Commentary - Overview

This lesson from Daniel contains one of those pictures from the Word that make such a vivid impression upon us in childhood that we never forget it. Nebuchadnezzar, king of Babylon, set up an image of gold in the plain of Dura. The image was sixty cubits high and six broad. That is about 75 feet high and 7.5 feet broad. Doubtless it was not solid gold, but a gilded image. The plain of Dura in the province of Babylon has not been identified. The image was evidently erected close to the city and must have presented an imposing appearance when the sunlight flashed upon its bright surface. At the dedication, the king summoned the leaders of the people to be present. All were commanded to fall down and worship the image whenever they heard the sound of the music. Daniel's three companions refused to comply. They were cast into the furnace of fire.

Those who bound them and cast them in were burned, but the three remained in the fire uninjured. The king saw them walking in the midst of the fire, "and the form of a fourth like unto a son of the gods." (Apocalypse Revealed V.) Thereupon Nebuchadnezzar called them to come forth, acknowledged the power of their God, issued a decree threatening death to any who blasphemed Him, and promoted the three to positions of honor in his kingdom.

This story strongly appealed to the imagination of the Jews and appears in various forms in their ancient literature. One of the most remarkable of these is that contained in "The Song of the Three Children." This book is to be found in the collection generally known as "The Apocrypha," which comes to us through the Septuagint and Latin versions of the Old Testament. This "Song" is accepted as canonical by the Roman Catholic Church. It represents Azarias as praying to God from the midst of the fire for deliverance. In answer, the Lord sends His angel who "smote the flame of fire out of the oven and made the midst of the furnace as it had been a moist whistling wind so that the fire touched them not at all, neither hurt nor troubled them." Thereupon "the three, as out of one mouth" sing a song of thanksgiving that is composed largely of passages from the Psalms.

Two other short stories in the Apocrypha that relate incidents in the life of Daniel may not be unworthy of mention as they appear as appendices to the prophecy in some Bibles. These are "The History of Susanna, Or the Judgment of Daniel" and "The History of Bel and the Dragon." As literature, they are incomparably inferior to the Book of Daniel. They form no part of the Divine Word, but are simply interesting from a historical point of view.Commentary - In-Depth

Canon Farrar regards this third chapter of Daniel as a wonderful illustration "of the deliverance of undaunted faithfulness; as setting forth the truth that they who love God and trust in Him must love Him and trust in Him even till the end, in spite not only of the most overwhelming peril, but even when they are brought face to face with apparently hopeless defeat." The situation is one in which the love of rule is in the ascendancy and threatens destruction. Can human beings prove equal to the strain? With the help of the Lord, they can come out of the trial unscathed.

History furnishes illustrations of the meaning of this chapter. The Church of Rome is generally recognized as a type of Babylon. (See Apocalypse Revealed 729.) Many times in the past, this Church has sought to dominate over people and dictate to them what they shall believe. And if people would not bow down to the papal authority, they had to suffer excommunication, which consigned them to hell. Many adherents of that Church have felt the dread of opposing this authority and its terrible consequences, of which they had been brought up to stand in awe. Take as an example the case of Waldo and his followers in A.D. 1177. Following their history and the story of their persecution affords a slight idea of the trial through which they must have passed, in refusing to bow down to the image and daring the flames of the fiery furnace.

Through experience with the Waldensians and many other seceders, the Church of Rome has, however, learned to become more politic in her dealings and seldom anathematizes her members. Nevertheless, the anathema, in a deeper sense, is used everywhere, and by all people when possessed by the love of ruling from the love of self. This love of having one's own way demands that all shall bow down before this lifeless image - lifeless because there is naught of God in it, naught but self. "Whosoever will not agree with me, act as I determine is best for them, or favor me, is condemned. I shall have nothing more to do with them (except in so far as it is impossible to avoid dealing with them)."

All the governors and rulers are summoned to the dedication of the image. Every argument is marshaled together to support self. And when the music plays, every knee must bow. When the delights of self-love are active, then everyone must assent. "Musical instruments correspond to the delights and pleasantness of spiritual and celestial affections" (Arcana Coelestia 8337), and also their opposite affections. (As to the nature of the delights of the love of ruling from the love of self, see Divine Love and Wisdom 271; Divine Providence 215.) Self will not be gainsaid or balked in any way. The slightest opposition rouses resentment.

This spirit is often present in humanity. To recognize and oppose it as sinful in the sight of God is the mature action that fully brings out the spirit of self-love and makes it more plainly visible. In resentment, that spirit determines to consume the God-given truth that condemns it. The fire of hatred is kindled. The Lord's truth is not affected by it. They who worship self are destroyed by the fires of self-love. But they who worship the Lord are protected. The Lord is present with them to save them from the scathing influences of anger. "When thou walkest through the fire, thou shalt not be burned; neither shall the flame kindle upon thee." (Isaiah 43:2)

Nebuchadnezzar saw the angel walking with the men in the fire, called the three forth, and commanded his people to respect the God of Shadrach, Meshach, and Abednego. "‘Babylon' was compelled by this to acknowledge and worship the Lord." This apparently implies that the disorderly love of rule is brought into subordination and made to serve the Lord alone. The power of ruling is turned away from that of serving self to that of serving others. "The love of ruling from the love of uses is in the highest degree heavenly, and consequently is with those who are in the highest heaven." (See Conjugial Love 262.)

8261. 'Then Moses and the children of Israel sang this song to Jehovah' means that those belonging to the spiritual Church ascribed glory to the Lord because of their deliverance. This is clear from the meaning of 'singing a song' as ascribing glory, dealt with below - ascribing it to the Lord, since 'Jehovah' is used in the Word to mean the Lord, 1343, 1736, 2921, 3023, 3035, 5041, 5663, 6280, 6281, 6905, 6945, 6956; and from the representation of 'Moses and the children of Israel' as those who belong to the spiritual Church. For Moses together with the people represents that Church - Moses its head, since he also represents Divine Truth, and the people or the children of Israel the Church itself. For the representation of 'the children of Israel' as those who belong to the spiritual Church, see 6426, 6637, 6862, 7035, 7062, 7198, 7201, 7215, 7223. The fact that they ascribed glory to the Lord because of their deliverance is evident from what was shown in the previous chapter. There it was shown that those belonging to the spiritual Church were saved solely through the Lord's Coming into the world, and that until then they had been held back on the lower earth, where they were molested by spirits steeped in falsities arising from evil and were delivered by the Lord after He had made Divine the Human within Himself. For the salvation of those belonging to the spiritual Church solely through the Lord's Coming into the world, see 2661, 2716, 2833, 2834, 6372; and for their being held back until then on the lower earth, and their deliverance by the Lord once He had made Divine the Human within Himself, 6854, 6914, 7035, 7091(end), 7828, 7932, 8018, 8054.

[2] The reason why 'singing a song' means ascribing glory, so that 'a song' means an ascription of glory, is that in the Ancient Church, and subsequently in the Jewish Church, songs were prophetic. Their theme was the Lord, in particular His coming into the world, His destruction of the devil's crew, which was prowling around then more than at any other time, and His deliverance of faithful believers from attacks by them. And because the prophetic words of the songs contained such exploits in the internal sense, an ascription of glory to the Lord was therefore meant by them, that is, praise of Him from gladness of heart was meant. For gladness of heart is expressed primarily through singing, the gladness in singing being so to speak a spontaneous eruption into sound. So it is that in songs Jehovah, that is, the Lord, is called Mighty Man, Man of War, God of Hosts, Conqueror, Might, Fortress, Shield, and Salvation; and the devil's crew, which was destroyed, is called the enemy, who was struck, swallowed up, drowned, and cast into hell.

[3] Even in former times those who had no conception of an internal sense thought that when in their external sense songs referred to things of a worldly nature - such as enemies, battles, victories, defeats, drownings - those things were the real meaning. But people who knew that all prophetic utterances embodied realities of a heavenly and Divine nature, and that these were represented within things of a worldly nature, also knew that those utterances were referring to the damnation of the faithless and the salvation of the faithful by the Lord when He came into the world. And in those times when these people who had knowledge of this contemplated it, and were consequently affected by it, they experienced an inner gladness, whereas the others' gladness was purely outward. At the same time the angels too who resided with people ascribed glory to the Lord. Therefore those who sang and those who listened to songs experienced heavenly gladness as a result of the holy and blissful influence from heaven, gladness in which it seemed to them as though they were transported into heaven. Such was the effect the songs of the Church had among the ancients. Such also is the effect they have at the present day, for the affections of spiritual angels are especially stirred by songs which refer to the Lord, His kingdom, and His Church. The songs of the Church had that effect because, for one thing, they inspired gladness of heart, which then burst from within right out into the outermost fibres of the body, making them quiver with a glad and at the same time holy feeling, and, for another thing, because in the heavens glory is ascribed to the Lord by choirs, thus by very many harmonizing with one another. Hence also angelic speech is harmonic; it falls into rhythmic measures. Regarding choirs, see 2595, 2596, 3350, 5182, 8115; regarding angelic speech, that it falls into rhythmic measures, 1648, 1649, 7191(end). So it was that when the ancients who belonged to the Church ascribed glory to the Lord they did so through songs, psalms, and various kinds of musical instruments. For the ancients who belonged to the Church experienced a joy surpassing all other joys when they called to mind the Lord's Coming and the salvation of the human race by Him.

[4] The fact that prophetic songs contained internally an ascription of glory to the Lord is clear from songs in the Word, as in Isaiah,

I Jehovah have called You in righteousness, and I will hold Your hand; I will guard You, and give You to be a covenant of the people, ¹ a light of the nations, to open the blind eyes, to bring the bound out of the prison, out of the dungeon-house him who sits in darkness. Sing to Jehovah a new song, His praise, O end of the earth! Let the wilderness and its cities lift up their voice. Let the inhabitants of the rock sing. Let them give glory to Jehovah. Jehovah will go forth as a Mighty Man, as a Man of Wars He will arouse zeal; He will prevail over His enemies. Isaiah 42:6-9ff.

This refers, as is self-evident, to the Lord, to His future coming to deliver those in spiritual captivity. Therefore it says, 'Sing to Jehovah a new song' and 'Let the inhabitants of the rock sing'. A similar example occurs in the same prophet,

I have given You as a covenant of the people - to restore the land; to share out the devastated inheritances; to say to the bound, Go out; to those who are in darkness, Reveal yourselves. They will feed along the ways, and on all slopes will their pastures be. Sing, O heavens! And be exultant, O earth! And resound, O mountains, with song! For Jehovah has comforted His people, and will have mercy on His afflicted. Isaiah 49:8-10, 13ff.

This too refers to the Coming of the Lord and the deliverance of the bound.

[5] In David,

Sing to Jehovah a new song; bless His name; declare His glory among the nations. All the gods of the peoples are idols, ² but Jehovah made the heavens. Glory and honour are before Him; strength and beauty are in His sanctuary. Give to Jehovah glory and strength; give to Jehovah the glory of His name. Say among the nations, Jehovah reigns; the world also is firmly established, and will not be moved. Jehovah comes He comes to judge the earth. Psalms 96:1-end.

In the same author,

Jehovah caused me to come up out of the pit of vastation, out of the muddy clay, and He set my feet upon a rock. And He put into my mouth a new song, praise to our God; many will see and be confident. Psalms 40:2-3.

From these quotations too it is clear that 'a song' means an ascription of glory to the Lord because of deliverance. For songs included both gladness of heart and exaltation of the Lord - gladness of heart because of the Lord's Coming and salvation then, and exaltation because of victory over spiritual enemies. Gladness of heart coupled with exaltation of the Lord is what is meant by an ascription of glory.

[6] The fact that gladness of heart was meant by 'songs' is evident in David,

Confess Jehovah with the harp, make melody to Him on a ten-stringed lyre. Sing to Him a new song, play skillfully with a loud note. For He gathers the waters of the sea together as a heap; He places the depths in storehouses. Psalms 33:2-7.

In Isaiah,

The joy of timbrels will cease, the noise of merry ones will cease, the joy of the harp will cease. They will not drink wine with singing. Isaiah 24:8-9.

And in Amos,

I will turn your feasts into mourning, and all your songs into lamentation. Amos 8:10.

The fact that exaltation of Jehovah, that is, the Lord, was effected by means of songs may be seen in David,

David the servant of Jehovah, who spoke to Jehovah the words of this song. [I will love You,] O Jehovah, my strength. Jehovah is my rock (petra), and my fortress, and my deliverer; my God, my rock (rupee) in which I trust, my shield, and the horn of my salvation, my refuge. On Him who is to be praised, on Jehovah I will call; then I shall be saved from my enemies. Psalms 18:1-3.

In the same author,

Jehovah is my strength and my shield; therefore with song I will confess Him. Jehovah is their strength, and the saving strength of His anointed. Psalms 28:7-8.

In the same author,

Your salvation, O God, will bring me on high. I will praise the name of God with a song and will magnify Him with confession. Psalms 69:29-30.

[7] The fact that the Lord was the theme in their songs is also clear in John,

The twenty-four elders sang a new song, saying, You are worthy to take the book, and to open its seals; for You were slain, and have redeemed us to God by Your blood. Revelation 5:9-10.

Also in the same author,

I saw seven angels, and those who were singing the song of Moses, the servant of God, and the song of the Lamb, saying, Great and marvellous are Your works, O Lord God Almighty! Just and true are Your ways, O King of saints! Who would not fear You, O Lord, and glorify Your name? Revelation 15:1-4.

'The song of Moses and of the Lamb' is a song which in this chapter is called 'the song of the Lamb' because an ascription of glory to the Lord is the theme in it.

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