LSJ traces πλατύς across broad rivers, plains, shoulders, and flat objects, with only marginal figurative use in classical Greek (a strong oath, unrestrained laughter, diffuse speech), while BDAG defines the substantivized feminine πλατεῖα (with ὁδός understood) as a relatively broad thoroughfare in an urban area, the standard Hellenistic civic term also attested epigraphically at Miletus, Pergamum, and Apamea. In the Septuagint πλατύς and πλάτος render רָחָב and רֹחַב for dimensional breadth, πλατεῖα renders רְחוֹב for the city square, and the otherwise rare πλατυσμός becomes something close to a technical term for deliverance, rendering מֶרְחָב at Psalm 118:5 (LXX 117:5), Psalm 18:19, and 2 Samuel 22:20; Muraoka's Septuagint lexicon glosses it as a spacious environment symbolizing freedom from distress, the counterpart of the מֵצַר / στενοχωρία pole. Matthew 7:13 is the only New Testament use of the bare adjective, paired synonymously with εὐρύχωρος and answered in v. 14 by στενή and τεθλιμμένη, whose root carries the θλῖψις of discipleship; the omission of ἡ πύλη by Sinaiticus (original hand), several Old Latin witnesses, Clement, Origen, and Cyprian is generally judged an accident of similar endings, and NA28 retains it with B, C, W and the majority on the strength of the parallelism in v. 14 (Metzger). Davies-Allison, Luz, Betz, and Nolland locate the imagery in the Jewish Two Ways tradition (Deut 30:15, 19; Jer 21:8; Sirach 15:11-20; 1QS 3:13-4:26) and in the Two Ways source behind Didache 1-6 and Barnabas 18-20, which van de Sandt and Flusser argue is pre-Christian Jewish catechesis; the roughly contemporary 4 Ezra 7:6-14 uses the same narrow-entrance imagery with breadth as the positive term, confirming that the adjective is evaluatively neutral and that Matthew's negative use is a deliberate rhetorical inversion (Luz) grounded in the absence of moral demand (Davies-Allison). In Revelation the articular singular ἡ πλατεῖα τῆς πόλεως (11:8; 21:21; 22:2) is read by Aune as a specific plaza and by Beale more symbolically of the ungodly world, both noting the intended contrast between the great city's street of shame and the New Jerusalem's street of gold; Koester concurs on the reversal.