮฟแฟฆ แผฮผฮฟแฝถ ฮพฮตแฟฮฝฮฟฯ ฮณฮตฮฝฮญฯฮธฮฑฮน, ฮฟแฝฯฮต แฝฮผฮตแฟฯ ฮปฮญฮณฮตฯฮต แผฮปฮทฮธฮญฮฑ สฝแผฅฮบฮตฯฮต ฮณแฝฐฯ ฮบฮฑฯฯฯฯฮฑฮน ฯแฟฯ แผฮผแฟฯ แผฯฯแฟฯฬ, ฮฟแฝฯฮต แผฮบฮตแฟฮฝฮฟฯ แผฮฝฮฎฯ ฮดฮฏฮบฮฑฮนฮฟฯ. ฮตแผฐ ฮณแฝฐฯ แผฆฮฝ ฮดฮฏฮบฮฑฮนฮฟฯ, ฮฟแฝฯสผ แผฮฝ แผฯฮตฮธฯฮผฮทฯฮต ฯฯฯฮทฯ แผฮปฮปฮทฯ แผข ฯแฟฯ แผฯฯ
ฯฮฟแฟฆ, ฮฟแฝฯสผ แผฮฝ แผฯ ฮดฮฟฯ
ฮปฮฟฯฯฮฝฮทฮฝ แผฮฝฮธฯฯฯฮฟฯ
ฯ แผฆฮณฮต แฝฯสผ แฝงฮฝ ฮผฮทฮดแฝฒฮฝ แผ ฮดฮฏฮบฮทฯฮฑฮน. ฮฝแฟฆฮฝ ฮดแฝฒ ฮฑแฝฯแฟท ฯฯฮพฮฟฮฝ ฯฯฮดฮต ฮดฮนฮดฯฮฝฯฮตฯ ฯฮฌฮดฮต แผฯฮตฮฑ ฮปฮญฮณฮตฯฮต.โ โฮฒฮฑฯฮนฮปฮตแฝบฯ แฝ ฮแผฐฮธฮนฯฯฯฮฝ ฯฯ
ฮผฮฒฮฟฯ
ฮปฮตฯฮตฮน ฯแฟท ฮ ฮตฯฯฮญฯฮฝ ฮฒฮฑฯฮนฮปฮญฮน, แผฯฮตแฝฐฮฝ ฮฟแฝฯฯ ฮตแฝฯฮตฯฮญฯฯ แผฮปฮบฯฯฮน ฯแฝฐ ฯฯฮพฮฑ ฮ ฮญฯฯฮฑฮน แผฯฮฝฯฮฑ ฮผฮตฮณฮฌฮธฮตฯ ฯฮฟฯฮฑแฟฆฯฮฑ, ฯฯฯฮต แผฯสผ ฮแผฐฮธฮฏฮฟฯฮฑฯ ฯฮฟแฝบฯ ฮผฮฑฮบฯฮฟฮฒฮฏฮฟฯ
ฯ ฯฮปฮฎฮธฮตฯ แฝฯฮตฯฮฒฮฑฮปฮปฯฮผฮตฮฝฮฟฮฝ ฯฯฯฮฑฯฮตฯฮตฯฮธฮฑฮนยท ฮผฮญฯฯฮน ฮดแฝฒ ฯฮฟฯฯฮฟฯ
ฮธฮตฮฟแฟฯฮน ฮตแผฐฮดฮญฮฝฮฑฮน ฯฮฌฯฮนฮฝ, ฮฟแผณ ฮฟแฝฮบ แผฯแฝถ ฮฝฯฮฟฮฝ ฯฯฮญฯฮฟฯ
ฯฮน ฮแผฐฮธฮนฯฯฯฮฝ ฯฮฑฮนฯแฝถ ฮณแฟฮฝ แผฮปฮปฮทฮฝ ฯฯฮฟฯฮบฯแพถฯฮธฮฑฮน ฯแฟ แผฯฯ
ฯแฟถฮฝ.โ 3.22. ฯฮฑแฟฆฯฮฑ ฮดแฝฒ ฮตแผดฯฮฑฯ ฮบฮฑแฝถ แผฮฝฮตแฝถฯ ฯแฝธ ฯฯฮพฮฟฮฝ ฯฮฑฯฮญฮดฯฮบฮต ฯฮฟแฟฯฮน แผฅฮบฮฟฯ
ฯฮน. ฮปฮฑฮฒแฝผฮฝ ฮดแฝฒ ฯแฝธ ฮตแผทฮผฮฑ ฯแฝธ ฯฮฟฯฯฯฯฮตฮฟฮฝ ฮตแผฐฯฯฯฮฑ แฝ
ฯฮน ฮตแผดฮท ฮบฮฑแฝถ แฝ
ฮบฯฯ ฯฮตฯฮฟฮนฮทฮผฮญฮฝฮฟฮฝยท ฮตแผฐฯฯฮฝฯฯฮฝ ฮดแฝฒ ฯแฟถฮฝ แผธฯฮธฯ
ฮฟฯฮฌฮณฯฮฝ ฯแฝดฮฝ แผฮปฮทฮธฮตฮฏฮทฮฝ ฯฮตฯแฝถ ฯแฟฯ ฯฮฟฯฯฯฯฮทฯ ฮบฮฑแฝถ ฯแฟฯ ฮฒฮฑฯแฟฯ, ฮดฮฟฮปฮตฯฮฟแฝบฯ ฮผแฝฒฮฝ ฯฮฟแฝบฯ แผฮฝฮธฯฯฯฮฟฯ
ฯ แผฯฮท ฮตแผถฮฝฮฑฮน, ฮดฮฟฮปฮตฯแฝฐ ฮดแฝฒ ฮฑแฝฯแฟถฮฝ ฯแฝฐ ฮตแผตฮผฮฑฯฮฑ. ฮดฮตฯฯฮตฯฮฑ ฮดแฝฒ ฯแฝธฮฝ ฯฯฯ
ฯแฝธฮฝ ฮตแผฐฯฯฯฮฑ ฯแฝธฮฝ ฯฯฯฮตฯฯแฝธฮฝ ฯแฝธฮฝ ฯฮตฯฮนฮฑฯ
ฯฮญฮฝฮนฮฟฮฝ ฮบฮฑแฝถ ฯแฝฐ ฯฮญฮปฮนฮฑยท แผฮพฮทฮณฮตฮฟฮผฮญฮฝฯฮฝ ฮดแฝฒ ฯแฟถฮฝ แผธฯฮธฯ
ฮฟฯฮฌฮณฯฮฝ ฯแฝธฮฝ ฮบฯฯฮผฮฟฮฝ ฮฑแฝฯฮฟแฟฆ, ฮณฮตฮปฮฌฯฮฑฯ แฝ ฮฒฮฑฯฮนฮปฮตแฝบฯ ฮบฮฑแฝถ ฮฝฮฟฮผฮฏฯฮฑฯ ฮตแผถฮฝฮฑฮน ฯฯฮญฮฑ ฯฮญฮดฮฑฯ ฮตแผถฯฮต แฝกฯ ฯฮฑฯสผ แผฯฯ
ฯฮฟแฟฯฮน ฮตแผฐฯแฝถ แฟฅฯฮผฮฑฮปฮตฯฯฮตฯฮฑฮน ฯฮฟฯ
ฯฮญฯฮฝ ฯฮญฮดฮฑฮน. ฯฯฮฏฯฮฟฮฝ ฮดแฝฒ ฮตแผฐฯฯฯฮฑ ฯแฝธ ฮผฯฯฮฟฮฝยท ฮตแผฐฯฯฮฝฯฯฮฝ ฮดแฝฒ ฯแฟฯ ฯฮฟฮนฮฎฯฮนฮฟฯ ฯฮญฯฮน ฮบฮฑแฝถ แผฮปฮตฮฏฯฮนฮฟฯ, ฯแฝธฮฝ ฮฑแฝฯแฝธฮฝ ฮปฯฮณฮฟฮฝ ฯแฝธฮฝ ฮบฮฑแฝถ ฯฮตฯแฝถ ฯฮฟแฟฆ ฮตแผตฮผฮฑฯฮฟฯ ฮตแผถฯฮต. แฝกฯ ฮดแฝฒ แผฯ ฯแฝธฮฝ ฮฟแผถฮฝฮฟฮฝ แผฯฮฏฮบฮตฯฮฟ ฮบฮฑแฝถ แผฯฯฮธฮตฯฮฟ ฮฑแฝฯฮฟแฟฆ ฯแฝดฮฝ ฯฮฟฮฏฮทฯฮนฮฝ, แฝฯฮตฯฮทฯฮธฮตแฝถฯ ฯแฟท ฯฯฮผฮฑฯฮน แผฯฮตฮฏฯฮตฯฮฟ แฝ
ฯฮน ฯฮต ฯฮนฯฮญฮตฯฮฑฮน แฝ ฮฒฮฑฯฮนฮปฮตแฝบฯ ฮบฮฑแฝถ ฯฯฯฮฝฮฟฮฝ แฝฮบฯฯฮฟฮฝ ฮผฮฑฮบฯฯฯฮฑฯฮฟฮฝ แผฮฝแฝดฯ ฮ ฮญฯฯฮทฯ ฮถฯฮตฮน. ฮฟแผณ ฮดแฝฒ ฯฮนฯฮญฮตฯฮธฮฑฮน ฮผแฝฒฮฝ ฯแฝธฮฝ แผฯฯฮฟฮฝ ฮตแผถฯฮฟฮฝ, แผฮพฮทฮณฮทฯฮฌฮผฮตฮฝฮฟฮน ฯแฟถฮฝ ฯฯ
ฯแฟถฮฝ ฯแฝดฮฝ ฯฯฯฮนฮฝ, แฝฮณฮดฯฮบฮฟฮฝฯฮฑ ฮดแฝฒ แผฯฮตฮฑ ฮถฯฮทฯ ฯฮปฮฎฯฯฮผฮฑ แผฮฝฮดฯแฝถ ฮผฮฑฮบฯฯฯฮฑฯฮฟฮฝ ฯฯฮฟฮบฮตแฟฯฮธฮฑฮน. ฯฯแฝธฯ ฯฮฑแฟฆฯฮฑ แฝ ฮแผฐฮธฮฏฮฟฯ แผฯฮท ฮฟแฝฮดแฝฒฮฝ ฮธฯฮผฮฌฮถฮตฮนฮฝ ฮตแผฐ ฯฮนฯฮตฯฮผฮตฮฝฮฟฮน ฮบฯฯฯฮฟฮฝ แผฯฮตฮฑ แฝฮปฮฏฮณฮฑ ฮถฯฮฟฯ
ฯฮนยท ฮฟแฝฮดแฝฒ ฮณแฝฐฯ แผฮฝ ฯฮฟฯฮฑแฟฆฯฮฑ ฮดฯฮฝฮฑฯฮธฮฑฮน ฮถฯฮตฮนฮฝ ฯฯฮญฮฑฯ, ฮตแผฐ ฮผแฝด ฯแฟท ฯฯฮผฮฑฯฮน แผฮฝฮญฯฮตฯฮฟฮฝ, ฯฯฮฌฮถฯฮฝ ฯฮฟแฟฯฮน แผธฯฮธฯ
ฮฟฯฮฌฮณฮฟฮนฯฮน ฯแฝธฮฝ ฮฟแผถฮฝฮฟฮฝยท ฯฮฟฯฯแฟณ ฮณแฝฐฯ แผฯฯ
ฯฮฟแฝบฯ แฝฯแฝธ ฮ ฮตฯฯฮญฯฮฝ แผฯฯฮฟแฟฆฯฮธฮฑฮน. 3.23. แผฮฝฯฮตฮนฯฮฟฮผฮญฮฝฯฮฝ ฮดแฝฒ ฯแฝธฮฝ ฮฒฮฑฯฮนฮปฮญฮฑ ฯแฟถฮฝ แผธฯฮธฯ
ฮฟฯฮฌฮณฯฮฝ ฯแฟฯ ฮถฯฮทฯ ฮบฮฑแฝถ ฮดฮนฮฑฮฏฯฮทฯ ฯฮญฯฮน, แผฯฮตฮฑ ฮผแฝฒฮฝ แผฯ ฮตแผดฮบฮฟฯฮน ฮบฮฑแฝถ แผฮบฮฑฯแฝธฮฝ ฯฮฟแฝบฯ ฯฮฟฮปฮปฮฟแฝบฯ ฮฑแฝฯแฟถฮฝ แผฯฮนฮบฮฝฮญฮตฯฮธฮฑฮน, แฝฯฮตฯฮฒฮฌฮปฮปฮตฮนฮฝ ฮดแฝฒ ฯฮนฮฝแฝฐฯ ฮบฮฑแฝถ ฯฮฑแฟฆฯฮฑ, ฯฮฏฯฮทฯฮนฮฝ ฮดแฝฒ ฮตแผถฮฝฮฑฮน ฮบฯฮญฮฑ ฯฮต แผฯฮธแฝฐ ฮบฮฑแฝถ ฯฯฮผฮฑ ฮณฮฌฮปฮฑ. ฮธแฟถฮผฮฑ ฮดแฝฒ ฯฮฟฮนฮตฯ
ฮผฮญฮฝฯฮฝ ฯแฟถฮฝ ฮบฮฑฯฮฑฯฮบฯฯฯฮฝ ฯฮตฯแฝถ ฯแฟถฮฝ แผฯฮญฯฮฝ, แผฯแฝถ ฮบฯฮฎฮฝฮทฮฝ ฯฯฮน แผกฮณฮฎฯฮฑฯฮธฮฑฮน, แผฯสผ แผงฯ ฮปฮฟฯ
ฯฮผฮตฮฝฮฟฮน ฮปฮนฯฮฑฯฯฯฮตฯฮฟฮน แผฮณฮฏฮฝฮฟฮฝฯฮฟ, ฮบฮฑฯฮฌ ฯฮตฯ ฮตแผฐ แผฮปฮฑฮฏฮฟฯ
ฮตแผดฮทยท แฝฮถฮตฮนฮฝ ฮดแฝฒ แผฯสผ ฮฑแฝฯแฟฯ แฝกฯ ฮตแผฐ แผดฯฮฝ. แผฯฮธฮตฮฝแฝฒฯ ฮดแฝฒ ฯแฝธ แฝฮดฯฯ ฯแฟฯ ฮบฯฮฎฮฝฮทฯ ฯฮฑฯฯฮทฯ ฮฟแฝฯฯ ฮดฮฎ ฯฮน แผฮปฮตฮณฮฟฮฝ ฮตแผถฮฝฮฑฮน ฮฟแผฑ ฮบฮฑฯฮฌฯฮบฮฟฯฮฟฮน แฝฅฯฯฮต ฮผฮทฮดแฝฒฮฝ ฮฟแผทฯฮฝ ฯสผ ฮตแผถฮฝฮฑฮน แผฯสผ ฮฑแฝฯฮฟแฟฆ แผฯฮนฯฮปฮญฮตฮนฮฝ, ฮผฮฎฯฮต ฮพฯฮปฮฟฮฝ ฮผฮฎฯฮต ฯแฟถฮฝ แฝ
ฯฮฑ ฮพฯฮปฮฟฯ
แผฯฯแฝถ แผฮปฮฑฯฯฯฯฮตฯฮฑ, แผฮปฮปแฝฐ ฯฮฌฮฝฯฮฑ ฯฯฮญฮฑ ฯฯฯฮญฮตฮนฮฝ แผฯ ฮฒฯ
ฯฯฯฮฝ. ฯแฝธ ฮดแฝฒ แฝฮดฯฯ ฯฮฟแฟฆฯฮฟ ฮตแผด ฯฯฮน แผฯฯแฝถ แผฮปฮทฮธฮญฯฯ ฮฟแผทฯฮฝ ฯฮน ฮปฮญฮณฮตฯฮฑฮน, ฮดฮนแฝฐ ฯฮฟแฟฆฯฮฟ แผฮฝ ฮตแผถฮตฮฝ, ฯฮฟฯฯแฟณ ฯแฝฐ ฯฮฌฮฝฯฮฑ ฯฯฮตฯฮผฮตฮฝฮฟฮน, ฮผฮฑฮบฯฯฮฒฮนฮฟฮน. แผฯแฝธ ฯแฟฯ ฮบฯฮฎฮฝฮทฯ ฮดแฝฒ แผฯฮฑฮปฮปฮฑฯฯฮฟฮผฮญฮฝฯฮฝ, แผฮณฮฑฮณฮตแฟฮฝ ฯฯฮตฮฑฯ แผฯ ฮดฮตฯฮผฯฯฮฎฯฮนฮฟฮฝ แผฮฝฮดฯแฟถฮฝ, แผฮฝฮธฮฑ ฯฮฟแฝบฯ ฯฮฌฮฝฯฮฑฯ แผฮฝ ฯฮญฮดแฟฯฮน ฯฯฯ
ฯฮญแฟฯฮน ฮดฮตฮดฮญฯฮธฮฑฮน. แผฯฯฮน ฮดแฝฒ แผฮฝ ฯฮฟฯฯฮฟฮนฯฮน ฯฮฟแฟฯฮน ฮแผฐฮธฮฏฮฟฯฮน ฯฮฌฮฝฯฯฮฝ แฝ ฯฮฑฮปฮบแฝธฯ ฯฯฮฑฮฝฮนฯฯฮฑฯฮฟฮฝ ฮบฮฑแฝถ ฯฮนฮผฮนฯฯฮฑฯฮฟฮฝ. ฮธฮตฮทฯฮฌฮผฮตฮฝฮฟฮน ฮดแฝฒ ฮบฮฑแฝถ ฯแฝธ ฮดฮตฯฮผฯฯฮฎฯฮนฮฟฮฝ, แผฮธฮตฮฎฯฮฑฮฝฯฮฟ ฮบฮฑแฝถ ฯแฝดฮฝ ฯฮฟแฟฆ แผกฮปฮฏฮฟฯ
ฮปฮตฮณฮฟฮผฮญฮฝฮทฮฝ ฯฯฮฌฯฮตฮถฮฑฮฝ. 3.24. ฮผฮตฯแฝฐ ฮดแฝฒ ฯฮฑฯฯฮทฮฝ ฯฮตฮปฮตฯ
ฯฮฑฮฏฮฑฯ แผฮธฮตฮฎฯฮฑฮฝฯฮฟ ฯแฝฐฯ ฮธฮฎฮบฮฑฯ ฮฑแฝฯแฟถฮฝ, ฮฑแผณ ฮปฮญฮณฮฟฮฝฯฮฑฮน ฯฮบฮตฯ
ฮฌฮถฮตฯฮธฮฑฮน แผฮพ แฝฮญฮปฮฟฯ
ฯฯฯฯแฟณ ฯฮฟฮนแฟทฮดฮตยท แผฯฮตแฝฐฮฝ ฯแฝธฮฝ ฮฝฮตฮบฯแฝธฮฝ แผฐฯฯฮฝฮฎฮฝฯฯฮน, ฮตแผดฯฮต ฮดแฝด ฮบฮฑฯฮฌ ฯฮตฯ ฮแผฐฮณฯฯฯฮนฮฟฮน ฮตแผดฯฮต แผฮปฮปฯฯ ฮบฯฯ, ฮณฯ
ฯฯฯฮฑฮฝฯฮตฯ แผ
ฯฮฑฮฝฯฮฑ ฮฑแฝฯแฝธฮฝ ฮณฯฮฑฯแฟ ฮบฮฟฯฮผฮญฮฟฯ
ฯฮน, แผฮพฮฟฮผฮฟฮนฮตแฟฆฮฝฯฮตฯ ฯแฝธ ฮตแผถฮดฮฟฯ แผฯ ฯแฝธ ฮดฯ
ฮฝฮฑฯฯฮฝ, แผฯฮตฮนฯฮฑ ฮดฮญ ฮฟแผฑ ฯฮตฯฮนฮนฯฯแพถฯฮน ฯฯฮฎฮปฮทฮฝ แผฮพ แฝฮญฮปฮฟฯ
ฯฮตฯฮฟฮนฮทฮผฮญฮฝฮทฮฝ ฮบฮฟฮฏฮปฮทฮฝยท แผฃ ฮดฮญ ฯฯฮน ฯฮฟฮปฮปแฝด ฮบฮฑแฝถ ฮตแฝฮตฯฮณแฝธฯ แฝฯฯฯฯฮตฯฮฑฮน. แผฮฝ ฮผฮญฯแฟ ฮดแฝฒ ฯแฟ ฯฯฮฎฮปแฟ แผฮฝฮตแฝผฮฝ ฮดฮนฮฑฯฮฑฮฏฮฝฮตฯฮฑฮน แฝ ฮฝฮญฮบฯ
ฯ, ฮฟแฝฯฮต แฝฮดฮผแฝดฮฝ ฮฟแฝฮดฮตฮผฮฏฮฑฮฝ แผฯฮฑฯฮนฮฝ ฯฮฑฯฮตฯฯฮผฮตฮฝฮฟฯ ฮฟแฝฯฮต แผฮปฮปฮฟ แผฮตฮนฮบแฝฒฯ ฮฟแฝฮดฮญฮฝ, ฮบฮฑแฝถ แผฯฮตฮน ฯฮฌฮฝฯฮฑ ฯฮฑฮฝฮตฯแฝฐ แฝฮผฮฟฮฏฯฯ ฮฑแฝฯแฟท ฯแฟท ฮฝฮญฮบฯ
ฯ. แผฮฝฮนฮฑฯ
ฯแฝธฮฝ ฮผแฝฒฮฝ ฮดแฝด แผฯฮฟฯ
ฯฮน ฯแฝดฮฝ ฯฯฮฎฮปฮทฮฝ แผฮฝ ฯฮฟแฟฯฮน ฮฟแผฐฮบฮฏฮฟฮนฯฮน ฮฟแผฑ ฮผฮฌฮปฮนฯฯฮฑ ฯฯฮฟฯฮฎฮบฮฟฮฝฯฮตฯ, ฯฮฌฮฝฯฯฮฝ แผฯฮฑฯฯฯฮผฮตฮฝฮฟฮน ฮบฮฑแฝถ ฮธฯ
ฯฮฏฮฑฯ ฮฟแผฑ ฯฯฮฟฯฮฌฮณฮฟฮฝฯฮตฯยท ฮผฮตฯแฝฐ ฮดแฝฒ ฯฮฑแฟฆฯฮฑ แผฮบฮบฮฟฮผฮฏฯฮฑฮฝฯฮตฯ แผฑฯฯแพถฯฮน ฯฮตฯแฝถ ฯแฝดฮฝ ฯฯฮปฮนฮฝ. 3.25. ฮธฮตฮทฯฮฌฮผฮตฮฝฮฟฮน ฮดแฝฒ ฯแฝฐ ฯฮฌฮฝฯฮฑ ฮฟแผฑ ฮบฮฑฯฮฌฯฮบฮฟฯฮฟฮน แผฯฮฑฮปฮปฮฌฯฯฮฟฮฝฯฮฟ แฝฯฮฏฯฯ. แผฯฮฑฮณฮณฮตฮนฮปฮฌฮฝฯฯฮฝ ฮดแฝฒ ฯฮฑแฟฆฯฮฑ ฯฮฟฯฯฯฮฝ, ฮฑแฝฯฮฏฮบฮฑ แฝ ฮฮฑฮผฮฒฯฯฮทฯ แฝฯฮณแฝดฮฝ ฯฮฟฮนฮทฯฮฌฮผฮตฮฝฮฟฯ แผฯฯฯฮฑฯฮตฯฮตฯฮฟ แผฯแฝถ ฯฮฟแฝบฯ ฮแผฐฮธฮฏฮฟฯฮฑฯ, ฮฟแฝฯฮต ฯฮฑฯฮฑฯฮบฮตฯ
แฝดฮฝ ฯฮฏฯฮฟฯ
ฮฟแฝฮดฮตฮผฮฏฮฑฮฝ ฯฮฑฯฮฑฮณฮณฮตฮฏฮปฮฑฯ, ฮฟแฝฯฮต ฮปฯฮณฮฟฮฝ แผฯฯ
ฯแฟท ฮดฮฟแฝบฯ แฝ
ฯฮน แผฯ ฯแฝฐ แผฯฯฮฑฯฮฑ ฮณแฟฯ แผฮผฮตฮปฮปฮต ฯฯฯฮฑฯฮตฯฮตฯฮธฮฑฮนยท ฮฟแผทฮฑ ฮดแฝฒ แผฮผฮผฮฑฮฝฮฎฯ ฯฮต แผแฝผฮฝ ฮบฮฑแฝถ ฮฟแฝ ฯฯฮตฮฝฮฎฯฮทฯ, แฝกฯ แผคฮบฮฟฯ
ฮต ฯแฟถฮฝ แผธฯฮธฯ
ฮฟฯฮฌฮณฯฮฝ, แผฯฯฯฮฑฯฮตฯฮตฯฮฟ, แผฮปฮปฮฎฮฝฯฮฝ ฮผแฝฒฮฝ ฯฮฟแฝบฯ ฯฮฑฯฮตฯฮฝฯฮฑฯ ฮฑแฝฯฮฟแฟฆ ฯฮฌฮพฮฑฯ แฝฯฮฟฮผฮญฮฝฮตฮนฮฝ, ฯแฝธฮฝ ฮดแฝฒ ฯฮตฮถแฝธฮฝ ฯฮฌฮฝฯฮฑ แผ
ฮผฮฑ แผฮณฯฮผฮตฮฝฮฟฯ. แผฯฮตฮฏฯฮต ฮดแฝฒ ฯฯฯฮฑฯฮตฯ
ฯฮผฮตฮฝฮฟฯ แผฮณฮญฮฝฮตฯฮฟ แผฮฝ ฮฮฎฮฒแฟฯฮน, แผฯฮญฮบฯฮนฮฝฮต ฯฮฟแฟฆ ฯฯฯฮฑฯฮฟแฟฆ แฝกฯ ฯฮญฮฝฯฮต ฮผฯ
ฯฮนฮฌฮดฮฑฯ, ฮบฮฑแฝถ ฯฮฟฯฯฮฟฮนฯฮน ฮผแฝฒฮฝ แผฮฝฮตฯฮญฮปฮปฮตฯฮฟ แผฮผฮผฯฮฝฮฏฮฟฯ
ฯ แผฮพฮฑฮฝฮดฯฮฑฯฮฟฮดฮนฯฮฑฮผฮญฮฝฮฟฯ
ฯ ฯแฝธ ฯฯฮทฯฯฮฎฯฮนฮฟฮฝ ฯแฝธ ฯฮฟแฟฆ ฮฮนแฝธฯ แผฮผฯฯแฟฯฮฑฮน, ฮฑแฝฯแฝธฯ ฮดแฝฒ ฯแฝธฮฝ ฮปฮฟฮนฯแฝธฮฝ แผฮณฯฮฝ ฯฯฯฮฑฯแฝธฮฝ แผคฮนฮต แผฯแฝถ ฯฮฟแฝบฯ ฮแผฐฮธฮฏฮฟฯฮฑฯ. ฯฯแฝถฮฝ ฮดแฝฒ ฯแฟฯ แฝฮดฮฟแฟฆ ฯแฝธ ฯฮญฮผฯฯฮฟฮฝ ฮผฮญฯฮฟฯ ฮดฮนฮตฮปฮทฮปฯ
ฮธฮญฮฝฮฑฮน ฯแฝดฮฝ ฯฯฯฮฑฯฮนฮฎฮฝ, ฮฑแฝฯฮฏฮบฮฑ ฯฮฌฮฝฯฮฑ ฮฑแฝฯฮฟแฝบฯ ฯแฝฐ ฮตแผถฯฮฟฮฝ ฯฮนฯฮฏฯฮฝ แผฯฯฮผฮตฮฝฮฑ แผฯฮตฮปฮตฮปฮฟฮฏฯฮตฮต, ฮผฮตฯแฝฐ ฮดแฝฒ ฯแฝฐ ฯฮนฯฮฏฮฑ ฮบฮฑแฝถ ฯแฝฐ แฝฯฮฟฮถฯฮณฮนฮฑ แผฯฮญฮปฮนฯฮต ฮบฮฑฯฮตฯฮธฮนฯฮผฮตฮฝฮฑ. ฮตแผฐ ฮผฮญฮฝ ฮฝฯ
ฮฝ ฮผฮฑฮธแฝผฮฝ ฯฮฑแฟฆฯฮฑ แฝ ฮฮฑฮผฮฒฯฯฮทฯ แผฮณฮฝฯฯฮนฮผฮฌฯฮตฮต ฮบฮฑแฝถ แผฯแฟฮณฮต แฝฯฮฏฯฯ ฯแฝธฮฝ ฯฯฯฮฑฯฯฮฝ, แผฯแฝถ ฯแฟ แผฯฯแฟฮธฮตฮฝ ฮณฮตฮฝฮฟฮผฮญฮฝแฟ แผฮผฮฑฯฯฮฌฮดฮน แผฆฮฝ แผฮฝ แผฮฝแฝดฯ ฯฮฟฯฯฯยท ฮฝแฟฆฮฝ ฮดแฝฒ ฮฟแฝฮดฮญฮฝฮฑ ฮปฯฮณฮฟฮฝ ฯฮฟฮนฮตฯฮผฮตฮฝฮฟฯ แผคฮนฮต ฮฑแผฐฮตแฝถ แผฯ ฯแฝธ ฯฯฯฯฯ. ฮฟแผฑ ฮดแฝฒ ฯฯฯฮฑฯฮนแฟถฯฮฑฮน แผฯฯ ฮผฮญฮฝ ฯฮน ฮตแผถฯฮฟฮฝ แผฮบ ฯแฟฯ ฮณแฟฯ ฮปฮฑฮผฮฒฮฌฮฝฮตฮนฮฝ, ฯฮฟฮนฮทฯฮฑฮณฮญฮฟฮฝฯฮตฯ ฮดฮนฮญฮถฯฮฟฮฝ, แผฯฮตแฝถ ฮดแฝฒ แผฯ ฯแฝดฮฝ ฯฮฌฮผฮผฮฟฮฝ แผฯฮฏฮบฮฟฮฝฯฮฟ, ฮดฮตฮนฮฝแฝธฮฝ แผฯฮณฮฟฮฝ ฮฑแฝฯแฟถฮฝ ฯฮนฮฝฮตฯ แผฯฮณฮฌฯฮฑฮฝฯฮฟยท แผฮบ ฮดฮตฮบฮฌฮดฮฟฯ ฮณแฝฐฯ แผฮฝฮฑ ฯฯฮญฯฮฝ ฮฑแฝฯแฟถฮฝ แผฯฮฟฮบฮปฮทฯฯฯฮฑฮฝฯฮตฯ ฮบฮฑฯฮญฯฮฑฮณฮฟฮฝ. ฯฯ
ฮธฯฮผฮตฮฝฮฟฯ ฮดแฝฒ ฯฮฑแฟฆฯฮฑ แฝ ฮฮฑฮผฮฒฯฯฮทฯ, ฮดฮตฮฏฯฮฑฯ ฯแฝดฮฝ แผฮปฮปฮทฮปฮฟฯฮฑฮณฮฏฮทฮฝ, แผฯฮตแฝถฯ ฯแฝธฮฝ แผฯสผ ฮแผฐฮธฮฏฮฟฯฮฑฯ ฯฯฯฮปฮฟฮฝ แฝฯฮฏฯฯ แผฯฮฟฯฮตฯฮตฯฮฟ ฮบฮฑแฝถ แผฯฮนฮบฮฝฮญฮตฯฮฑฮน แผฯ ฮฮฎฮฒฮฑฯ ฯฮฟฮปฮปฮฟแฝบฯ แผฯฮฟฮปฮญฯฮฑฯ ฯฮฟแฟฆ ฯฯฯฮฑฯฮฟแฟฆยท แผฮบ ฮฮทฮฒฮญฯฮฝ ฮดแฝฒ ฮบฮฑฯฮฑฮฒแฝฐฯ แผฯ ฮฮญฮผฯฮนฮฝ ฯฮฟแฝบฯ แผฮปฮปฮทฮฝฮฑฯ แผฯแฟฮบฮต แผฯฮฟฯฮปฮญฮตฮนฮฝ.
3.131. แฝ ฮดแฝฒ ฮฮทฮผฮฟฮบฮฎฮดฮทฯ ฮฟแฝฯฮฟฯ แฝงฮดฮต แผฮบ ฮฯฯฯฯฮฝฮฟฯ แผฯฮนฮณฮผฮญฮฝฮฟฯ ฮ ฮฟฮปฯ
ฮบฯฮฌฯฮตฯ แฝกฮผฮฏฮปฮทฯฮตยท ฯฮฑฯฯแฝถ ฯฯ
ฮฝฮตฮฏฯฮตฯฮฟ แผฮฝ ฯแฟ ฮฯฯฯฯฮฝฮน แฝฯฮณแฝดฮฝ ฯฮฑฮปฮตฯแฟทยท ฯฮฟแฟฆฯฮฟฮฝ แผฯฮตฮฏฯฮต ฮฟแฝฮบ แผฮดฯฮฝฮฑฯฮฟ ฯฮญฯฮตฮนฮฝ, แผฯฮฟฮปฮนฯแฝผฮฝ ฮฟแผดฯฮตฯฮฟ แผฯ ฮแผดฮณฮนฮฝฮฑฮฝ. ฮบฮฑฯฮฑฯฯแฝฐฯ ฮดแฝฒ แผฯ ฯฮฑฯฯฮทฮฝ ฯฯฯฯแฟณ แผฯฮตฯ แฝฯฮตฯฮตฮฒฮฌฮปฮตฯฮฟ ฯฮฟแฝบฯ แผฮปฮปฮฟฯ
ฯ แผฐฮทฯฯฮฟฯฯ, แผฯฮบฮตฯ
ฮฎฯ ฯฮตฯ แผแฝผฮฝ ฮบฮฑแฝถ แผฯฯฮฝ ฮฟแฝฮดแฝฒฮฝ ฯแฟถฮฝ แฝ
ฯฮฑ ฯฮตฯแฝถ ฯแฝดฮฝ ฯฮญฯฮฝฮทฮฝ แผฯฯแฝถ แผฯฮณฮฑฮปฮฎฮนฮฑ. ฮบฮฑฮฏ ฮผฮนฮฝ ฮดฮตฯ
ฯฮญฯแฟณ แผฯฮตฯ ฯฮฑฮปฮฌฮฝฯฮฟฯ
ฮแผฐฮณฮนฮฝแฟฯฮฑฮน ฮดฮทฮผฮฟฯฮฏแฟ ฮผฮนฯฮธฮฟแฟฆฮฝฯฮฑฮน, ฯฯฮฏฯแฟณ ฮดแฝฒ แผฯฮตฯ แผฮธฮทฮฝฮฑแฟฮฟฮน แผฮบฮฑฯแฝธฮฝ ฮผฮฝฮญฯฮฝ, ฯฮตฯฮฌฯฯแฟณ ฮดแฝฒ แผฯฮตฯ ฮ ฮฟฮปฯ
ฮบฯฮฌฯฮทฯ ฮดฯ
แฟถฮฝ ฯฮฑฮปฮฌฮฝฯฯฮฝ. ฮฟแฝฯฯ ฮผแฝฒฮฝ แผฯฮฏฮบฮตฯฮฟ แผฯ ฯแฝดฮฝ ฮฃฮฌฮผฮฟฮฝ, ฮบฮฑแฝถ แผฯแฝธ ฯฮฟฯฯฮฟฯ
ฯฮฟแฟฆ แผฮฝฮดฯแฝธฯ ฮฟแฝฮบ แผฅฮบฮนฯฯฮฑ ฮฯฮฟฯฯฮฝฮนแฟฯฮฑฮน แผฐฮทฯฯฮฟแฝถ ฮตแฝฮดฮฟฮบฮฏฮผฮทฯฮฑฮฝ. แผฮณฮญฮฝฮตฯฮฟ ฮณแฝฐฯ แฝฆฮฝ ฯฮฟแฟฆฯฮฟ แฝ
ฯฮต ฯฯแฟถฯฮฟฮน ฮผแฝฒฮฝ ฮฯฮฟฯฯฮฝฮนแฟฯฮฑฮน แผฐฮทฯฯฮฟแฝถ แผฮปฮญฮณฮฟฮฝฯฮฟ แผฮฝแฝฐ ฯแฝดฮฝ แผฮปฮปฮฌฮดฮฑ ฮตแผถฮฝฮฑฮน, ฮดฮตฯฯฮตฯฮฟฮน ฮดแฝฒ ฮฯ
ฯฮทฮฝฮฑแฟฮฟฮน. ฮบฮฑฯแฝฐ ฯแฝธฮฝ ฮฑแฝฯแฝธฮฝ ฮดแฝฒ ฯฮฟแฟฆฯฮฟฮฝ ฯฯฯฮฝฮฟฮฝ ฮบฮฑแฝถ แผฯฮณฮตแฟฮฟฮน แผคฮบฮฟฯ
ฮฟฮฝ ฮผฮฟฯ
ฯฮนฮบแฝดฮฝ ฮตแผถฮฝฮฑฮน แผฮปฮปฮฎฮฝฯฮฝ ฯฯแฟถฯฮฟฮน. 1' '. None | 3.17. After this Cambyses planned three expeditions, against the Carchedonians, against the Ammonians, and against the โlong-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: โCambyses, 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: โIt 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: ,โThe 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.โโ 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: โWe 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 drinkโsignifying to the Fish-eaters the wineโfor 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 mattersโfor those who were previously valiant may now be of lesser mettle, and those who lacked mettle then may be better men nowโ ''. None |
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11. Plato, Timaeus, None (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: โข Art, artistic representation โข Paradigm and art โข theurgy (hieratic art)
Found in books: Corrigan and Rasimus (2013) 332; Dillon and Timotin (2015) 127, 172; d, Hoine and Martijn (2017) 284
28a. แผฮตฮฏ, แฝฮฝ ฮดแฝฒ ฮฟแฝฮดฮญฯฮฟฯฮต; ฯแฝธ ฮผแฝฒฮฝ ฮดแฝด ฮฝฮฟฮฎฯฮตฮน ฮผฮตฯแฝฐ ฮปฯฮณฮฟฯ
ฯฮตฯฮนฮปฮทฯฯฯฮฝ, แผฮตแฝถ ฮบฮฑฯแฝฐ ฯฮฑแฝฯแฝฐ แฝฮฝ, ฯแฝธ ฮดสผ ฮฑแฝ ฮดฯฮพแฟ ฮผฮตฯสผ ฮฑแผฐฯฮธฮฎฯฮตฯฯ แผฮปฯฮณฮฟฯ
ฮดฮฟฮพฮฑฯฯฯฮฝ, ฮณฮนฮณฮฝฯฮผฮตฮฝฮฟฮฝ ฮบฮฑแฝถ แผฯฮฟฮปฮปฯฮผฮตฮฝฮฟฮฝ, แฝฮฝฯฯฯ ฮดแฝฒ ฮฟแฝฮดฮญฯฮฟฯฮต แฝฮฝ. ฯแพถฮฝ ฮดแฝฒ ฮฑแฝ ฯแฝธ ฮณฮนฮณฮฝฯฮผฮตฮฝฮฟฮฝ แฝฯสผ ฮฑแผฐฯฮฏฮฟฯ
ฯฮนฮฝแฝธฯ แผฮพ แผฮฝฮฌฮณฮบฮทฯ ฮณฮฏฮณฮฝฮตฯฮธฮฑฮนยท ฯฮฑฮฝฯแฝถ ฮณแฝฐฯ แผฮดฯฮฝฮฑฯฮฟฮฝ ฯฯฯแฝถฯ ฮฑแผฐฯฮฏฮฟฯ
ฮณฮญฮฝฮตฯฮนฮฝ ฯฯฮตแฟฮฝ. แฝ
ฯฮฟฯ
ฮผแฝฒฮฝ ฮฟแฝฮฝ แผฮฝ แฝ ฮดฮทฮผฮนฮฟฯ
ฯฮณแฝธฯ ฯฯแฝธฯ ฯแฝธ ฮบฮฑฯแฝฐ ฯฮฑแฝฯแฝฐ แผฯฮฟฮฝ ฮฒฮปฮญฯฯฮฝ แผฮตฮฏ, ฯฮฟฮนฮฟฯฯแฟณ ฯฮนฮฝแฝถ ฯฯฮฟฯฯฯฯฮผฮตฮฝฮฟฯ ฯฮฑฯฮฑฮดฮตฮฏฮณฮผฮฑฯฮน, ฯแฝดฮฝ แผฐฮดฮญฮฑฮฝ ฮบฮฑแฝถ ฮดฯฮฝฮฑฮผฮนฮฝ ฮฑแฝฯฮฟแฟฆ แผฯฮตฯฮณฮฌฮถฮทฯฮฑฮน, ฮบฮฑฮปแฝธฮฝ แผฮพ แผฮฝฮฌฮณฮบฮทฯ'29a. แผฯฮทฯฮณฮฌฮถฮตฯฮฟ, ฯฯฯฮตฯฮฟฮฝ ฯฯแฝธฯ ฯแฝธ ฮบฮฑฯแฝฐ ฯฮฑแฝฯแฝฐ ฮบฮฑแฝถ แฝกฯฮฑฯฯฯฯ แผฯฮฟฮฝ แผข ฯฯแฝธฯ ฯแฝธ ฮณฮตฮณฮฟฮฝฯฯ. ฮตแผฐ ฮผแฝฒฮฝ ฮดแฝด ฮบฮฑฮปฯฯ แผฯฯฮนฮฝ แฝ
ฮดฮต แฝ ฮบฯฯฮผฮฟฯ แฝ
ฯฮต ฮดฮทฮผฮนฮฟฯ
ฯฮณแฝธฯ แผฮณฮฑฮธฯฯ, ฮดแฟฮปฮฟฮฝ แฝกฯ ฯฯแฝธฯ ฯแฝธ แผฮฏฮดฮนฮฟฮฝ แผฮฒฮปฮตฯฮตฮฝยท ฮตแผฐ ฮดแฝฒ แฝ ฮผฮทฮดสผ ฮตแผฐฯฮตแฟฮฝ ฯฮนฮฝฮน ฮธฮญฮผฮนฯ, ฯฯแฝธฯ ฮณฮตฮณฮฟฮฝฯฯ. ฯฮฑฮฝฯแฝถ ฮดแฝด ฯฮฑฯแฝฒฯ แฝ
ฯฮน ฯฯแฝธฯ ฯแฝธ แผฮฏฮดฮนฮฟฮฝยท แฝ ฮผแฝฒฮฝ ฮณแฝฐฯ ฮบฮฌฮปฮปฮนฯฯฮฟฯ ฯแฟถฮฝ ฮณฮตฮณฮฟฮฝฯฯฯฮฝ, แฝ ฮดสผ แผฯฮนฯฯฮฟฯ ฯแฟถฮฝ ฮฑแผฐฯฮฏฯฮฝ. ฮฟแฝฯฯ ฮดแฝด ฮณฮตฮณฮตฮฝฮทฮผฮญฮฝฮฟฯ ฯฯแฝธฯ ฯแฝธ ฮปฯฮณแฟณ ฮบฮฑแฝถ ฯฯฮฟฮฝฮฎฯฮตฮน ฯฮตฯฮนฮปฮทฯฯแฝธฮฝ ฮบฮฑแฝถ ฮบฮฑฯแฝฐ ฯฮฑแฝฯแฝฐ แผฯฮฟฮฝ ฮดฮตฮดฮทฮผฮนฮฟฯฯฮณฮทฯฮฑฮนยท '. 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 |
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12. None, None, nan (4th cent. BCE - 3rd cent. BCE)
Tagged with subjects: โข Artists of Dionysus โข Dionysus, Artists of โข guilds, Artists of Dionysus โข technitai (Artists of Dionysus), benefactors of (ฯฮนฮปฮฟฯฮตฯฮฝแฟฯฮฑฮน)
Found in books: Cosgrove (2022) 134; Csapo (2022) 51
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13. Anon., 1 Enoch, 1 (3rd cent. BCE - 2nd cent. BCE)
Tagged with subjects: โข Moses, art โข art โข art, Metatron โข art, interpreters โข 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 |
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14. Anon., Jubilees, 2.2-2.3 (2nd cent. BCE - 2nd cent. BCE)
Tagged with subjects: โข Moses, art โข art, Qumran โข art, priests โข 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 |
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15. Cicero, On Divination, 1.12, 1.24, 1.88, 1.92 (2nd cent. BCE - 1st cent. BCE)
Tagged with subjects: โข ars โข artists, Greek โข cosmos,, craft, art, techne โข haruspices, haruspicina (ars), โข 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? รnterea 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 |
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16. Polybius, Histories, 4.20.12, 16.21.8 (2nd cent. BCE - 2nd cent. BCE)
Tagged with subjects: โข Artists of Dionysus โข Dionysus, Artists of โข Polybius, on the Artists of Dionysus โข civic values and art,, public discussion โข guilds, Artists of Dionysus โข political life, public discussion of art โข technitai (Artists of Dionysus) โข technitai (Artists of Dionysus), benefactors of (ฯฮนฮปฮฟฯฮตฯฮฝแฟฯฮฑฮน)
Found in books: Cosgrove (2022) 164; Csapo (2022) 11, 51; Rutter and Sparkes (2012) 194
4.20.12. ฮบฮฑแฝถ ฮผแฝดฮฝ แผฮผฮฒฮฑฯฮฎฯฮนฮฑ ฮผฮตฯสผ ฮฑแฝฮปฮฟแฟฆ ฮบฮฑแฝถ ฯฮฌฮพฮตฯฯ แผฯฮบฮฟแฟฆฮฝฯฮตฯ, แผฯฮน ฮดสผ แฝฯฯฮฎฯฮตฮนฯ แผฮบฯฮฟฮฝฮฟแฟฆฮฝฯฮตฯ ฮผฮตฯแฝฐ ฮบฮฟฮนฮฝแฟฯ แผฯฮนฯฯฯฮฟฯแฟฯ ฮบฮฑแฝถ ฮดฮฑฯฮฌฮฝฮทฯ ฮบฮฑฯสผ แผฮฝฮนฮฑฯ
ฯแฝธฮฝ แผฮฝ ฯฮฟแฟฯ ฮธฮตฮฌฯฯฮฟฮนฯ แผฯฮนฮดฮตฮฏฮบฮฝฯ
ฮฝฯฮฑฮน ฯฮฟแฟฯ ฮฑแฝฯแฟถฮฝ ฯฮฟฮปฮฏฯฮฑฮนฯ
16.21.8. แฝฮฝ ฮดฮญ ฯฮฟฯฮต ฯฯฯฮฝฮฟฮฝ ฯแฟฯ แผกฮผฮญฯฮฑฯ แผฯฮตฮผฮญฯฮนฮถฮต ฯฯแฝธฯ แผฮฝฯฮตฯฮพฮตฮนฯ, แผฮฝ ฯฮฟฯฯแฟณ ฮดฮนฮตฮดฮฏฮดฮฟฯ
, ฮผแพถฮปฮปฮฟฮฝ ฮดสผ, ฮตแผฐ ฮดฮตแฟ ฯแฝธ ฯฮฑฮนฮฝฯฮผฮตฮฝฮฟฮฝ ฮตแผฐฯฮตแฟฮฝ, ฮดฮนฮตฯฯฮฏฯฯฮตฮน ฯแฝฐ ฮฒฮฑฯฮนฮปฮนฮบแฝฐ ฯฯฮฎฮผฮฑฯฮฑ ฯฮฟแฟฯ แผฯแฝธ ฯแฟฯ แผฮปฮปฮฌฮดฮฟฯ ฯฮฑฯฮฑฮณฮตฮณฮฟฮฝฯฯฮน ฯฯฮตฯฮฒฮตฯ
ฯฮฑแฟฯ ฮบฮฑแฝถ ฯฮฟแฟฯ ฯฮตฯแฝถ ฯแฝธฮฝ ฮฮนฯฮฝฯ
ฯฮฟฮฝ ฯฮตฯฮฝฮฏฯฮฑฮนฯ, ฮผฮฌฮปฮนฯฯฮฑ ฮดแฝฒ ฯฮฟแฟฯ ฯฮตฯแฝถ ฯแฝดฮฝ ฮฑแฝฮปแฝดฮฝ แผกฮณฮตฮผฯฯฮน ฮบฮฑแฝถ ฯฯฯฮฑฯฮนฯฯฮฑฮนฯ.''. 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 |
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17. None, None, nan (2nd cent. BCE - 1st cent. BCE)
Tagged with subjects: โข Verres, C., appropriates art works in Syracuse โข ars โข ars, oratoris โข liberal arts โข proprietas properties of individual arts
Found in books: Keeline (2018) 219, 220, 221; Oksanish (2019) 130, 131, 142; Rutledge (2012) 118
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18. None, None, nan (2nd cent. BCE - 1st cent. BCE)
Tagged with subjects: โข Verres, C., appropriates art works in Syracuse โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation
Found in books: Jenkyns (2013) 242, 262; Rutledge (2012) 49
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19. None, None, nan (2nd cent. BCE - 1st cent. BCE)
Tagged with subjects: โข artes liberales โข liberal arts
Found in books: Keeline (2018) 218, 219; Oksanish (2019) 38
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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: โข Alcinous, Middle Platonist author of Didasklikos, Art of love โข Ars Amatoria (Ovid) โข Ars Amatoria (Ovid),, audience disclaimer and โข Cicero, influence of De officiis on Ars amatoria โข Love, Art of falling out of love (Ovid) โข Love, Art of love โข Orpheus,, audience awareness and artistic strategies of โข Ovid on relabelling, On Art of Love and Falling out of love โข Ovid, Ars amatoria โข Ovid, Ars and Remedia as philosophical in their own right โข Ovid, philosophy as ars uitae โข Plato, Art of love and its three objectives โข audience, power dynamic between artist and โข power as motif,, vulnerability of artist โข sexual subjects in art, Orpheus and โข sexual subjects in art, eroticdidacticism โข sexual subjects in art, homoeroticism โข 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 |
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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: โข Arachne, as arrogant artist โข Ars Amatoria (Ovid) โข Ars Amatoria (Ovid),, as cause of exile โข Augustus, artistic freedom suppressed by โข Metamorphoses (Ovid), as commemorative of art โข Orpheus,, as artist โข Orpheus,, audience awareness and artistic strategies of โข Ovid, Ars amatoria โข Pygmalion, as artist โข allusion, to artistic and singing contests โข anxiety, artistic โข artist โข artist, Pygmalion as โข artists and gods โข contests, artistic hubris and entry into โข death, triumph of art over โข drapery, artistic treatment of โข ekphrasis,, artistic process and โข ekphrasis,, nonvisual arts and โข hubris,, artistic arrogance โข imperialism, art as critique of โข ivory, as artistic medium โข nature, transgressed by art โข patrons of the arts โข power as motif,, vulnerability of artist โข power, of artists and authors โข punishment, erasure of artistic works as โข sexual subjects in art, Orpheus and โข sexual subjects in art, as customary entertainment โข sexual subjects in art, audience and โข sexual subjects in art, eroticdidacticism โข sexual subjects in art, incest โข sexual subjects in art, on Arachneโs tapestry โข sexual subjects in art, pederasty โข sexual subjects in art, realism and โข sexual subjects in art, selfcensorship and โข 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 โlaudare 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, โsi di dare cuncta potestis, 10.275. sit coniunx, optoโ (non ausus โeburnea virgoโ 10.276. dicere) Pygmalion โsimilis meaโ dixit โeburnae.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, โIt 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,โwithout 6.7. just retribution.โโSo 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 wifeโif the God" '6.60. have blessed youโlet 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, โMinerva 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.โTwelve 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.โAnd 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: โYou 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. โThere is one here who will be king, if you' '. None |
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22. Philo of Alexandria, On The Life of Moses, 2.2 (1st cent. BCE - missingth cent. CE)
Tagged with subjects: โข Moses, art โข art, medieval Christian, depiction of Jews โข clothing, signification of, in medieval Christian art โข 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 |
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23. None, None, nan (1st cent. BCE - missingth cent. CE)
Tagged with subjects: โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation โข art gallery, in Petroniusโ Satyrica
Found in books: Elsner (2007) 187; Jenkyns (2013) 240
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24. None, None, nan (1st cent. BCE - 1st cent. BCE)
Tagged with subjects: โข Ovid, Ars amatoria โข 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: โข Hadrian, as artist โข Nero, artistic aspirations โข Petronius, and the decline of art โข Pliny the Elder, on decline of art โข Vitruvius, on decline of art โข art expert, in Petroniusโ Satyrica โข art gallery, in Petroniusโ Satyrica โข 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: โข Horace, Ars poetica โข Horace, Empedocles in Ars poetica โข Nile, subject matter of art โข ekphrasis,, literary arts excluded from traditional use of โข 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: โข Ars Amatoria (Ovid) โข Ovid, Ars Amatoria โข aesthetic approach to art and architecture โข architecture and art, aesthetic approach โข 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: โข Ars Amatoria (Ovid) โข Ars Amatoria (Ovid),, as cause of exile โข Ars Amatoria (Ovid),, contexts of composition โข Augustus, artistic freedom suppressed by โข Greek, art โข Orpheus,, audience awareness and artistic strategies of โข anxiety, artistic โข ars โข death, triumph of art over โข sexual subjects in art, Orpheus and โข sexual subjects in art, eroticdidacticism โข sexual subjects in art, homoeroticism โข 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: โข Greek, art โข Ovid, Ars amatoria โข Porcius Cato the Elder, M., on Greek art and culture โข art โข objects, artefactual versus artistic โข 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: โข Cicero, influence of De officiis on Ars amatoria โข Love, Art of falling out of love (Ovid) โข Love, Art of love โข Ovid on relabelling, On Art of Love and Falling out of love โข 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: โข Ovid, Ars Amatoria โข aesthetic approach to art and architecture โข architecture and art, aesthetic approach โข 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: โข Ars Amatoria (Ovid) โข Ars Amatoria (Ovid),, as cause of exile โข Ars Amatoria (Ovid),, audience disclaimer and โข Augustus, artistic freedom suppressed by โข Augustus, misjudgment of Ars amatoria โข Ovid, Ars Amatoria โข artists and gods โข exile (relegation), as artistic disempowerment โข freedom, artistic freedom as theme โข hubris,, artistic arrogance โข sexual subjects in art, Orpheus and โข 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: โข aesthetic approach to art and architecture โข architecture and art, aesthetic approach โข art and architecture, aesthetic approach โข patrons of the arts,, recusatio and โข place among ancient artists, his realism โข 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: โข Art โข Art, idol vs. image โข Dionysiac Artists, granted exemption from war contributions and military service โข Jews, as blind to identity of Christ, depicted in art โข Moses, art โข Naaran basilical synagogue, basilical synagogue, mosaic (figural art and Jewish symbols) โข Yafia, figural art โข art, โข art, medieval Christian, depiction of Jews โข art, pagan โข catacombs, Bet Shearim, figural art โข church fathers, figural art โข clothing, signification of, in medieval Christian art โข discovery, frescoes, artistic motifs โข pallium, signification in medieval Christian art โข 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. ฬฮฯฮตฮนฮดฮทฬ ฮดฮตฬ ฯฮฑฬฮฝฯฮฑ ฯฯฮตฮดฮฟฬฮฝ ฮตฬฮบ ฯฮทอฯ ฯฮฟฯ
อ ฮฝฮฟฮผฮฟฮธฮตฬฯฮฟฯ
ฯฮฟฯฮนฬฮฑฯ ฮทฬฮผฮนอฮฝ ฮฑฬฮฝฮทฬฯฯฮทฯฮฑฮน ฮฯฯ
ฯฮตฬฮฟฯ, ฮฑฬฮฝฮฑฬฮณฮบฮท ฮผฮฟฮน ฮฒฯฮฑฯฮตฬฮฑ ฯฮตฯฮนฬ ฮตฬฮบฮตฮนฬฮฝฮฟฯ
ฯฯฮฟฮตฮนฯฮตฮนอฮฝ, ฮฟฬฬฯฯฯ ฮผฮทฬ ฯฮนฮฝฮตฯ ฯฯอฮฝ ฮฑฬฮฝฮฑฮณฮฝฯฯฮฟฮผฮตฬฮฝฯฮฝ ฮดฮนฮฑฯฮฟฯฯอฯฮน, ฯฮฟฬฮธฮตฮฝ ฮทฬฮผฮนอฮฝ ฮฟฬ ฮปฮฟฬฮณฮฟฯ ฯฮตฯฮนฬ ฮฝฮฟฬฮผฯฮฝ ฮบฮฑฮนฬ ฯฯฮฑฬฮพฮตฯฮฝ ฮตฬฬฯฯฮฝ ฯฮทฬฮฝ ฮฑฬฮฝฮฑฮณฯฮฑฯฮทฬฮฝ ฮตฬฯฮนฬ ฯฮฟฯฮฟฯ
อฯฮฟฮฝ ฯฯ
ฯฮนฮฟฮปฮฟฮณฮนฬฮฑฯ ฮบฮตฮบฮฟฮนฮฝฯฬฮฝฮทฮบฮตฮฝ.
1.18. ฮตฬฬฮฝฮธฮฑ ฮฟฬ ฯฮทอฯ ฮฃฮฟฮปฯ
ฮผฮฑอ ฯ
ฬฯฮฟฮดฮตฬฯฮตฯฮฑฮน ฮฒฮฑฯฮนฮปฮตฯ
ฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฮตฮปฯฮนฯฮตฮดฮตฬฮบ: ฯฮทฮผฮฑฮนฬฮฝฮตฮน ฮดฮตฬ ฯฮฟฯ
อฯฮฟ ฮฒฮฑฯฮนฮปฮตฯ
ฬฯ ฮดฮนฬฮบฮฑฮนฮฟฯ: ฮบฮฑฮนฬ ฮทฬอฮฝ ฮดฮตฬ ฯฮฟฮนฮฟฯ
อฯฮฟฯ ฮฟฬฮผฮฟฮปฮฟฮณฮฟฯ
ฮผฮตฬฮฝฯฯ, ฯฬฯ ฮดฮนฮฑฬ ฯฮฑฯ
ฬฯฮทฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ ฯฮทฬฮฝ ฮฑฮนฬฯฮนฬฮฑฮฝ ฮบฮฑฮนฬ ฮนฬฮตฯฮตฬฮฑ ฮณฮตฮฝฮตฬฯฮธฮฑฮน ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ: ฯฮทฬฮฝ ฮผฮตฬฮฝฯฮฟฮน ฮฃฮฟฮปฯ
ฮผฮฑอ ฯ
ฬฬฯฯฮตฯฮฟฮฝ ฮตฬฮบฮฑฬฮปฮตฯฮตฮฝ ฬฮฮตฯฮฟฯฮฟฬฮปฯ
ฮผฮฑ.' "1.19. ฮนฬฯฯฮตฬฮฟฮฝ ฮฟฯ
ฬอฮฝ, ฮฟฬฬฯฮน ฯฮฑฬฮฝฯฯฮฝ ฮตฬฮบฮตฮนอฮฝฮฟฯ ฮฑฬฮฝฮฑฮณฮบฮฑฮนฮฟฬฯฮฑฯฮฟฮฝ ฮทฬฮณฮทฬฯฮฑฯฮฟ ฯฯออ
ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮตฬฮฑฯ
ฯฮฟฯ
อ ฮผฮตฬฮปฮปฮฟฮฝฯฮน ฮฒฮนฬฮฟฮฝ ฮฟฮนฬฮบฮฟฮฝฮฟฮผฮทฬฯฮตฮนฮฝ ฮบฮฑฮปฯอฯ ฮบฮฑฮนฬ ฯฮฟฮนอฯ ฮฑฬฬฮปฮปฮฟฮนฯ ฮฝฮฟฮผฮฟฮธฮตฯฮตฮนอฮฝ ฮธฮตฮฟฯ
อ ฯฯฯอฯฮฟฮฝ ฯฯ
ฬฯฮนฮฝ ฮบฮฑฯฮฑฮฝฮฟฮทอฯฮฑฮน ฮบฮฑฮนฬ ฯฯอฮฝ ฮตฬฬฯฮณฯฮฝ ฯฯอฮฝ ฮตฬฮบฮตฮนฬฮฝฮฟฯ
ฮธฮตฮฑฯฮทฬฮฝ ฯฯออ
ฮฝฯออ
ฮณฮตฮฝฮฟฬฮผฮตฮฝฮฟฮฝ ฮฟฯ
ฬฬฯฯฯ ฯฮฑฯฮฑฬฮดฮตฮนฮณฮผฮฑ ฯฮฟฬ ฯฮฑฬฮฝฯฯฮฝ ฮฑฬฬฯฮนฯฯฮฟฮฝ ฮผฮนฮผฮตฮนอฯฮธฮฑฮน ฮบฮฑฮธ' ฮฟฬฬฯฮฟฮฝ ฮฟฮนฬอฮฟฬฮฝ ฯฮต ฮบฮฑฮนฬ ฯฮตฮนฯฮฑอฯฮธฮฑฮน ฮบฮฑฯฮฑฮบฮฟฮปฮฟฯ
ฮธฮตฮนอฮฝ." "1.19. ฯฮฑฯฮฑฮบฮฟฯ
ฬฮฟฯ
ฯฮฑฮฝ ฮผฮตฬฮฝ ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ ฮบฮฑฮนฬ ฯฯฮฟฯฯฯฮตฬฯฯ ฯฯฯฮฟฯ
อฯฮฑฮฝ ฮตฬฬฮปฮตฮณฮตฮฝ ฮฑฬฯฮฟฮปฮตฮนอฯฮธฮฑฮน, ฮฝฮฟฯฯฮทฬฯฮฑฯฮฑฮฝ ฮดฮตฬ ฮฑฯ
ฬฯฮทฬฮฝ ฮฟฬฯฮนฬฯฯ ฮณฮตฮฝฮทฬฯฮตฯฮธฮฑฮน ฮผฮทฯฮตฬฯฮฑ ฯฮฑฮนฮดฮฟฬฯ ฯฮทอฯ ฮณฮทอฯ ฮตฬฮบฮตฮนฬฮฝฮทฯ ฮฒฮฑฯฮนฮปฮตฯ
ฬฯฮฟฮฝฯฮฟฯ. ฯฮฟฯ
ฬฯฮฟฮนฯ ฯฮตฮนฬฮธฮตฯฮฑฮน ฮบฮฑฮนฬ ฮตฬฯฮฑฮฝฮตฮปฮธฮฟฯ
อฯฮฑ ฯฯฮฟฬฯ ฯฮฟฯ
ฬฯ ฮดฮตฯฯฮฟฬฯฮฑฯ ฯฯ
ฮณฮณฮฝฯฬฮผฮทฯ ฮตฬฬฯฯ
ฯฮต: ฯฮนฬฮบฯฮตฮน ฮดฮตฬ ฮผฮตฯ' ฮฟฯ
ฬ ฯฮฟฮปฯ
ฬ ฬฮฯฮผฮฑฮทอฮปฮฟฮฝ, ฮธฮตฮฟฬฮบฮปฯ
ฯฮฟฮฝ ฮฑฬฬฮฝ ฯฮนฯ ฮตฮนฬฬฯฮฟฮน, ฮดฮนฮฑฬ ฯฮฟฬ ฮตฮนฬฯฮฑฮบฮฟฯ
อฯฮฑฮน ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฯฮทอฯ ฮนฬฮบฮตฯฮนฬฮฑฯ." "1.21. ฯฮฑฯฮฑฮบฮฑฮปฮตฮนอ ฯฮต ฯฯฮฑฬอ
ฯฯ ฮตฬฬฯฮตฮนฮฝ ฯฯฮฟฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฮตฯ
ฬฮผฮตฮฝฮทอ ฯฮฟฮนฮตฮนอฮฝ, ฯฮฑฯ' ฮฑฯ
ฬฯฯออ
ฯฮต ฮผฮตฬฮฝฮตฮนฮฝ ฮฒฮฟฯ
ฮปฮฟฮผฮตฬฮฝฯอ
ฯฮฑอฯฮฑฮฝ ฮฑฬฯฮธฮฟฮฝฮนฬฮฑฮฝ ฯ
ฬฯฮฑฬฯฮพฮตฮนฮฝ ฮฑฬฯฮนฮตฬฮฝฮฑฮน ฯฮต ฯฯฮฟฮฑฮนฯฮฟฯ
ฬฮผฮตฮฝฮฟฮฝ ฯฮตฯ
ฬฮพฮตฯฮธฮฑฮน ฯฮฟฮผฯฮทอฯ ฮบฮฑฮนฬ ฯฮฑฬฮฝฯฯฮฝ ฮฟฬฬฯฯฮฝ ฮบฮฑฮนฬ ฯฯฮทฬอ
ฮถฯฮฝ ฯฯฮฟฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฑฬฯฮนฬฮบฮฟฮนฯฮฟ." '1.21. ฯฮฟฯ
อฯฮฟ ฮดฮทฬ ฯฮฑฮนฮดฮตฯ
อฯฮฑฮน ฮฒฮฟฯ
ฮปฮทฮธฮตฮนฬฯ ฮฯฯ
ฯฮทอฯ ฯฮฟฬ ฯฮฑฮนฬฮดฮตฯ
ฮผฮฑ ฯฮฟฯ
ฬฯ ฮตฬฮฑฯ
ฯฮฟฯ
อ ฯฮฟฮปฮนฬฯฮฑฯ ฯฮทอฯ ฯฯอฮฝ ฮฝฮฟฬฮผฯฮฝ ฮธฮตฬฯฮตฯฯ ฮฟฯ
ฬฮบ ฮฑฬฯฮฟฬ ฯฯ
ฮผฮฒฮฟฮปฮฑฮนฬฯฮฝ ฮบฮฑฮนฬ ฯฯอฮฝ ฯฯฮฟฬฯ ฮฑฬฮปฮปฮทฬฮปฮฟฯ
ฯ ฮดฮนฮบฮฑฮนฬฯฮฝ ฮทฬฬฯฮพฮฑฯฮฟ ฯฮฟฮนอฯ ฮฑฬฬฮปฮปฮฟฮนฯ ฯฮฑฯฮฑฯฮปฮทฯฮนฬฯฯ, ฮฑฬฮปฮป' ฮตฬฯฮนฬ ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯฮฟฯ
อ ฮบฮฟฬฯฮผฮฟฯ
ฮบฮฑฯฮฑฯฮบฮตฯ
ฮทฬฮฝ ฯฮฑฬฯ ฮณฮฝฯฬฮผฮฑฯ ฮฑฯ
ฬฯฯอฮฝ ฮฑฬฮฝฮฑฮณฮฑฮณฯฬฮฝ ฮบฮฑฮนฬ ฯฮตฮนฬฯฮฑฯ, ฮฟฬฬฯฮน ฯฯอฮฝ ฮตฬฯฮนฬ ฮณฮทอฯ ฮตฬฬฯฮณฯฮฝ ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ ฮบฮฑฬฮปฮปฮนฯฯฮฟฬฮฝ ฮตฬฯฮผฮตฮฝ ฮฑฬฬฮฝฮธฯฯฯฮฟฮน, ฮฟฬฬฯฮต ฯฯฮฟฬฯ ฯฮทฬฮฝ ฮตฯ
ฬฯฮตฬฮฒฮตฮนฮฑฮฝ ฮตฬฬฯฯฮตฮฝ ฯ
ฬฯฮฑฮบฮฟฯ
ฬฮฟฮฝฯฮฑฯ, ฯฬฮฑอ
ฮดฮนฬฯฯ ฮทฬฬฮดฮท ฯฮตฯฮนฬ ฯฮฑฬฮฝฯฯฮฝ ฮตฬฬฯฮตฮนฮธฮตฮฝ." "1.22. ฬฮฮฝฮดฯฯฮธฮตฬฮฝฯฮน ฮดฮตฬ ฯฯออ
ฯฮฑฮนฮดฮนฬ ฮณฯ
ฬฮฝฮฑฮนฮฟฮฝ ฮฑฬฬฮณฮตฯฮฑฮน ฯฮฟฬ ฮณฮตฬฮฝฮฟฯ ฮฮนฬฮณฯ
ฬฯฯฮนฮฟฮฝ, ฮตฬฮฝฮธฮตฬฮฝฮดฮต ฮทฬอฮฝ ฮบฮฑฮนฬ ฮฑฯ
ฬฯฮทฬ ฯฮฟฬ ฮฑฬฯฯฮฑฮนอฮฟฮฝ, ฮตฬฮพ ฮฟฯ
ฬอ ฯฮฑฮนอฮดฮตฯ ฬฮฯฮผฮฑฮทฬฮปฯอ
ฮณฮนฬฮฝฮฟฮฝฯฮฑฮน ฮดฯฬฮดฮตฮบฮฑ ฯฮฑฬฮฝฯฮตฯ, ฮฮฑฮฒฮฑฮนฯฬฮธฮทฯ ฮฮทฬฮดฮฑฯฮฟฯ ฬฮฮฒฮดฮตฮทอฮปฮฟฯ ฮฮฑฬฯฯฮฑฮผฮฟฯ ฮฮฑฬฯฮผฮฑฯฮฟฯ ฬฮฮดฮฟฯ
ฮผฮฑอฯ ฮฮฑฬฯฮผฮทฯฮฟฯ ฮงฮฟฬฮดฮฑฮผฮฟฯ ฮฮตฬฮผฮฑฮฝฮฟฯ ฬฮฮตฯฮฟฯ
อฯฮฟฯ ฮฮฑฬฯฮฑฮนฯฮฟฯ ฮฮฑฬฮดฮผฮฑฯฮฟฯ.' "1.22. ฮฟฮนฬ ฮผฮตฬฮฝ ฮณฮฑฬฯ ฮฑฬฬฮปฮปฮฟฮน ฮฝฮฟฮผฮฟฮธฮตฬฯฮฑฮน ฯฮฟฮนอฯ ฮผฯ
ฬฮธฮฟฮนฯ ฮตฬฮพฮฑฮบฮฟฮปฮฟฯ
ฮธฮทฬฯฮฑฮฝฯฮตฯ ฯฯอฮฝ ฮฑฬฮฝฮธฯฯฯฮนฬฮฝฯฮฝ ฮฑฬฮผฮฑฯฯฮทฮผฮฑฬฯฯฮฝ ฮตฮนฬฯ ฯฮฟฯ
ฬฯ ฮธฮตฮฟฯ
ฬฯ ฯฯออ
ฮปฮฟฬฮณฯอ
ฯฮทฬฮฝ ฮฑฮนฬฯฯฯ
ฬฮฝฮทฮฝ ฮผฮตฯฮตฬฮธฮตฯฮฑฮฝ ฮบฮฑฮนฬ ฯฮฟฮปฮปฮทฬฮฝ ฯ
ฬฯฮฟฯฮนฬฮผฮทฯฮนฮฝ ฯฮฟฮนอฯ ฯฮฟฮฝฮทฯฮฟฮนอฯ ฮตฬฬฮดฯฮบฮฑฮฝ: 1.23. ฮตฬฯฮตฮนฬ ฮด' ฮตฬฮณฮตฮฝฮฝฮทฬฮธฮทฯ * ฮฑฬฯฮฟฮธฮฑฬฮฝฮทอ
ฯ ฮฟฯ
ฬ ฯฮฟฬฮฝ ฮบฮฟฮนฮฝฮฟฬฮฝ ฮตฬฮบ ฯฮฟฯ
อ ฮถฮทอฮฝ ฯฯฮฟฬฯฮฟฮฝ, ฮฑฬฮปฮป' ฯ
ฬฯฮฟฬ ฯฮฑฯฯฮฟฬฯ ฮนฬฮดฮนฬฮฟฯ
ฮธฮตฯออ
ฯฯออ
ฯฮฑฬฮฝฯฯฮฝ ฯฮฑฯฯฮนฬ ฮฝฮฟฬฮผฯอ
ฮธฯ
ฯฮนฬฮฑฯ ฯฯฮฟฯฮตฮผฯฮฟฬฮผฮตฮฝฮฟฯ, ฮฑฬฬฮพฮนฮฟฮฝ ฮฟฮนฬอฮผฮฑฮนฬ ฯฮต ฮบฯฮนฬฮฝฮฑฮฝฯฮฟฯ ฮฑฯ
ฬฯฮฟฯ
อ ฮผฮทฬฯฮต ฮฝฮฟฬฯฯอ
ฮผฮทฬฯฮต ฯฮฟฮปฮตฬฮผฯอ
ฮผฮทฬฯฮต ฮฑฬฬฮปฮปฯอ
ฯฮนฮฝฮนฬ ฯฯอฮฝ ฯฮฑฮธฯอฮฝ, ฮฑฬฬ ฯฯ
ฮผฯฮนฬฯฯฮตฮนฮฝ ฯฮตฬฯฯ
ฮบฮตฮฝ ฮฑฬฮฝฮธฯฯฬฯฮฟฮนฯ, ฮฑฬฯฮฑฮปฮปฮฑฮณฮทอฮฝฮฑฮน ฯฮฟฯ
อ ฮฒฮนฬฮฟฯ
," "1.23. ฮฟฬ ฮด' ฮทฬฮผฮตฬฯฮตฯฮฟฯ ฮฝฮฟฮผฮฟฮธฮตฬฯฮทฯ ฮฑฬฮบฯฮฑฮนฯฮฝฮทอ ฯฮทฬฮฝ ฮฑฬฯฮตฯฮทฬฮฝ ฮตฬฬฯฮฟฮฝฯฮฑ ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฮฑฬฯฮฟฯฮทฬฮฝฮฑฯ ฯฬอ
ฮทฬฮธฮท ฮดฮตฮนอฮฝ ฯฮฟฯ
ฬฯ ฮฑฬฮฝฮธฯฯฬฯฮฟฯ
ฯ ฮตฬฮบฮตฮนฬฮฝฮทฯ ฯฮตฮนฯฮฑอฯฮธฮฑฮน ฮผฮตฯฮฑฮปฮฑฮผฮฒฮฑฬฮฝฮตฮนฮฝ ฮบฮฑฮนฬ ฯฮฟฯ
ฬฯ ฮผฮทฬ ฯฮฑฯ
อฯฮฑ ฯฯฮฟฮฝฮฟฯ
อฮฝฯฮฑฯ ฮผฮทฮดฮตฬ ฮผฮทฬฮฝ ฯฮนฯฯฮตฯ
ฬฮฟฮฝฯฮฑฯ ฮฑฬฯฮฑฯฮฑฮนฯฮทฬฯฯฯ ฮตฬฮบฮฟฬฮปฮฑฯฮต." "1.24. ฮผฮฑฯฯฯ
ฯฮตฮนอ ฮดฮตฬ ฮผฮฟฯ
ฯฯออ
ฮปฮฟฬฮณฯอ
ฬฮฮปฮตฬฮพฮฑฮฝฮดฯฮฟฯ ฮฟฬ ฯฮฟฮปฯ
ฮนฬฯฯฯฯ ฮปฮตฬฮณฯฮฝ ฮฟฯ
ฬฬฯฯฯ: โฮฮปฮตฮฟฬฮดฮทฮผฮฟฯ ฮดฮตฬ ฯฮทฯฮนฮฝ ฮฟฬ ฯฯฮฟฯฮทฬฯฮทฯ ฮฟฬ ฮบฮฑฮนฬ ฮฮฑฬฮปฯฮฟฯ ฮนฬฯฯฮฟฯฯอฮฝ ฯฮฑฬ ฯฮตฯฮนฬ ฬฮฮฟฯ
ฮดฮฑฮนฬฯฮฝ, ฮบฮฑฮธฯฬฯ ฮบฮฑฮนฬ ฮฯฯ
ฯฮทอฯ ฮนฬฯฯฮฟฬฯฮทฯฮตฮฝ ฮฟฬ ฮฝฮฟฮผฮฟฮธฮตฬฯฮทฯ ฮฑฯ
ฬฯฯอฮฝ, ฮฟฬฬฯฮน ฮตฬฮบ ฯฮทอฯ ฮฮฑฯฮฟฯ
ฬฯฮฑฯ ฬฮฮฒฯฮฑฬฮผฯอ
ฮตฬฮณฮตฬฮฝฮฟฮฝฯฮฟ ฯฮฑฮนอฮดฮตฯ ฮนฬฮบฮฑฮฝฮฟฮนฬ.' "1.24. ฯฯฮฟฬฯ ฯฮฑฯ
ฬฯฮทฮฝ ฮฟฯ
ฬอฮฝ ฯฮทฬฮฝ ฯ
ฬฯฮฟฬฮธฮตฯฮนฮฝ ฯฮฟฮนฮตฮนอฯฮธฮฑฮน ฯฮทฬฮฝ ฮตฬฮพฮตฬฯฮฑฯฮนฮฝ ฯฮฟฯ
ฬฯ ฮฑฬฮฝฮฑฮณฮฝฯฯฮฟฮผฮตฬฮฝฮฟฯ
ฯ ฯฮฑฯฮฑฮบฮฑฮปฯอ: ฯฮฑฮฝฮตฮนอฯฮฑฮน ฮณฮฑฬฯ ฯฮบฮฟฯฮฟฯ
ฮผฮตฬฮฝฮฟฮนฯ ฮฟฯ
ฬฬฯฯฯ ฮฟฯ
ฬฮดฮตฬฮฝ ฮฟฯ
ฬฬฯ' ฮฑฬฬฮปฮฟฮณฮฟฮฝ ฮฑฯ
ฬฯฮฟฮนอฯ ฮฟฯ
ฬฬฯฮต ฯฯฮฟฬฯ ฯฮทฬฮฝ ฮผฮตฮณฮฑฮปฮตฮนฮฟฬฯฮทฯฮฑ ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯฮนฮปฮฑฮฝฮธฯฯฯฮนฬฮฑฮฝ ฮฑฬฮฝฮฑฬฯฮผฮฟฯฯฮฟฮฝ: ฯฮฑฬฮฝฯฮฑ ฮณฮฑฬฯ ฯฮทออ
ฯฯอฮฝ ฮฟฬฬฮปฯฮฝ ฯฯ
ฬฯฮตฮน ฯฯ
ฬฮผฯฯฮฝฮฟฮฝ ฮตฬฬฯฮตฮน ฯฮทฬฮฝ ฮดฮนฮฑฬฮธฮตฯฮนฮฝ, ฯฮฑฬ ฮผฮตฬฮฝ ฮฑฮนฬฮฝฮนฯฯฮฟฮผฮตฬฮฝฮฟฯ
ฯฮฟฯ
อ ฮฝฮฟฮผฮฟฮธฮตฬฯฮฟฯ
ฮดฮตฮพฮนฯอฯ, ฯฮฑฬ ฮด' ฮฑฬฮปฮปฮทฮณฮฟฯฮฟฯ
อฮฝฯฮฟฯ ฮผฮตฯฮฑฬ ฯฮตฮผฮฝฮฟฬฯฮทฯฮฟฯ, ฮฟฬฬฯฮฑ ฮด' ฮตฬฮพ ฮตฯ
ฬฮธฮตฮนฬฮฑฯ ฮปฮตฬฮณฮตฯฮธฮฑฮน ฯฯ
ฮฝฮตฬฯฮตฯฮต, ฯฮฑฯ
อฯฮฑ ฯฬฮทฯฯอฯ ฮตฬฮผฯฮฑฮฝฮนฬฮถฮฟฮฝฯฮฟฯ." '1.25. ฮทฬฮพฮนฬฮฟฯ
ฯฮต ฯฮฑฯ' ฮฑฯ
ฬฯฮฟฮนอฯ ฮบฮฑฯฮฑฯฮธฮทอฮฝฮฑฮน ฯฮฟฯ
อ ฯฯฮฟฯฯฯฮตฬฯฯ ฯฯฯฮตฮนอฮฝ ฯฮทอฯ ฮฝฯ
ฮบฯฮฟฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฑฬฯฮฑฮนฯฮฟฯ
ฮผฮตฬฮฝฮทฯ, ฮบฮฟฬฯฮผฮฟฮฝ ฯฮต ฯฮตฬฯฯฮฝ ฮณฯ
ฮฝฮฑฮนฮบฮตฮนอฮฟฮฝ ฯฮฟฮปฯ
ฯฮตฮปฮทอ ฯฮนฯฯฮตฯ
ฬฮตฮนฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฟฯ
ฬฮบ ฮฑฬฯฯฮฑฮปฮตฯฯฮตฬฯฮฟฮนฯ ฮตฬฬฯฮฑฯฮบฮตฮฝ ฮทฬฬ ฯฮฟฯ
ฬฯฮฟฮนฯ, ฮฟฮนฬอฯ ฮฑฯ
ฬฯฮฟฬฯ ฮตฬฯฮตฮนฯฮฑฬฮธฮท. ฯฮตฮบฮผฮฑฮนฬฯฮตฯฮธฮฑฮน ฮดฮตฬ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯฮทอฯ ฮผฮทฯฯฮฟฬฯ ฮบฮฑฮนฬ ฯฮฑฬฮดฮตฮปฯฮฟฯ
อ ฯฮนฮปฮฑฮฝฮธฯฯฯฮนฬฮฑฮฝ ฮฑฯ
ฬฯฮทอฯ ฮตฬฬฮปฮตฮณฮตฮฝ, ฯฬฯ ฮฟฯ
ฬ ฮดฯ
ฯฯฮตฯฮฑฮฝฮฟฯ
อฯฮนฮฝ, ฮตฬฮบ ฯฮทอฯ ฯฮตฯฮนฬ ฮฑฯ
ฬฯฮทฬฮฝ ฮฑฬฯฮตฯฮทอฯ: ฮฟฯ
ฬฮดฮตฬ ฮณฮฑฬฯ ฮตฬฬฯฮตฯฮธฮฑฮน ฮฒฮฑฯฯ
ฬฯ ฮผฮนฯฮธฮฟฬฮฝ ฯฮต ฯฮทอฯ ฯฮนฮปฮฟฮพฮตฮฝฮนฬฮฑฯ ฯฮตฮปฮตฬฯฮฑฯ ฮบฮฑฮนฬ ฮดฮฑฯฮฑฬฮฝฮฑฮนฯ ฮนฬฮดฮนฬฮฑฮนฯ ฯฯฮทฯฮฑฬฮผฮตฮฝฮฟฯ." "1.25. ฯฮฟฮนอฯ ฮผฮตฬฮฝฯฮฟฮน ฮฒฮฟฯ
ฮปฮฟฮผฮตฬฮฝฮฟฮนฯ ฮบฮฑฮนฬ ฯฮฑฬฯ ฮฑฮนฬฯฮนฬฮฑฯ ฮตฬฮบฮฑฬฯฯฮฟฯ
ฯฮบฮฟฯฮตฮนอฮฝ ฯฮฟฮปฮปฮทฬ ฮณฮตฬฮฝฮฟฮนฯ' ฮฑฬฬฮฝ ฮทฬ ฮธฮตฯฯฮนฬฮฑ ฮบฮฑฮนฬ ฮปฮนฬฮฑฮฝ ฯฮนฮปฮฟฬฯฮฟฯฮฟฯ, ฮทฬฬฮฝ ฮตฬฮณฯฬ ฮฝฯ
อฮฝ ฮผฮตฬฮฝ ฯ
ฬฯฮตฯฮฒฮฑฬฮปฮปฮฟฮผฮฑฮน, ฮธฮตฮฟฯ
อ ฮดฮตฬ ฮดฮนฮดฮฟฬฮฝฯฮฟฯ ฮทฬฮผฮนอฮฝ ฯฯฮฟฬฮฝฮฟฮฝ ฯฮตฮนฯฮฑฬฯฮฟฮผฮฑฮน ฮผฮตฯฮฑฬ ฯฮฑฯ
ฬฯฮทฮฝ ฮณฯฮฑฬฯฮฑฮน ฯฮทฬฮฝ ฯฯฮฑฮณฮผฮฑฯฮตฮนฬฮฑฮฝ." "1.26. ฮฟฬฯฯอฮฝ ฮณฮฑฬฯ ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฯฯออ
ฬฮฯฮฑฬฮบฯอ
ฯฯ
ฮผฯฮฑฯฮฟฬฮฝฯฮฑ ฮบฮฑฮนฬ ฯฮฟฯฮฑฯ
ฬฯฮทอ
ฯฮตฯฮนฬ ฮฑฯ
ฬฯฮฟฬฮฝ ฯฯฮฟฯ
ฮดฮทออ
ฯฯฯฬฮผฮตฮฝฮฟฮฝ ฮฑฬฯฯฬฯฮฑฯฮฟ ฮฑฯ
ฬฯฮฟฬฮฝ. ฮฟฬ ฮดฮตฬ ฯฮฟฮนฮฟฯ
ฬฯฮฟฯ
ฯฮฑฬฮปฮนฮฝ ฮตฬฮบ ฮผฮตฯฮฑฮฒฮฟฮปฮทอฯ ฯฮทอฯ ฮฑฬฯฮฟฬ ฯฮฟฯ
อ ฮฒฮฑฯฮบฮฑฬฮฝฮฟฯ
ฯฮตฮนฯฮฑฮธฮตฮนฬฯ ฬฮฮฒฮนฮผฮตฮปฮตฬฯฮฟฯ
ฯฮฟฬฯฮต ฮผฮตฬฮฝ ฮฑฬฮฝฮตฯฯฬฯฮทฯฮตฮฝ ฮตฮนฬฯ ฯฮทฬฮฝ ฮปฮตฮณฮฟฮผฮตฬฮฝฮทฮฝ ฮฆฮฑฬฯฮฑฮณฮณฮฑ ฯฯฯฮนฬฮฟฮฝ ฮฟฯ
ฬ ฮผฮฑฮบฯฮฑฬฮฝ ฮฮตฯฮฑฬฯฯฮฝ, ฮฟฬฯฯ
ฬฯฯฮฟฮฝฯฮน ฮด' ฮฑฯ
ฬฯฯออ
ฯฯฮตฬฮฑฯ ฯฮฟฮนฮผฮตฬฮฝฮตฯ ฮตฬฯฮนฯฮตฯฮฟฬฮฝฯฮตฯ ฮตฮนฬฯ ฮผฮฑฬฯฮทฮฝ ฮตฬฯฯฬฯฮทฯฮฑฮฝ ฮบฯฮปฯ
ฬฮฟฮฝฯฮตฯ ฯฮฟฬ ฮตฬฬฯฮณฮฟฮฝ, ฮบฮฑฮนฬ ฮผฮทฬ ฮฒฮฟฯ
ฮปฮทฮธฮตฬฮฝฯฮฟฯ ฯฮนฮปฮฟฮฝฮนฮบฮตฮนอฮฝ ฮตฬฬฮดฮฟฮพฮฑฮฝ ฮบฮตฮบฯฮฑฯฮทฮบฮตฬฮฝฮฑฮน." '1.26. ฯฯฮตฬฯฮฟฮผฮฑฮน ฮดฮตฬ ฮตฬฯฮนฬ ฯฮทฬฮฝ ฮฑฬฯฮทฬฮณฮทฯฮนฮฝ ฮทฬฬฮดฮท ฯฯอฮฝ ฯฯฮฑฮณฮผฮฑฬฯฯฮฝ ฮผฮฝฮทฯฮธฮตฮนฬฯ ฯฯฮฟฬฯฮตฯฮฟฮฝ ฯฬอฮฝ ฯฮตฯฮนฬ ฯฮทอฯ ฯฮฟฯ
อ ฮบฮฟฬฯฮผฮฟฯ
ฮบฮฑฯฮฑฯฮบฮตฯ
ฮทอฯ ฮตฮนฬอฯฮต ฮฯฯ
ฯฮทอฯ: ฯฮฑฯ
อฯฮฑ ฮด' ฮตฬฮฝ ฯฮฑฮนอฯ ฮนฬฮตฯฮฑฮนอฯ ฮฒฮนฬฮฒฮปฮฟฮนฯ ฮตฯ
ฬอฯฮฟฮฝ ฮฑฬฮฝฮฑฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฑ. ฮตฬฬฯฮตฮน ฮดฮตฬ ฮฟฯ
ฬฬฯฯฯ:" "
3.91. ฮฮนฮดฮฑฬฯฮบฮตฮน ฮผฮตฬฮฝ ฮฟฯ
ฬอฮฝ ฮทฬฮผฮฑอฯ ฮฟฬ ฯฯฯอฯฮฟฯ ฮปฮฟฬฮณฮฟฯ, ฮฟฬฬฯฮน ฮธฮตฮฟฬฯ ฮตฬฯฯฮนฮฝ ฮตฮนฬอฯ ฮบฮฑฮนฬ ฯฮฟฯ
อฯฮฟฮฝ ฮดฮตฮนอ ฯฮตฬฮฒฮตฯฮธฮฑฮน ฮผฮฟฬฮฝฮฟฮฝ: ฮฟฬ ฮดฮตฬ ฮดฮตฯ
ฬฯฮตฯฮฟฯ ฮบฮตฮปฮตฯ
ฬฮตฮน ฮผฮทฮดฮตฮฝฮฟฬฯ ฮตฮนฬฮบฮฟฬฮฝฮฑ ฮถฯฬอ
ฮฟฯ
ฯฮฟฮนฮทฬฯฮฑฮฝฯฮฑฯ ฯฯฮฟฯฮบฯ
ฮฝฮตฮนอฮฝ: ฮฟฬ ฯฯฮนฬฯฮฟฯ ฮดฮตฬ ฮตฬฯฮนฬ ฮผฮทฮดฮตฮฝฮนฬ ฯฮฑฯ
ฬฮปฯอ
ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฮฟฬฮผฮฝฯ
ฬฮฝฮฑฮน: ฮฟฬ ฮดฮตฬ ฯฮตฬฯฮฑฯฯฮฟฯ ฯฮฑฯฮฑฯฮทฯฮตฮนอฮฝ ฯฮฑฬฯ ฮตฬฮฒฮดฮฟฮผฮฑฬฮดฮฑฯ ฮฑฬฮฝฮฑฯฮฑฯ
ฮฟฮผฮตฬฮฝฮฟฯ
ฯ ฮฑฬฯฮฟฬ ฯฮฑฮฝฯฮฟฬฯ ฮตฬฬฯฮณฮฟฯ
:
3.181. ฯฮทฬฮฝ ฯฮต ฮณฮฑฬฯ ฯฮบฮทฮฝฮทฬฮฝ ฯฯฮนฮฑฬฮบฮฟฮฝฯฮฑ ฯฮทฯฯอฮฝ ฮฟฯ
ฬอฯฮฑฮฝ ฮฝฮตฮนฬฮผฮฑฯ ฮตฮนฬฯ ฯฯฮนฬฮฑ ฮบฮฑฮนฬ ฮดฯ
ฬฮฟ ฮผฮตฬฯฮท ฯฮฑอฯฮนฮฝ ฮฑฬฮฝฮตฮนฬฯ ฯฮฟฮนอฯ ฮนฬฮตฯฮตฯ
อฯฮนฮฝ ฯฬฬฯฯฮตฯ ฮฒฮตฬฮฒฮทฮปฮฟฬฮฝ ฯฮนฮฝฮฑ ฮบฮฑฮนฬ ฮบฮฟฮนฮฝฮฟฬฮฝ ฯฮฟฬฯฮฟฮฝ, ฯฮทฬฮฝ ฮณฮทอฮฝ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฮธฮฑฬฮปฮฑฯฯฮฑฮฝ ฮฑฬฯฮฟฯฮทฮผฮฑฮนฬฮฝฮตฮน: ฮบฮฑฮนฬ ฮณฮฑฬฯ ฯฮฑฯ
อฯฮฑ ฯฮฑอฯฮนฬฮฝ ฮตฬฯฯฮนฮฝ ฮตฬฯฮนฮฒฮฑฯฮฑฬ. ฯฮทฬฮฝ ฮดฮตฬ ฯฯฮนฬฯฮทฮฝ ฮผฮฟฮนอฯฮฑฮฝ ฮผฮฟฬฮฝฯอ
ฯฮตฯฮนฮตฬฮณฯฮฑฯฮต ฯฯออ
ฮธฮตฯออ
ฮดฮนฮฑฬ ฯฮฟฬ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮฟฯ
ฬฯฮฑฮฝฮฟฬฮฝ ฮฑฬฮฝฮตฯฮนฬฮฒฮฑฯฮฟฮฝ ฮตฮนฬอฮฝฮฑฮน ฮฑฬฮฝฮธฯฯฬฯฮฟฮนฯ. 3.182. ฮตฬฯฮนฬ ฯฮต ฯฮทออ
ฯฯฮฑฯฮตฬฮถฮทอ
ฯฮฟฯ
ฬฯ ฮดฯฬฮดฮตฮบฮฑ ฯฮนฮธฮตฮนฬฯ ฮฑฬฬฯฯฮฟฯ
ฯ ฮฑฬฯฮฟฯฮทฮผฮฑฮนฬฮฝฮตฮน ฯฮฟฬฮฝ ฮตฬฮฝฮนฮฑฯ
ฯฮฟฬฮฝ ฮตฮนฬฯ ฯฮฟฯฮฟฯ
ฬฯฮฟฯ
ฯ ฮผฮทอฮฝฮฑฯ ฮดฮนฮทอ
ฯฮทฮผฮตฬฮฝฮฟฮฝ. ฯฮทฬฮฝ ฮดฮตฬ ฮปฯ
ฯฮฝฮนฬฮฑฮฝ ฮตฬฮพ ฮตฬฮฒฮดฮฟฮผฮทฬฮบฮฟฮฝฯฮฑ ฮผฮฟฯฮนฬฯฮฝ ฯฮฟฮนฮทฬฯฮฑฯ ฯฯ
ฮณฮบฮตฮนฮผฮตฬฮฝฮทฮฝ ฯฮฑฬฯ ฯฯอฮฝ ฯฮปฮฑฮฝฮทฯฯอฮฝ ฮดฮตฮบฮฑฮผฮฟฮนฯฮนฬฮฑฯ ฮทฬอ
ฮฝฮนฬฮพฮฑฯฮฟ: ฮบฮฑฮนฬ ฮปฯ
ฬฯฮฝฮฟฯ
ฯ ฯ
ฬฯฮตฬฯ ฮฑฯ
ฬฯฮทอฯ ฮตฬฯฯฮฑฬ, ฯฯอฮฝ ฯฮปฮฑฮฝฮทฯฯอฮฝ ฯฮทฬฮฝ ฯฮฟฯฮฑฬฮฝ: ฯฮฟฯฮฟฯ
อฯฮฟฮน ฮณฮฑฬฯ ฮตฮนฬฯฮน ฯฮฟฬฮฝ ฮฑฬฯฮนฮธฮผฮฟฬฮฝ.' "3.183. ฯฮฑฬ ฯฮต ฯฮฑฬฯฯฮท ฮตฬฮบ ฯฮตฯฯฮฑฬฯฯฮฝ ฯ
ฬฯฮฑฮฝฮธฮตฬฮฝฯฮฑ ฯฮทฬฮฝ ฯฯอฮฝ ฯฯฮฟฮนฯฮตฮนฬฯฮฝ ฯฯ
ฬฯฮนฮฝ ฮดฮทฮปฮฟฮนอ: ฮทฬฬ ฯฮต ฮณฮฑฬฯ ฮฒฯ
ฬฯฯฮฟฯ ฯฮทฬฮฝ ฮณฮทอฮฝ ฮฑฬฯฮฟฯฮทฮผฮฑฮนฬฮฝฮตฮนฮฝ ฮตฬฬฮฟฮนฮบฮต ฮดฮนฮฑฬ ฯฮฟฬ ฮตฬฮพ ฮฑฯ
ฬฯฮทอฯ ฮฑฬฮฝฮตฮนอฯฮธฮฑฮน ฯฮฟฬ ฮปฮนฬฮฝฮฟฮฝ, ฮทฬฬ ฯฮต ฯฮฟฯฯฯ
ฬฯฮฑ ฯฮทฬฮฝ ฮธฮฑฬฮปฮฑฯฯฮฑฮฝ ฯฯออ
ฯฮตฯฮฟฮนฮฝฮนอฯฮธฮฑฮน ฯฯอฮฝ ฮนฬฯฮธฯ
ฬฯฮฝ ฯฯออ
ฮฑฮนฬฬฮผฮฑฯฮน, ฯฮฟฬฮฝ ฮดฮตฬ ฮฑฬฮตฬฯฮฑ ฮฒฮฟฯ
ฬฮปฮตฯฮฑฮน ฮดฮทฮปฮฟฯ
อฮฝ ฮฟฬ ฯ
ฬฮฑฬฮบฮนฮฝฮธฮฟฯ, ฮบฮฑฮนฬ ฮฟฬ ฯฮฟฮนอฮฝฮนฮพ ฮด' ฮฑฬฬฮฝ ฮตฮนฬฬฮท ฯฮตฮบฮผฮทฬฯฮนฮฟฮฝ ฯฮฟฯ
อ ฯฯ
ฯฮฟฬฯ." "3.184. ฮฑฬฯฮฟฯฮทฮผฮฑฮนฬฮฝฮตฮน ฮดฮตฬ ฮบฮฑฮนฬ ฮฟฬ ฯฮฟฯ
อ ฮฑฬฯฯฮนฮตฯฮตฬฯฯ ฯฮนฯฯฬฮฝ ฯฮทฬฮฝ ฮณฮทอฮฝ ฮปฮนฬฮฝฮตฮฟฯ ฯฬฬฮฝ, ฮฟฬ ฮดฮตฬ ฯ
ฬฮฑฬฮบฮนฮฝฮธฮฟฯ ฯฮฟฬฮฝ ฯฮฟฬฮปฮฟฮฝ, ฮฑฬฯฯฯฮฑฯฮฑฮนอฯ ฮผฮตฬฮฝ ฮบฮฑฯฮฑฬ ฯฮฟฯ
ฬฯ ฯฬฮฟฮนฬฬฯฮบฮฟฯ
ฯ ฮฑฬฯฮตฮนฮบฮฑฯฮผฮตฬฮฝฮฟฯ ฮฒฯฮฟฮฝฯฮฑฮนอฯ ฮดฮตฬ ฮบฮฑฯฮฑฬ ฯฮฟฬฮฝ ฯฯอฮฝ ฮบฯฮดฯฬฮฝฯฮฝ ฯฮฟฬฯฮฟฮฝ. ฮบฮฑฮนฬ ฯฮทฬฮฝ ฮตฬฯฮฑฯฯฮนฬฮดฮฑ ฯฮฟฯ
อ ฯฮฑฮฝฯฮฟฬฯ ฯฮทฬฮฝ ฯฯ
ฬฯฮนฮฝ ฮตฬฮบ ฯฮตฯฯฮฑฬฯฯฮฝ ฮดฮฟฯฮธฮตฮนอฯฮฑฮฝ ฮณฮตฮฝฮตฬฯฮธฮฑฮน ฯฯออ
ฮธฮตฯออ
ฯฯฯ
ฯฯออ
ฯฯ
ฮฝฯ
ฯฮฑฯฮผฮตฬฮฝฮทฮฝ ฮบฮฑฯ' ฮตฬฯฮนฬฮฝฮฟฮนฮฑฮฝ ฮฟฮนฬอฮผฮฑฮน ฯฮทอฯ ฯฯฮฟฯฮฟฯ
ฬฯฮทฯ ฮฑฬฬฯฮฑฯฮนฮฝ ฮฑฯ
ฬฮณฮทอฯ." '3.185. ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮตฬฯฯฮทอฮฝฮฑ ฮผฮตฬฯฮฟฮฝ ฮฟฬฬฮฝฯฮฑ ฯฮทอฯ ฮตฬฯฮฑฯฯฮนฬฮดฮฟฯ ฮตฬฮฝ ฯฯฮฟฬฯฯอ
ฮณฮทอฯ ฮตฬฬฯฮฑฮพฮต: ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮฑฯ
ฬฬฯฮท ฯฮฟฬฮฝ ฮผฮตฯฮฑฮนฬฯฮฑฯฮฟฮฝ ฯฮฟฬฯฮฟฮฝ ฮตฬฬฯฮตฮน: ฮถฯฬฮฝฮทอ
ฯฮต ฯฮตฯฮนฮฟฮดฮตฯ
ฬฯฮฑฯ ฯฮฟฬฮฝ ฯฬฮบฮตฮฑฮฝฮฟฬฮฝ ฮฑฬฯฮฟฯฮทฮผฮฑฮนฬฮฝฮตฮน: ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮฟฯ
ฬอฯฮฟฯ ฮตฬฮผฯฮตฯฮนฮตฮนฬฮปฮทฯฮต ฯฮฑฬ ฯฮฑฬฮฝฯฮฑ. ฮดฮทฮปฮฟฮนอ ฮดฮตฬ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮทฬฬฮปฮนฮฟฮฝ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯฮตฮปฮทฬฮฝฮทฮฝ ฯฯอฮฝ ฯฮฑฯฮดฮฟฮฝฯ
ฬฯฯฮฝ ฮตฬฮบฮฑฬฯฮตฯฮฟฯ, ฮฟฮนฬอฯ ฮตฬฮฝฮตฯฮฟฬฯฯฯฯฮต ฯฮฟฬฮฝ ฮฑฬฯฯฮนฮตฯฮตฬฮฑ.' "3.186. ฯฮทฬฮฝ ฯฮต ฮดฯฮดฮตฮบฮฑฬฮดฮฑ ฯฯอฮฝ ฮปฮนฬฮธฯฮฝ ฮตฮนฬฬฯฮต ฯฮฟฯ
ฬฯ ฮผฮทอฮฝฮฑฬฯ ฯฮนฯ ฮธฮตฬฮปฮฟฮน ฮฝฮฟฮตฮนอฮฝ, ฮตฮนฬฬฯฮต ฯฮฟฬฮฝ ฮฟฯ
ฬฬฯฯฯ ฮฑฬฯฮนฮธฮผฮฟฬฮฝ ฯฯอฮฝ ฮฑฬฯฯฮตฬฯฯฮฝ, ฮฟฬฬฮฝ ฮถฯฮดฮนฮฑฮบฮฟฬฮฝ ฮบฯ
ฬฮบฮปฮฟฮฝ ฬฬฮฮปฮปฮทฮฝฮตฯ ฮบฮฑฮปฮฟฯ
อฯฮน, ฯฮทอฯ ฮบฮฑฯ' ฮตฬฮบฮตฮนอฮฝฮฟ ฮณฮฝฯฬฮผฮทฯ ฮฟฯ
ฬฮบ ฮฑฬฬฮฝ ฮฑฬฮผฮฑฬฯฯฮฟฮน: ฮบฮฑฮนฬ ฮฟฬ ฯฮนอฮปฮฟฯ ฮดฮตฬ ฮผฮฟฮน ฮดฮฟฮบฮตฮนอ ฯฮฟฬฮฝ ฮฟฯ
ฬฯฮฑฮฝฮฟฬฮฝ ฯฮตฮบฮผฮทฯฮนฮฟฯ
อฮฝ ฯ
ฬฮฑฮบฮนฬฮฝฮธฮนฮฝฮฟฯ ฯฮตฯฮฟฮนฮทฮผฮตฬฮฝฮฟฯ," "
3.203. ฮฟฬ ฮผฮตฬฮฝ ฮฟฯ
ฬฯฮฑฮฝฮฟฬฯ ฮบฮฑฮธฮฑฯฮฟฬฯ ฮทฬอฮฝ, ฯ
ฬฯฮตฬฯ ฮดฮตฬ ฯฮทฬฮฝ ฯฮบฮทฮฝฮทฬฮฝ ฮผฮฟฬฮฝฮทฮฝ ฮทฬฬฯฮปฯ
ฯฮตฮฝ ฮฟฯ
ฬฬฯฮต ฮฒฮฑฮธฮตฮนอ ฯฮฑฬฮฝฯ
ฮฝฮตฬฯฮตฮน ฮบฮฑฮนฬ ฯฯ
ฮบฮฝฯออ
ฯฮตฯฮนฮปฮฑฮฒฯฬฮฝ ฮฑฯ
ฬฯฮทฬฮฝ, ฯฬฬฯฯ' ฮตฮนฬอฮฝฮฑฮน ฮดฮฟฬฮพฮฑฮน ฯฮตฮนฮผฮตฬฯฮนฮฟฮฝ, ฮฟฯ
ฬฬฯฮต ฮผฮทฬฮฝ ฮปฮตฯฯฮฟฬฮฝ ฮฟฯ
ฬฬฯฯฯ, ฯฬฬฯฯฮต ฯฮทฬฮฝ ฮฟฬฬฯฮนฮฝ ฮนฬฯฯฯ
ฬฯฮฑฮน ฯฮน ฮดฮน' ฮฑฯ
ฬฯฮฟฯ
อ ฮบฮฑฯฮฑฮฝฮฟฮทอฯฮฑฮน: ฮทฬฮดฮตฮนอฮฑ ฮดฮตฬ ฮฑฬฯ' ฮฑฯ
ฬฯฮฟฯ
อ ฮดฯฮฟฬฯฮฟฯ ฮตฬฬฯฯฮตฮน ฮบฮฑฮนฬ ฮธฮตฮฟฯ
อ ฮดฮทฮปฮฟฯ
อฯฮฑ ฯฮฑฯฮฟฯ
ฯฮนฬฮฑฮฝ ฯฮฟฮนอฯ ฯฮฟฯ
อฯฮฟ ฮบฮฑฮนฬ ฮฒฮฟฯ
ฮปฮฟฮผฮตฬฮฝฮฟฮนฯ ฮบฮฑฮนฬ ฯฮตฯฮนฯฯฮตฯ
ฮบฮฟฬฯฮน." "
14.231. ฮจฮทฬฯฮนฯฮผฮฑ ฮฮทฮปฮนฬฯฮฝ. ฮตฬฯ' ฮฑฬฬฯฯฮฟฮฝฯฮฟฯ ฮฮฟฮนฯฯฮฟฯ
อ ฮผฮทฮฝฮฟฬฯ ฮฮฑฯฮณฮทฮปฮนฯอฮฝฮฟฯ ฮตฮนฬฮบฮฟฯฯฮทออ
ฯฯฮทฮผฮฑฯฮนฯฮผฮฟฬฯ ฯฯฯฮฑฯฮทฮณฯอฮฝ. ฮฮฑอฯฮบฮฟฯ ฮ ฮตฮนฬฯฯฮฝ ฯฯฮตฯฮฒฮตฯ
ฯฮทฬฯ ฮตฬฮฝฮดฮทฮผฯอฮฝ ฮตฬฮฝ ฯฮทออ
ฯฮฟฬฮปฮตฮน ฮทฬฮผฯอฮฝ ฮฟฬ ฮบฮฑฮนฬ ฯฮตฯฮฑฮณฮผฮตฬฮฝฮฟฯ ฮตฬฯฮนฬ ฯฮทอฯ ฯฯฯฮฑฯฮฟฮปฮฟฮณฮนฬฮฑฯ ฯฯฮฟฯฮบฮฑฮปฮตฯฮฑฬฮผฮตฮฝฮฟฯ ฮทฬฮผฮฑอฯ ฮบฮฑฮนฬ ฮนฬฮบฮฑฮฝฮฟฯ
ฬฯ ฯฯอฮฝ ฯฮฟฮปฮนฯฯอฮฝ ฯฯฮฟฯฮตฬฯฮฑฮพฮตฮฝ," '14.232. ฮนฬฬฮฝฮฑ ฮตฮนฬฬ ฯฮนฮฝฮตฬฯ ฮตฮนฬฯฮนฮฝ ฬฮฮฟฯ
ฮดฮฑฮนอฮฟฮน ฯฮฟฮปฮนอฯฮฑฮน ฬฮกฯฮผฮฑฮนฬฯฮฝ ฯฮฟฯ
ฬฯฮฟฮนฯ ฮผฮทฮดฮตฮนฬฯ ฮตฬฮฝฮฟฯฮปฮทออ
ฯฮตฯฮนฬ ฯฯฯฮฑฯฮตฮนฬฮฑฯ, ฮดฮนฮฑฬ ฯฮฟฬ ฯฮฟฬฮฝ ฯ
ฬฬฯฮฑฯฮฟฮฝ ฮฮฟฯ
ฬฮบฮนฮฟฮฝ ฮฮฟฯฮฝฮทฬฮปฮนฮฟฮฝ ฮฮตฬฮฝฯฮปฮฟฮฝ ฮดฮตฮนฯฮนฮดฮฑฮนฮผฮฟฮฝฮนฬฮฑฯ ฮตฬฬฮฝฮตฮบฮฑ ฮฑฬฯฮฟฮปฮตฮปฯ
ฮบฮตฬฮฝฮฑฮน ฯฮฟฯ
ฬฯ ฬฮฮฟฯ
ฮดฮฑฮนฬฮฟฯ
ฯ ฯฮทอฯ ฯฯฯฮฑฯฮตฮนฬฮฑฯ. ฮดฮนฮฟฬ ฯฮตฮนฬฮธฮตฯฮธฮฑฮน ฮทฬฮผฮฑอฯ ฮดฮตฮนอ ฯฯออ
ฯฯฯฮฑฯฮทฮณฯออ
. ฮฟฬฬฮผฮฟฮนฮฑ ฮดฮตฬ ฯฮฟฯ
ฬฯฮฟฮนฯ ฮบฮฑฮนฬ ฮฃฮฑฯฮดฮนฮฑฮฝฮฟฮนฬ ฯฮตฯฮนฬ ฮทฬฮผฯอฮฝ ฮตฬฯฮทฯฮนฬฯฮฑฮฝฯฮฟ.
18.55. ฮ ฮนฮปฮฑอฯฮฟฯ ฮดฮตฬ ฮฟฬ ฯฮทอฯ ฬฮฮฟฯ
ฮดฮฑฮนฬฮฑฯ ฮทฬฮณฮตฮผฯฬฮฝ ฯฯฯฮฑฯฮนฮฑฬฮฝ ฮตฬฮบ ฮฮฑฮนฯฮฑฯฮตฮนฬฮฑฯ ฮฑฬฮณฮฑฮณฯฬฮฝ ฮบฮฑฮนฬ ฮผฮตฮธฮนฮดฯฯ
ฬฯฮฑฯ ฯฮตฮนฮผฮฑฮดฮนฮฟฯ
อฯฮฑฮฝ ฮตฬฮฝ ฬฮฮตฯฮฟฯฮฟฮปฯ
ฬฮผฮฟฮนฯ ฮตฬฯฮนฬ ฮบฮฑฯฮฑฮปฯ
ฬฯฮตฮน ฯฯอฮฝ ฮฝฮฟฮผฮนฬฮผฯฮฝ ฯฯอฮฝ ฬฮฮฟฯ
ฮดฮฑฮนฬฮบฯอฮฝ ฮตฬฯฯฮฟฬฮฝฮทฯฮต, ฯฯฮฟฯฮฟฮผฮฑฬฯ ฮฮฑฮนฬฯฮฑฯฮฟฯ, ฮฑฮนฬฬ ฯฮฑฮนอฯ ฯฮทฮผฮฑฮนฬฮฑฮนฯ ฯฯฮฟฯฮทอฯฮฑฮฝ, ฮตฮนฬฯฮฑฮณฮฟฬฮผฮตฮฝฮฟฯ ฮตฮนฬฯ ฯฮทฬฮฝ ฯฮฟฬฮปฮนฮฝ, ฮตฮนฬฮบฮฟฬฮฝฯฮฝ ฯฮฟฮนฬฮทฯฮนฮฝ ฮฑฬฯฮฑฮณฮฟฯฮตฯ
ฬฮฟฮฝฯฮฟฯ ฮทฬฮผฮนอฮฝ ฯฮฟฯ
อ ฮฝฮฟฬฮผฮฟฯ
.' '. 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 motherโs 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 Godโs 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: โCleodemus 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 priestโs 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. โThe 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;โyou 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 Caesarโs 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: โข Art โข Art, funerary โข Art, interpretation of symbols โข Art, need for explanation โข Judas the Essene, predictive art of (Josephus) โข Moses, art โข art, pagan โข churches, art โข 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 ฯฮฟฬฯ ฮณฮต ฮผฮทฬฮฝ ฯฮฟฬ ฮธฮตฮนอฮฟฮฝ ฮตฯ
ฬฯฮตฮฒฮตฮนอฯ ฮนฬฮดฮนฬฯฯ: ฯฯฮนฬฮฝ ฮณฮฑฬฯ ฮฑฬฮฝฮฑฯฯฮตฮนอฮฝ ฯฮฟฬฮฝ ฮทฬฬฮปฮนฮฟฮฝ ฮฟฯ
ฬฮดฮตฬฮฝ ฯฮธฮตฬฮณฮณฮฟฮฝฯฮฑฮน ฯฯอฮฝ ฮฒฮตฮฒฮทฬฮปฯฮฝ, ฯฮฑฯฯฮนฬฮฟฯ
ฯ ฮดฮตฬ ฯฮนฮฝฮฑฯ ฮตฮนฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮตฯ
ฬฯฮฑฬฯ ฯฬฬฯฯฮตฯ ฮนฬฮบฮตฯฮตฯ
ฬฮฟฮฝฯฮตฯ ฮฑฬฮฝฮฑฯฮตฮนอฮปฮฑฮน. 2.129. ฮบฮฑฮนฬ ฮผฮตฯฮฑฬ ฯฮฑฯ
อฯฮฑ ฯฯฮฟฬฯ ฮฑฬฬฯ ฮตฬฬฮบฮฑฯฯฮฟฮน ฯฮตฬฯฮฝฮฑฯ ฮนฬฬฯฮฑฯฮนฮฝ ฯ
ฬฯฮฟฬ ฯฯอฮฝ ฮตฬฯฮนฮผฮตฮปฮทฯฯอฮฝ ฮดฮนฮฑฯฮนฬฮตฮฝฯฮฑฮน, ฮบฮฑฮนฬ ฮผฮตฬฯฯฮน ฯฮตฬฮผฯฯฮทฯ ฯฬฬฯฮฑฯ ฮตฬฯฮณฮฑฯฮฑฬฮผฮตฮฝฮฟฮน ฯฯ
ฮฝฯฮฟฬฮฝฯฯ ฯฮฑฬฮปฮนฮฝ ฮตฮนฬฯ ฮตฬฬฮฝ ฯฯ
ฮฝฮฑฮธฯฮฟฮนฬฮถฮฟฮฝฯฮฑฮน ฯฯฯฮนฬฮฟฮฝ, ฮถฯฯฮฑฬฮผฮตฮฝฮฟฮนฬ ฯฮต ฯฮบฮตฯฮฑฬฯฮผฮฑฯฮนฮฝ ฮปฮนฮฝฮฟฮนอฯ ฮฟฯ
ฬฬฯฯฯ ฮฑฬฯฮฟฮปฮฟฯ
ฬฮฟฮฝฯฮฑฮน ฯฮฟฬ ฯฯอฮผฮฑ ฯฯ
ฯฯฮฟฮนอฯ ฯ
ฬฬฮดฮฑฯฮนฮฝ, ฮบฮฑฮนฬ ฮผฮตฯฮฑฬ ฯฮฑฯ
ฬฯฮทฮฝ ฯฮทฬฮฝ ฮฑฬฮณฮฝฮตฮนฬฮฑฮฝ ฮตฮนฬฯ ฮนฬฬฮดฮนฮฟฮฝ ฮฟฮนฬฬฮบฮทฮผฮฑ ฯฯ
ฮฝฮนฬฮฑฯฮนฮฝ, ฮตฬฬฮฝฮธฮฑ ฮผฮทฮดฮตฮฝฮนฬ ฯฯอฮฝ ฮตฬฯฮตฯฮฟฮดฮฟฬฮพฯฮฝ ฮตฬฯฮนฯฮตฬฯฯฮฑฯฯฮฑฮน ฯฮฑฯฮตฮปฮธฮตฮนอฮฝ: ฮฑฯ
ฬฯฮฟฮนฬ ฯฮต ฮบฮฑฮธฮฑฯฮฟฮนฬ ฮบฮฑฮธฮฑฬฯฮตฯ ฮตฮนฬฯ ฮฑฬฬฮณฮนฮฟฬฮฝ ฯฮน ฯฮตฬฮผฮตฮฝฮฟฯ ฯฮฑฯฮฑฮณฮนฬฮฝฮฟฮฝฯฮฑฮน ฯฮฟฬ ฮดฮตฮนฯฮฝฮทฯฮทฬฯฮนฮฟฮฝ.' "2.131. ฯฯฮฟฮบฮฑฯฮตฯ
ฬฯฮตฯฮฑฮน ฮด' ฮฟฬ ฮนฬฮตฯฮตฯ
ฬฯ ฯฮทอฯ ฯฯฮฟฯฮทอฯ, ฮบฮฑฮนฬ ฮณฮตฯ
ฬฯฮฑฯฮธฮฑฮนฬ ฯฮนฮฝฮฑ ฯฯฮนฬฮฝ ฯฮทอฯ ฮตฯ
ฬฯฮทอฯ ฮฑฬฮธฮตฬฮผฮนฯฮฟฮฝ: ฮฑฬฯฮนฯฯฮฟฯฮฟฮนฮทฯฮฑฬฮผฮตฮฝฮฟฯ ฮด' ฮตฬฯฮตฯ
ฬฯฮตฯฮฑฮน ฯฮฑฬฮปฮนฮฝ: ฮฑฬฯฯฮฟฬฮผฮตฮฝฮฟฮนฬ ฯฮต ฮบฮฑฮนฬ ฯฮฑฯ
ฮฟฬฮผฮตฮฝฮฟฮน ฮณฮตฯฮฑฮนฬฯฮฟฯ
ฯฮน ฮธฮตฮฟฬฮฝ ฯฬฯ ฯฮฟฯฮทฮณฮฟฬฮฝ ฯฮทอฯ ฮถฯฮทอฯ. ฮตฬฬฯฮตฮนฮธ' ฯฬฯ ฮนฬฮตฯฮฑฬฯ ฮบฮฑฯฮฑฮธฮตฬฮผฮตฮฝฮฟฮน ฯฮฑฬฯ ฮตฬฯฮธฮทอฯฮฑฯ ฯฮฑฬฮปฮนฮฝ ฮตฬฯ' ฮตฬฬฯฮณฮฑ ฮผฮตฬฯฯฮน ฮดฮตฮนฬฮปฮทฯ ฯฯฮตฬฯฮฟฮฝฯฮฑฮน." "
2.145. ฮ ฮตฯฮนฬ ฮดฮตฬ ฯฮฑฬฯ ฮบฯฮนฬฯฮตฮนฯ ฮฑฬฮบฯฮนฮฒฮตฬฯฯฮฑฯฮฟฮน ฮบฮฑฮนฬ ฮดฮนฬฮบฮฑฮนฮฟฮน, ฮบฮฑฮนฬ ฮดฮนฮบฮฑฬฮถฮฟฯ
ฯฮน ฮผฮตฬฮฝ ฮฟฯ
ฬฮบ ฮตฬฮปฮฑฬฯฯฮฟฯ
ฯ ฯฯอฮฝ ฮตฬฮบฮฑฯฮฟฬฮฝ ฯฯ
ฮฝฮตฮปฮธฮฟฬฮฝฯฮตฯ, ฯฮฟฬ ฮด' ฮฟฬฯฮนฯฮธฮตฬฮฝ ฯ
ฬฯ' ฮฑฯ
ฬฯฯอฮฝ ฮฑฬฮบฮนฬฮฝฮทฯฮฟฮฝ. ฯฮตฬฮฒฮฑฯ ฮดฮตฬ ฮผฮตฬฮณฮฑ ฯฮฑฯ' ฮฑฯ
ฬฯฮฟฮนอฯ ฮผฮตฯฮฑฬ ฯฮฟฬฮฝ ฮธฮตฮฟฬฮฝ ฯฮฟฯ
ฬฬฮฝฮฟฮผฮฑ ฯฮฟฯ
อ ฮฝฮฟฮผฮฟฮธฮตฬฯฮฟฯ
, ฮบฮฑฬฬฮฝ ฮฒฮปฮฑฯฯฮทฮผฮทฬฯฮทอ
ฯฮนฯ ฮตฮนฬฯ ฯฮฟฯ
อฯฮฟฮฝ ฮบฮฟฮปฮฑฬฮถฮตฯฮฑฮน ฮธฮฑฮฝฮฑฬฯฯอ
." "
2.154. ฮฮฑฮนฬ ฮณฮฑฬฯ ฮตฬฬฯฯฯฯฮฑฮน ฯฮฑฯ' ฮฑฯ
ฬฯฮฟฮนอฯ ฮทฬฬฮดฮต ฮทฬ ฮดฮฟฬฮพฮฑ, ฯฮธฮฑฯฯฮฑฬ ฮผฮตฬฮฝ ฮตฮนฬอฮฝฮฑฮน ฯฮฑฬ ฯฯฬฮผฮฑฯฮฑ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯ
ฬฬฮปฮทฮฝ ฮฟฯ
ฬ ฮผฮฟฬฮฝฮนฮผฮฟฮฝ ฮฑฯ
ฬฯฯอฮฝ, ฯฮฑฬฯ ฮดฮตฬ ฯฯ
ฯฮฑฬฯ ฮฑฬฮธฮฑฮฝฮฑฬฯฮฟฯ
ฯ ฮฑฬฮตฮนฬ ฮดฮนฮฑฮผฮตฬฮฝฮตฮนฮฝ, ฮบฮฑฮนฬ ฯฯ
ฮผฯฮปฮตฬฮบฮตฯฮธฮฑฮน ฮผฮตฬฮฝ ฮตฬฮบ ฯฮฟฯ
อ ฮปฮตฯฯฮฟฯฮฑฬฯฮฟฯ
ฯฮฟฮนฯฯฬฯฮฑฯ ฮฑฮนฬฮธฮตฬฯฮฟฯ ฯฬฬฯฯฮตฯ ฮตฮนฬฯฮบฯฮฑฮนอฯ ฯฮฟฮนอฯ ฯฯฬฮผฮฑฯฮนฮฝ ฮนฬฬฯ
ฮณฮณฮนฬ ฯฮนฮฝฮน ฯฯ
ฯฮนฮบฮทออ
ฮบฮฑฯฮฑฯฯฯฮผฮตฬฮฝฮฑฯ," '
3.352. ฮทฬอฮฝ ฮดฮตฬ ฮบฮฑฮนฬ ฯฮตฯฮนฬ ฮบฯฮนฬฯฮตฮนฯ ฮฟฬฮฝฮตฮนฬฯฯฮฝ ฮนฬฮบฮฑฮฝฮฟฬฯ ฯฯ
ฮผฮฒฮฑฮปฮตฮนอฮฝ ฯฮฑฬ ฮฑฬฮผฯฮนฮฒฮฟฬฮปฯฯ ฯ
ฬฯฮฟฬ ฯฮฟฯ
อ ฮธฮตฮนฬฮฟฯ
ฮปฮตฮณฮฟฬฮผฮตฮฝฮฑ, ฯฯอฮฝ ฮณฮต ฮผฮทฬฮฝ ฮนฬฮตฯฯอฮฝ ฮฒฮนฬฮฒฮปฯฮฝ ฮฟฯ
ฬฮบ ฮทฬฮณฮฝฮฟฬฮตฮน ฯฮฑฬฯ ฯฯฮฟฯฮทฯฮตฮนฬฮฑฯ ฯฬฯ ฮฑฬฬฮฝ ฮฑฯ
ฬฯฮฟฬฯ ฯฮต ฯฬฬฮฝ ฮนฬฮตฯฮตฯ
ฬฯ ฮบฮฑฮนฬ ฮนฬฮตฯฮตฬฯฮฝ ฮตฬฬฮณฮณฮฟฮฝฮฟฯ:' "
5.213. ฮตฬฮดฮฟฬฮบฮตฮน ฮณฮฑฬฯ ฮฑฮนฬฮฝฮนฬฯฯฮตฯฮธฮฑฮน ฯฮทออ
ฮบฮฟฬฮบฮบฯอ
ฮผฮตฬฮฝ ฯฮฟฬ ฯฯ
อฯ, ฯฮทออ
ฮฒฯ
ฬฯฯฯอ
ฮดฮตฬ ฯฮทฬฮฝ ฮณฮทอฮฝ, ฯฮทออ
ฮด' ฯ
ฬฮฑฮบฮนฬฮฝฮธฯอ
ฯฮฟฬฮฝ ฮฑฬฮตฬฯฮฑ, ฮบฮฑฮนฬ ฯฮทออ
ฯฮฟฯฯฯ
ฬฯฮฑอ
ฯฮทฬฮฝ ฮธฮฑฬฮปฮฑฯฯฮฑฮฝ, ฯฯอฮฝ ฮผฮตฬฮฝ ฮตฬฮบ ฯฮทอฯ ฯฯฮฟฮนฬฮฑฯ ฮฟฬฮผฮฟฮนฮฟฯ
ฮผฮตฬฮฝฯฮฝ, ฯฮทอฯ ฮดฮตฬ ฮฒฯ
ฬฯฯฮฟฯ
ฮบฮฑฮนฬ ฯฮทอฯ ฯฮฟฯฯฯ
ฬฯฮฑฯ ฮดฮนฮฑฬ ฯฮทฬฮฝ ฮณฮตฬฮฝฮตฯฮนฮฝ, ฮตฬฯฮตฮนฮดฮทฬ ฯฮทฬฮฝ ฮผฮตฬฮฝ ฮฑฬฮฝฮฑฮดฮนฬฮดฯฯฮนฮฝ ฮทฬ ฮณฮทอ, ฯฮทฬฮฝ ฮด' ฮทฬ ฮธฮฑฬฮปฮฑฯฯฮฑ." '. 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 |
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36. Josephus Flavius, Against Apion, 1.37, 1.279, 2.75, 2.168, 2.218 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Art โข Art, funerary โข Art, idol vs. image โข Artistic Originality, Greece and Orient โข Judas the Essene, predictive art of (Josephus) โข Moses, art โข art, pagan โข catacombs, Bet Shearim, figural art โข church fathers, figural art โข 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. ฮตฮนฬฮบฮฟฬฯฯฯ ฮฟฯ
ฬอฮฝ, ฮผฮฑอฮปฮปฮฟฮฝ ฮดฮตฬ ฮฑฬฮฝฮฑฮณฮบฮฑฮนฬฯฯ, ฮฑฬฬฯฮต ฮผฮทฬฯฮต ฯฮฟฬ ฯ
ฬฯฮฟฮณฯฮฑฬฯฮตฮนฮฝ ฮฑฯ
ฬฯฮตฮพฮฟฯ
ฯฮนฬฮฟฯ
ฯฮฑอฯฮนฮฝ ฮฟฬฬฮฝฯฮฟฯ ฮผฮทฬฯฮต ฯฮนฮฝฮฟฬฯ ฮตฬฮฝ ฯฮฟฮนอฯ ฮณฯฮฑฯฮฟฮผฮตฬฮฝฮฟฮนฯ ฮตฬฮฝฮฟฯ
ฬฯฮทฯ ฮดฮนฮฑฯฯฮฝฮนฬฮฑฯ, ฮฑฬฮปฮปฮฑฬ ฮผฮฟฬฮฝฮฟฮฝ ฯฯอฮฝ ฯฯฮฟฯฮทฯฯอฮฝ ฯฮฑฬ ฮผฮตฬฮฝ ฮฑฬฮฝฯฯฮฑฬฯฯ ฮบฮฑฮนฬ ฯฮฑฮปฮฑฮนฮฟฬฯฮฑฯฮฑ ฮบฮฑฯฮฑฬ ฯฮทฬฮฝ ฮตฬฯฮนฬฯฮฝฮฟฮนฮฑฮฝ ฯฮทฬฮฝ ฮฑฬฯฮฟฬ ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ ฮผฮฑฮธฮฟฬฮฝฯฯฮฝ, ฯฮฑฬ ฮดฮตฬ ฮบฮฑฮธ' ฮฑฯ
ฬฯฮฟฯ
ฬฯ ฯฬฯ ฮตฬฮณฮตฬฮฝฮตฯฮฟ ฯฮฑฯฯอฯ ฯฯ
ฮณฮณฯฮฑฯฮฟฬฮฝฯฯฮฝ," '
1.279. ฮฮฟฮนฯฮฟฬฮฝ ฮผฮฟฮน ฯฯฮฟฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮตฮนฬฯฮตฮนอฮฝ ฯฮตฯฮนฬ ฮฯฯ
ฯฮตฬฯฯ. ฯฮฟฯ
อฯฮฟฮฝ ฮดฮตฬ ฯฮฟฬฮฝ ฮฑฬฬฮฝฮดฯฮฑ ฮธฮฑฯ
ฮผฮฑฯฯฮฟฬฮฝ ฮผฮตฬฮฝ ฮฮนฬฮณฯ
ฬฯฯฮนฮฟฮน ฮบฮฑฮนฬ ฮธฮตฮนอฮฟฮฝ ฮฝฮฟฮผฮนฬฮถฮฟฯ
ฯฮน, ฮฒฮฟฯ
ฬฮปฮฟฮฝฯฮฑฮน ฮดฮตฬ ฯฯฮฟฯฯฮฟฮนฮตฮนอฮฝ ฮฑฯ
ฬฯฮฟฮนอฯ ฮผฮตฯฮฑฬ ฮฒฮปฮฑฯฯฮทฮผฮนฬฮฑฯ ฮฑฬฯฮนฮธฮฑฬฮฝฮฟฯ
, ฮปฮตฬฮณฮฟฮฝฯฮตฯ ฬฮฮปฮนฮฟฯฮฟฮปฮนฬฯฮทฮฝ ฮตฮนฬอฮฝฮฑฮน ฯฯอฮฝ ฮตฬฮบฮตฮนอฮธฮตฮฝ ฮนฬฮตฯฮตฬฯฮฝ ฮตฬฬฮฝฮฑ ฮดฮนฮฑฬ ฯฮทฬฮฝ ฮปฮตฬฯฯฮฑฮฝ ฯฯ
ฮฝฮตฮพฮตฮปฮทฮปฮฑฮผฮตฬฮฝฮฟฮฝ.
2.75. ฮทฮฟฮฝฮฟฯฮตฮผ ฯฯฮฑฮตฮฒฮตฯฮต ฯ
ฮนฮดฮตฮฑฮฝฯฯ
ฯ? ฯฮฟฯฯฮฟ ฮฝฮฟฯฯฮตฯ ฮปฮตฮณฮนฯฮปฮฑฯฮฟฯ, ฮฝฮฟฮฝ ฮธฯ
ฮฑฯฮน ฯฯฮฟฯฮทฮตฯฮฑฮฝฯ ฯฮฟฮผฮฑฮฝฮฟฯฯ
ฮผ ฯฮฟฯฮตฮฝฯฮนฮฑฮผ ฮฝฮฟฮฝ ฮทฮฟฮฝฮฟฯฮฑฮฝฮดฮฑฮผ, ฯฮตฮด ฯฮฑฮผฮธฯ
ฮฑฮผ ฮพฮฑฯ
ฯฮฑฮผ ฮฝฮตฮธฯ
ฮต ฮดฮตฮฟ ฮฝฮตฮธฯ
ฮต ฮทฮฟฮผฮนฮฝฮนฮฒฯ
ฯ ฯ
ฯฮนฮปฮตฮผ ฮดฮตฯฯฮนฮพฮนฮตฮฝฯ, ฮตฯ ฮธฯ
ฮฟฮฝฮนฮฑฮผ ฯฮฟฯฮนฯ
ฯ ฮฑฮฝฮนฮผฮฑฯฮน, ฮผฯ
ฮปฯฮฟ ฮผฮฑฮณฮนฯ ฮดฮตฮน ฮนฮฝฮฑฮฝฮนฮผฮฑฯฯ
ฯฯฮฟฮฒฮฑฯฯ
ฯ ฮนฮฝฯฮตฯฮนฯ
ฯ ฮนฮฝฯฮตฯฮดฮนฯฮนฯ ฮนฮผฮฑฮณฮนฮฝฮตฯ ฯฮฑฮฒฯฮนฮพฮฑฯฮน.' "
2.168. ฮฟฬฯฮฟฮนอฮฟฯ ฮดฮตฬ ฮบฮฑฯ' ฮฟฯ
ฬฯฮนฬฮฑฮฝ ฮตฬฯฯฮนฬฮฝ ฮฑฬฬฮณฮฝฯฯฯฮฟฮฝ. ฯฮฑฯ
อฯฮฑ ฯฮตฯฮนฬ ฮธฮตฮฟฯ
อ ฯฯฮฟฮฝฮตฮนอฮฝ ฮฟฮนฬ ฯฮฟฯฯฬฯฮฑฯฮฟฮน ฯฮฑฯ' ฬฬฮฮปฮปฮทฯฮนฮฝ ฮฟฬฬฯฮน ฮผฮตฬฮฝ ฮตฬฮดฮนฮดฮฑฬฯฮธฮทฯฮฑฮฝ ฮตฬฮบฮตฮนฬฮฝฮฟฯ
ฯฮฑฬฯ ฮฑฬฯฯฮฑฬฯ ฯฮฑฯฮฑฯฯฮฟฬฮฝฯฮฟฯ, ฮตฬฯอ ฮฝฯ
อฮฝ ฮปฮตฬฮณฮตฮนฮฝ, ฮฟฬฬฯฮน ฮด' ฮตฬฯฯฮนฬ ฮบฮฑฮปฮฑฬ ฮบฮฑฮนฬ ฯฯฮตฬฯฮฟฮฝฯฮฑ ฯฮทออ
ฯฮฟฯ
อ ฮธฮตฮฟฯ
อ ฯฯ
ฬฯฮตฮน ฮบฮฑฮนฬ ฮผฮตฮณฮฑฮปฮตฮนฮฟฬฯฮทฯฮน, ฯฯฮฟฬฮดฯฮฑ ฮผฮตฮผฮฑฯฯฯ
ฯฮทฬฮบฮฑฯฮน: ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮ ฯ
ฮธฮฑฮณฮฟฬฯฮฑฯ ฮบฮฑฮนฬ ฬฮฮฝฮฑฮพฮฑฮณฮฟฬฯฮฑฯ ฮบฮฑฮนฬ ฮ ฮปฮฑฬฯฯฮฝ ฮฟฮนฬฬ ฯฮต ฮผฮตฯ' ฮตฬฮบฮตฮนอฮฝฮฟฮฝ ฮฑฬฯฮฟฬ ฯฮทอฯ ฯฯฮฟฮฑอฯ ฯฮนฮปฮฟฬฯฮฟฯฮฟฮน ฮบฮฑฮนฬ ฮผฮนฮบฯฮฟฯ
อ ฮดฮตฮนอฮฝ ฮฑฬฬฯฮฑฮฝฯฮตฯ ฮฟฯ
ฬฬฯฯฯ" "
2.218. ฮบฮฑฮนฬ ฯฮฟฮนฮฑฯ
ฬฯฮท ฯฮนฯ ฮฑฬฮฝฮฑฮบฮทฬฯฯ
ฮพฮนฯ, ฮฑฬฮปฮป' ฮฑฯ
ฬฯฮฟฬฯ ฮตฬฬฮบฮฑฯฯฮฟฯ ฮฑฯ
ฬฯฯออ
ฯฮฟฬ ฯฯ
ฮฝฮตฮนฮดฮฟฬฯ ฮตฬฬฯฯฮฝ ฮผฮฑฯฯฯ
ฯฮฟฯ
อฮฝ ฯฮตฯฮนฬฯฯฮตฯ
ฮบฮตฮฝ, ฯฮฟฯ
อ ฮผฮตฬฮฝ ฮฝฮฟฮผฮฟฮธฮตฬฯฮฟฯ
ฯฯฮฟฯฮทฯฮตฯ
ฬฯฮฑฮฝฯฮฟฯ, ฯฮฟฯ
อ ฮดฮตฬ ฮธฮตฮฟฯ
อ ฯฮทฬฮฝ ฯฮนฬฯฯฮนฮฝ ฮนฬฯฯฯ
ฯฮฑฬฮฝ ฯฮฑฯฮตฯฯฮทฮบฮฟฬฯฮฟฯ, ฮฟฬฬฯฮน ฯฮฟฮนอฯ ฯฮฟฯ
ฬฯ ฮฝฮฟฬฮผฮฟฯ
ฯ ฮดฮนฮฑฯฯ
ฮปฮฑฬฮพฮฑฯฮน ฮบฮฑฬฬฮฝ ฮตฮนฬ ฮดฮตฬฮฟฮน ฮธฮฝฮทฬฯฮบฮตฮนฮฝ ฯ
ฬฯฮตฬฯ ฮฑฯ
ฬฯฯอฮฝ ฯฯฮฟฮธฯ
ฬฮผฯฯ ฮฑฬฯฮฟฮธฮฑฮฝฮตฮนอฮฝ ฮตฬฬฮดฯฮบฮตฮฝ ฮฟฬ ฮธฮตฮฟฬฯ ฮณฮตฮฝฮตฬฯฮธฮฑฮน ฯฮต ฯฮฑฬฮปฮนฮฝ ฮบฮฑฮนฬ ฮฒฮนฬฮฟฮฝ ฮฑฬฮผฮตฮนฬฮฝฯ ฮปฮฑฮฒฮตฮนอฮฝ ฮตฬฮบ ฯฮตฯฮนฯฯฮฟฯฮทอฯ."". 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 legislatorโs 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 |
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37. Mishnah, Avodah Zarah, 3.4 (1st cent. CE - 3rd cent. CE)
Tagged with subjects: โข Art โข Art, idol vs. image โข Art, imitation of models โข Art, loss of pagan meaning for Christians and Jews โข Art, religious art manufactured by Jews and Christians โข art, pagan โข seals, figural art
Found in books: Bickerman and Tropper (2007) 907; Levine (2005) 229, 478
3.4. ืฉืึธืึทื ืคึผึฐืจืึนืงึฐืืึนืก ืึผึถื ืคึดืืึนืกึฐืคืึนืก ืึถืช ืจึทืึผึธื ืึผึทืึฐืึดืืึตื ืึผึฐืขึทืึผืึน, ืฉืึถืึธืึธื ืจืึนืึตืฅ ืึผึทืึผึถืจึฐืึธืฅ ืฉืึถื ืึทืคึฐืจืึนืึดืืึดื, ืึธืึทืจ ืืึน, ืึผึธืชืึผื ืึผึฐืชืึนืจึทืชึฐืึถื, ืึฐืึนื ืึดืึฐืึผึทืง ืึผึฐืึธืึฐืึธ ืึฐืืึผืึธื ืึดื ืึทืึตืจึถื. ืึดืคึผึฐื ึตื ืึธื ืึทืชึผึธื ืจืึนืึตืฅ ืึผึทืึผึถืจึฐืึธืฅ ืฉืึถื ืึทืคึฐืจืึนืึดืืึดื. ืึธืึทืจ ืืึน, ืึตืื ืึฐืฉืึดืืึดืื ืึผึทืึผึถืจึฐืึธืฅ. ืึผืึฐืฉืึถืึผึธืฆึธื ืึธืึทืจ ืืึน, ืึฒื ึดื ืึนื ืึธืืชึดื ืึดืึฐืืึผืึธืึผ, ืึดืื ืึธืืชึธื ืึดืึฐืืึผืึดื, ืึตืื ืืึนืึฐืจึดืื, ื ึทืขึฒืฉืึถื ืึถืจึฐืึธืฅ ืึฐืึทืคึฐืจืึนืึดืืึดื ื ืึนื, ืึถืึผึธื ืืึนืึฐืจึดืื, ื ึทืขึฒืฉืึถื ืึทืคึฐืจืึนืึดืืึดื ื ืึนื ืึทืึผึถืจึฐืึธืฅ. ืึผึธืึธืจ ืึทืึตืจ, ืึดื ื ืึนืชึฐื ึดืื ืึฐืึธ ืึธืืึนื ืึทืจึฐืึผึตื, ืึดื ืึทืชึผึธื ื ึดืึฐื ึธืก ืึทืขึฒืืึนืึธื ืึธืจึธื ืฉืึถืึผึฐืึธ ืขึธืจืึนื ืึผืึทืขึทื ืงึถืจึดื ืึผืึทืฉืึฐืชึผึดืื ืึผึฐืคึธื ึถืืึธ, ืึฐืืึน ืขืึนืึถืึถืช ืขึทื ืคึผึดื ืึทืึผึดืื ืึฐืึธื ืึธืขึธื ืึทืฉืึฐืชึผึดืื ึดืื ืึฐืคึธื ึถืืึธ. ืึนื ื ึถืึฑืึทืจ ืึถืึผึธื ืึฑืึนืึตืืึถื. ืึถืช ืฉืึถื ึผืึนืึตื ืึผืึน ืึดืฉึผืืึผื ืึฑืืึนืึผึท, ืึธืกืึผืจ. ืึฐืึถืช ืฉืึถืึตืื ืึน ื ืึนืึตื ืึผืึน ืึดืฉึผืืึผื ืึฑืืึนืึผึท, ืึปืชึผึธืจ:''. 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, โIt is written in your torah, โlet 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, โWe do not answer questions relating to torah in a bathhouse.โ When he came out, he said to him, โI did not come into her domain, she has come into mine. People do not say, โthe bath was made as an adornment for Aphroditeโ; rather they say, โAphrodite 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, โtheir godsโ (Deuteronomy 12:3) what is treated as a god is prohibited, what is not treated as a deity is permitted.''. None |
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38. New Testament, 1 Peter, 5.4 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข art โข crown, in Christian art
Found in books: Brodd and Reed (2011) 165; Harkins and Maier (2022) 161
5.4. ฮบฮฑแฝถ ฯฮฑฮฝฮตฯฯฮธฮญฮฝฯฮฟฯ ฯฮฟแฟฆ แผฯฯฮนฯฮฟฮฏฮผฮตฮฝฮฟฯ ฮบฮฟฮผฮนฮตแฟฯฮธฮต ฯแฝธฮฝ แผฮผฮฑฯฮฌฮฝฯฮนฮฝฮฟฮฝ ฯแฟฯ ฮดฯฮพฮทฯ ฯฯฮญฯฮฑฮฝฮฟฮฝ.''. None | 5.4. When the chief Shepherd is revealed, you will receive the crown of glory that doesn't fade away. "". None |
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39. New Testament, Apocalypse, 4.6-4.11 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Moses, art โข Roman art โข art, โข art, Qumran โข art, priests โข 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 แผฮฝฯฯฮนฮฟฮฝ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
แฝกฯ ฮธฮฌฮปฮฑฯฯฮฑ แฝฮฑฮปฮฏฮฝฮทแฝฮผฮฟฮฏฮฑ ฮบฯฯ
ฯฯฮฌฮปฮปแฟณ. ฮบฮฑแฝถ แผฮฝ ฮผฮญฯแฟณ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
ฮบฮฑแฝถฮบฯฮบฮปแฟณ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
ฯฮญฯฯฮตฯฮฑ ฮถแฟทฮฑ ฮณฮญฮผฮฟฮฝฯฮฑ แฝฯฮธฮฑฮปฮผแฟถฮฝแผฮผฯฯฮฟฯฮธฮตฮฝ ฮบฮฑแฝถ แฝฯฮนฯฮธฮตฮฝยท 4.7. ฮบฮฑแฝถ ฯแฝธ ฮถแฟทฮฟฮฝฯแฝธ ฯฯแฟถฯฮฟฮฝแฝ
ฮผฮฟฮนฮฟฮฝฮปฮญฮฟฮฝฯฮน, ฮบฮฑแฝถ ฯแฝธ ฮดฮตฯฯฮตฯฮฟฮฝฮถแฟทฮฟฮฝ แฝ
ฮผฮฟฮนฮฟฮฝฮผฯฯฯแฟณ, ฮบฮฑแฝถ ฯแฝธ ฯฯฮฏฯฮฟฮฝฮถแฟทฮฟฮฝ แผฯฯฮฝฯแฝธ ฯฯฯฯฯฯฮฟฮฝแฝกฯแผฮฝฮธฯฯฯฮฟฯ
, ฮบฮฑแฝถ ฯแฝธ ฯฮญฯฮฑฯฯฮฟฮฝฮถแฟทฮฟฮฝ แฝ
ฮผฮฟฮนฮฟฮฝแผฮตฯแฟทฯฮตฯฮฟฮผฮญฮฝแฟณยท 4.8. ฮบฮฑแฝถ ฯแฝฐ ฯฮญฯฯฮตฯฮฑ ฮถแฟทฮฑ,แผฮฝ ฮบฮฑฮธสผ แผฮฝฮฑแฝฯแฟถฮฝ แผฯฯฮฝแผฮฝแฝฐ ฯฯฮญฯฯ
ฮณฮฑฯ แผฮพ, ฮบฯ
ฮบฮปฯฮธฮตฮฝฮบฮฑแฝถ แผฯฯฮธฮตฮฝฮณฮญฮผฮฟฯ
ฯฮนฮฝ แฝฯฮธฮฑฮปฮผแฟถฮฝยทฮบฮฑแฝถ แผฮฝฮฌฯฮฑฯ
ฯฮนฮฝ ฮฟแฝฮบ แผฯฮฟฯ
ฯฮนฮฝ แผกฮผฮญฯฮฑฯ ฮบฮฑแฝถ ฮฝฯ
ฮบฯแฝธฯ ฮปฮญฮณฮฟฮฝฯฮตฯ แผฮณฮนฮฟฯ แผ
ฮณฮนฮฟฯ แผ
ฮณฮนฮฟฯ ฮฯฯฮนฮฟฯ, แฝ ฮธฮตฯฯ, แฝ ฯฮฑฮฝฯฮฟฮบฯฮฌฯฯฯ, แฝ แผฆฮฝ ฮบฮฑแฝถ แฝ แฝคฮฝ ฮบฮฑแฝถ แฝ แผฯฯฯฮผฮตฮฝฮฟฯ. 4.9. ฮฮฑแฝถ แฝ
ฯฮฑฮฝ ฮดฯฯฮฟฯ
ฯฮนฮฝ ฯแฝฐ ฮถแฟทฮฑ ฮดฯฮพฮฑฮฝ ฮบฮฑแฝถ ฯฮนฮผแฝดฮฝ ฮบฮฑแฝถ ฮตแฝฯฮฑฯฮนฯฯฮฏฮฑฮฝ ฯแฟทฮบฮฑฮธฮทฮผฮญฮฝแฟณ แผฯแฝถ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
, ฯแฟท ฮถแฟถฮฝฯฮน ฮตแผฐฯ ฯฮฟแฝบฯ ฮฑแผฐแฟถฮฝฮฑฯฯแฟถฮฝ ฮฑแผฐฯฮฝฯฮฝ, 4.10. ฯฮตฯฮฟแฟฆฮฝฯฮฑฮน ฮฟแผฑ ฮตแผดฮบฮฟฯฮน ฯฮญฯฯฮฑฯฮตฯ ฯฯฮตฯฮฒฯฯฮตฯฮฟฮน แผฮฝฯฯฮนฮฟฮฝ ฯฮฟแฟฆฮบฮฑฮธฮทฮผฮญฮฝฮฟฯ
แผฯแฝถ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
,ฮบฮฑแฝถ ฯฯฮฟฯฮบฯ
ฮฝฮฎฯฮฟฯ
ฯฮนฮฝฯแฟท ฮถแฟถฮฝฯฮน ฮตแผฐฯ ฯฮฟแฝบฯ ฮฑแผฐแฟถฮฝฮฑฯฯแฟถฮฝ ฮฑแผฐฯฮฝฯฮฝ, ฮบฮฑแฝถ ฮฒฮฑฮปฮฟแฟฆฯฮนฮฝ ฯฮฟแฝบฯ ฯฯฮตฯฮฌฮฝฮฟฯ
ฯ ฮฑแฝฯแฟถฮฝ แผฮฝฯฯฮนฮฟฮฝ ฯฮฟแฟฆ ฮธฯฯฮฝฮฟฯ
, ฮปฮญฮณฮฟฮฝฯฮตฯ 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 |
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40. New Testament, Mark, 14.26 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Roman art โข music, liberal art of music (musica)
Found in books: Dijkstra (2020) 121; Esler (2000) 781
14.26. ฮฮฑแฝถ แฝฮผฮฝฮฎฯฮฑฮฝฯฮตฯ แผฮพแฟฮปฮธฮฟฮฝ ฮตแผฐฯ ฯแฝธ แฝฯฮฟฯ ฯแฟถฮฝ แผฮปฮฑฮนแฟถฮฝ.''. None | 14.26. When they had sung a hymn, they went out to the Mount of Olives. ''. None |
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41. New Testament, Matthew, 26.33 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Roman art โข art
Found in books: Dijkstra (2020) 121; Harkins and Maier (2022) 161
26.33. แผฯฮฟฮบฯฮนฮธฮตแฝถฯ ฮดแฝฒ แฝ ฮ ฮญฯฯฮฟฯ ฮตแผถฯฮตฮฝ ฮฑแฝฯแฟท ฮแผฐ ฯฮฌฮฝฯฮตฯ ฯฮบฮฑฮฝฮดฮฑฮปฮนฯฮธฮฎฯฮฟฮฝฯฮฑฮน แผฮฝ ฯฮฟฮฏ, แผฮณแฝผ ฮฟแฝฮดฮญฯฮฟฯฮต ฯฮบฮฑฮฝฮดฮฑฮปฮนฯฮธฮฎฯฮฟฮผฮฑฮน.''. 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 |
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42. Quintilian, Institutes of Oratory, 12.10.9 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Apelles, place among ancient artists โข Lysippus, place among ancient artists โข Myron, his place among ancient artists โข Phidias, his place among ancient artists โข Polyclitus, his place among ancient artists โข Praxiteles, his place among ancient artists โข Quintilian, judgment on artists โข Zeuxis, place among ancient artists โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation โข artist, canonization of โข artist, styles of โข 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 |
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43. Quintilian, Institutio Oratoria, 12.10.3-12.10.9 (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Apelles (artist) โข Apelles, place among ancient artists โข Lysippus, place among ancient artists โข Myron, his place among ancient artists โข Phidias, his place among ancient artists โข Polyclitus, his place among ancient artists โข Praxiteles, his place among ancient artists โข Quintilian, judgment on artists โข Zeuxis, place among ancient artists โข art gallery, in Petroniusโ Satyrica โข artist, canonization of โข artist, styles of โข offering, art work as โข 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\x86รยฑรยฝร\x84รยฑร\x83รยฏรยฑรยน, 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 |
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44. Tacitus, Annals, 15.37 (1st cent. CE - 2nd cent. CE)
Tagged with subjects: โข Art โข Art, interpretation of symbols โข 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 |
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45. None, None, nan (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข technitai (Artists of Dionysus) โข young womens rituals, in Statius Achilleid, female artistic voice versus epic male voice
Found in books: Csapo (2022) 118; Panoussi(2019) 261
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46. None, None, nan (1st cent. CE - 2nd cent. CE)
Tagged with subjects: โข Art โข Art, idol vs. image โข Art, imitation of models โข blessings, figural art โข seals, figural art
Found in books: Bickerman and Tropper (2007) 912, 920, 937; Levine (2005) 226, 478
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47. None, None, nan (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Art โข Art, idol vs. image โข blessings, figural art โข seals, figural art
Found in books: Bickerman and Tropper (2007) 920; Levine (2005) 226
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48. None, None, nan (1st cent. CE - 2nd cent. CE)
Tagged with subjects: โข Artist, works of art โข Vipsanius Agrippa, M., on public art โข connoisseurship, art historical
Found in books: Lampe (2003) 62; Rojas(2019) 164; Rutledge (2012) 58
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49. None, None, nan (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Artistic metaphor, for training in virtue โข Moses, art
Found in books: Brooke et al (2008) 180; Gray (2021) 1
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50. None, None, nan (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Artist, works of art โข Hadrian, as artist โข Nero, artistic aspirations โข Petronius, and the decline of art โข Pliny the Elder, on decline of art โข Vitruvius, on decline of art โข art expert, in Petroniusโ Satyrica โข art gallery, in Petroniusโ Satyrica โข art history, Petroniusโ satire of โข 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
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51. None, None, nan (1st cent. CE - 1st cent. CE)
Tagged with subjects: โข Alexander the Great, repatriates Greek art from Persia โข Apelles (artist) โข Apelles, place among ancient artists โข Art โข Art, imitation of models โข Art, interpretation of symbols โข Art, need for explanation โข Artist, works of art โข Athenaeus, on eroticism in art โข Epigonos, artist โข Greek, art โข Hadrian, as artist โข Lysippus, place among ancient artists โข Mercury/Hermes, and Cupid in art โข Myron, his place among ancient artists โข Nero, artistic aspirations โข Nikeratos, artist โข Nile, subject matter of art โข Petronius, and the decline of art โข Phidias, his place among ancient artists โข Phyromachos, artist โข Pliny the Elder, on decline of art โข Pliny the Elder, on ignorance of art โข Pliny the Elder, on public art โข Pliny the Younger, on artists โข Polyclitus, his place among ancient artists โข Porcius Cato the Elder, M., on Greek art and culture โข Praxiteles, his place among ancient artists โข Quintilian, judgment on artists โข Tullius Cicero, M., on artists โข Valerius Maximus, and eroticism in art โข Verres, C., appropriates art works in Syracuse โข Vipsanius Agrippa, M., on public art โข Vitruvius, on decline of art โข Zeuxis, place among ancient artists โข art โข art expert, in Petroniusโ Satyrica โข art gallery, in Petroniusโ Satyrica โข art history, Petroniusโ satire of โข art, Roman โข artist โข artist, as critics โข artist, canonization of โข artist, styles of โข artist, treatises by โข artists and gods โข eloquence, art of โข liberal arts or disciplines, contrasted or combined with the Bible, biblical culture โข liberal arts or disciplines, listed or enumerated โข offering, art work as โข place among ancient artists โข place among ancient artists, his realism โข 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
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52. None, None, nan (1st cent. CE - 2nd cent. CE)
Tagged with subjects: โข Art โข Art, idol vs. image โข Greeks, and Italian art
Found in books: Bickerman and Tropper (2007) 924; Parkins and Smith (1998) 37
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53. Lucian, Essays In Portraiture, 6 (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Amazons, in art โข 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 โGardenโ 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 Sosandraโs modesty, Sosandraโs grave half smile; the decent seemly dress is Sosandraโs 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 |
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54. Pausanias, Description of Greece, 7.18.9, 9.39.6 (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Incubation (Greek), ram skins in reliefs an artistic convention(?) โข art discourse, art-historical โข art discourse, ritualcentered โข ritual, as focus of art discourse โข technitai (Artists of Dionysus), at Rome
Found in books: Csapo (2022) 119; Elsner (2007) 35; Renberg (2017) 287
7.18.9. แฝกฯฮฑฯฯฯฯ ฮดแฝฒ ฮบฮฑแฝถ แฝ
ฯฮฑ แผฮปฮปฮฑ แผฮณฮฌฮปฮผฮฑฯฮฑ แผฮบ ฯฮต ฮแผฐฯฯฮปฮฏฮฑฯ ฮบฮฑแฝถ ฯฮฑฯแฝฐ แผฮบฮฑฯฮฝฮฌฮฝฯฮฝ, ฯแฝฐ ฮผแฝฒฮฝ ฯฮฟฮปฮปแฝฐ แผฯ ฯแฝดฮฝ ฮฮนฮบฯฯฮฟฮปฮนฮฝ ฮบฮฟฮผฮนฯฮธแฟฮฝฮฑฮน, ฮ ฮฑฯฯฮตแฟฆฯฮน ฮดแฝฒ แฝ ฮแฝฮณฮฟฯ
ฯฯฮฟฯ แผฮปฮปฮฑ ฯฮต ฯแฟถฮฝ แผฮบ ฮฮฑฮปฯ
ฮดแฟถฮฝฮฟฯ ฮปฮฑฯฯฯฯฮฝ ฮบฮฑแฝถ ฮดแฝด ฮบฮฑแฝถ ฯแฟฯ ฮฮฑฯฯฮฏฮฑฯ แผฮดฯฮบฮต ฯแฝธ แผฮณฮฑฮปฮผฮฑ, แฝ ฮดแฝด ฮบฮฑแฝถ แผฯ แผฮผแฝฒ แผฯฮน แผฮฝ ฯแฟ แผฮบฯฮฟฯฯฮปฮตฮน ฯแฟ ฮ ฮฑฯฯฮญฯฮฝ ฮตแผถฯฮต ฯฮนฮผฮฌฯ. ฮณฮตฮฝฮญฯฮธฮฑฮน ฮดแฝฒ แผฯฮฏฮบฮปฮทฯฮนฮฝ ฯแฟ ฮธฮตแฟท ฮฮฑฯฯฮฏฮฑฮฝ แผฯแฝธ แผฮฝฮดฯแฝธฯ ฮฆฯฮบฮญฯฯ ฯฮฑฯฮฏยท ฮฮฌฯฯฮนฮฟฮฝ ฮณแฝฐฯ ฯแฝธฮฝ ฮฮฑฯฯฮฑฮปฮฏฮฟฯ
ฯฮฟแฟฆ ฮฮตฮปฯฮฟแฟฆ ฮฮฑฮปฯ
ฮดฯฮฝฮฏฮฟฮนฯ แผฑฮดฯฯฯฮฑฯฮธฮฑฮน ฯแฝธ แผฮณฮฑฮปฮผฮฑ ฯแฟฯ แผฯฯฮญฮผฮนฮดฮฟฯ ฯแฝธ แผฯฯฮฑแฟฮฟฮฝ, ฮฟแผฑ ฮดแฝฒ ฯแฟฯ แผฯฯฮญฮผฮนฮดฮฟฯ ฯแฝธ ฮผฮฎฮฝฮนฮผฮฑ ฯแฝธ
9.39.6. ฮบฮฑฮธสผ แผฮบฮฌฯฯฮทฮฝ ฮดแฝฒ ฯแฟถฮฝ ฮธฯ
ฯฮนแฟถฮฝ แผฮฝแฝดฯ ฮผฮฌฮฝฯฮนฯ ฯฮฑฯแฝผฮฝ แผฯ ฯฮฟแฟฆ แผฑฮตฯฮตฮฏฮฟฯ
ฯแฝฐ ฯฯฮปฮฌฮณฯฮฝฮฑ แผฮฝฮฟฯแพท, แผฮฝฮนฮดแฝผฮฝ ฮดแฝฒ ฯฯฮฟฮธฮตฯฯฮฏฮถฮตฮน ฯแฟท ฮบฮฑฯฮนฯฮฝฯฮน ฮตแผฐ ฮดแฝด ฮฑแฝฯแฝธฮฝ ฮตแฝฮผฮตฮฝแฝดฯ แฝ ฮคฯฮฟฯฯฮฝฮนฮฟฯ ฮบฮฑแฝถ แผตฮปฮตฯฯ ฮดฮญฮพฮตฯฮฑฮน. ฯแฟถฮฝ ฮผแฝฒฮฝ ฮดแฝด แผฮปฮปฯฮฝ แผฑฮตฯฮตฮฏฯฮฝ ฯแฝฐ ฯฯฮปฮฌฮณฯฮฝฮฑ ฮฟแฝฯ แฝฮผฮฟฮฏฯฯ ฮดฮทฮปฮฟแฟ ฯฮฟแฟฆ ฮคฯฮฟฯฯฮฝฮฏฮฟฯ
ฯแฝดฮฝ ฮณฮฝฯฮผฮทฮฝยท แผฮฝ ฮดแฝฒ ฮฝฯ
ฮบฯแฝถ แพ ฮบฮฌฯฮตฮนฯฮนฮฝ แผฮบฮฑฯฯฮฟฯ, แผฮฝ ฯฮฑฯฯแฟ ฮบฯฮนแฝธฮฝ ฮธฯฮฟฯ
ฯฮนฮฝ แผฯ ฮฒฯฮธฯฮฟฮฝ, แผฯฮนฮบฮฑฮปฮฟฯฮผฮตฮฝฮฟฮน ฯแฝธฮฝ แผฮณฮฑฮผฮฎฮดฮทฮฝ. ฮธฯ
ฮผฮฌฯฯฮฝ ฮดแฝฒ ฯแฟถฮฝ ฯฯฯฯฮตฯฮฟฮฝ ฯฮตฯฮทฮฝฯฯฯฮฝ ฮฑแผฐฯฮฏฯฮฝ ฮปฯฮณฮฟฯ แผฯฯแฝถฮฝ ฮฟแฝฮดฮตฮฏฯ, ฮตแผฐ ฮผแฝด ฮบฮฑแฝถ ฯฮฟแฟฆฮดฮต ฯฮฟแฟฆ ฮบฯฮนฮฟแฟฆ ฯแฝฐ ฯฯฮปฮฌฮณฯฮฝฮฑ ฯแฝธ ฮฑแฝฯแฝธ ฮธฮญฮปฮฟฮน ฮปฮญฮณฮตฮนฮฝยท แฝฮผฮฟฮปฮฟฮณฮฟฯฮฝฯฯฮฝ ฮดแฝฒ ฮบฮฑแฝถ ฯฮฟฯฯฯฮฝ, ฯฯฯฮต แผฮบฮฑฯฯฮฟฯ แผคฮดฮท ฮบฮฌฯฮตฮนฯฮนฮฝ ฮตแฝฮตฮปฯฮนฯ, ฮบฮฌฯฮตฮนฯฮน ฮดแฝฒ ฮฟแฝฯฯ.''. 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 |
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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: โข Apollonius of Tyana, views on religious art โข Art โข Art theory โข Art, funerary โข Art, idol vs. image โข Art, imitation of models โข Art, interpretation of symbols โข Art, loss of pagan meaning for Christians and Jews โข Art, need for explanation โข Art, religious art manufactured by Jews and Christians โข Greek, art โข Nile, subject matter of art โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation โข art discourse, art-historical โข art discourse, ritualcentered โข 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. ฮฟฬฬฮฝ ฮดฮตฬ ฮดฮนฮตฬฯฯฮนฮฒฮตฮฝ ฮตฬฮฝ ฯฯออ
ฮนฬฮตฯฯออ
ฯฯฮฟฬฮฝฮฟฮฝ, ฯฮฟฮปฯ
ฬฯ ฮดฮตฬ ฮฟฯ
ฬอฯฮฟฯ ฮตฬฮณฮตฬฮฝฮตฯฮฟ, ฮตฬฬฯฯ' ฮฑฬฬฮฝ ฮฑฬฮณฮณฮตฮปฮธฮทออ
ฯฯออ
ฮฒฮฑฯฮนฮปฮตฮนอ ฮพฮตฬฮฝฮฟฯ
ฯ ฮทฬฬฮบฮตฮนฮฝ, โฯฬอ ฮฮฑฬฮผฮนโ ฮตฬฬฯฮท ฮฟฬ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮฟฯ, โฮตฬฬฯฯฮน ฯฮน ฮณฯฮฑฯฮนฮบฮทฬ;โ โฮตฮนฬฬ ฮณฮตโ ฮตฮนฬอฯฮต โฮบฮฑฮนฬ ฮฑฬฮปฮทฬฮธฮตฮนฮฑ.โ โฯฯฮฑฬฯฯฮตฮน ฮดฮตฬ ฯฮนฬ ฮทฬ ฯฮตฬฯฮฝฮท ฮฑฯ
ฬฬฯฮท;โ โฯฮฑฬ ฯฯฯฬฮผฮฑฯฮฑโ ฮตฬฬฯฮท โฮพฯ
ฮณฮบฮตฯฮฑฬฮฝฮฝฯ
ฯฮนฮฝ, ฮฟฬฯฮฟฬฯฮฑ ฮตฬฯฯฮนฬ, ฯฮฑฬ ฮบฯ
ฮฑฮฝฮฑอ ฯฮฟฮนอฯ ฮฒฮฑฯฯฮฑฯฮตฮนฬฮฟฮนฯ ฮบฮฑฮนฬ ฯฮฑฬ ฮปฮตฯ
ฮบฮฑฬ ฯฮฟฮนอฯ ฮผฮตฬฮปฮฑฯฮน ฮบฮฑฮนฬ ฯฮฑฬ ฯฯ
ฯฯฮฑฬ ฯฮฟฮนอฯ ฯฬฯฯฮฟฮนอฯ.โ โฯฮฑฯ
ฯฮนฬ ฮดฮตฬโ ฮทฬอ ฮด' ฮฟฬฬฯ โฯ
ฬฯฮตฬฯ ฯฮนฬฮฝฮฟฯ ฮผฮนฬฮณฮฝฯ
ฯฮนฮฝ; ฮฟฯ
ฬ ฮณฮฑฬฯ ฯ
ฬฯฮตฬฯ ฮผฮฟฬฮฝฮฟฯ
ฯฮฟฯ
อ ฮฑฬฬฮฝฮธฮฟฯ
ฯ, ฯฬฬฯฯฮตฯ ฮฑฮนฬ ฮบฮทฬฯฮนฮฝฮฑฮน.โ โฯ
ฬฯฮตฬฯ ฮผฮนฮผฮทฬฯฮตฯฯโ ฮตฬฬฯฮท โฮบฮฑฮนฬ ฯฮฟฯ
อ ฮบฯ
ฬฮฝฮฑ ฯฮต ฮตฬฮพฮตฮนฮบฮฑฬฯฮฑฮน ฮบฮฑฮนฬ ฮนฬฬฯฯฮฟฮฝ ฮบฮฑฮนฬ ฮฑฬฬฮฝฮธฯฯฯฮฟฮฝ ฮบฮฑฮนฬ ฮฝฮฑฯ
อฮฝ ฮบฮฑฮนฬ ฮฟฬฯฮฟฬฯฮฑ ฮฟฬฯฮฑออ
ฮฟฬ ฮทฬฬฮปฮนฮฟฯ: ฮทฬฬฮดฮท ฮดฮตฬ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮทฬฬฮปฮนฮฟฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ ฮตฬฮพฮตฮนฮบฮฑฬฮถฮตฮน ฯฮฟฯฮตฬ ฮผฮตฬฮฝ ฮตฬฯฮนฬ ฯฮตฯฯฮฑฬฯฯฮฝ ฮนฬฬฯฯฯฮฝ, ฮฟฮนฬอฮฟฯ ฮตฬฮฝฯฮฑฯ
อฮธฮฑ ฮปฮตฬฮณฮตฯฮฑฮน ฯฮฑฮนฬฮฝฮตฯฮธฮฑฮน, ฯฮฟฯฮตฬ ฮด' ฮฑฯ
ฬอ ฮบฮฑฮนฬ ฮดฮนฮฑฯฯ
ฯฯฮตฯ
ฬฮฟฮฝฯฮฑ ฯฮฟฯ
อ ฮฟฯ
ฬฯฮฑฮฝฮฟฯ
อ, ฮตฬฯฮตฮนฮดฮฑฬฮฝ ฮฑฮนฬฮธฮตฬฯฮฑ ฯ
ฬฯฮฟฮณฯฮฑฬฯฮทอ
ฮบฮฑฮนฬ ฮธฮตฯอฮฝ ฮฟฮนฬอฮบฮฟฮฝ.โ โฮผฮนฬฮผฮทฯฮนฯ ฮฟฯ
ฬอฮฝ ฮทฬ ฮณฯฮฑฯฮนฮบฮทฬ, ฯฬอ ฮฮฑฬฮผฮน;โ โฯฮนฬ ฮดฮตฬ ฮฑฬฬฮปฮปฮฟ;โ ฮตฮนฬอฯฮตฮฝ โฮตฮนฬ ฮณฮฑฬฯ ฮผฮทฬ ฯฮฟฯ
อฯฮฟ ฯฯฮฑฬฯฯฮฟฮน, ฮณฮตฮปฮฟฮนฬฮฑ ฮดฮฟฬฮพฮตฮน ฯฯฯฬฮผฮฑฯฮฑ ฯฮฟฮนฮฟฯ
อฯฮฑ ฮตฯ
ฬฮทฬฮธฯฯ.โ โฯฮฑฬ ฮด' ฮตฬฮฝ ฯฯออ
ฮฟฯ
ฬฯฮฑฮฝฯออ
โ ฮตฬฬฯฮท โฮฒฮปฮตฯฮฟฬฮผฮตฮฝฮฑ, ฮตฬฯฮตฮนฮดฮฑฬฮฝ ฮฑฮนฬ ฮฝฮตฯฮตฬฮปฮฑฮน ฮดฮนฮฑฯฯฮฑฯฮธฯอฯฮนฮฝ ฮฑฬฯ' ฮฑฬฮปฮปฮทฬฮปฯฮฝ, ฯฮฟฯ
ฬฯ ฮบฮตฮฝฯฮฑฯ
ฬฯฮฟฯ
ฯ ฮบฮฑฮนฬ ฯฯฮฑฮณฮตฮปฮฑฬฯฮฟฯ
ฯ ฮบฮฑฮนฬ, ฮฝฮทฬ ฮฮนฬ', ฮฟฮนฬ ฮปฯ
ฬฮบฮฟฮน ฯฮต ฮบฮฑฮนฬ ฮฟฮนฬ ฮนฬฬฯฯฮฟฮน, ฯฮนฬ ฯฮทฬฯฮตฮนฯ; ฮฑฬอฯ' ฮฟฯ
ฬ ฮผฮนฮผฮทฯฮนฮบฮทอฯ ฮตฮนฬอฮฝฮฑฮน ฮตฬฬฯฮณฮฑ;โ โฮตฬฬฮฟฮนฮบฮตฮฝ,โ ฮตฬฬฯฮท. โฮถฯฮณฯฮฑฬฯฮฟฯ ฮฟฯ
ฬอฮฝ ฮฟฬ ฮธฮตฮฟฬฯ, ฯฬอ ฮฮฑฬฮผฮน, ฮบฮฑฮนฬ ฮบฮฑฯฮฑฮปฮนฯฯฬฮฝ ฯฮฟฬ ฯฯฮทฮฝฮฟฬฮฝ ฮฑฬฬฯฮผฮฑ, ฮตฬฯ' ฮฟฯ
ฬอ ฯฮฟฯฮตฯ
ฬฮตฯฮฑฮน ฮดฮนฮฑฮบฮฟฯฮผฯอฮฝ ฯฮฑฬ ฮธฮตฮนอฮฑฬ ฯฮต ฮบฮฑฮนฬ ฮฑฬฮฝฮธฯฯฬฯฮตฮนฮฑ, ฮบฮฑฬฮธฮทฯฮฑฮน ฯฮฟฬฯฮต ฮฑฬฮธฯ
ฬฯฯฮฝ ฯฮต ฮบฮฑฮนฬ ฮณฯฮฑฬฯฯฮฝ ฯฮฑฯ
อฯฮฑ, ฯฬฬฯฯฮตฯ ฮฟฮนฬ ฯฮฑฮนอฮดฮตฯ ฮตฬฮฝ ฯฮทออ
ฯฮฑฬฮผฮผฯอ
;โ ฮทฬฯฯ
ฮธฯฮนฬฮฑฯฮตฮฝ ฮฟฬ ฮฮฑฬฮผฮนฯ ฮตฬฯ ฮฟฯ
ฬฬฯฯฯ ฮฑฬฬฯฮฟฯฮฟฮฝ ฮตฬฮบฯฮตฯฮตฮนอฮฝ ฮดฮฟฬฮพฮฑฮฝฯฮฟฯ ฯฮฟฯ
อ ฮปฮฟฬฮณฮฟฯ
. ฮฟฯ
ฬฯ ฯ
ฬฯฮตฯฮนฮดฯฬฮฝ ฮฟฯ
ฬอฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฟฬ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮฟฯ, ฮฟฯ
ฬฮดฮตฬ ฮณฮฑฬฯ ฯฮนฮบฯฮฟฬฯ ฯฯฮฟฬฯ ฯฮฑฬฯ ฮตฬฮปฮตฬฮณฮพฮตฮนฯ ฮทฬอฮฝ, โฮฑฬฮปฮปฮฑฬ ฮผฮทฬ ฯฮฟฯ
อฯฮฟโ ฮตฬฬฯฮท โฮฒฮฟฯ
ฬฮปฮตฮน ฮปฮตฬฮณฮตฮนฮฝ, ฯฬอ ฮฮฑฬฮผฮน, ฯฮฟฬ ฯฮฑฯ
อฯฮฑ ฮผฮตฬฮฝ ฮฑฬฬฯฮทฮผฮฑฬ ฯฮต ฮบฮฑฮนฬ ฯฬฯ ฮตฬฬฯฯ
ฯฮต ฮดฮนฮฑฬ ฯฮฟฯ
อ ฮฟฯ
ฬฯฮฑฮฝฮฟฯ
อ ฯฮตฬฯฮตฯฮธฮฑฮน ฯฮฟฬฮณฮต ฮตฬฯฮนฬ ฯฯออ
ฮธฮตฯออ
, ฮทฬฮผฮฑอฯ ฮดฮตฬ ฯฯ
ฬฯฮตฮน ฯฮฟฬ ฮผฮนฮผฮทฯฮนฮบฮฟฬฮฝ ฮตฬฬฯฮฟฮฝฯฮฑฯ ฮฑฬฮฝฮฑฯฯฯ
ฮธฮผฮนฬฮถฮตฮนฮฝ ฯฮต ฮฑฯ
ฬฯฮฑฬ ฮบฮฑฮนฬ ฯฮฟฮนฮตฮนอฮฝ;โ โฮผฮฑอฮปฮปฮฟฮฝโ ฮตฬฬฯฮท โฯฮฟฯ
อฯฮฟ ฮทฬฮณฯฬฮผฮตฮธฮฑ, ฯฬอ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮต, ฯฮนฮธฮฑฮฝฯฬฯฮตฯฮฟฮฝ ฮณฮฑฬฯ ฮบฮฑฮนฬ ฯฮฟฮปฮปฯออ
ฮฒฮตฬฮปฯฮนฮฟฮฝ.โ โฮดฮนฯฯฮทฬ ฮฑฬฬฯฮฑ ฮทฬ ฮผฮนฮผฮทฯฮนฮบฮทฬ, ฯฬอ ฮฮฑฬฮผฮน, ฮบฮฑฮนฬ ฯฮทฬฮฝ ฮผฮตฬฮฝ ฮทฬฮณฯฬฮผฮตฮธฮฑ ฮฟฮนฬฬฮฑฮฝ ฯฮทออ
ฯฮตฮนฯฮนฬ ฮฑฬฯฮฟฮผฮนฮผฮตฮนอฯฮธฮฑฮน ฮบฮฑฮนฬ ฯฯออ
ฮฝฯออ
, ฮณฯฮฑฯฮนฮบฮทฬฮฝ ฮดฮตฬ ฮตฮนฬอฮฝฮฑฮน ฯฮฑฯ
ฬฯฮทฮฝ, ฯฮทฬฮฝ ฮด' ฮฑฯ
ฬอ ฮผฮฟฬฮฝฯอ
ฯฯออ
ฮฝฯออ
ฮตฮนฬฮบฮฑฬฮถฮตฮนฮฝ.โ โฮฟฯ
ฬ ฮดฮนฯฯฮทฬฮฝ,โ ฮตฬฬฯฮท ฮฟฬ ฮฮฑฬฮผฮนฯ โฮฑฬฮปฮปฮฑฬ ฯฮทฬฮฝ ฮผฮตฬฮฝ ฯฮตฮปฮตฯฯฮตฬฯฮฑฮฝ ฮทฬฮณฮตฮนอฯฮธฮฑฮน ฯฯฮฟฯฮทฬฮบฮตฮน ฮณฯฮฑฯฮนฮบฮทฬฮฝ ฮณฮต ฮฟฯ
ฬอฯฮฑฮฝ, ฮทฬฬ ฮดฯ
ฬฮฝฮฑฯฮฑฮน ฮบฮฑฮนฬ ฯฯออ
ฮฝฯออ
ฮบฮฑฮนฬ ฯฮทออ
ฯฮตฮนฯฮนฬ ฮตฬฮพฮตฮนฮบฮฑฬฯฮฑฮน, ฯฮทฬฮฝ ฮดฮตฬ ฮตฬฯฮตฬฯฮฑฮฝ ฮตฬฮบฮตฮนฬฮฝฮทฯ ฮผฮฟฬฯฮนฮฟฮฝ, ฮตฬฯฮตฮนฮดฮทฬ ฮพฯ
ฮฝฮนฬฮทฯฮน ฮผฮตฬฮฝ ฮบฮฑฮนฬ ฮผฮนฮผฮตฮนอฯฮฑฮน ฯฯออ
ฮฝฯออ
ฮบฮฑฮนฬ ฮผฮทฬ ฮณฯฮฑฯฮนฮบฮฟฬฯ ฯฮนฯ ฯฬฬฮฝ, ฯฮทออ
ฯฮตฮนฯฮนฬ ฮดฮตฬ ฮฟฯ
ฬฮบ ฮฑฬฬฮฝ ฮตฬฯ ฯฮฟฬ ฮณฯฮฑฬฯฮตฮนฮฝ ฮฑฯ
ฬฯฮฑฬ ฯฯฮทฬฯฮฑฮนฯฮฟ.โ โฮฑฬอฯฮฑ,โ ฮตฬฬฯฮท โฯฬอ ฮฮฑฬฮผฮน, ฯฮตฯฮทฯฯฮผฮตฬฮฝฮฟฯ ฯฮทฬฮฝ ฯฮตฮนอฯฮฑ ฯ
ฬฯฮฟฬ ฯฮปฮทฮณฮทอฯ ฯฮนฮฝฮฟฯ ฮทฬฬ ฮฝฮฟฬฯฮฟฯ
;โ โฮผฮฑฬ ฮฮนฬ'โ ฮตฮนฬอฯฮตฮฝ โฮฑฬฮปฮป' ฯ
ฬฯฮฟฬ ฯฮฟฯ
อ ฮผฮทฬฯฮต ฮณฯฮฑฯฮนฬฮดฮฟฯ ฯฮนฮฝฮฟฬฯ ฮทฬอฯฮธฮฑฮน, ฮผฮทฬฯฮต ฮฟฬฯฮณฮฑฬฮฝฮฟฯ
ฯฮนฮฝฮฟฬฯ ฮทฬฬ ฯฯฯฬฮผฮฑฯฮฟฯ, ฮฑฬฮปฮป' ฮฑฬฮผฮฑฮธฯอฯ ฮตฬฬฯฮตฮนฮฝ ฯฮฟฯ
อ ฮณฯฮฑฬฯฮตฮนฮฝ.โ โฮฟฯ
ฬฮบฮฟฯ
อฮฝ,โ ฮตฬฬฯฮท โฯฬอ ฮฮฑฬฮผฮน, ฮฑฬฬฮผฯฯ ฮฟฬฮผฮฟฮปฮฟฮณฮฟฯ
อฮผฮตฮฝ ฮผฮนฮผฮทฯฮนฮบฮทฬฮฝ ฮผฮตฬฮฝ ฮตฬฮบ ฯฯ
ฬฯฮตฯฯ ฯฮฟฮนอฯ ฮฑฬฮฝฮธฯฯฬฯฮฟฮนฯ ฮทฬฬฮบฮตฮนฮฝ, ฯฮทฬฮฝ ฮณฯฮฑฯฮนฮบฮทฬฮฝ ฮดฮตฬ ฮตฬฮบ ฯฮตฬฯฮฝฮทฯ. ฯฮฟฯ
ฯฮนฬ ฮด' ฮฑฬฬฮฝ ฮบฮฑฮนฬ ฯฮตฯฮนฬ ฯฮทฬฮฝ ฯฮปฮฑฯฯฮนฮบฮทฬฮฝ ฯฮฑฮนฬฮฝฮฟฮนฯฮฟ. ฯฮทฬฮฝ ฮดฮตฬ ฮดฮทฬ ฮถฯฮณฯฮฑฯฮนฬฮฑฮฝ ฮฑฯ
ฬฯฮทฬฮฝ ฮฟฯ
ฬฬ ฮผฮฟฮน ฮดฮฟฮบฮตฮนอฯ ฮผฮฟฬฮฝฮฟฮฝ ฯฮทฬฮฝ ฮดฮนฮฑฬ ฯฯอฮฝ ฯฯฯฮผฮฑฬฯฯฮฝ ฮทฬฮณฮตฮนอฯฮธฮฑฮน, ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮตฬฬฮฝ ฯฯฯอฮผฮฑ ฮตฬฯ ฮฑฯ
ฬฯฮทฬฮฝ ฮทฬฬฯฮบฮตฯฮต ฯฮฟฮนอฯ ฮณฮต ฮฑฬฯฯฮฑฮนฮฟฯฮตฬฯฮฟฮนฯ ฯฯอฮฝ ฮณฯฮฑฯฮตฬฯฮฝ ฮบฮฑฮนฬ ฯฯฮฟฮนฬฮฟฯ
อฯฮฑ ฯฮตฯฯฮฑฬฯฯฮฝ ฮตฮนฬอฯฮฑ ฯฮปฮตฮนฮฟฬฮฝฯฮฝ ฮทฬฬฯฮฑฯฮฟ, ฮฑฬฮปฮปฮฑฬ ฮบฮฑฮนฬ ฮณฯฮฑฮผฮผฮทฬฮฝ ฮบฮฑฮนฬ ฯฮฟฬ ฮฑฬฬฮฝฮตฯ
ฯฯฯฬฮผฮฑฯฮฟฯ, ฮฟฬฬ ฮดฮทฬ ฯฮบฮนฮฑอฯ ฯฮต ฮพฯ
ฬฮณฮบฮตฮนฯฮฑฮน ฮบฮฑฮนฬ ฯฯฯฮฟฬฯ, ฮถฯฮณฯฮฑฯฮนฬฮฑฮฝ ฯฯฮฟฯฮทฬฮบฮตฮน ฮบฮฑฮปฮตฮนอฮฝ: ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮตฬฮฝ ฮฑฯ
ฬฯฮฟฮนอฯ ฮฟฬฮผฮฟฮนฮฟฬฯฮทฯ ฯฮต ฮฟฬฯฮฑอฯฮฑฮน ฮตฮนฬอฮดฮฟฬฯ ฯฮต ฮบฮฑฮนฬ ฮฝฮฟฯ
อฯ ฮบฮฑฮนฬ ฮฑฮนฬฮดฯฬฯ ฮบฮฑฮนฬ ฮธฯฮฑฯฯ
ฬฯฮทฯ, ฮบฮฑฮนฬฯฮฟฮน ฯฮทฯฮตฯ
ฬฮตฮน ฯฯฯฮผฮฑฬฯฯฮฝ ฯฮฑฯ
อฯฮฑ, ฮบฮฑฮนฬ ฮฟฯ
ฬฬฯฮต ฮฑฮนฬอฮผฮฑ ฮตฬฮฝฯฮทฮผฮฑฮนฬฮฝฮตฮน ฮฟฯ
ฬฬฯฮต ฮบฮฟฬฮผฮทฯ ฯฮนฮฝฮฟฬฯ ฮทฬฬ ฯ
ฬฯฮทฬฮฝฮทฯ ฮฑฬฬฮฝฮธฮฟฯ, ฮฑฬฮปฮปฮฑฬ ฮผฮฟฮฝฮฟฯฯฮฟฬฯฯฯ ฮพฯ
ฮฝฯฮนฮธฮตฬฮผฮตฮฝฮฑ ฯฯออ
ฯฮต ฮพฮฑฮฝฮธฯออ
ฮฑฬฮฝฮธฯฯฬฯฯอ
ฮตฬฬฮฟฮนฮบฮต ฮบฮฑฮนฬ ฯฯออ
ฮปฮตฯ
ฮบฯออ
, ฮบฮฑฬฬฮฝ ฯฮฟฯ
ฬฯฯฮฝ ฯฮนฮฝฮฑฬ ฯฯอฮฝ ฬฮฮฝฮดฯอฮฝ ฮปฮตฯ
ฮบฮทออ
ฯฮทออ
ฮณฯฮฑฮผฮผฮทออ
ฮณฯฮฑฬฯฯฮผฮตฮฝ, ฮผฮตฬฮปฮฑฯ ฮดฮทฬฯฮฟฯ
ฮดฮฟฬฮพฮตฮน, ฯฮฟฬ ฮณฮฑฬฯ ฯ
ฬฯฮฟฬฯฮนฮผฮฟฮฝ ฯฮทอฯ ฯฬฮนฮฝฮฟฬฯ ฮบฮฑฮนฬ ฮฟฮนฬ ฮฟฬฯฮธฮฟฮนฬ ฮฒฮฟฬฯฯฯฯ
ฯฮฟฮน ฮบฮฑฮนฬ ฮทฬ ฯฮตฯฮนฯฯฮทฬ ฮณฮตฬฮฝฯ
ฯ ฮบฮฑฮนฬ ฮทฬ ฯฮตฯฮนฬ ฯฮฟฮนอฯ ฮฟฬฯฮธฮฑฮปฮผฮฟฮนอฯ ฮฟฮนฬอฮฟฮฝ ฮตฬฬฮบฯฮปฮทฮพฮนฯ ฮผฮตฮปฮฑฮนฬฮฝฮตฮน ฯฮฑฬ ฮฟฬฯฯฬฮผฮตฮฝฮฑ ฮบฮฑฮนฬ ฬฮฮฝฮดฮฟฬฮฝ ฯ
ฬฯฮฟฮณฯฮฑฬฯฮตฮน ฯฮฟฮนอฯ ฮณฮต ฮผฮทฬ ฮฑฬฮฝฮฟฮทฬฯฯฯ ฮฟฬฯฯอฯฮนฮฝ. ฮฟฬฬฮธฮตฮฝ ฮตฮนฬฬฯฮฟฮนฮผ' ฮฑฬฬฮฝ ฮบฮฑฮนฬ ฯฮฟฯ
ฬฯ ฮฟฬฯฯอฮฝฯฮฑฯ ฯฮฑฬ ฯฮทอฯ ฮณฯฮฑฯฮนฮบฮทอฯ ฮตฬฬฯฮณฮฑ ฮผฮนฮผฮทฯฮนฮบฮทอฯ ฮดฮตฮนอฯฮธฮฑฮน: ฮฟฯ
ฬ ฮณฮฑฬฯ ฮฑฬฬฮฝ ฮตฬฯฮฑฮนฮฝฮตฬฯฮตฮนฮตฬ ฯฮนฯ ฯฮฟฬฮฝ ฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฟฮฝ ฮนฬฬฯฯฮฟฮฝ ฮทฬฬ ฯฮฑฯ
อฯฮฟฮฝ ฮผฮทฬ ฯฮฟฬ ฮถฯออ
ฮฟฮฝ ฮตฬฮฝฮธฯ
ฮผฮทฮธฮตฮนฬฯ, ฯฬออ
ฮตฮนฬฬฮบฮฑฯฯฮฑฮน, ฮฟฯ
ฬฮด' ฮฑฬฬฮฝ ฯฮฟฬฮฝ ฮฮนฬฬฮฑฮฝฯฮฑฬ ฯฮนฯ ฯฮฟฬฮฝ ฮคฮนฮผฮฟฮผฮฑฬฯฮฟฯ
ฮฑฬฮณฮฑฯฮธฮตฮนฬฮท, ฮฟฬฬฯ ฮดฮทฬ ฮฑฬฮฝฮฑฮณฮตฬฮณฯฮฑฯฯฮฑฮน ฮฑฯ
ฬฯฯออ
ฮผฮตฮผฮทฮฝฯฬฯ, ฮตฮนฬ ฮผฮทฬ ฮฑฬฮฝฮฑฮปฮฑฬฮฒฮฟฮน ฯฮน ฮตฬฯ ฯฮฟฬฮฝ ฮฝฮฟฯ
อฮฝ ฮฮนฬฬฮฑฮฝฯฮฟฯ ฮตฮนฬฬฮดฯฮปฮฟฮฝ ฮบฮฑฮนฬ ฯฬฯ ฮตฮนฬฮบฮฟฬฯ ฮฑฯ
ฬฯฮฟฬฮฝ ฮฑฬฯฮตฮบฯฮฟฮฝฮฟฬฯฮฑ ฯฮฑฬ ฮตฬฮฝ ฯฮทออ
ฮคฯฮฟฮนฬฮฑอ
ฮฒฮฟฯ
ฮบฮฟฬฮปฮนฮฑ ฮบฮฑฮธฮทอฯฮธฮฑฮน ฮฑฬฯฮตฮนฯฮทฮบฮฟฬฯฮฑ, ฮฒฮฟฯ
ฮปฮทฬฮฝ ฯฮฟฮนฮฟฯ
ฬฮผฮตฮฝฮฟฮฝ ฮบฮฑฮนฬ ฮตฬฮฑฯ
ฯฮฟฬฮฝ ฮบฯฮตฮนอฮฝฮฑฮน. ฯฮฑฯ
ฯฮนฬ ฮดฮตฬ, ฯฬอ ฮฮฑฬฮผฮน, ฯฮฑฬ ฯฮฟฯ
อ ฮ ฯฬฯฮฟฯ
ฮดฮฑฮนฬฮดฮฑฮปฮฑ ฮผฮทฬฯฮต ฯฮฑฮปฮบฮตฯ
ฯฮนฮบฮทอฯ ฮผฮฟฬฮฝฮฟฮฝ ฮฑฬฯฮฟฯฮฑฮนฮฝฯฬฮผฮตฮธฮฑ, ฮณฮตฮณฯฮฑฮผฮผฮตฬฮฝฮฟฮนฯ ฮณฮฑฬฯ ฮตฮนฬฬฮบฮฑฯฯฮฑฮน, ฮผฮทฬฯฮต ฮณฯฮฑฯฮนฮบฮทอฯ, ฮตฬฯฮตฮนฮดฮทฬ ฮตฬฯฮฑฮปฮบฮตฯ
ฬฮธฮท, ฮฑฬฮปฮป' ฮทฬฮณฯฬฮผฮตฮธฮฑ ฯฮฟฯฮนฬฯฮฑฯฮธฮฑฮน ฮฑฯ
ฬฯฮฑฬ ฮณฯฮฑฯฮนฮบฮฟฬฮฝ ฯฮต ฮบฮฑฮนฬ ฯฮฑฮปฮบฮตฯ
ฯฮนฮบฮฟฬฮฝ ฮตฬฬฮฝฮฑ ฮฑฬฬฮฝฮดฯฮฑ, ฮฟฮนฬอฮฟฮฝ ฮดฮทฬ ฯฮน ฯฮฑฯ' ฬฮฮผฮทฬฯฯอ
ฯฮฟฬ ฯฮฟฯ
อ ฬฮฯฮฑฮนฬฯฯฮฟฯ
ฯฮตฯฮนฬ ฯฮทฬฮฝ ฯฮฟฯ
อ ฬฮฯฮนฮปฮปฮตฬฯฯ ฮฑฬฯฯฮนฬฮดฮฑ ฮฑฬฮฝฮฑฯฮฑฮนฬฮฝฮตฯฮฑฮน. ฮผฮตฯฯฮฑฬ ฮณฮฑฬฯ ฮบฮฑฮนฬ ฯฮฑฯ
อฯฮฑ ฮฟฬฮปฮปฯ
ฬฮฝฯฯฮฝ ฯฮต ฮบฮฑฮนฬ ฮฟฬฮปฮปฯ
ฮผฮตฬฮฝฯฮฝ, ฮบฮฑฮนฬ ฯฮทฬฮฝ ฮณฮทอฮฝ ฮทฬอ
ฮผฮฑฯฯอฯฮธฮฑฮน ฯฮทฬฯฮตฮนฯ ฯฮฑฮปฮบฮทอฮฝ ฮฟฯ
ฬอฯฮฑฮฝ.โ" "
4.7. ฯฯฮฟฯ
ฮดฮทออ
ฮดฮตฬ ฮฟฬฯฯอฮฝ ฯฮฟฯ
ฬฯ ฮฃฮผฯ
ฯฮฝฮฑฮนฬฮฟฯ
ฯ ฮฑฬฯฮฑฬฮฝฯฯฮฝ ฮฑฬฯฯฮฟฮผฮตฬฮฝฮฟฯ
ฯ ฮปฮฟฬฮณฯฮฝ ฮตฬฯฮตฯฯฯฬฮฝฮฝฯ
ฮต ฮบฮฑฮนฬ ฯฯฮฟฯ
ฮดฮฑฮนฮฟฯฮตฬฯฮฟฯ
ฯ ฮตฬฯฮฟฮนฬฮตฮน, ฯฯฮฟฮฝฮตฮนอฮฝ ฯฮต ฮตฬฮบฮตฬฮปฮตฯ
ฮตฮฝ ฮตฬฯ' ฮตฬฮฑฯ
ฯฮฟฮนอฯ ฮผฮฑอฮปฮปฮฟฮฝ ฮทฬฬ ฯฯออ
ฯฮทอฯ ฯฮฟฬฮปฮตฯฯ ฮตฮนฬฬฮดฮตฮน, ฮบฮฑฮนฬ ฮณฮฑฬฯ, ฮตฮนฬ ฮบฮฑฮนฬ ฮบฮฑฮปฮปฮนฬฯฯฮท ฯฮฟฬฮปฮตฯฮฝ, ฮฟฬฯฮฟฬฯฮฑฮน ฯ
ฬฯฮฟฬ ฮทฬฮปฮนฬฯอ
ฮตฮนฬฯฮนฬ, ฮบฮฑฮนฬ ฯฮฟฬ ฯฮตฬฮปฮฑฮณฮฟฯ ฮฟฮนฬฮบฮตฮนฮฟฯ
อฯฮฑฮน, ฮถฮตฯฯ
ฬฯฮฟฯ
ฯฮต ฯฮทฮณฮฑฬฯ ฮตฬฬฯฮตฮน, ฮฑฬฮปฮป' ฮฑฬฮฝฮดฯฮฑฬฯฮนฮฝ ฮตฬฯฯฮตฯฮฑฮฝฯอฯฮธฮฑฮน ฮฑฯ
ฬฯฮทฬฮฝ ฮทฬฬฮดฮนฮฟฮฝ ฮทฬฬ ฯฯฮฟฮฑฮนอฯ ฯฮต ฮบฮฑฮนฬ ฮณฯฮฑฯฮฑฮนอฯ ฮบฮฑฮนฬ ฯฯฯ
ฯฯออ
ฯฮปฮตฮนฬฮฟฮฝฮน ฯฮฟฯ
อ ฮฟฬฬฮฝฯฮฟฯ. ฯฮฑฬ ฮผฮตฬฮฝ ฮณฮฑฬฯ ฮฟฮนฬฮบฮฟฮดฮฟฮผฮทฬฮผฮฑฯฮฑ ฮตฬฯฮนฬ ฯฮฑฯ
ฬฯฮฟฯ
อ ฮผฮตฬฮฝฮตฮนฮฝ ฮฟฯ
ฬฮดฮฑฮผฮฟฯ
อ ฮฟฬฯฯฬฮผฮตฮฝฮฑ ฯฮปฮทฬฮฝ ฮตฬฮบฮตฮนฬฮฝฮฟฯ
ฯฮฟฯ
อ ฮผฮตฬฯฮฟฯ
ฯ ฯฮทอฯ ฮณฮทอฯ, ฮตฬฮฝ ฯฬออ
ฮตฬฯฯฮนฮฝ, ฮฑฬฬฮฝฮดฯฮฑฯ ฮดฮตฬ ฮฑฬฮณฮฑฮธฮฟฯ
ฬฯ ฯฮฑฮฝฯฮฑฯฮฟฯ
อ ฮผฮตฬฮฝ ฮฟฬฯฮฑอฯฮธฮฑฮน, ฯฮฑฮฝฯฮฑฯฮฟฯ
อ ฮดฮตฬ ฯฮธฮตฬฮณฮณฮตฯฮธฮฑฮน, ฯฮทฬฮฝ ฮดฮตฬ ฯฮฟฬฮปฮนฮฝ, ฮทฬอฯ ฮณฮตฮณฮฟฬฮฝฮฑฯฮนฮฝ, ฮฑฬฯฮฟฯฮฑฮนฬฮฝฮตฮนฮฝ ฯฮฟฯฮฑฯ
ฬฯฮทฮฝ, ฮฟฬฬฯฮฟฮน ฯฮตฯ ฮฑฯ
ฬฯฮฟฮนฬ ฮณฮทอฮฝ ฮตฬฯฮตฮปฮธฮตฮนอฮฝ ฮดฯ
ฬฮฝฮฑฮฝฯฮฑฮน. ฮตฬฬฮปฮตฮณฮต ฮดฮตฬ ฯฮฑฬฯ ฮผฮตฬฮฝ ฯฮฟฬฮปฮตฮนฯ ฯฮฑฬฯ ฮฟฯ
ฬฬฯฯ ฮบฮฑฮปฮฑฬฯ ฮตฬฮฟฮนฮบฮตฬฮฝฮฑฮน ฯฯออ
ฯฮฟฯ
อ ฮฮนฮฟฬฯ ฮฑฬฮณฮฑฬฮปฮผฮฑฯฮน, ฮฟฬฬฯ ฮตฬฮฝ ฬฮฮปฯ
ฮผฯฮนฬฮฑอ
ฯฯออ
ฮฆฮตฮนฮดฮนฬฮฑอ
ฮตฬฮบฯฮตฯฮฟฮนฬฮทฯฮฑฮน, ฮบฮฑฮธฮทอฯฮธฮฑฮน ฮณฮฑฬฯ ฮฑฯ
ฬฯฮฟฬ โ ฮฟฯ
ฬฬฯฯฯ ฯฯออ
ฮดฮทฮผฮนฮฟฯ
ฯฮณฯออ
ฮตฬฬฮดฮฟฮพฮต โ ฯฮฟฯ
ฬฯ ฮดฮตฬ ฮฑฬฬฮฝฮดฯฮฑฯ ฮตฬฯฮนฬ ฯฮฑฬฮฝฯฮฑ ฮทฬฬฮบฮฟฮฝฯฮฑฯ ฮผฮทฮดฮตฬฮฝ ฮฑฬฯฮตฮฟฮนฮบฮตฬฮฝฮฑฮน ฯฮฟฯ
อ ฬฮฮผฮทฯฮตฮนฬฮฟฯ
ฮฮนฮฟฬฯ, ฮฟฬฬฯ ฮตฬฮฝ ฯฮฟฮปฮปฮฑฮนอฯ ฮนฬฮดฮตฬฮฑฮนฯ ฬฮฮผฮทฬฯฯอ
ฯฮตฯฮฟฮนฬฮทฯฮฑฮน ฮธฮฑฯ
ฮผฮฑฯฮนฯฬฯฮตฯฮฟฮฝ ฮพฯ
ฮณฮบฮตฮนฬฮผฮตฮฝฮฟฯ ฯฮฟฯ
อ ฮตฬฮปฮตฯฮฑฮฝฯฮนฬฮฝฮฟฯ
: ฯฮฟฬฮฝ ฮผฮตฬฮฝ ฮณฮฑฬฯ ฮตฬฮฝ ฮณฮทออ
ฯฮฑฮนฬฮฝฮตฯฮธฮฑฮน, ฯฮฟฬฮฝ ฮดฮตฬ ฮตฬฯ ฯฮฑฬฮฝฯฮฑ ฮตฬฮฝ ฯฯออ
ฮฟฯ
ฬฯฮฑฮฝฯออ
ฯ
ฬฯฮฟฮฝฮฟฮตฮนอฯฮธฮฑฮน." "
4.28. ฮนฬฮดฯฬฮฝ ฮดฮตฬ ฮตฬฯ ฯฮฟฬ ฮตฬฬฮดฮฟฯ ฯฮฟฬ ฮตฬฮฝ ฬฮฮปฯ
ฮผฯฮนฬฮฑอ
โฯฮฑฮนอฯฮต,โ ฮตฮนฬอฯฮตฮฝ โฮฑฬฮณฮฑฮธฮตฬ ฮฮตฯ
อ, ฯฯ
ฬ ฮณฮฑฬฯ ฮฟฯ
ฬฬฯฯ ฯฮน ฮฑฬฮณฮฑฮธฮฟฬฯ, ฯฬฯ ฮบฮฑฮนฬ ฯฮฑฯ
ฯฮฟฯ
อ ฮบฮฟฮนฮฝฯฮฝฮทอฯฮฑฮน ฯฮฟฮนอฯ ฮฑฬฮฝฮธฯฯฬฯฮฟฮนฯ.โ ฮตฬฮพฮทฮณฮทฬฯฮฑฯฮฟ ฮดฮตฬ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฯฮฑฮปฮบฮฟฯ
อฮฝ ฮฮนฬฮปฯฮฝฮฑ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฮปฮฟฬฮณฮฟฮฝ ฯฮฟฯ
อ ฯฮตฯฮนฬ ฮฑฯ
ฬฯฮฟฬฮฝ ฯฯฮทฬฮผฮฑฯฮฟฯ. ฮฟฬ ฮณฮฑฬฯ ฮฮนฬฮปฯฮฝ ฮตฬฯฯฮฑฬฮฝฮฑฮน ฮผฮตฬฮฝ ฮตฬฯฮนฬ ฮดฮนฬฯฮบฮฟฯ
ฮดฮฟฮบฮตฮนอ ฯฯฬ ฯฮฟฬฮดฮต ฮฑฬฬฮผฯฯ ฯฯ
ฮผฮฒฮตฮฒฮทฮบฯฬฯ, ฯฬฮฟฬฮฑฮฝ ฮดฮตฬ ฮพฯ
ฮฝฮตฬฯฮตฮน ฯฮทออ
ฮฑฬฯฮนฯฯฮตฯฮฑออ
, ฮทฬ ฮดฮตฮพฮนฮฑฬ ฮดฮตฬ, ฮฟฬฯฮธฮฟฮนฬ ฯฮทอฯ ฯฮตฮนฯฮฟฬฯ ฮตฬฮบฮตฮนฬฮฝฮทฯ ฮฟฮนฬ ฮดฮฑฬฮบฯฯ
ฮปฮฟฮน ฮบฮฑฮนฬ ฮฟฮนฬอฮฟฮฝ ฮดฮนฮตฮนฬฯฮฟฮฝฯฮตฯ. ฮฟฮนฬ ฮผฮตฬฮฝ ฮดฮทฬ ฮบฮฑฯ' ฬฮฮปฯ
ฮผฯฮนฬฮฑฮฝ ฯฮต ฮบฮฑฮนฬ ฬฮฯฮบฮฑฮดฮนฬฮฑฮฝ ฮปฮฟฬฮณฮฟฮน ฯฮฟฬฮฝ ฮฑฬฮธฮปฮทฯฮทฬฮฝ ฮนฬฯฯฮฟฯฮฟฯ
อฯฮน ฯฮฟฯ
อฯฮฟฮฝ ฮฑฬฬฯฯฮตฯฯฮฟฮฝ ฮณฮตฮฝฮตฬฯฮธฮฑฮน ฮบฮฑฮนฬ ฮผฮทฬ ฮตฬฮบฮฒฮนฮฒฮฑฯฮธฮทอฮฝฮฑฮนฬ ฯฮฟฯฮต ฯฮฟฯ
อ ฯฯฬฯฮฟฯ
, ฮตฬฮฝ ฯฬออ
ฮตฬฬฯฯฮท, ฮดฮทฮปฮฟฯ
อฯฮธฮฑฮน ฮดฮตฬ ฯฮฟฬ ฮผฮตฬฮฝ ฮฑฬฯฯฮนฬฮพ ฯฯอฮฝ ฮดฮฑฮบฯฯ
ฬฮปฯฮฝ ฮตฬฮฝ ฯฮทออ
ฮพฯ
ฮฝฮฟฯฮทออ
ฯฮทอฯ ฯฬฮฟฬฮฑฯ, ฯฮฟฬ ฮดฮตฬ ฮผฮทฮด' ฮฑฬฬฮฝ ฯฯฮนฯฮธฮทอฮฝฮฑฮนฬ ฯฮฟฯ' ฮฑฬฯ' ฮฑฬฮปฮปฮทฬฮปฯฮฝ ฮฑฯ
ฬฯฮฟฯ
ฬฯ, ฮตฮนฬฬ ฯฮนฯ ฯฯฮฟฬฯ ฮตฬฬฮฝฮฑ ฮฑฯ
ฬฯฯอฮฝ ฮฑฬฮผฮนฮปฮปฯออ
ฯฮฟ, ฯฯออ
ฯฮฑฬฯ ฮดฮนฮฑฯฯ
ฮฑฬฯ ฮตฬฮฝ ฮฟฬฯฮธฮฟฮนอฯ ฯฮฟฮนอฯ ฮดฮฑฮบฯฯ
ฬฮปฮฟฮนฯ ฮตฯ
ฬอ ฮพฯ
ฮฝฮทฯฮผฮฟฬฯฮธฮฑฮน, ฯฮทฬฮฝ ฯฮฑฮนฮฝฮนฬฮฑฮฝ ฮดฮตฬ, ฮทฬฬฮฝ ฮฑฬฮฝฮฑฮดฮตฮนอฯฮฑฮน, ฯฯฯฯฮฟฯฯ
ฬฮฝฮทฯ ฮทฬฮณฮฟฯ
อฮฝฯฮฑฮน ฮพฯ
ฬฮผฮฒฮฟฮปฮฟฮฝ. ฮฟฬ ฮดฮตฬ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮฟฯ ฯฮฟฯฯอฯ ฮผฮตฬฮฝ ฮตฮนฬอฯฮตฮฝ ฮตฬฯฮนฮฝฮตฮฝฮฟฮทอฯฮธฮฑฮน ฯฮฑฯ
อฯฮฑ, ฯฮฟฯฯฬฯฮตฯฮฑ ฮดฮตฬ ฮตฮนฬอฮฝฮฑฮน ฯฮฑฬ ฮฑฬฮปฮทฮธฮตฬฯฯฮตฯฮฑ. โฯฬฯ ฮดฮตฬ ฮณฮนฮณฮฝฯฬฯฮบฮฟฮนฯฮต ฯฮฟฬฮฝ ฮฝฮฟฯ
อฮฝ ฯฮฟฯ
อ ฮฮนฬฮปฯฮฝฮฟฯ, ฮฯฮฟฯฯฮฝฮนฮฑอฯฮฑฮน ฯฮฟฬฮฝ ฮฑฬฮธฮปฮทฯฮทฬฮฝ ฯฮฟฯ
อฯฮฟฮฝ ฮนฬฮตฯฮตฬฮฑ ฮตฬฯฯฮทฬฯฮฑฮฝฯฮฟ ฯฮทอฯ ฬฬฮฯฮฑฯ. ฯฮทฬฮฝ ฮผฮตฬฮฝ ฮดฮทฬ ฮผฮนฬฯฯฮฑฮฝ ฮฟฬฬ ฯฮน ฯฯฮทฬ ฮฝฮฟฮตฮนอฮฝ, ฯฮนฬ ฮฑฬฬฮฝ ฮตฬฮพฮทฮณฮฟฮนฬฮผฮทฮฝ ฮตฬฬฯฮน, ฮผฮฝฮทฮผฮฟฮฝฮตฯ
ฬฯฮฑฯ ฮนฬฮตฯฮตฬฯฯ ฮฑฬฮฝฮดฯฮฟฬฯ; ฮทฬ ฯฬฮฟฬฮฑ ฮดฮตฬ ฮผฮฟฬฮฝฮท ฯฯ
ฯฯอฮฝ ฯฮทออ
ฬฬฮฯฮฑอ
ฯฯ
ฬฮตฯฮฑฮน, ฮฟฬ ฮดฮตฬ ฯ
ฬฯฮฟฬ ฯฮฟฮนอฯ ฯฮฟฯฮนฬ ฮดฮนฬฯฮบฮฟฯ, ฮตฬฯฮนฬ ฮฑฬฯฯฮนฮดฮนฬฮฟฯ
ฮฒฮตฮฒฮทฮบฯฬฯ ฮฟฬ ฮนฬฮตฯฮตฯ
ฬฯ ฯฮทออ
ฬฬฮฯฮฑอ
ฮตฯ
ฬฬฯฮตฯฮฑฮน, ฯฮฟฯ
ฯฮนฬ ฮดฮตฬ ฮบฮฑฮนฬ ฮทฬ ฮดฮตฮพฮนฮฑฬ ฯฮทฮผฮฑฮนฬฮฝฮตฮน, ฯฮฟฬ ฮดฮตฬ ฮตฬฬฯฮณฮฟฮฝ ฯฯอฮฝ ฮดฮฑฮบฯฯ
ฬฮปฯฮฝ ฮบฮฑฮนฬ ฯฮฟฬ ฮผฮทฬฯฯ ฮดฮนฮตฯฯฯฬฯ ฯฮทออ
ฮฑฬฯฯฮฑฮนฬฮฑอ
ฮฑฬฮณฮฑฮปฮผฮฑฯฮฟฯฮฟฮนฮนฬฮฑอ
ฯฯฮฟฯฮบฮตฮนฬฯฮธฯ.โ" "
6.4. ฮบฮฑฬฮบฮตฮนอฮฝฮฑ ฮฑฬฮพฮนฮฟฮผฮฝฮทฮผฮฟฬฮฝฮตฯ
ฯฮฑ ฮตฯ
ฬอฯฮฟฮฝ ฯฮฟฯ
อ ฮฑฬฮฝฮดฯฮฟฬฯ: ฮตฬฯฮฑอฮฝ ฯฮนฯ ฮตฬฮดฮฟฬฮบฮตฮน ฯฮฟฯ
อ ฯฮทอฯ ฬฮฯฯฮฟฮดฮนฬฯฮทฯ ฮตฬฬฮดฮฟฯ
ฯ, ฮฟฬฬ ฮตฬฮฝ ฮฮฝฮนฬฮดฯอ
ฮณฯ
ฮผฮฝฮฟฬฮฝ ฮนฬฬฮดฯฯ
ฯฮฑฮน, ฮบฮฑฮนฬ ฯฮฑฬ ฮผฮตฬฮฝ ฮฑฬฮฝฮตฯฮนฬฮธฮตฮน, ฯฮฑฬ ฮด' ฮฑฬฮฝฮฑฮธฮทฬฯฮตฮนฮฝ ฮตฬฬฯฮฑฯฮบฮตฮฝ ฯ
ฬฯฮตฬฯ ฯฮฟฯ
อ ฮณฮฑฬฮผฮฟฯ
, ฬฮฯฮฟฮปฮปฯฮฝฮนฬฯอ
ฮดฮตฬ ฮบฮฑฮนฬ ฮฑฬฬฮปฮปฯฯ ฮผฮตฬฮฝ ฮฑฬฬฯฮฟฯฮฑ ฮตฬฮดฮฟฬฮบฮตฮน ฯฮฑฯ
อฯฮฑ, ฮตฬฯฮตฮนฬ ฮดฮตฬ ฮผฮทฬ ฯฮฑฯฮทอ
ฯฮตฮนอฯฮฟ ฮทฬ ฮฮฝฮนฬฮดฮฟฯ, ฮฑฬฮปฮป' ฮตฬฮฝฮฑฯฮณฮตฯฯฮตฬฯฮฑฮฝ ฮตฬฬฯฮฑฯฮฑฮฝ ฯฮทฬฮฝ ฮธฮตฮฟฬฮฝ ฮดฮฟฬฮพฮตฮนฮฝ, ฮตฮนฬ ฮตฬฯฯออ
ฯฮฟ, ฮตฬฬฮดฮฟฮพฮต ฯฯออ
ฮฑฬฮฝฮดฯฮนฬ ฮบฮฑฮธฮทอฯฮฑฮน ฯฮฟฬ ฮนฬฮตฯฮฟฬฮฝ ฯฮทอฯ ฮฑฬฮฝฮฟฮนฬฮฑฯ ฯฮฑฯ
ฬฯฮทฯ, ฮบฮฑฮนฬ ฮตฬฯฮฟฮผฮตฬฮฝฯฮฝ ฯฯอฮฝ ฮฮฝฮนฮดฮนฬฯฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ, ฮตฮนฬฬ ฯฮน ฮฒฮฟฯ
ฬฮปฮฟฮนฯฮฟ ฯฯอฮฝ ฮธฯ
ฯฮนฮบฯอฮฝ ฮทฬฬ ฮตฯ
ฬฮบฯฮนฮบฯอฮฝ ฮดฮนฮฟฯฮธฮฟฯ
อฯฮธฮฑฮน โฮฟฬฯฮธฮฑฮปฮผฮฟฯ
ฬฯโ ฮตฬฬฯฮท โฮดฮนฮฟฯฮธฯฬฯฮฟฮผฮฑฮน, ฯฮฑฬ ฮดฮตฬ ฯฮฟฯ
อ ฮนฬฮตฯฮฟฯ
อ ฯฮฑฬฯฯฮนฮฑ ฮตฬฯฮตฬฯฯ, ฯฬฯ ฮตฬฬฯฮตฮน.โ ฮบฮฑฮปฮตฬฯฮฑฯ ฮฟฯ
ฬอฮฝ ฯฮฟฬฮฝ ฮธฯฯ
ฯฯฮฟฬฮผฮตฮฝฮฟฮฝ ฮทฬฬฯฮตฯฮฟ ฮฑฯ
ฬฯฮฟฬฮฝ, ฮตฮนฬ ฮธฮตฮฟฯ
ฬฯ ฮฝฮตฮฝฮฟฬฮผฮนฮบฮต, ฯฮฟฯ
อ ฮด' ฮฟฯ
ฬฬฯฯ ฮฝฮฟฮผฮนฬฮถฮตฮนฮฝ ฮธฮตฮฟฯ
ฬฯ ฯฮทฬฯฮฑฮฝฯฮฟฯ, ฯฬฯ ฮบฮฑฮนฬ ฮตฬฯฮฑอฮฝ ฮฑฯ
ฬฯฯอฮฝ, ฮบฮฑฮนฬ ฯฯอฮฝ ฮณฮฑฬฮผฯฮฝ ฮผฮฝฮทฮผฮฟฮฝฮตฯ
ฬฯฮฑฮฝฯฮฟฯ, ฮฟฯ
ฬฬฯ ฮธฯ
ฬฯฮตฮนฮฝ ฮทฬฮณฮตฮนอฯฮฟ, โฯฮตฬ ฮผฮตฬฮฝ ฯฮฟฮนฮทฯฮฑฮนฬโ ฮตฬฬฯฮท โฮตฬฯฮฑฮนฬฯฮฟฯ
ฯฮน ฯฮฟฯ
ฬฯ ฬฮฮณฯฮนฬฯฮฑฯ ฯฮต ฮบฮฑฮนฬ ฯฮฟฯ
ฬฯ ฮ ฮทฮปฮตฬฮฑฯ ฮธฮตฮฑฮนอฯ ฮพฯ
ฮถฯ
ฮณฮทอฮฝฮฑฮน ฮตฮนฬฯฮฟฬฮฝฯฮตฯ, ฮตฬฮณฯฬ ฮดฮตฬ ฯฮตฯฮนฬ ฯฮฟฯ
อ ฮตฬฯฮฑอฮฝ ฮบฮฑฮนฬ ฮตฬฯฮฑอฯฮธฮฑฮน ฯฮฟฬฮดฮต ฮณฮนฮณฮฝฯฬฯฮบฯ: ฮธฮตฮฟฮนฬ ฮธฮตฯอฮฝ ฮฑฬฬฮฝฮธฯฯฯฮฟฮน ฮฑฬฮฝฮธฯฯฬฯฯฮฝ ฮธฮทฯฮนฬฮฑ ฮธฮทฯฮนฬฯฮฝ ฮบฮฑฮนฬ ฮบฮฑฮธฮฑฬฯฮฑฮพ ฮฟฬฬฮผฮฟฮนฮฑ ฮฟฬฮผฮฟฮนฬฯฮฝ ฮตฬฯฮฑออ
ฮตฬฯฮนฬ ฯฯออ
ฮตฬฬฯฯ
ฮผฮฑ ฮบฮฑฮนฬ ฮพฯ
ฮณฮณฮตฮฝฮทอ ฯฮนฬฮบฯฮตฮนฮฝ, ฯฮฟฬ ฮดฮตฬ ฮตฬฯฮตฯฮฟฮณฮตฮฝฮตฬฯ ฯฯออ
ฮผฮทฬ ฮฟฬฮผฮฟฮนฬฯอ
ฮพฯ
ฮฝฮตฮปฮธฮฟฬฮฝ ฮฟฯ
ฬฬฯฮต ฮถฯ
ฮณฮฟฬฯ ฮฟฯ
ฬฬฯฮต ฮตฬฬฯฯฯ. ฮตฮนฬ ฮดฮตฬ ฮตฬฮฝฮตฮธฯ
ฮผฮฟฯ
อ ฯฮฑฬ ฬฮฮพฮนฬฮฟฮฝฮฟฯ, ฮฟฯ
ฬฮด' ฮฑฬฬฮฝ ฮตฬฯ ฮตฬฬฮฝฮฝฮฟฮนฮฑฮฝ ฮบฮฑฮธฮนฬฯฯฮฑฯฮฟ ฯฮฟฯ
อ ฮผฮทฬ ฮฟฬฮผฮฟฮนฬฯฮฝ ฮตฬฯฮฑอฮฝ. ฮฑฬฮปฮป' ฮตฬฮบฮตฮนอฮฝฮฟฯ ฮผฮตฬฮฝ ฯฯฮฟฯฯออ
ฮตฮนฬฮบฮฑฯฮผฮตฬฮฝฮฟฯ ฮดฮน' ฮฟฯ
ฬฯฮฑฮฝฮฟฯ
อ ฮบฮฝฮฑฬฮผฯฯฮตฯฮฑฮน, ฯฯ
ฬ ฮด', ฮตฮนฬ ฮผฮทฬ ฮฑฬฬฯฮตฮน ฯฮฟฯ
อ ฮนฬฮตฯฮฟฯ
อ, ฮฑฬฯฮฟฮปฮตฮนอ ฮตฬฮฝ ฮฑฬฯฮฑฬฯฮทอ
ฯฮทออ
ฮณฮทออ
ฮฟฯ
ฬฮด' ฮฑฬฮฝฯฮตฮนฯฮตฮนอฮฝ ฮตฬฬฯฯฮฝ ฯฮฟฬ ฮผฮทฬ ฮฟฯ
ฬ ฮดฮนฬฮบฮฑฮนฮฑ ฯฮฟฯ
ฬฯ ฮธฮตฮฟฯ
ฬฯ ฮตฬฯฮนฬ ฯฮฟฮนฬ ฮณฮฝฯอฮฝฮฑฮน.โ ฯฬอฮดฮต ฮทฬ ฯฮฑฯฮฟฮนฮฝฮนฬฮฑ ฮตฬฯฮฒฮตฬฯฮธฮท ฮบฮฑฮนฬ ฮฑฬฯฮทอฮปฮธฮตฮฝ ฮฟฬ ฯฮฑฬฯฮบฯฮฝ ฮตฬฯฮฑอฮฝ ฯ
ฬฯฮตฬฯ ฮพฯ
ฮณฮณฮฝฯฬฮผฮทฯ ฮธฯ
ฬฯฮฑฯ." "
6.4. ฯ
ฬฯฮฟฬ ฯฮฟฯ
ฬฯฯอ
ฮทฬฮณฮตฮผฮฟฬฮฝฮน ฯฮฑฯฮตฮปฮธฮตฮนอฮฝ ฯฮฑฯฮนฮฝ ฮตฬฯ ฯฮฟฬ ฯฮตฬฮผฮตฮฝฮฟฯ ฯฮฟฯ
อ ฮฮตฬฮผฮฝฮฟฮฝฮฟฯ. ฯฮตฯฮนฬ ฮดฮตฬ ฯฮฟฯ
อ ฮฮตฬฮผฮฝฮฟฮฝฮฟฯ ฯฮฑฬฮดฮต ฮฑฬฮฝฮฑฮณฯฮฑฬฯฮตฮน ฮฮฑฬฮผฮนฯ: ฬฮฮฟฯ
อฯ ฮผฮตฬฮฝ ฯฮฑฮนอฮดฮฑ ฮณฮตฮฝฮตฬฯฮธฮฑฮน ฮฑฯ
ฬฯฮฟฬฮฝ, ฮฑฬฯฮฟฮธฮฑฮฝฮตฮนอฮฝ ฮดฮตฬ ฮฟฯ
ฬฮบ ฮตฬฮฝ ฮคฯฮฟฮนฬฮฑอ
, ฮฟฬฬฯฮน ฮผฮทฮดฮตฬ ฮฑฬฯฮนฮบฮตฬฯฮธฮฑฮน ฮตฬฯ ฮคฯฮฟฮนฬฮฑฮฝ, ฮฑฬฮปฮป' ฮตฬฮฝ ฮฮนฬฮธฮนฮฟฯฮนฬฮฑอ
ฯฮตฮปฮตฯ
ฯฮทอฯฮฑฮน ฮฒฮฑฯฮนฮปฮตฯ
ฬฯฮฑฮฝฯฮฑ ฮฮนฬฮธฮนฮฟฬฯฯฮฝ ฮณฮตฮฝฮตฮฑฬฯ ฯฮตฬฮฝฯฮต. ฮฟฮนฬ ฮด', ฮตฬฯฮตฮนฮดฮทฬ ฮผฮฑฮบฯฮฟฮฒฮนฯฬฯฮฑฯฮฟฮน ฮฑฬฮฝฮธฯฯฬฯฯฮฝ ฮตฮนฬฯฮนฬฮฝ, ฮฟฬฮปฮฟฯฯ
ฬฯฮฟฮฝฯฮฑฮน ฯฮฟฬฮฝ ฮฮตฬฮผฮฝฮฟฮฝฮฑ ฯฬฯ ฮบฮฟฮผฮนฮดฮทออ
ฮฝฮตฬฮฟฮฝ ฮบฮฑฮนฬ ฮฟฬฬฯฮฑ ฮตฬฯฮนฬ ฮฑฬฯฬฯฯอ
ฮบฮปฮฑฮนฬฮฟฯ
ฯฮน, ฯฮฟฬ ฮดฮตฬ ฯฯฯฮนฬฮฟฮฝ, ฮตฬฮฝ ฯฬออ
ฮนฬฬฮดฯฯ
ฯฮฑฮน, ฯฮฑฯฮนฬ ฮผฮตฬฮฝ ฯฯฮฟฯฮตฮฟฮนฮบฮตฬฮฝฮฑฮน ฮฑฬฮณฮฟฯฮฑออ
ฮฑฬฯฯฮฑฮนฬฮฑอ
, ฮฟฮนฬอฮฑฮน ฯฯอฮฝ ฮฑฬฮณฮฟฯฯอฮฝ ฮตฬฮฝ ฯฮฟฬฮปฮตฯฮนฬ ฯฮฟฯฮต ฮฟฮนฬฮบฮทฮธฮตฮนฬฯฮฑฮนฯ ฮปฮตฮนฬฯฮฟฮฝฯฮฑฮน ฯฯฮทฮปฯอฮฝ ฯฮฑฯฮตฯฮฟฬฮผฮตฮฝฮฑฮน ฯฯฯ
ฬฯฮท ฮบฮฑฮนฬ ฯฮตฮนฯฯอฮฝ ฮนฬฬฯฮฝฮท ฮบฮฑฮนฬ ฮธฮฑฬฮบฮฟฯ
ฯ ฮบฮฑฮนฬ ฯฮปฮนฮฑฬฯ ฮตฬฯฮผฯอฮฝ ฯฮต ฮฑฬฮณฮฑฬฮปฮผฮฑฯฮฑ, ฯฮฑฬ ฮผฮตฬฮฝ ฯ
ฬฯฮฟฬ ฯฮตฮนฯฯอฮฝ ฮดฮนฮตฯฮธฮฟฯฮฟฬฯฮฑ, ฯฮฑฬ ฮดฮตฬ ฯ
ฬฯฮฟฬ ฯฯฮฟฬฮฝฮฟฯ
. ฯฮฟฬ ฮดฮตฬ ฮฑฬฬฮณฮฑฮปฮผฮฑ ฯฮตฯฯฮฑฬฯฮธฮฑฮน ฯฯฮฟฬฯ ฮฑฬฮบฯฮนอฮฝฮฑ ฮผฮทฬฯฯ ฮณฮตฮฝฮตฮนฮฑฬฯฮบฮฟฮฝ, ฮปฮนฬฮธฮฟฯ
ฮดฮตฬ ฮตฮนฬอฮฝฮฑฮน ฮผฮตฬฮปฮฑฮฝฮฟฯ, ฮพฯ
ฮผฮฒฮตฮฒฮทฮบฮตฬฮฝฮฑฮน ฮดฮตฬ ฯฯฬ ฯฮฟฬฮดฮต ฮฑฬฬฮผฯฯ ฮบฮฑฯฮฑฬ ฯฮทฬฮฝ ฮฑฬฮณฮฑฮปฮผฮฑฯฮฟฯฮฟฮนฮนฬฮฑฮฝ ฯฮทฬฮฝ ฮตฬฯฮนฬ ฮฮฑฮนฮดฮฑฬฮปฮฟฯ
ฮบฮฑฮนฬ ฯฮฑฬฯ ฯฮตฮนอฯฮฑฯ ฮฑฬฯฮตฯฮตฮนฬฮดฮตฮนฮฝ ฮฟฬฯฮธฮฑฬฯ ฮตฬฯ ฯฮฟฬฮฝ ฮธฮฑอฮบฮฟฮฝ, ฮบฮฑฮธฮทอฯฮธฮฑฮน ฮณฮฑฬฯ ฮตฬฮฝ ฮฟฬฯฮผฮทออ
ฯฮฟฯ
อ ฯ
ฬฯฮฑฮฝฮนฬฯฯฮฑฯฮธฮฑฮน. ฯฮฟฬ ฮดฮตฬ ฯฯฮทอฮผฮฑ ฯฮฟฯ
อฯฮฟ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฯฯอฮฝ ฮฟฬฯฮธฮฑฮปฮผฯอฮฝ ฮฝฮฟฯ
อฮฝ ฮบฮฑฮนฬ ฮฟฬฯฮฟฬฯฮฑ ฯฮฟฯ
อ ฯฯฮฟฬฮผฮฑฯฮฟฯ ฯฬฯ ฯฮธฮตฮณฮพฮฟฮผฮตฬฮฝฮฟฯ
ฮฑฬฬอ
ฮดฮฟฯ
ฯฮน, ฯฮฟฬฮฝ ฮผฮตฬฮฝ ฮฑฬฬฮปฮปฮฟฮฝ ฯฯฮฟฬฮฝฮฟฮฝ ฮทฬอฯฯฮฟฮฝ ฮธฮฑฯ
ฮผฮฑฬฯฮฑฮน ฯฮฑฯฮนฬฮฝ, ฮฟฯ
ฬฬฯฯ ฮณฮฑฬฯ ฮตฬฮฝฮตฯฮณฮฑฬ ฯฮฑฮนฬฮฝฮตฯฮธฮฑฮน, ฯฯฮฟฯฮฒฮฑฮปฮฟฯ
ฬฯฮทฯ ฮดฮตฬ ฯฮฟฬ ฮฑฬฬฮณฮฑฮปฮผฮฑ ฯฮทอฯ ฮฑฬฮบฯฮนอฮฝฮฟฯ, ฯฮฟฯ
ฯฮนฬ ฮดฮตฬ ฮณฮนฬฮณฮฝฮตฯฮธฮฑฮน ฯฮตฯฮนฬ ฮทฬฮปฮนฬฮฟฯ
ฮตฬฯฮนฯฮฟฮปฮฑฬฯ, ฮผฮทฬ ฮบฮฑฯฮฑฯฯฮตฮนอฮฝ ฯฮฟฬ ฮธฮฑฯ
อฮผฮฑ, ฯฮธฮตฬฮณฮพฮฑฯฮธฮฑฮน ฮผฮตฬฮฝ ฮณฮฑฬฯ ฯฮฑฯฮฑฯฯฮทอฮผฮฑ ฯฮทอฯ ฮฑฬฮบฯฮนอฮฝฮฟฯ ฮตฬฮปฮธฮฟฯ
ฬฯฮทฯ ฮฑฯ
ฬฯฯออ
ฮตฬฯฮนฬ ฯฯฮฟฬฮผฮฑ, ฯฮฑฮนฮดฯฮฟฯ
ฬฯ ฮดฮตฬ ฮนฬฯฯฮฑฬฮฝฮฑฮน ฯฮฟฯ
ฬฯ ฮฟฬฯฮธฮฑฮปฮผฮฟฯ
ฬฯ ฮดฮฟฬฮพฮฑฮน ฯฯฮฟฬฯ ฯฮฟฬ ฯฯอฯ, ฮฟฮนฬอฮฑ ฯฯอฮฝ ฮฑฬฮฝฮธฯฯฬฯฯฮฝ ฮฟฮนฬ ฮตฯ
ฬฮทฬฮปฮนฮฟฮน. ฯฮฟฬฯฮต ฮพฯ
ฮฝฮตฮนอฮฝฮฑฮน ฮปฮตฬฮณฮฟฯ
ฯฮนฮฝ, ฮฟฬฬฯฮน ฯฯออ
ฬฮฮปฮนฬฯอ
ฮดฮฟฮบฮตฮนอ ฯ
ฬฯฮฑฮฝฮนฬฯฯฮฑฯฮธฮฑฮน, ฮบฮฑฮธฮฑฬฯฮตฯ ฮฟฮนฬ ฯฮฟฬ ฮบฯฮตฮนอฯฯฮฟฮฝ ฮฟฬฯฮธฮฟฮนฬ ฮธฮตฯฮฑฯฮตฯ
ฬฮฟฮฝฯฮตฯ. ฮธฯ
ฬฯฮฑฮฝฯฮตฯ ฮฟฯ
ฬอฮฝ ฬฮฮปฮนฬฯอ
ฯฮต ฮฮนฬฮธฮนฬฮฟฯฮน ฮบฮฑฮนฬ ฬฮฯฬอ
ฯอ
ฮฮตฬฮผฮฝฮฟฮฝฮน, ฯฮฟฯ
ฯฮนฬ ฮณฮฑฬฯ ฮตฬฬฯฯฮฑฮถฮฟฮฝ ฮฟฮนฬ ฮนฬฮตฯฮตฮนอฯ, ฯฮฟฬฮฝ ฮผฮตฬฮฝ ฮฑฬฯฮฟฬ ฯฮฟฯ
อ ฮฑฮนฬฬฮธฮตฮนฮฝ ฯฮต ฮบฮฑฮนฬ ฮธฮฑฬฮปฯฮตฮนฮฝ, ฯฮฟฬฮฝ ฮดฮตฬ ฮฑฬฯฮฟฬ ฯฮทอฯ ฮผฮทฯฯฮฟฬฯ ฮตฬฯฮฟฮฝฮฟฮผฮฑฬฮถฮฟฮฝฯฮตฯ, ฮตฬฯฮฟฯฮตฯ
ฬฮฟฮฝฯฮฟ ฮตฬฯฮนฬ ฮบฮฑฮผฮทฬฮปฯฮฝ ฮตฬฯ ฯฮฑฬ ฯฯอฮฝ ฮฯ
ฮผฮฝฯอฮฝ ฮทฬฬฮธฮท." "
6.19. โฮตฬฯฯฬฯฮฑ,โ ฮตฬฬฯฮฑฯฮฑฮฝ โฮตฬฬฯฮตฯฮฑฮน ฮณฮฑฬฯ ฯฮฟฯ
ฮตฬฯฯฯฮทฬฯฮตฮน ฮปฮฟฬฮณฮฟฯ.โ ฮบฮฑฮนฬ ฮฟฬ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮฟฯ โฯฮตฯฮนฬ ฮธฮตฯอฮฝโ ฮตฮนฬอฯฮตฮฝ โฯ
ฬฮผฮฑอฯ ฮตฬฯฮทฬฯฮฟฮผฮฑฮน ฯฯฯอฯฮฟฮฝ, ฯฮนฬ ฮผฮฑฮธฮฟฬฮฝฯฮตฯ ฮฑฬฬฯฮฟฯฮฑ ฮบฮฑฮนฬ ฮณฮตฮปฮฟฮนอฮฑ ฮธฮตฯอฮฝ ฮตฮนฬฬฮดฮท ฯฮฑฯฮฑฮดฮตฮดฯฬฮบฮฑฯฮต ฯฮฟฮนอฯ ฮดฮตฯ
อฯฮฟ ฮฑฬฮฝฮธฯฯฬฯฮฟฮนฯ ฯฮปฮทฬฮฝ ฮฟฬฮปฮนฬฮณฯฮฝ: ฮฟฬฮปฮนฬฮณฯฮฝ ฮณฮฑฬฯ; ฯฮฑฬฮฝฯ
ฮผฮตฬฮฝฯฮฟฮน ฮฟฬฮปฮนฬฮณฯฮฝ, ฮฑฬฬ ฯฮฟฯฯอฯ ฮบฮฑฮนฬ ฮธฮตฮฟฮตฮนฮดฯอฯ ฮนฬฬฮดฯฯ
ฯฮฑฮน, ฯฮฑฬ ฮปฮฟฮนฯฮฑฬ ฮด' ฯ
ฬฮผฯอฮฝ ฮนฬฮตฯฮฑฬ ฮถฯฬอ
ฯฮฝ ฮฑฬฮปฮฟฬฮณฯฮฝ ฮบฮฑฮนฬ ฮฑฬฮดฮฟฬฮพฯฮฝ ฯฮนฮผฮฑฮนฬ ฮผฮฑอฮปฮปฮฟฮฝ ฮทฬฬ ฮธฮตฯอฮฝ ฯฮฑฮนฬฮฝฮฟฮฝฯฮฑฮน.โ ฮดฯ
ฯฯฮตฯฮฑฬฮฝฮฑฯ ฮดฮตฬ ฮฟฬ ฮฮตฯฯฮตฯฮนฬฯฮฝ โฯฮฑฬ ฮดฮตฬ ฯฮฑฯ' ฯ
ฬฮผฮนอฮฝโ ฮตฮนฬอฯฮตฮฝ โฮฑฬฮณฮฑฬฮปฮผฮฑฯฮฑ ฯฯอฯ ฮนฬฮดฯฯ
อฯฮธฮฑฮน ฯฮทฬฯฮตฮนฯ;โ โฯฬฬฯ ฮณฮตโ ฮตฬฬฯฮท โฮบฮฑฬฮปฮปฮนฯฯฮฟฬฮฝ ฯฮต ฮบฮฑฮนฬ ฮธฮตฮฟฯฮนฮปฮตฬฯฯฮฑฯฮฟฮฝ ฮดฮทฮผฮนฮฟฯ
ฯฮณฮตฮนอฮฝ ฮธฮตฮฟฯ
ฬฯ.โ โฯฮฟฬฮฝ ฮฮนฬฮฑ ฯฮฟฯ
ฮปฮตฬฮณฮตฮนฯโ ฮตฮนฬอฯฮต โฯฮฟฬฮฝ ฮตฬฮฝ ฯฮทออ
ฬฮฮปฯ
ฮผฯฮนฬฮฑอ
ฮบฮฑฮนฬ ฯฮฟฬ ฯฮทอฯ ฬฮฮธฮทฮฝฮฑอฯ ฮตฬฬฮดฮฟฯ ฮบฮฑฮนฬ ฯฮฟฬ ฯฮทอฯ ฮฮฝฮนฮดฮนฬฮฑฯ ฯฮต ฮบฮฑฮนฬ ฯฮฟฬ ฯฮทอฯ ฬฮฯฮณฮตฮนฬฮฑฯ ฮบฮฑฮนฬ ฮฟฬฯฮฟฬฯฮฑ ฯฬอฮดฮต ฮบฮฑฮปฮฑฬ ฮบฮฑฮนฬ ฮผฮตฯฯฮฑฬ ฯฬฬฯฮฑฯ.โ โฮฟฯ
ฬ ฮผฮฟฬฮฝฮฟฮฝโ ฮตฬฬฯฮท โฯฮฑฯ
อฯฮฑ, ฮฑฬฮปฮปฮฑฬ ฮบฮฑฮนฬ ฮบฮฑฮธฮฑฬฯฮฑฮพ ฯฮทฬฮฝ ฮผฮตฬฮฝ ฯฮฑฯฮฑฬ ฯฮฟฮนอฯ ฮฑฬฬฮปฮปฮฟฮนฯ ฮฑฬฮณฮฑฮปฮผฮฑฯฮฟฯฮฟฮนฮนฬฮฑฮฝ ฮฑฬฬฯฯฮตฯฮธฮฑฮนฬ ฯฮทฮผฮน ฯฮฟฯ
อ ฯฯฮฟฯฮทฬฮบฮฟฮฝฯฮฟฯ, ฯ
ฬฮผฮฑอฯ ฮดฮตฬ ฮบฮฑฯฮฑฮณฮตฮปฮฑอฮฝ ฯฮฟฯ
อ ฮธฮตฮนฬฮฟฯ
ฮผฮฑอฮปฮปฮฟฮฝ ฮทฬฬ ฮฝฮฟฮผฮนฬฮถฮตฮนฮฝ ฮฑฯ
ฬฯฮฟฬ.โ โฮฟฮนฬ ฮฆฮตฮนฮดฮนฬฮฑฮน ฮดฮตฬโ ฮตฮนฬอฯฮต:โฮบฮฑฮนฬ ฮฟฮนฬ ฮ ฯฮฑฮพฮนฯฮตฬฮปฮตฮนฯ ฮผฯอฮฝ ฮฑฬฮฝฮตฮปฮธฮฟฬฮฝฯฮตฯ ฮตฬฯ ฮฟฯ
ฬฯฮฑฮฝฮฟฬฮฝ ฮบฮฑฮนฬ ฮฑฬฯฮฟฮผฮฑฮพฮฑฬฮผฮตฮฝฮฟฮน ฯฮฑฬ ฯฯอฮฝ ฮธฮตฯอฮฝ ฮตฮนฬฬฮดฮท ฯฮตฬฯฮฝฮทฮฝ ฮฑฯ
ฬฯฮฑฬ ฮตฬฯฮฟฮนฮฟฯ
อฮฝฯฮฟ, ฮทฬฬ ฮตฬฬฯฮตฯฮฟฬฮฝ ฯฮน ฮทฬอฮฝ, ฮฟฬฬ ฮตฬฯฮนฬฯฯฮท ฮฑฯ
ฬฯฮฟฯ
ฬฯ ฯฯออ
ฯฮปฮฑฬฯฯฮตฮนฮฝ;โ โฮตฬฬฯฮตฯฮฟฮฝโ ฮตฬฬฯฮท โฮบฮฑฮนฬ ฮผฮตฯฯฮฟฬฮฝ ฮณฮต ฯฮฟฯฮนฬฮฑฯ ฯฯฮฑอฮณฮผฮฑ.โ โฯฮฟฮนอฮฟฮฝ;โ ฮตฮนฬอฯฮตฮฝ โฮฟฯ
ฬ ฮณฮฑฬฯ ฮฑฬฬฮฝ ฯฮน ฯฮฑฯฮฑฬ ฯฮทฬฮฝ ฮผฮนฬฮผฮทฯฮนฮฝ ฮตฮนฬฬฯฮฟฮนฯ.โ โฯฮฑฮฝฯฮฑฯฮนฬฮฑโ ฮตฬฬฯฮท โฯฮฑฯ
อฯฮฑ ฮตฮนฬฯฮณฮฑฬฯฮฑฯฮฟ ฯฮฟฯฯฯฮตฬฯฮฑ ฮผฮนฮผฮทฬฯฮตฯฯ ฮดฮทฮผฮนฮฟฯ
ฯฮณฮฟฬฯ: ฮผฮนฬฮผฮทฯฮนฯ ฮผฮตฬฮฝ ฮณฮฑฬฯ ฮดฮทฮผฮนฮฟฯ
ฯฮณฮทฬฯฮตฮน, ฮฟฬฬ ฮตฮนฬอฮดฮตฮฝ, ฯฮฑฮฝฯฮฑฯฮนฬฮฑ ฮดฮตฬ ฮบฮฑฮนฬ ฮฟฬฬ ฮผฮทฬ ฮตฮนฬอฮดฮตฮฝ, ฯ
ฬฯฮฟฮธฮทฬฯฮตฯฮฑฮน ฮณฮฑฬฯ ฮฑฯ
ฬฯฮฟฬ ฯฯฮฟฬฯ ฯฮทฬฮฝ ฮฑฬฮฝฮฑฯฮฟฯฮฑฬฮฝ ฯฮฟฯ
อ ฮฟฬฬฮฝฯฮฟฯ, ฮบฮฑฮนฬ ฮผฮนฬฮผฮทฯฮนฮฝ ฮผฮตฬฮฝ ฯฮฟฮปฮปฮฑฬฮบฮนฯ ฮตฬฮบฮบฯฮฟฯ
ฬฮตฮน ฮตฬฬฮบฯฮปฮทฮพฮนฯ, ฯฮฑฮฝฯฮฑฯฮนฬฮฑฮฝ ฮดฮตฬ ฮฟฯ
ฬฮดฮตฬฮฝ, ฯฯฯฮตฮนอ ฮณฮฑฬฯ ฮฑฬฮฝฮตฬฮบฯฮปฮทฮบฯฮฟฯ ฯฯฮฟฬฯ ฮฟฬฬ ฮฑฯ
ฬฯฮทฬ ฯ
ฬฯฮตฬฮธฮตฯฮฟ. ฮดฮตฮนอ ฮดฮตฬ ฯฮฟฯ
ฮฮนฮฟฬฯ ฮผฮตฬฮฝ ฮตฬฮฝฮธฯ
ฮผฮทฮธฮตฬฮฝฯฮฑ ฮตฮนฬอฮดฮฟฯ ฮฟฬฯฮฑอฮฝ ฮฑฯ
ฬฯฮฟฬฮฝ ฮพฯ
ฬฮฝ ฮฟฯ
ฬฯฮฑฮฝฯออ
ฮบฮฑฮนฬ ฯฬฬฯฮฑฮนฯ ฮบฮฑฮนฬ ฮฑฬฬฯฯฯฮฟฮนฯ, ฯฬฬฯฯฮตฯ ฮฟฬ ฮฆฮตฮนฮดฮนฬฮฑฯ ฯฮฟฬฯฮต ฯฬฬฯฮผฮทฯฮตฮฝ, ฬฮฮธฮทฮฝฮฑอฮฝ ฮดฮตฬ ฮดฮทฮผฮนฮฟฯ
ฯฮณฮทฬฯฮตฮนฮฝ ฮผฮตฬฮปฮปฮฟฮฝฯฮฑ ฯฯฯฮฑฯฮฟฬฯฮตฮดฮฑ ฮตฬฮฝฮฝฮฟฮตฮนอฮฝ ฮบฮฑฮนฬ ฮผฮทอฯฮนฮฝ ฮบฮฑฮนฬ ฯฮตฬฯฮฝฮฑฯ ฮบฮฑฮนฬ ฯฬฯ ฮฮนฮฟฬฯ ฮฑฯ
ฬฯฮฟฯ
อ ฮฑฬฮฝฮตฬฮธฮฟฯฮตฮฝ. ฮตฮนฬ ฮดฮตฬ ฮนฬฮตฬฯฮฑฮบฮฑ ฮทฬฬ ฮณฮปฮฑฯ
อฮบฮฑ ฮทฬฬ ฮปฯ
ฬฮบฮฟฮฝ ฮทฬฬ ฮบฯ
ฬฮฝฮฑ ฮตฬฯฮณฮฑฯฮฑฬฮผฮตฮฝฮฟฯ ฮตฬฯ ฯฮฑฬ ฮนฬฮตฯฮฑฬ ฯฮตฬฯฮฟฮนฯ ฮฑฬฮฝฯฮนฬ ฬฮฯฮผฮฟฯ
อ ฯฮต ฮบฮฑฮนฬ ฬฮฮธฮทฮฝฮฑอฯ ฮบฮฑฮนฬ ฬฮฯฮฟฬฮปฮปฯฮฝฮฟฯ, ฯฮฑฬ ฮผฮตฬฮฝ ฮธฮทฯฮนฬฮฑ ฮบฮฑฮนฬ ฯฮฑฬ ฮฟฬฬฯฮฝฮตฮฑ ฮถฮทฮปฯฯฮฑฬ ฮดฮฟฬฮพฮตฮน ฯฯอฮฝ ฮตฮนฬฮบฮฟฬฮฝฯฮฝ, ฮฟฮนฬ ฮดฮตฬ ฮธฮตฮฟฮนฬ ฯฮฑฯฮฑฯฮฟฮปฯ
ฬ ฯฮทอฯ ฮฑฯ
ฬฯฯอฮฝ ฮดฮฟฬฮพฮทฯ ฮตฬฯฯฮทฬฮพฮฟฯ
ฯฮนฮฝ.โ โฮตฬฬฮฟฮนฮบฮฑฯโ ฮตฮนฬอฯฮตฮฝ โฮฑฬฮฒฮฑฯฮฑฮฝฮนฬฯฯฯฯ ฮตฬฮพฮตฯฮฑฬฮถฮตฮนฮฝ ฯฮฑฬ ฮทฬฮผฮตฬฯฮตฯฮฑ: ฯฮฟฯฮฟฬฮฝ ฮณฮฑฬฯ, ฮตฮนฬฬฯฮตฯ ฯฮน ฮฮนฬฮณฯ
ฯฯฮนฬฯฮฝ, ฮบฮฑฮนฬ ฯฮฟฬ ฮผฮทฬ ฮธฯฮฑฯฯ
ฬฮฝฮตฯฮธฮฑฮน ฮตฬฯ ฯฮฑฬ ฯฯอฮฝ ฮธฮตฯอฮฝ ฮตฮนฬฬฮดฮท, ฮพฯ
ฮผฮฒฮฟฮปฮนฮบฮฑฬ ฮดฮตฬ ฮฑฯ
ฬฯฮฑฬ ฯฮฟฮนฮตฮนอฯฮธฮฑฮน ฮบฮฑฮนฬ ฯ
ฬฯฮฟฮฝฮฟฮฟฯ
ฬฮผฮตฮฝฮฑ, ฮบฮฑฮนฬ ฮณฮฑฬฯ ฮฑฬฬฮฝ ฮบฮฑฮนฬ ฯฮตฮผฮฝฮฟฬฯฮตฯฮฑ ฮฟฯ
ฬฬฯฯ ฯฮฑฮนฬฮฝฮฟฮนฯฮฟ.โ ฮณฮตฮปฮฑฬฯฮฑฯ ฮฟฯ
ฬอฮฝ ฮฟฬ ฬฮฯฮฟฮปฮปฯฬฮฝฮนฮฟฯ โฯฬอ ฮฑฬฬฮฝฮธฯฯฯฮฟฮน,โ ฮตฬฬฯฮท โฮผฮตฮณฮฑฬฮปฮฑ ฯ
ฬฮผฮนอฮฝ ฮฑฬฯฮฟฮปฮตฬฮปฮฑฯ
ฯฮฑฮน ฯฮทอฯ ฮฮนฬฮณฯ
ฯฯฮนฬฯฮฝ ฯฮต ฮบฮฑฮนฬ ฮฮนฬฮธฮนฮฟฬฯฯฮฝ ฯฮฟฯฮนฬฮฑฯ, ฮตฮนฬ ฯฮตฮผฮฝฮฟฬฯฮตฯฮฟฮฝ ฯ
ฬฮผฯอฮฝ ฮบฮฑฮนฬ ฮธฮตฮฟฮตฮนฮดฮตฬฯฯฮตฯฮฟฮฝ ฮบฯ
ฬฯฮฝ ฮดฮฟฬฮพฮตฮน ฮบฮฑฮนฬ ฮนฬอฮฒฮนฯ ฮบฮฑฮนฬ ฯฯฮฑฬฮณฮฟฯ, ฯฮฑฯ
อฯฮฑ ฮณฮฑฬฯ ฮฮตฯฯฮตฯฮนฬฯฮฝฮฟฯ ฮฑฬฮบฮฟฯ
ฬฯ ฯฮฟฯ
อ ฯฮฟฯฮฟฯ
อ. ฯฮตฮผฮฝฮฟฬฮฝ ฮดฮตฬ ฮดฮทฬ ฮทฬฬ ฮตฬฬฮผฯฮฟฮฒฮฟฮฝ ฯฮนฬ ฮตฬฮฝ ฯฮฟฯ
ฬฯฮฟฮนฯ; ฯฮฟฯ
ฬฯ ฮณฮฑฬฯ ฮตฬฯฮนฮฟฬฯฮบฮฟฯ
ฯ ฮบฮฑฮนฬ ฯฮฟฯ
ฬฯ ฮนฬฮตฯฮฟฯฯ
ฬฮปฮฟฯ
ฯ ฮบฮฑฮนฬ ฯฮฑฬ ฮฒฯฮผฮฟฮปฮฟฬฯฮฑ ฮตฬฬฮธฮฝฮท ฮบฮฑฯฮฑฯฯฮฟฮฝฮตฮนอฮฝ ฯฯอฮฝ ฯฮฟฮนฮฟฯ
ฬฯฯฮฝ ฮนฬฮตฯฯอฮฝ ฮตฮนฬฮบฮฟฬฯ ฮผฮฑอฮปฮปฮฟฮฝ ฮทฬฬ ฮดฮตฮดฮนฮตฬฮฝฮฑฮน ฮฑฯ
ฬฯฮฑฬ, ฮตฮนฬ ฮดฮตฬ ฯฮตฮผฮฝฮฟฬฯฮตฯฮฑ ฯฮฑฯ
อฯฮฑ ฯ
ฬฯฮฟฮฝฮฟฮฟฯ
ฬฮผฮตฮฝฮฑ, ฯฮฟฮปฮปฯออ
ฯฮตฮผฮฝฮฟฬฯฮตฯฮฟฮฝ ฮฑฬฬฮฝ ฮตฬฬฯฯฮฑฯฯฮฟฮฝ ฮฟฮนฬ ฮธฮตฮฟฮนฬ ฮบฮฑฯ' ฮฮนฬฬฮณฯ
ฯฯฮฟฮฝ, ฮตฮนฬ ฮผฮทฬ ฮนฬฬฮดฯฯ
ฯฮฟฬ ฯฮน ฮฑฯ
ฬฯฯอฮฝ ฮฑฬฬฮณฮฑฮปฮผฮฑ, ฮฑฬฮปฮป' ฮตฬฬฯฮตฯฮฟฮฝ ฯฯฮฟฬฯฮฟฮฝ ฯฮฟฯฯฬฯฮตฯฮฟฬฮฝ ฯฮต ฮบฮฑฮนฬ ฮฑฬฯฮฟฯฯฮทฯฮฟฬฯฮตฯฮฟฮฝ ฯฮทออ
ฮธฮตฮฟฮปฮฟฮณฮนฬฮฑอ
ฮตฬฯฯฮทอฯฮธฮต: ฮทฬอฮฝ ฮณฮฑฬฯ ฯฮฟฯ
ฮฝฮตฯฬฯ ฮผฮตฬฮฝ ฮฑฯ
ฬฯฮฟฮนอฯ ฮตฬฮพฮฟฮนฮบฮฟฮดฮฟฮผฮทอฯฮฑฮน ฮบฮฑฮนฬ ฮฒฯฮผฮฟฯ
ฬฯ ฮฟฬฯฮนฬฮถฮตฮนฮฝ ฮบฮฑฮนฬ ฮฑฬฬ ฯฯฮทฬ ฮธฯ
ฬฮตฮนฮฝ ฮบฮฑฮนฬ ฮฑฬฬ ฮผฮทฬ ฯฯฮทฬ ฮบฮฑฮนฬ ฮฟฬฯฮทฮฝฮนฬฮบฮฑ ฮบฮฑฮนฬ ฮตฬฯ' ฮฟฬฬฯฮฟฮฝ ฮบฮฑฮนฬ ฮฟฬฬ ฯฮน ฮปฮตฬฮณฮฟฮฝฯฮฑฯ ฮทฬฬ ฮดฯฯอฮฝฯฮฑฯ, ฮฑฬฬฮณฮฑฮปฮผฮฑ ฮดฮตฬ ฮผฮทฬ ฮตฬฯฯฮตฬฯฮตฮนฮฝ, ฮฑฬฮปฮปฮฑฬ ฯฮฑฬ ฮตฮนฬฬฮดฮท ฯฯอฮฝ ฮธฮตฯอฮฝ ฮบฮฑฯฮฑฮปฮตฮนฬฯฮตฮนฮฝ ฯฮฟฮนอฯ ฯฮฑฬ ฮนฬฮตฯฮฑฬ ฮตฬฯฯฮฟฮนฯฯอฯฮนฮฝ, ฮฑฬฮฝฮฑฮณฯฮฑฬฯฮตฮน ฮณฮฑฬฯ ฯฮน ฮทฬ ฮณฮฝฯฬฮผฮท ฮบฮฑฮนฬ ฮฑฬฮฝฮฑฯฯ
ฯฮฟฯ
อฯฮฑฮน ฮดฮทฮผฮนฮฟฯ
ฯฮณฮนฬฮฑฯ ฮบฯฮตฮนอฯฯฮฟฮฝ, ฯ
ฬฮผฮตฮนอฯ ฮดฮตฬ ฮฑฬฯฮทฬอ
ฯฮทฯฮธฮต ฯฮฟฯ
ฬฯ ฮธฮตฮฟฯ
ฬฯ ฮบฮฑฮนฬ ฯฮฟฬ ฮฟฬฯฮฑอฯฮธฮฑฮน ฮบฮฑฮปฯอฯ ฮบฮฑฮนฬ ฯฮฟฬ ฯ
ฬฯฮฟฮฝฮฟฮตฮนอฯฮธฮฑฮน.โ ฯฯฮฟฬฯ ฯฮฑฯ
อฯฮฑ ฮฟฬ ฮฮตฯฯฮตฯฮนฬฯฮฝ, โฮตฬฮณฮตฬฮฝฮตฯฮฟฬ ฯฮนฯโ ฮตฬฬฯฮท โฮฃฯฮบฯฮฑฬฯฮทฯ ฬฮฮธฮทฮฝฮฑฮนอฮฟฯ ฮฑฬฮฝฮฟฬฮทฯฮฟฯ, ฯฬฬฯฯฮตฯ ฮทฬฮผฮตฮนอฯ, ฮณฮตฬฯฯฮฝ, ฮฟฬฬฯ ฯฮฟฬฮฝ ฮบฯ
ฬฮฝฮฑ ฮบฮฑฮนฬ ฯฮฟฬฮฝ ฯฮทอฮฝฮฑ ฮบฮฑฮนฬ ฯฮทฬฮฝ ฯฮปฮฑฬฯฮฑฮฝฮฟฮฝ ฮธฮตฮฟฯ
ฬฯ ฯฮต ฮทฬฮณฮตฮนอฯฮฟ ฮบฮฑฮนฬ ฯฬฬฮผฮฝฯ
.โ โฮฟฯ
ฬฮบ ฮฑฬฮฝฮฟฬฮทฯฮฟฯ,โ ฮตฮนฬอฯฮตฮฝ โฮฑฬฮปฮปฮฑฬ ฮธฮตฮนอฮฟฯ ฮบฮฑฮนฬ ฮฑฬฯฮตฯฮฝฯอฯ ฯฮฟฯฮฟฬฯ, ฯฬฬฮผฮฝฯ
ฮณฮฑฬฯ ฯฮฑฯ
อฯฮฑ ฮฟฯ
ฬฯ' ฯฬฯ ฮธฮตฮฟฯ
ฬฯ, ฮฑฬฮปฮป' ฮนฬฬฮฝฮฑ ฮผฮทฬ ฮธฮตฮฟฯ
ฬฯ ฮฟฬฮผฮฝฯ
ฬฮฟฮน.โ"". None | 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 |
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56. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Artist, works of art โข art
Found in books: Harkins and Maier (2022) 167; Lampe (2003) 426
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57. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Apelles (artist) โข art, Roman
Found in books: Borg (2008) 114, 122; Elsner (2007) 293
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58. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข architecture and art, Roman appreciation โข art โข art and architecture, Roman appreciation
Found in books: Harkins and Maier (2022) 164; Jenkyns (2013) 240
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59. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Art โข Art, as aphrodisiac โข Art, idol vs. image โข Art, loss of pagan meaning for Christians and Jews โข Art, nudity โข Art, religious art manufactured by Jews and Christians โข art โข art expert, in Petroniusโ Satyrica โข art gallery, in Petroniusโ Satyrica โข lover, as viewer of erotic art โข nature and art, in the Greek novels โข 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
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60. None, None, nan (2nd cent. CE - 2nd cent. CE)
Tagged with subjects: โข Athenaeus, on eroticism in art โข Lucian, and erotic response to art โข Valerius Maximus, and eroticism in art โข drapery, artistic treatment of
Found in books: Rutledge (2012) 113, 114; Steiner (2001) 231
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61. Babylonian Talmud, Sukkah, None (3rd cent. CE - 6th cent. CE)
Tagged with subjects: โข Moses, art โข art, โข art, Qumran โข art, priests
Found in books: Brooke et al (2008) 30, 31; Rubenstein(1995) 247
5a. ืืชื ืื ืจ\' ืืืกื ืืืืจ ืืขืืื ืื ืืจืื ืฉืืื ื ืืืื ืืื ืขืื ืืฉื ืืืืืื ืืืจืื ืฉื ืืืจ (ืชืืืื ืงืื, ืื) ืืฉืืื ืฉืืื ืื\' ืืืืจืฅ ื ืชื ืืื ื ืืื,ืืื ืืจืื ืฉืืื ื ืืืื ืืืืชืื (ืฉืืืช ืื, ื) ืืืจื ื\' ืขื ืืจ ืกืื ื ืืืขืื ืืขืฉืจื ืืคืืื ืืืืชืื (ืืืจืื ืื, ื) ืืขืืื ืจืืืื ืืืื ืืืื ืขื ืืจ ืืืืชืื ืืืขืื ืืขืฉืจื ืืคืืื,ืืื ืขืื ืืฉื ืืืืืื ืืืจืื ืืืืชืื (ืฉืืืช ืื, ื) ืืืฉื ืขืื ืื ืืืืืื ืืืื ืืขืฉืจื ืืืืชืื (ืืืืื ื ื, ืื) ืืืขื ืืืืื ืืกืขืจื ืืฉืืื ืืืื ืืขืฉืจื ืืืืชืื (ืืืื ืื, ื) ืืืื ืคื ื ืืกื ืคืจืฉื ืขืืื ืขื ื ื ืืืืจ ืจ\' ืชื ืืื ืืืื ืฉืคืืจืฉ ืฉืื ืืืื ืฉืืื ืชื ืืขื ื ื ืขืืื ืืืื ืืขืฉืจื,ืืื ืืงืื ืืืื ืคื ื ืืกื ืืชืื ืืืฉืชืจืืืื ืืืฉืชืจืื ืืื ืืกื ืขื ืขืฉืจื ืื ืงื ืืื,ืืฉืืื ืืจืื ืชืฉืขื ืืืชืื (ืฉืืืช ืื, ื) ืืขืฉื ืืจืื ืขืฆื ืฉืืื ืืืชืื ืืืฆื ืืจืื ืืืื ืืืฆื ืจืืื ืืืื ืืืฆื ืงืืืชื ืืื ืืคืืจืช ืืคื ืื ืื ืืชื ื ืจืื ืื ืื ื ืื ืืืืื ืฉืขืฉื ืืฉื ื ืชื ื ืืื ืชืืจื ืืืช ืืจืื ืืืืช ืจืืื ืืืืช ืงืืืชื ืืคืืจืช ืืืช ืืจืื ืืืืช ืจืืื ื ืชื ื ืืืช ืงืืืชื ืื ื ืชื ื,ืฆื ืืืื ืืคืืืช ืฉืืืืื ืฉื ืืืจ (ืฉืืืช ืื, ืื) ืืขืฉืืช ืื ืืกืืจืช ืืคื ืกืืื ืื ืืืื ืืคื ืืฃ ืืื ืืคื ืื ืืืฃ ืืืืื ืืืคืืืื ืชืคืฉืช ืืจืืื ืื ืชืคืฉืช ืชืคืฉืช ืืืขื ืชืคืฉืช,ืื ืืืฃ ืืฆืืฅ ืืชื ืื ืฆืืฅ ืืืื ืืืื ืืก ืฉื ืืื ืืจืื ื\' ืืฆืืขืืช ืืืืงืฃ ืืืื ืืืื ืืืชืื ืขืืื ื\' ืฉืืืื ืื"ื ื"ื ืืืืขืื ืืงืืฉ ืื"ื ืืืืื ืื"ืจ ืืืืขืืจ ืืจ\' ืืืกื ืื ื ืจืืืชืื ืืจืืื ืืืชืื ืขืืื ืงืืฉ ืื\' ืืฉืืื ืืืช,ืื ืื ืืื ืืืื ืืืื ืื ืื ืืื ืืชืืฉืื,ืื ืืืฃ ืืืจ ืืืืจ ืืจ ืืจ ืืฉืื ืื ืื ืืื ืืืื ืืืื ืื ืื ืืื ืืืืฉืจ ืืื ืื ืืื ืืกืืจืช ื ืื ืืืฉืจ ืืื ืืื ืืกืืจืชื ืืืื ืืืชื,ืื ืืื ืืืื ืืืืจ ืืกืืจืชื ืืืื ืืืชื ืืื ืืืื ืืืืจ ืืกืืจืชื ืืืขืื ืืืชื ืืื ืืืื ืืืืืจ ืืื ืืืฉืจ ืืื ืืื,ืืื ืื ืื ืืืจ ืฉื ืชื ื ืื ืชืืจื ืืื ืืืืจ ืฉื ืชื ื ืื ืชืืจื ืืื ืืื ืืืืืื ืฆืืฅ ืืืจ ืฉืื ื ืชื ื ืืื ืชืืจื ืืื ืืื,ืจื ืืื ื ืืืจ ืืืื (ืืืงืจื ืื, ืื) ืขื ืคื ื ืืืคืืจืช ืงืืื ืืืื ืคื ืื ืคืืืช ืืืคื,ืืืืื ืืื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: โThe 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 isnโt it written: โAnd 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 isnโt it written: โAnd 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 isnโt it written: โAnd 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 isnโt it written: โAnd 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 isnโt it written: โHe 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: โHe 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: โAnd 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: โAnd 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 emperorโs 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: โUpon 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 |
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62. None, None, nan (3rd cent. CE - 4th cent. CE)
Tagged with subjects: โข Art โข Art, idol vs. image โข Art, imitation of models โข Art, loss of pagan meaning for Christians and Jews โข Art, religious art manufactured by Jews and Christians โข art, early Christian โข art, mosaics and ivory carving โข art, sculpture in the round
Found in books: Bickerman and Tropper (2007) 907, 911, 924; Esler (2000) 762
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63. None, None, nan (3rd cent. CE - 4th cent. CE)
Tagged with subjects: โข theurgy (hieratic art) โข theurgy and hieratic art (แผฑฮตฯฮฑฯฮนฮบแฝด ฯฮญฯฮฝฮทโ)
Found in books: Dillon and Timotin (2015) 15, 16, 152, 170, 171, 176, 181; d, Hoine and Martijn (2017) 237
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64. None, None, nan (3rd cent. CE - 3rd cent. CE)
Tagged with subjects: โข Art, artistic representation โข Artistic metaphor, for training in virtue โข art gallery, in Petroniusโ Satyrica
Found in books: Corrigan and Rasimus (2013) 331; Elsner (2007) 187; Gray (2021) 209
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65. Ammianus Marcellinus, History, 16.10.13-16.10.15 (4th cent. CE - 4th cent. CE)
Tagged with subjects: โข Pliny the Elder, on ignorance of art โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation โข 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 Trajanโs steed alone, which stands in the centre of the vestibule, carrying the emperor himself.''. None |
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66. Augustine, On Christian Doctrine, 2.16.26, 2.18.28 (4th cent. CE - 5th cent. CE)
Tagged with subjects: โข Augustine, survey of โliberal artsโ in Book โข 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 |
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67. None, None, nan (7th cent. CE - 7th cent. CE)
Tagged with subjects: โข Noah, non-artistic proofs โข Savior, ลกarฤซสฟa (Ar. โlawโ) โข สฟiแนฃma (Ar. โinfallibility of prophetsโ, โimpeccability,โ โimmunity from sinโ)
Found in books: Gwynne (2004) 99; Zawanowska and Wilk (2022) 286
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68. Babylonian Talmud, Avodah Zarah, None
Tagged with subjects: โข Art โข Art, idol vs. image โข Art, religious art manufactured by Jews and Christians โข art, pagan
Found in books: Bickerman and Tropper (2007) 923; Levine (2005) 483
43a. ืื ื ืืื ืฆืืจืช ืืจืงืื ืื,ืืื ืคืฉืืื ืืืืฆื ืืืืชื ื ืืืืฆื ืืืื ืืขืืืื ืฆืืจืช ืืื,ืจืืฉื ืืกืืคื ืืืืฆื ืืืฆืืขืชื ืืขืืฉื,ืืืจ ืืืื ืืื ืจืืฉื ืืกืืคื ืืืืฆื ืืืฆืืขืชื ืืขืืฉื,ืจืื ืืืจ ืืืื ืืืืฆื ืืืฆืืขืชื ืจืื ืืืืื ืืื ืืชื ืื ืจืื ืืืืื ืืืกืืฃ ืืฃ ืืืืช ืื ืืงื ืืกืจ ืืคืืก ืื ืืงื ืขื ืฉื ืืื ืฉืื ืืงื ืื ืืขืืื ืืืื ืกืจ ืืคืืก ืขื ืฉื ืืืกืฃ ืฉืกืจ ืืืคืืก ืืช ืื ืืขืืื ืืืื ืืืื ืื ืงืื ืืจืืื ืืงื ืืืื ืืืื ืื ืงืื ืื ืืงื ืื ืืงื:,ืชื ื ืจืื ื ืืืืื ืฆืืจืช ืืจืงืื ืคืืจืฉ ืจืฉื"ื ืื ืฉืืฉ ืื ืฆืืฆืื ืืื ืคืจืงืื ืืืื ืจืื ืืกื ืืื ืคืจืงื ืฆืืืจ ืืืจ ืจ\' ืืื ืืจืื ืื ืื ื ืืืื ืืจ"ืฉ ืื ืืืขืืจ,ืืืจ ืจืื ืืจ ืืจ ืื ื ืืืจ ืจืื ืืืืฉืข ืื ืืื ืคืขื ืืืช ืืืืชื ืืืื ืืืจ ืจ\' ืืืขืืจ ืืงืคืจ ืืจืืื ืืืจื ืืืฆื ืฉื ืืืขืช ืืขืืื ืฆืืจืช ืืจืงืื ืืืฆื ืขืืื ืืืืืื ืงืื ืืื ืืืจ ืื ืืืื ืืฆื ืขืืื ืืืืืื ืืืื ืืืืจ ืื ืืืื ืืื ืืืื ืกืืจื ืืืืื,ืฉ"ื ืชืืช ืฉ"ื ืขืืื ืืืืืื ืืืื ืขืืืืช ืืืืืื ืฉืื ืืฉื ืืืืจื ืืฉ"ื ืืืืข ืืืื ืฉื ืขืืืืช ืืืืืื ืืืฉืืฉืื ืืืื ืืฉืืื ื ืืืืข ืืืื ืขืืืืช ืืืืืื ืืืฉืืฉืื ืืื ื ืืืื ืืฉ"ื ืขืืื ืืืืืื ืืืื ืืขื ืืจืื,ืืืืฃ ืื ืจืื ืื ืื ื ืืืืช ืืื ืืจืื ืืืขืืจ ืืงืคืจ ืืจืืื ืื ืืชื ื ืืืฆืื ืื ืืืจื ืืื ืืืื ืืื ืื ืืจ ืืื ืืืืืก ืืื ืื ืืจ ืืืืืื ืฉื ืื ืืืฉืืืืืชื ืฉื ื ืืจ ืืืืืฆื ืืกืจืืื ืืคืืืื ืืืืื ืืืื ืืงืื ืฉืืจืืื ืืฆืืื ืฉื ืืจื ืืื ืฉืื ืืคื ื ืฉืืืขืืื ืืชืืืืฉืื ืืื,ืืืจ ืืืื ื ืื ืืืื ื ืืืืืฉ ืืืืกืืจื ืื ืืืืืฉ ืืืืจ ืืืจ ืื ืขืืื ืืืืืื ืืฉืื ืื ืืคืื ืคืื ืื ืื ืืฉืจืื ืืฉืื ืื ืืืืื ืืืืื ืืงืจืื ืืืืื ืื ืืขืืื ืืืืืื ืืคืื ืื:,ืชื ื ืืชื ืืืืช ืฆืืจืืช ืืื ืืช ืืื ืื ืืจ"ื ืืขืืืืชื ืืืืื ืืืืชื ืฉืืื ืืจืื ืืช ืืืืืืืืช ืืืืืจ ืืื ืืื ืจืืืชื ืื ืืื ืจืืืชื,ืืื ืฉืจื ืืืืชืื (ืฉืืืช ื, ืื) ืื ืชืขืฉืื ืืชื ืื ืชืขืฉืื ืืืืืช ืฉืืฉื ืืืฉืืฉืื ืืคื ื,ืืืจ ืืืื ืื ืืกืจื ืชืืจื ืืื ืฉืืฉืื ืฉืืคืฉืจ ืืขืฉืืช ืืืืชื,ืืืชื ืื ืื ืืขืฉื ืืื ืืืช ืชืื ืืช ืืืื ืืืกืืจื ืชืื ืืช ืืืื ืืฆืจ ืชืื ืืช ืขืืจื ืฉืืืื ืชืื ืืช ืฉืืืื ืื ืืจื ืชืื ืืช ืื ืืจื ืืื ืืื ืขืืฉื ืฉื ื\' ืืฉื ื\' ืืฉื ื\' ืืฉื ื\' ืื ืืขืฉื ืืคืืื ืฉื ืฉืืจ ืืื ื ืืชืืืช,ืจืื ืืืกื ืืจ ืืืืื ืืืืจ ืืฃ ืฉื ืขืฅ ืื ืืขืฉื ืืืจื ืฉืขืฉื ืืืช ืืฉืืื ืื,ืืืจื ืื ืืฉื ืจืืื ืฉืคืืืื ืฉื ืืจืื ืืื ืืืืคืื ืืืขืฅ ืืขืฉืืจื ืขืฉืืื ืฉื ืืกืฃ ืืืจื ืืืขืฉืืจื ืขืฉืืื ืฉื ืืื,ืืฉืืฉืื ืฉืื ืืคืฉืจ ืืขืฉืืช ืืืืชื ืื ืฉืจื ืืืชื ืื ืื ืชืขืฉืื ืืชื ืื ืชืขืฉืื ืืืืืช ืฉืืฉื ืืืฉืืฉืื ืืคื ื ืืืจืื,ืืืจ ืืืื'43b. ืื ืืกืจื ืชืืจื ืืื ืืืืืช ื\' ืคื ืื ืืืื ืืืื,ืืื ืืขืชื ืคืจืฆืืฃ ืืื ืืืืืื ืชืฉืชืจื ืืืื ืชื ืื ืื ืืคืจืฆืืคืืช ืืืชืจืื ืืืฅ ืืคืจืฆืืฃ ืืื,ืืืจ ืจื ืืืืื ืืจืื ืืจื ืืืืฉืข ืืคืจืงืื ืืจืื ืืืืฉืข ืฉืืืข ืื ืื ืชืขืฉืื ืืชื ืื ืชืขืฉืื ืืืชื ืืื ืฉืืจ ืฉืืฉืื ืฉืจื,ืืฉืืจ ืฉืืฉืื ืื ืฉืจื ืืืชื ืื (ืฉืืืช ื, ืื) ืื ืชืขืฉืื ืืชื ืื ืชืขืฉืื ืืืืืช ืฉืืฉื ืืืฉืืฉืื ืืคื ื ืืืจืื ืืืื ืืืคื ืื ืืฉืจืคืื ืืืืืช ืืงืืฉ ืืืืืื ืืฉืจืช,ืืืจ ืืืื ืื ืืกืจื ืชืืจื ืืื ืฉืืฉืื ืฉืืืืืจ ืืขืืืื,ืืฉืืืืืจ ืืชืืชืื ืื ืฉืจื ืืืชื ืื ืืฉืจ ืืฉืืื ืืจืืืช ืืื ืืืื ื ืืืืืื ืืืืืืช ืืืขื ืืจืืืช ืืืืื ืืฉืจืช,ืื ืชื ืื ืืืื ืืขืืืื,ืื ืืขืืืื ืืคืืื ืฉืืืฉืื ืงืื ื ืื ืืื ืืื ื ืื ืืืกืืคืื ืืงืจื ื ืคืงื ืืชื ืื ืืฉืจ ืืืจืฅ ืืจืืืช ืืืื ืื ืืจืืช ืืจืื ืืืืขืืช ืืชืืช ืืจืืืช ืฉืืืฉืื ืงืื,ืืขืฉืืื ืืจืืืชื ืื ืฉืจื ืืืชื ืื ืื ืชืขืฉืื ืืชื ืื ืชืขืฉืื ืืืืืช ืฉืืฉื ืืืฉืืฉืื ืืคื ื ืืืจืื ืืืื ืืื ืืืื ื ืืืืืื ืืืืืืช,ืฉืื ื ืจ"ื ืืืืจืื ืขืฉื ืื,ืืื ืจื ืืืืื ืืืืจืื ืขืฉื ืื ืื"ื ืฉืืืื ืืจื ืืืืื ืฉืื ื ื ืกืื ืขืื ืื ืืืื,ืืชื ืืืืชืื ืืืื ืืืฉืื ืืฉืื ืืชื ืื ืืืขืช ืฉืืืชืื ืืืื ืืกืืจ ืืื ืืื ืืืืชืจ ืืืชืื ืื ืืืชืื ืฉืืงืข ืืืชืจ ืืื ืืื ืืืกืืจ ืืืชืื ืื,ืืื ืืืืฉืื ื ืืืฉืื ืืื ืื ืื ืืฉืชื ืืฉืฃ ืืืชืื ืื ืืจืืขื ืืืืงืื ืืื ืื ืืจืื ืืืื ืขืืืื ืืื ืืืื ืืฉืืืื ืืืื ืืืฆืื ืืืืื ืืื ืืืืฉื ืืืฉืื ืจืืื ืฉืื ื,ืืื ืจืื ืืืืืื ืืืืื ืืื ืืืื ืื ืฉืื ืืื ืฉืืืื ืจืืื ืืืื ืืืืืขืืช ืืืื ืืคืจืงืื ืืืื,ืืืืืขืืช ืืืื ืืืชืืื ืฉืื ื ืืชื ืื (ืืืจืื ืื, ื) ืื ืชืืื ืืขืฉืืช ืืื ืืชื ืืื ืืืืื ืืืืืจืืช:,ืจืฉื"ื ืืืืจ ืืื\': ืืืื ืื ืืืืืืื ืืืืื ืื ืืืืืื,ืืืจ ืจื ืืืืืืื ืืืขืื ืื ืืืื ืืืืืื ืืืื ืื ืืืื ืืฉืืืื ืืืจ ืืื ืืืื ืืืืืื ืื ืืื ืืื ืื ืืืืืืื ืฉืขื ืืฉืืจืื ืืขื ืื ืืืื ืืขื ืืืืขืืช,ืชื ืื ืืืืชืื ืืฉืืืื ืืืืืืื ืฉืขื ืืฉืืจืื ืืขื ืื ืืืื ืืขื ืืืืขืืช ืืืืืื ืฉืขื ืืืืจืืช ืืขื ืืงืืืงืืกืื ืืขื ืืืื ืืืื ืืฉืขื ืืกืืื ืื ืืขื ืืืืคืืืช:,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 Sheshetโs 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 ringโs 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 idolโs status, but one who is not aware of the nature of idol worship and its accessories, such as a minor, cannot revoke the idolโs 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? Doesnโt 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 meโissura 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 ringโs 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 isnโt it written: โYou 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 bevaโatz. 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 Gamlielโs 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 isnโt it taught in a baraita that the verse: โYou 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: โYou 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 isnโt it taught in another baraita that the verse: โYou 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 isnโt it taught in a baraita with regard to the verse: โYou 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 โthat is in heavenโ serves to include the sun, and the moon, the stars, and the constellations. The term โaboveโ 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: โThat is in the earthโ serves to include seas, and rivers, mountains, and hills. The word โbeneathโ serves to include a tiny worm.,The Gemara asks: And is the mere fashioning of figures of the celestial bodies permitted? But isnโt it taught in another baraita that the verse: โYou 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 Gamlielโs 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 oneโs 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 oneโs eyes, i.e., disfigure it, as it is prohibited even to have a figure of a human being in oneโs 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 oneโs 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 oneโs 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 Nehardeโa, and they erected a statue of the king in it? And nevertheless, Shmuelโs 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 wasnโt 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: โYou 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: โAnd 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 isnโt it already stated: โAnd your sin, '. None | |
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69. Strabo, Geography, 7.7.6, 8.6.23
Tagged with subjects: โข Epigonos, artist โข Greek, art โข Nikeratos, artist โข Nile, subject matter of art โข Phyromachos, artist โข technitai (Artists of Dionysus) โข 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 |
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70. Vergil, Aeneis, 1.464, 5.704, 6.847-6.853, 8.608-8.728
Tagged with subjects: โข Orpheus,, as symbol of failure of art โข Vespasian, patronizes artists โข architecture and art, Roman appreciation โข art and architecture, Roman appreciation โข art expert, in Petroniusโ Satyrica โข art gallery, in Petroniusโ Satyrica โข art history, Petroniusโ satire of โข art work, as object of gaze โข arts, Roman anxiety about Greek โข arts, mimetic โข city, as locus of art โข ethical qualities, artifice, skill (ars) โข gaze, focused on work of art โข power, of artists and authors โข response, emotional, to work of art, in Virgilโs Aeneid โข sexual subjects in art, as customary entertainment โข sexual subjects in art, in Vergilโs Aeneid โข 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. โGreat 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,โtorment 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: โO 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. โSeek 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 |
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71. Vergil, Eclogues, 10.69
Tagged with subjects: โข Ars Amatoria (Ovid),, as cause of exile โข Ovid, Ars and Remedia as philosophical in their own right โข anxiety, artistic โข audience, power dynamic between artist and โข death, triumph of art over โข ideology, as function of art โข 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 |
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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: โข Muses, artistic presentation of works of the โข Orpheus,, as symbol of failure of art โข Ovid, Ars amatoria โข anxiety, artistic โข ars โข artists and gods โข city, as locus of art โข hubris,, artistic arrogance โข ivory, as artistic medium โข nature, transgressed by art โข power, of artists and authors โข sexual subjects in art, Orpheus and โข 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. โah miseram Eurydicen!โ anima fugiente vocabat: 4.527. โEurydicenโ 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. โIn 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 |
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73. None, None, nan
Tagged with subjects: โข Artists โข women, occupations/functions/titles, artists
Found in books: Eckhardt (2019) 171; Marek (2019) 465
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74. None, None, nan
Tagged with subjects: โข Cicero, influence of De officiis on Ars amatoria โข art of life
Found in books: Long (2006) 30; Williams and Vol (2022) 80
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75. None, None, nan
Tagged with subjects: โข Artists โข Dionysiac artists,
Found in books: Eckhardt (2019) 134; Gabrielsen and Paganini (2021) 146
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76. None, None, nan
Tagged with subjects: โข Artists โข Artists of Dionysus/Dionysiac Guilds (Dionysiakoi Technitai) โข technitai (Artists of Dionysus), Athenian association โข technitai (Artists of Dionysus), Cyprian association (Paphos) โข technitai (Artists of Dionysus), Egyptian association (Alexandria, Ptolemais, Cyprus) โข technitai (Artists of Dionysus), Ionian-Hellespontine association (Pergamum, Teos) โข technitai (Artists of Dionysus), Isthmian-Nemean association (Argos, Chalcis, Corinth, Opus, Thebes) โข technitai (Artists of Dionysus), benefactors of (ฯฮนฮปฮฟฯฮตฯฮฝแฟฯฮฑฮน) โข 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
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77. None, None, nan
Tagged with subjects: โข Artists โข Dionysiac artists,
Found in books: Eckhardt (2019) 132, 142; Gabrielsen and Paganini (2021) 55
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78. None, None, nan
Tagged with subjects: โข Ars Amatoria (Ovid) โข ars
Found in books: Clay and Vergados (2022) 227; Green (2014) 57
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