Daniel 3 - Introduction

III.

An important addition appears in both Greek Versions of Daniel, in accordance with which the event recorded in this chapter took place in the eighteenth year of Nebuchadnezzar. Whence the tradition arose cannot be ascertained. It was certainly unknown to Josephus. It has been supposed that the date was added by the translators, on account of their supposing the erection of the image to be connected with the taking of Jerusalem. However, this is improbable, as the siege itself was not finished till the nineteenth year of Nebuchadnezzar (2 Kings 25:8). It has also been conjectured that the statue was one of the king himself, erected in commemoration of some great victories recently won by him. This is not impossible; but, partly from the mention of the sacred numbers, 6, 60, partly from the language of Daniel 3:12; Daniel 3:14; Daniel 3:18; Daniel 3:20, it appears more probable that the image was erected in honour of some god. There is no doubt (see Records of the Past, vol. v., p. 113) that this king did erect an image of Bel Merodach. Possibly we have in this chapter a parallel account of the dedication of the image.

EXCURSUS B: THE MUSICAL INSTRUMENTS MENTIONED IN Daniel 3.

THE Babylonians as a nation appear to have been remarkably fond of music. Isaiah (Isaiah 14:11) speaks of the noise of the viols of Babylon as forming part of her pomp, and it may be presumed that the desire of the Babylonians to hear some of the strains of Zion (Psalms 137:2) was not uttered in mockery, but from a genuine wish, such as all persons have who really care for music at all, to hear the melodies of foreign countries. Further evidence is afforded by sculptures, which represent various musical instruments and considerable bands of performers.

Whence the Babylonian music was originally derived is not known, though probably we must look to Egypt as the source; but it may be asserted that whatever was not indigenous to Babylonia itself must have come from the same sources whence articles of commerce were acquired. At the time of Daniel, Babylon held commerce in the west with Egypt and Tyre. By means of both these lines of commerce Babylon was brought into contact with Greece, the great mistress of art in the sixth century B.C. And as we find traces among the Greek instruments of the Semitic Nabla and Kinura, it seems, à priori, highly probable that some of the Greek instruments should have found their way to Tyre, and to Egypt, and then penetrated to Babylon.

For many years previous to Nebuchadnezzar there had been considerable communication between Greece and the East. We know that 300 years earlier Sargon made Javan or Greece tributary. The statue of this king found at Idalium proves that he conquered the Greek colony of Cyprus. His son Sennacherib, we know, was engaged in war with Greeks in Cilicia. His grandson, Esarhaddon, had Greeks fighting on his side during his Asian campaign. It would be very remarkable if, during the many years throughout which Greece and Assyria were brought into connection, the musical instruments of the one nation should not have become known to the other. And if Assyria acquired Greek musical instruments, what is more probable than that many years before Nebuchadnezzar’s time they were known in Babylon?
The connection between Greece and the East did not cease with the fall of the Assyrian empire. In the army of Nebuchadnezzar we find serving as soldier the brother of the poet Alcæus, and a few lines are extant in which this great lyric writer welcomes home his brother from the Babylonian campaign. The historical notices of these times are very scanty, so that it is not easy to demonstrate the extent of Greek commerce in the sixth century B.C., but the facts mentioned above give us strong grounds for supposing that at an early period there was an interchange of musical instruments between the East and the West, and with the instruments would pass their names, which in the course of time would become more or less corrupted as the people who adopted them found it hard or easy to pronounce and transliterate the words.
We should expect therefore, à priori, in any list of Babylonian instruments, to find some of the names of Semitic, some of Greek extraction, and some of very doubtful etymology. This is precisely what we find in the book of Daniel. Of the names of the six instruments mentioned, two are undoubtedly of Semitic origin, one if not two are Greek, one is uncertain, while the sixth is perhaps not an instrument at all, though the word is undoubtedly Greek.

The instruments that have Semitic names are the “cornet” and the “flute.” They are both of great antiquity. The former is frequently found in the reliefs which represent military scenes, and the mention of it in this chapter is probably to be accounted for by the fact that the army was present.
The instruments which appear to have been derived from Greece are the “harp” and the “psaltery.” The former is frequently represented in the reliefs, possessing strings in number from three upwards. The psaltery is of uncertain etymology, but looks like a Greek word. The context requires a word to denote “cymbals,” which occur very frequently in the sculptures, and do not readily find an equivalent among the instruments mentioned by David.
What the “sackbut” may have been must be left undecided. It is true that a word sambuca occurs in Greek, but it is of foreign extraction.

The “dulcimer,” sûmphonia in the Chaldee, is probably not the name of a musical instrument, but means a “concerted piece of music.” The passages upon which it has been inferred that the sûmphonia was an instrument are Polyb. xxvi. 10, § 5, Athen. x. 53 (near the end); neither passage, however, is conclusive.