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The sound of the Cornet - There is not less difficulty in ascertaining the precise meaning of these musical instruments than there is in the offices in Daniel 3:2. קרנא karna, here translated cornet, is the common blowing horn, which makes a deep and hollow sound, as well as one shrill and piercing.
Flute - משרוקיתא mashrokitha, from שרק sharak, to whistle, shriek. A wind instrument which made a strong and shrill noise, such as the hautbois or clarionet.
Harp - קיתרס kithros, cytharus; κιθαρα . Some kind of stringed instrument. It seems to be formed from the Greek word.
Sackbut - סבכא sabbecha . The Greek has it σαμβυκη, from which our word sackbut, from סבך sabach, to interweave; probably on account of the number of chords, for it seems to have been a species of harp.
Psaltery - פסנתרין pesanterin ; Greek, ψαλτηριον . A stringed instrument, struck with a plectrum; that called santeer in Egypt is probably the same. Dr. Russel says: "It is a large triangle, and has two bottoms two inches from each other, with about twenty catguts of different sizes." It was the ancient psalterium, and most probably the same as David's harp.
Dulcimer - סומפניה sumponeyah ; Greek, συμφωνεια . Probably a kind of tamboor, tambourine, or tomtom drum. It does not mean the same as the Greek symphonia, which signifies a concert or harmony of many instruments, for here one kind of instrument only is intended.
All kinds of music - זמרא זני כל col zeney zemara, the whole stock, or band, of music; the preceding being the chief, the most common, and the most sonorous. My old MS. Bible has, Trumpe, and Pipe, and Harpe: Sambuke, Santrie, and Synfonye, and al kynde of musykes.
That at what time ye hear the sound of the cornet - It would not be practicable to determine with precision what kind of instruments of music are denoted by the words used in this verse. They were, doubtless, in many respects different from those which are in use now, though they may have belonged to the same general class, and may have been constructed on substantially the same principles. A full inquiry into the kinds of musical instruments in use among the Hebrews may be found in the various treatises on the subject in Ugolin‘s “Thesau Ant. Sacra.” tom. xxxii. Compare also the notes at Isaiah 5:12. The Chaldee word rendered “cornet” - קרנא qarenâ' - the same as the Hebrew word קרן qeren - means a “horn,” as e. g., of an ox, stag, ram. Then it means a wind instrument of music resembling a horn, or perhaps horns were at first literally used. Similar instruments are now used, as the “French horn,” etc.
Flute - משׁרוקיתא masherôqı̂ythâ' Greek, σύριγγός suringos Vulgate, fistula, pipe. The Chaldee words occurs nowhere else but in this chapter, Daniel 3:5, Daniel 3:7, Daniel 3:10, Daniel 3:15, and is in each instance rendered “flute.” It probably denoted all the instruments of the pipe or flute class in use among the Babylonians. The corresponding Hebrew word is חליל châlı̂yl See this explained in the notes at Isaiah 5:12. The following remarks of the Editor of the “Pictorial Bible” will explain the usual construction of the ancient pipes or flutes: “The ancient flutes were cylindrical tubes, sometimes of equal diameter throughout, but often wider at the off than the near end, and sometimes widened at that end into a funnel shape, resembling a clarionet. They were always blown, like pipes, at one end, never transversely; they had mouthpieces, and sometimes plugs or stopples, but no keys to open or close the holes beyond the reach of the hands. The holes varied in number in the different varieties of the flute. In their origin they were doubtless made of simple reeds or canes, but in the progress of improvement they came to be made of wood, ivory, bone, and even metal. They were sometimes made in joints, but connected by an interior nozzle which was generally of wood. The flutes were sometimes double, that is, a person played on two instruments at once, either connected or detached; and among the Classical ancients the player on the double-flute often had a leather bandage over his mouth to prevent the escape of his breath at the corners. The ancient Egyptians used the double-flute.” Illustrations of the flute or pipe may be seen in the notes at Isaiah 5:12. Very full and interesting descriptions of the musical instruments which were used among the Egyptians may be found in Wilkinson‘s “Manners and Customs of the Ancient Egyptians,” vol. ii. pp. 222-327.
Harp - On the form of the “harp,” see the notes at Isaiah 5:12. Compare Wilkinson, as above quoted. The harp was one of the earliest instruments of music that was invented, Genesis 4:21. The Chaldee word here used is not the common Hebrew word to denote the harp (כנור kinnôr ), but is a word which does not occur in Hebrew - קיתרוס qaytherôs This occurs nowhere else in the Chaldee, and it is manifestly the same as the Greek κιθάρα kithara and the Latin cithara, denoting a harp. Whether the Chaldees derived it from the Greeks, or the Greeks from the Chaldees, however, cannot be determined with certainty. It has been made an objection to the genuineness of the book of Daniel, that the instruments here referred to were instruments bearing Greek names. See Intro. to ch. Section II. IV. (c) (5).
Sackbut - Vulgate, Sambuca. Greek, like the Vulgate, σαμβύκη sambukē These words are merely different forms of writing the Chaldee word סבכא sabbekâ' The word occurs nowhere else except in this chapter. It seems to have denoted a stringed instrument similar to the lyre or harp. Strabo affirms that the Greek word σαμβύκη sambukē “sambyke,” is of barbarian, that is, of Oriental origin. The Hebrew word from which this word is not improperly derived - סבך sâbak - means, “to interweave, to entwine, to plait,” as e. g., branches; and it is possible that this instrument may have derived its name from the “intertwining” of the strings. Compare Gesenius on the word. Passow defines the Greek word σαμβύκη sambukē sambuca (Latin), to mean a triangular-stringed instrument that made the highest notes; or had the highest key; but as an instrument which, on account of the shortness of the strings, was not esteemed as very valuable, and had little power. Porphyry and Suidas describe it as a triangular instrument, furnished with cords of unequal length and thickness. The Classical writers mention it as very ancient, and ascribe its invention to the Syrians. Musonius describes it as having a sharp sound; and we are also told that it was often used to accompany the voice in singing Iambic verses - Pictorial Bible. It seems to have been a species of triangular lyre or harp.
Psaltery - The Chaldee is פסנתרין pesantērı̂yn Greek, ψαλτήριον psaltērion Vulgate, psalterium. All these words manifestly have the same origin, and it hat been on the ground that this word, among others, is of Greek origin, that the genuineness of this book has been called in question. The word occurs nowhere else but in this chapter, Daniel 3:5, Daniel 3:7, Daniel 3:10, Daniel 3:15. The Greek translators often use the word ψαλτήριον psaltērion psaltery, for נבל nebel and כנור kinnôr and the instrument here referred to was doubtless of the harp kind. For the kind of instrument denoted by the נבל nebel see the notes at Isaiah 5:12. Compare the illustrations in the Pict. Bible on Psalm 92:3. It has been alleged that this word is of Greek origin, and hence, an objection has been urged against the genuineness of the book of Daniel on the presumption that, at the early period when this book is supposed to have been written, Greek musical instruments had not been introduced into Chaldea. For a general reply to this, see the introduction, section I, II, (d). It may be remarked further, in regard to this objection,
(1) that it is not absolutely certain that the word is derived from the Greek. See Pareau, 1. c. p. 424, as quoted in Hengstenberg, “Authentic des Daniel,” p. 16.
(2) It cannot be demonstrated that there were no Greeks in the regions of Chaldea as early as this. Indeed, it is more than probable that there were. See Hengstenberg, p. 16, following.
Nebuchadnezzar summoned to this celebration the principal personages throughout the realm, and it is probable that there would be collected on such an occasion all the forms of music that were known, whether of domestic or foreign origin.
Dulcimer - סומפניה sûmpôneyâh This word occurs only here, and in Daniel 3:10, Daniel 3:15. In the margin it is rendered “symphony” or “singing.” It is the same as the Greek word συμφωνία sumphōnia “symphony,” and in Italy the same instrument of music is now called by a name of the same origin, zampogna, and in Asia Minor zambonja. It answered probably to the Hebrew עוגב ‛ûgâb rendered “organ,” in Genesis 4:21; Job 21:12; Job 30:31; Psalm 150:4. See the notes at Job 21:12. Compare the tracts on Hebrew musical instruments inscribed schilte haggibborim in Ugolin, thesau. vol. xxxii. The word seems to have had a Greek origin, and is one of those on which an objection has been founded against the genuineness of the book. Compare the Intro. Section I. II. (c). The word “dulcimer” means “sweet,” and would denote some instrument of music that was characterized by the sweetness of its tones.
Johnson (Dict.) describes the instrument as one that is “played by striking brass wires with little sticks.” The Greek word would denote properly a concert or harmony of many instruments; but the word here is evidently used to denote a single instrument. Gesenius describes it as a double pipe with a sack; a bagpipe. Servius (on Virg. AEn. xi. 27) describes the “symphonia” as a bagpipe: and the Hebrew writers speak of it as a bagpipe consisting of two pipes thrust through a leather bag, and affording a mournful sound. It may be added, that this is the same name which the bagpipe bore among the Moors in Spain; and all these circumstances concur to show that this was probably the instrument intended here. “The modern Oriental bagpipe is composed of a goatskin, usually with the hair on, and in the natural form, but deprived of the head, the tail, and the feet; being thus of the same shape as that used by the water-carriers. The pipes are usually of reeds, terminating in the tips of cows‘ horns slightly curved; the whole instrument being most primitively simple in its materials and construction.” - “Pict. Bible.”
And all kinds of music - All other kinds. It is not probable that all the instruments employed on that occasionwere actually enumerated. Only the principal instruments are mention ed, and among them those which showed that such as were of foreign origin were employed on the occasion. From the following extract from Chardin, it will be seen that the account here is not an improbable one, and that such things were not uncommon in the East: “At the coronation of Soliman, king of Persia, the general of the musqueteers having whispered some moments in the king‘s ear, among several other things of lesser importance gave out, that both the loud and soft music should play in the two balconies upon the top of the great building which stands at one end of the palace royal, called “kaisarie,” or palace imperial. No nation was dispensed with, whether Persians, Indians, Turks, Muscovites, Europeans, or others; which was immediately done. And this same “tintamarre,” or confusion of instruments, which sounded more like the noise of war than music, lasted twenty days together, without intermission, or the interruption of night; which number of twenty days was observed to answer to the number of the young monarch‘s years, who was then twenty years of age,” p. 51; quoted in Taylor‘s “fragments to Calmet‘s Dict.” No. 485. It may be observed, also, that in such an assemblage of instruments, nothing would be more probable than that there would be some having names of foreign origin, perhaps names whose origin was to be found in nations not represented there. But if this should occur, it would not be proper to set the fact down as an argument against the authenticity of the history of Sir John Chardin, and as little should the similar fact revealed here be regarded as an argument against the genuineness of the book of Daniel.
Ye shall fall down and worship - That is, you shall render “religious homage.” See these words explained in the notes at Daniel 2:46. This shows, that whether this image was erected in honor of Belus, or of Nabopolassar, it was designed that he in whose honor it was erected should be worshipped as a god.
46. A Divine Revelation—Nebuchadnezzar felt that he could accept this interpretation as a divine revelation; for to Daniel had been revealed every detail of the dream. The solemn truths conveyed by the interpretation of this vision of the night made a deep impression on the sovereign's mind, and in humility and awe he “fell upon his face, and worshipped.” ... 4BC 1169.1
Nebuchadnezzar saw clearly the difference between the wisdom of God and the wisdom of the most learned men of his kingdom (The Youth's Instructor, September 8, 1903). 4BC 1169.2
47. A Reflector of Light—Through the Hebrew captives the Lord was made known to the heathen in Babylon. This idolatrous nation was given a knowledge of the kingdom the Lord was to establish, and through His power maintain against all the power and craft of Satan. Daniel and his fellow-companions, Ezra and Nehemiah, and many others were witnesses for God in their captivity. The Lord scattered them among the kingdoms of the earth that their light might shine brightly amid the black darkness of heathenism and idolatry. To Daniel God revealed the light of His purposes, which had been hidden for many generations. He chose that Daniel should see in vision the light of His truth, and reflect this light on the proud kingdom of Babylon. On the despot king was permitted to flash light from the throne of God. Nebuchadnezzar was shown that the God of heaven was ruler over all the monarchs and kings of earth. His name was to go forth as the God over all gods. God desired Nebuchadnezzar to understand that the rulers of earthly kingdoms had a ruler in the heavens. God's faithfulness in rescuing the three captives from the flames and vindicating their course of action showed His wonderful power. 4BC 1169.3
Read in context »14. Preparing for the Image of the Beast—Already preparations are advancing, and movements are in progress, which will result in making an image to the beast. Events will be brought about in the earth's history that will fulfill the predictions of prophecy for these last days (The Review and Herald, April 23, 1889). 7BC 976.1
14-17 (ch. 14:9-12). Tested by the Image—The Lord has shown me clearly that the image of the beast will be formed before probation closes; for it is to be the great test for the people of God, by which their eternal destiny will be decided.... [Revelation 13:11-17 quoted.] ... 7BC 976.2
This is the test that the people of God must have before they are sealed. All who proved their loyalty to God by observing His law, and refusing to accept a spurious sabbath, will rank under the banner of the Lord God Jehovah, and will receive the seal of the living God. Those who yield the truth of heavenly origin and accept the Sunday sabbath, will receive the mark of the beast (Letter 11, 1890). 7BC 976.3
Read in context »“When he had thus spoken, he kneeled down, and prayed with them all” (Acts 20:36). 2SM 312.1
“When we had accomplished those days, we departed and went our way; and they all brought us on our way, with wives and children, till we were out of the city: and we kneeled down on the shore, and prayed” (Acts 21:5). 2SM 312.2
“At the evening sacrifice I arose up from my heaviness; and having rent my garment and my mantle, I fell upon my knees, and spread out my hands unto the Lord my God, and said, O my God, I am ashamed and blush to lift up my face to Thee, my God: for our iniquities are increased over our head, and our trespass is grown up unto the heavens” (Ezra 9:5, 6). 2SM 312.3
“O come, let us worship and bow down: let us kneel before the Lord our Maker” (Psalm 95:6). 2SM 312.4
“For this cause I bow my knees unto the Father of our Lord Jesus Christ” (Ephesians 3:14). And this whole chapter will, if the heart is receptive, be as precious a lesson as we can learn. 2SM 312.5
To bow down when in prayer to God is the proper attitude to occupy. This act of worship was required of the three Hebrew captives in Babylon.... But such an act was homage to be rendered to God alone—the Sovereign of the world, the Ruler of the universe; and these three Hebrews refused to give such honor to any idol even though composed of pure gold. In doing so, they would, to all intents and purposes, be bowing to the king of Babylon. Refusing to do as the king had commanded, they suffered the penalty, and were cast into the burning fiery furnace. But Christ came in person and walked with them through the fire, and they received no harm. 2SM 312.6
Both in public and private worship it is our duty to bow down upon our knees before God when we offer our petitions to Him. This act shows our dependence upon God. 2SM 312.7
At the dedication of the Temple, Solomon stood facing the altar. In the court of the Temple was a brazen scaffold or platform, and after ascending this, he stood and lifted up his hands to heaven, and blessed the immense congregation of Israel, and all the congregation of Israel stood.... 2SM 312.8
Read in context »Not to Meddle With Others’ Consciences—Conscience in regard to the things of God is a sacred treasure, which no human beings, whatever be their position, have a right to meddle with. Nebuchadnezzar offered the Hebrews another chance, and when they refused it, he was exceedingly angry and commanded the burning fiery furnace to be heated seven times hotter than it was wont to be heated. He told the captives that he would cast them into this furnace. Full of faith and trust, the answer came, Our God whom we serve is able to deliver us; if He does not, well: we commit ourselves to a faithful God.—Letter 90, 1897. 1MCP 327.1
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