8337.“亚伦的姐姐女先知米利暗，手里拿着鼓”表出于信之良善将荣耀归于主。这从“米利暗”的代表，以及“女先知”和“手里拿着鼓”的含义清楚可知。“米利暗”是指信之良善，因为“摩西”代表直接从主发出的信之真理，因而代表内在真理；而“亚伦”代表间接从主发出的信之真理，因而代表外在真理（参看7009，7089，7382节）；所以“米利暗”是指间接从主发出的信之良善；因为当男人代表真理时，他们的女人便代表良善（6014节）。由于米利暗和妇女代表外在良善，故经上补充说“亚伦的姐姐”，而不是说“摩西的姐姐”；此外，良善与真理之间的关系就姊妹弟兄的关系（3160节）。不过，要知道，当论述属灵教会时，女人代表良善，男人代表真理；而当论述属天教会时，女人代表真理，男人代表良善（4823节）。“女先知”是指施行教导的人（2534，7269节），在此是指赞美主的人，或也可说，出于信之良善将荣耀归于祂的人，因为她像摩西和以色列的男人那样向耶和华歌唱；“歌唱”表示将荣耀归于8261，8263，8267节）。“手里拿着鼓”是指出于信之良善将荣耀归于，因为“鼓”论及属灵良善，或也可说，论及信之良善（4138节）。
在以前的时代，当敬拜神时，会用到许多种乐器，但有很多区别。一般来说，管乐器用来表达对良善的感情，弦乐器用来表达对真理的感情；这一切起源于每种声音与情感的对应关系。众所周知，有些种类的乐器用来表达一种属世情感，有些种类的乐器则用来表达另一种属世情感，当演奏出一段合适的旋律时，它们确实会激起这些情感。通晓音乐的人都知道这些事，也会恰当地利用它们。其原因在于声音的本质，以及它与情感的契合。人类最初不是通过科学和艺术，而是通过耳朵及其敏锐的听觉来了解它的。由此清楚可知，这种能力并非源于自然界，而是源于灵界；它源于按照真正的秩序流入自然界的事物与灵界的实际事物之间的对应关系。和谐的声音和它所取的各种形式对应于灵界中欢喜快乐的状态；那里欢喜快乐的状态源于情感，也就是灵界中对良善和真理的情感。由此可见，乐器对应于属灵和属天情感的快乐和愉悦，有些乐器对应于属天的情感，有些乐器对应于属灵的情感；关于这个主题，可参看前面的阐述和说明（418-420，4138节）。
至于具体的“鼓”，它对应于属灵良善，也就是真理之良善。这是因为，
鼓既不是弦乐器，也不是管乐器，而是由皮制成的，可以说是一根连续的弦乐器；此外，它的声音比弦乐器的声音更沉重、更深厚。这一点也可从圣言看出来，有些地方提到了“鼓”，如以赛亚书：
击鼓的喜乐止息，宴乐人的喧哗停止，弹竖琴的喜乐也止息了。（以赛亚书24:8）
“击鼓的喜乐”表示属于对信之良善的情感的快乐；“弹竖琴的喜乐”表示属于对信之真理的情感的快乐。耶利米书：
以色列的处女哪，我要再建立你，你就被建立；你必再装饰你的鼓，出去与欢乐的人一同跳舞。（耶利米书31:4）
“装饰鼓”表示出于属灵的良善将荣耀归于神，因为它论述的是“以色列的处女”所表示的属灵教会。
在以西结书也一样：
你曾在伊甸、神的园中，你鼓笛的手工在你那里，在你受造之日，它们就预备了。（以西结书28:13）
这论及推罗，推罗表示良善的认知或知识和真理的认知或知识，“鼓”表示对前者的情感，“笛”表示后者的喜乐。诗篇：
神啊，他们在圣所已经看见你行走，我神的行走。歌唱的行在前，作乐的随在后，都在击鼓的童女中间。（诗篇68:24，25）
又：
你们当向雅各的神欢呼，放歌击鼓，弹起欢快的竖琴和弦琴。（诗篇81:1，2）
又：
你们要向耶和华唱新歌，愿他们跳舞、用手鼓和竖琴赞美祂的名，愿他们歌颂祂。（诗篇149:1，3）
此处“用手鼓赞美”表示出于属于对信之良善的一种情感的快乐而将荣耀归于；“用竖琴赞美”表示出于属于对信之真理的一种情感的愉悦而将荣耀归于。
又：
你们要击鼓、跳舞赞美祂，用丝弦的乐器和风琴赞美祂，用高声的钹赞美祂，用大响的钹赞美祂。（诗篇150:4，5）
“要击鼓、跳舞赞美”表示出于信之良善和真理赞美；“用丝弦的乐器和风琴”表示出于真理和由此而来的良善。由于一切乐器皆对应于并表示属灵和属天情感的快乐和愉悦，所以许多诗篇都有一个标题，表明他们将如何歌唱，如“用丝弦的乐器”（Neginoth）、“用吹的乐器”（Nechiloth）、“调用八度”（Octave）、“调用女音”（Shigajon）、“用迦特乐器”（Gitthith）、“调用慕拉便”（Muth-labben）、“调用第八”（Sheminith）、“调用百合花”（Shoshannim）、“调用麻哈拉”（Machalath）。
Potts(1905-1910) 8337
8337. And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand. That this signifies glorification of the Lord from the good of faith, is evident from the representation of Miriam, as being the good of faith; for Moses represents the truth of faith which proceeds immediately from the Lord, thus internal truth; while Aaron represents the truth of faith which proceeds mediately from the Lord, thus external truth (see n. 7009, 7089, 7382); consequently "Miriam" denotes the good of faith which proceeds mediately from the Lord; for when men represent truth, their women represent good (n. 6014). As Miriam with the women represent external good, therefore it is added "the sister of Aaron," and it is not said "the sister of Moses." Moreover good and truth are circumstanced like sister and brother (n. 3160). But be it known that women represent good, and men truth, when the spiritual church is treated of; whereas women represent truth, and men good, when the celestial church is treated of (n. 4823). From the signification of "the prophetess," as being one who teaches (n. 2534, 7269), here who praises the Lord, or what is the same, glorifies Him from the good of faith, because she sang to Jehovah, as Moses and the men of Israel had done (that "to sing" denotes to glorify, see n. 8261, 8263, 8267); and from the signification of "taking a timbrel in the hand," as being to glorify from the good of faith, for a "timbrel" is predicated of spiritual good, or what is the same, of the good of faith (n. 4138). [2] Formerly in Divine worship many kinds of musical instruments were employed, but with much distinction. In general, by wind instruments were expressed affections of good, and by stringed instruments affections of truth, and this from the correspondence of every sounding thing with the affections. It is known that some natural affections are expressed by certain kinds of musical instruments, and others by certain other ones, and that when a fitting harmony joins in accord, they actually excite these affections. They who are skilled in music are aware of these things, and make an accordant use of them. The cause of this fact arises from the very nature of sound and of its accord with the affections. Men learned this at first, not from science and art, but from the hearing and its exquisite sense: from this it is clear that it does not come from any origin in the natural world, but from an origin in the spiritual world, and accordingly from the correspondence with things in the spiritual world of those things in the natural world which flow from order. Harmonious sound and its varieties correspond to states of joy and gladness in the spiritual world; and states of joy and gladness there arise from the affections, which in that world are affections of good and truth. From this then it can be seen that musical instruments correspond to the delights and pleasantnesses of spiritual and celestial affections, and that some instruments correspond to celestial affections, and some to spiritual affections (see what has been said and shown before on this subject, n. 418-420, 4138). [3] As regards the timbrel specifically, it corresponds to spiritual good, that is, to the good of truth. The reason is that the timbrel is not a stringed instrument, neither is it a wind instrument, but as it is made with a skin, it is as it were a continuous stringed instrument, and moreover its sound is graver and deeper than is the sound of stringed instruments. This can also be seen from the Word, where the "timbrel" is mentioned, as in Isaiah:
The joy of the timbrels shall cease, the tumult of the joyous shall cease, the joy of the harp shall cease (24:8); "the joy of the timbrels" denotes the delights of the affections of the good of faith; "the joy of the harp," the delight of the affection of the truth of faith. In Jeremiah:
Anew I will build thee, that thou shalt be built, O virgin of Israel; anew shalt thou adorn thy timbrels, and shalt go forth into the dance of them that play (31:4);
"to adorn the timbrels" denotes to glorify God from spiritual good, for it treats of the spiritual church, which is the "virgin of Israel." [4] In like manner in Ezekiel:
Thou hast been in Eden the garden of God, the work of thy timbrels and of thy pipes was in thee, in the day that thou wast created they were prepared (28:13);
speaking of Tyre, by which are signified the knowledges of good and of truth, and by "timbrels and pipes" the affections of the former, and the joys of the latter. In David:
They have seen Thy goings, O God, the goings of my God in the sanctuary. The singers went before, after them the players, in the midst of the virgins playing on timbrels (Ps. 68:24, 25). Shout to the God of Jacob, lift up a song, and give a timbrel, a pleasant harp with a psaltery (Ps. 81:1, 2). Sing to Jehovah a new song, let them praise His name in the dance, let them sing psalms to Him with timbrel and harp (Ps. 149:1, 3);
here "to praise with timbrel" denotes to glorify from the delight of the affection of the good of faith; and "to praise with harp" denotes the pleasantness of the affection of the truth of faith. [5] In the same:
Praise ye God with timbrel and dance, praise ye Him with stringed instruments and organ, praise Him with cymbals of sound, praise Him with cymbals of noise (Ps. 150:4, 5);
"to praise with timbrel and dance" denotes from the good and truth of faith; "with stringed instruments and organ" denotes from truths and the good thence derived. As by correspondence all instruments signified the delights and pleasantnesses of spiritual and celestial affections, many of the Psalms of David have an inscription, and it is told how they are to be sung, as "upon Neginoth," "upon Nechiloth," "upon the Octave," "Shigajon," "Gitthith," "Muth-labben," "Sheminith," "Shoshannim," "Machalath."
Elliott(1983-1999) 8337
8337. 'And Miriam the prophetess, Aaron's sister, took a timbrel in her hand' means ascribing glory to the Lord from the good of faith. This is clear from the representation of 'Miriam' as the good of faith, for 'Moses' represents the truth of faith that goes forth directly from the Lord, thus inward truth, whereas 'Aaron' represents the truth of faith that goes forth from the Lord in an indirect way, thus outward truth, 7009, 7089, 7382, so that 'Miriam' is the good of faith which goes forth in an indirect way from the Lord, for when 'men' represent truth, 'their womenfolk' represent good, 6014 (since Miriam along with the women represents external good she is in addition referred to as 'Aaron's sister', though she is not called Moses' sister, the relation between good and truth being like that of sister and brother, 3160. But it should be remembered that 'women' represent good and 'men' truth when the spiritual Church is the subject, whereas 'women' represent truth and 'men' good when the celestial Church is the subject, 4823); from the meaning of 'the prophetess' as one who teaches, dealt with in 2534, 7269, at this point one who joins in praising the Lord, or what amounts to the same thing, one who ascribes glory to Him from the good of faith, since she sang to Jehovah, as Moses and the men of Israel had done (for the meaning of 'singing' as ascribing glory, see 8261, 8263, 8267); and from the meaning of 'taking a timbrel in one's hand' as ascribing glory from the good of faith, since 'a timbrel' has reference to spiritual good, or what amounts to the same thing, to the good of faith, 4138.
[2] In former times many types of musical instruments were used when God was worshipped, but with much discrimination. In general wind instruments were used to express affections for good, and stringed instruments affections for truth; and the origin of this was the correspondence of every sound to the affections. It is well known that some types of musical instruments are used to express one kind of natural affections and other types to express another kind, and that when a fitting melody is played they in actual fact stir the affections. Skilled musicians know all about this and also make proper use of it. The reason for it lies in the very nature of sound, and its accord with the affections. Mankind at first learned about it not from science and art but through the ear and its keen sense of hearing. From this it is plain that the ability does not have its origin in the natural world but in the spiritual world; it, springs from the correspondence of things in the natural world - which flow into it in accordance with true order - with realities in the spiritual world. Harmonious sound and various forms it takes correspond to states of joy and gladness in the spiritual world, and states of joy and gladness there spring from affections, which in that world are affections for what is good and true. From this one may now recognize that musical instruments correspond to delights and pleasures belonging to spiritual and celestial affections, and that some instruments correspond to celestial affections, others to spiritual ones; see what has been stated and shown about them previously in 418-420, 4138.
[3] As regards 'a timbrel' in particular, this corresponds to spiritual good, that is, to the good of truth. This is because a timbrel is neither a stringed nor a wind instrument but, being made of skin, is an instrument of one continuous string so to speak; and it is also because it has a heavier and deeper sound than that made by stringed instruments. This may also be recognized from the Word, in places in which 'a timbrel' is mentioned, as in Isaiah,
The joy of timbrels will cease, the noise of merry ones will cease, the joy of the harp will cease. Isa 24:8.
'The joy of timbrels' stands for delights that belong to affections for the good of faith; 'the joy of the harp' stands for delight that belongs to an affection for the truth of faith. In Jeremiah,
Again I will build you, that you may be built, O virgin of Israel! Again you will adorn your timbrels,a and will go forth in the dance of the merrymakers. Jer 31:4.
'Adorning timbrels' stands for ascribing glory to God from spiritual good, for it refers to the spiritual Church, meant by 'the virgin of Israel'.
[4] Similarly in Ezekiel,
You were in Eden, the garden of God. The workmanship of your timbrels and your pipes was within you; on the day you were created they were prepared. Ezek 28:13.
This refers to Tyre, by which cognitions or knowledge of good and of truth are meant, 'timbrels' meaning affections for the former and 'pipes' feelings of joy in the latter. In David,
They have seen Your goings, O God, the goings of my God, my King, in the sanctuary. The singers went before, players [of stringed instruments] after, in the midst of the virgins playing timbrels. Ps 68:24, 25.
In the same author,
Shout to the God of Jacob; raise a song, and sound the timbrel, the delightful harp with the lyre. Ps 81:1, 2.
In the same author,
Sing to Jehovah a new song; let them praise His name in dancing, with timbrel and harp let them make melody to Him. Ps 149:1, 3.
Here 'praising with timbrel' stands for ascribing glory from the feeling of delight that belongs to an affection for the good of faith, and 'praising with harp' for the pleasant feeling that belongs to an affection for the truth of faith.
[5] In the same author,
Praise God with timbrel and dance; praise Him with stringed instruments and organ praise Him with sounding cymbalsb; praise Him with clanging cymbals.c Ps 150:3-5
'Praising with timbrel and dance' stands for doing so from the good and truth of faith; 'on stringed instruments and organ' stands for doing so from truths and consequently from good. Since all instruments corresponded to and were signs of the delights and pleasant feelings that belong to spiritual and celestial affections a large number of the Psalms of David have titles indicating how they were to be accompanied, such as On Neginoth, On the Nehiloth, On the Octave,d Shiggaion, the Gittith Muthlabben, the Sheminith, Shoshannim, or Mahalath.
Latin(1748-1756) 8337
8337. `Et sumpsit Mirjam prophetissa, soror Aharonis, tympanum in manu sua': quod significet glorificationem Domini ex bono fidei, constat ex repraesentatione `Mirjam' quod sit bonum fidei; `Moscheh' enim repraesentat verum fidei quod immediate a Domino procedit; ita verum internum, `Aharon' autem verum fidei quod {1}mediate a Domino procedit, ita verum externum, n. 7009, 7089, (x)7382; inde `Mirjam' est bonum fidei quod mediate a Domino procedit, `viri' enim cum repraesentant verum, `mulieres illorum' repraesentant bonum, n. 6014; quia `Mirjam cum mulieribus' bonum externum repraesentat, ideo additur `soror Aharonis,' et non dicitur soror Moschis; {2}bonum etiam et verum se habent sicut soror et frater, n. 3160; at sciendum quod `mulieres' repraesentent bonum et `viri' verum cum agitur de Ecclesia spirituali, at `mulieres' repraesentant verum (c)ac `viri' bonum ubi agitur de Ecclesia caelesti, n. 4823; ex significatione `prophetissae' quod sit docens, de qua n. 2534, 7269, hic collaudans (x)Dominum, seu quod idem, glorificans Ipsum ex bono fidei, quia cantavit Jehovae, prout Moscheh et viri ex Israele; quod `cantare' sit glorificare, videatur n. 8261, 8263, 8267; et ex significatione `sumere tympanum in manu' quod sit glorificare ex bono fidei, `tympanum' enim praedicatur de bono spirituali, seu quod idem, de bono fidei, n. 4138. 2 Olim in cultu Divino adhibebantur plura genera instrumentorum musicorum sed cum multa distinctione; in genere per inflatoria {3}exprimebantur affectiones boni, et per chordacea affectiones veri, et hoc ex correspondentia sonori cujusvis (d)cum affectionibus; notum est quod per quaedam genera instrumentorum musicorum {4} exprimantur hae affectiones naturales, per quaedam illae, (m)et cum (x)harmonicum conveniens conspirat, quod actualiter illas affectiones {5}emoveant;(n) qui gnari musices sunt haec sciunt, et quoque convenienter illa in usum mittunt; causa hujus rei {6}existit ab ipsa natura sonori et ejus convenientia cum affectionibus; hoc homo didicerat primum non ex scientia et arte, sed ex auditu et ejus exquisito sensu; inde liquet quod id non veniat ex origine in naturali mundo sed ex origine in spirituali, {7}et tunc ex correspondentia rerum quae ex ordine fluunt in (t)naturali mundo cum rebus in mundo spirituali; sonorum harmonicum et ejus varietates {4} correspondent statibus gaudii et laetitiae in spirituali, et status gaudii et laetitiae ibi existunt ab affectionibus, quae in illo mundo sunt affectiones {8}boni et veri; inde nunc constare potest {9} quod instrumenta musica correspondeant jucundis et amoenis affectionum spiritualium et caelestium, {10}et quod quaedam instrumenta his, quaedam illis affectionibus, (x)videantur quae de his prius n. 418-420, 4138, dicta et ostensa sunt. 3 Quod tympanum in specie attinet, correspondet illud bono spirituali, hoc est, bono veri; causa est quia tympanum non est instrumentum chordaceum, nec est inflatorium, sed quia est coriaceum, {11}est chordaceum quasi continuum, et quoque quia sonorum ejus est gravius et altius sonoro chordaceorum; hoc quoque constare potest ex Verbo ubi `tympanum' nominatur, {12}ut apud Esaiam, Cessabit gaudium tympanorum, cessabit tumultus hilarium, cessabit gaudium citharae, xxiv 8;`gaudium tympanorum' pro {13}jucundis affectionum boni fidei; `gaudium citharae' pro jucundo affectionis veri fidei: apud Jeremiam, Denuo aedificabo te ut aedificata sis, virgo Israelis; denuo adornabis tympana tua, et exibis in choream ludentium, xxxi 4;
`adornare tympana' pro glorificare Deum ex {14}bono spirituali, agitur enim de Ecclesia spirituali, quae est `virgo Israelis': similiter apud 4 (x)Ezechielem, In Eden horto Dei fuisti; opus tympanorum tuorum et fistularum tuarum in te, in die quo creata es, praeparata sunt, xxviii 13;
ibi de Tyro, per quam significantur cognitiones boni et veri, et per `tympana et fistulas illarum' affectiones et harum gaudia: {15} apud Davidem, Viderunt gressus Tuos, Deus, gressus Dei mei Regis mei in sanctuario: praecesserunt cantantes, post pulsantes, in medio virginum tympanizantium, Ps. lxviii 25, 26 [A.V. 24, 25]:
apud eundem, Acclamate Deo Jacobi, extollite cantum, et date tympanum, citharam jucundam cum nablio, Ps. (x)lxxxi 2, 3 [A.V. 1, 2]:
apud eundem, Cantate Jehovae canticum novum; laudent nomen Ipsius in chorea, cum tympano et cithara psallent Ipsi, Ps. cxlix 1, 3;
ibi `laudare cum tympano' pro glorificare ex jucundo affectionis boni fidei, et `laudare cum cithara' pro {16} amoeno affectionis veri 5 fidei: apud eundem, Laudate Deum cum tympano et chorea, laudate Ipsum cum fidibus et organo, laudate Ipsum cum cymbalis soni, laudate Ipsum cum cymbalis clangoris, Ps. (x)cl 3-5;
`laudare cum tympano et chorea' pro ex bono et vero fidei; `ex fidibus et organo' pro ex veris et inde bono. Quia instrumenta quaelibet {16} correspondentia significabant jucunda et amoena (x)affectionum spiritualium et caelestium, inde etiam Psalmis pluribus Davidis inscriptum, {17}ac indicatum quomodo psallerentur; {18}prout super Neginoth, super Nechiloth, super Octava, Schigajon, Gitthith, (x)Muthlabben, Scheminith, (x)Schoschannim, Machalath. @1 procedit a Domino mediate$ @2 nam bonum$ @3 exprimebant$ @4 i in naturali mundo$ @5 emoveat$ @6 ducitur ex$ @7 exque$ @8 veri et sunt boni$ @9 i non modo$ @10 sed etiam quod quaedam his, et quaedam illis$ @11 ita$ @12 sicut$ @13 jucundo$ @14 jucundo affectionis boni fidei$ @15 i similiter$ @16 i ex$ @17 quibus et$ @18 et dicitur quibus instrumentis simul$