The colossal image, seen by Nebuchadnezzar in his dream, was a reproduction of those which met his waking eyes, and still remain for our wonder in our museums. The mingled materials are paralleled in ancient art. The substance of the dream is no less natural than its form. The one is suggested by familiar sights; the other, by pressing anxieties. What more likely than that, 'in the second year of his reign' (v. 1), waking thoughts of the future of his monarchy should trouble the warrior-king, scarcely yet firm on his throne, and should repeat themselves in nightly visions? God spoke through the dream, and He is not wont to answer questions before they are asked, nor to give revelations to men on points which they have not sought to solve. We may be sure that Nebuchadnezzar's dream met his need.
The unreasonable demand that the 'Chaldeans' should show the dream as well as interpret it, fits the character of the king, as an imperious despot, intolerant of obstacles to his will, and holding human life very cheap. Daniel's knowledge of the dream and of its meaning is given to him in a vision by night, which is the method of divine illumination throughout the book, and may be regarded as a lower stage thereof than the communications to prophets of 'the word of the Lord.'
The passage falls into two parts: the image and the stone.
I. The Image.
It was a human form of strangely mingled materials, of giant size no doubt, and of majestic aspect. Barbarous enough it would have looked beside the marble lovelinesses of Greece, but it was quite like the coarser art which sought for impressiveness through size and costliness. Other people than Babylonian sculptors think that bigness is greatness, and dearness preciousness.
This image embodied what is now called a philosophy of history. It set forth the fruitful idea of a succession and unity in the rise and fall of conquerors and kingdoms. The four empires represented by it are diverse, and yet parts of a whole, and each following on the other. So the truth is taught that history is an organic whole, however unrelated its events may appear to a superficial eye. The writer of this book had learned lessons far in advance of his age, and not yet fully grasped by many so-called historians.
But, further, the human figure of the image sets forth all these kingdoms as being purely the work of men. Not that the overruling divine providence is ignored, but that the play of human passions, the lust of conquest and the like, and the use of human means, such as armies, are emphasised.
Again, the kingdoms are seen in their brilliancy, as they would naturally appear to the thoughts of a conqueror, whose highest notion of glory was earthly dominion, and who was indifferent to the suffering and blood through which he waded to a throne. When the same kingdoms are shown to Daniel in chapter vii. they are represented by beasts. Their cruelty and the destruction of life which they caused were uppermost in a prophet's view; their vulgar splendour dazzled a king's sleeping eyes, because it had intoxicated his waking thoughts. Much worldly glory and many of its aims appear as precious metal to dreamers, but are seen by an illuminated sight to be bestial and destructive.
Once more there is a steady process of deterioration in the four kingdoms. Gold is followed by silver, and that by brass, and that by the strange combination of iron and clay. This may simply refer to the diminution of worldly glory, but it may also mean deterioration, morally and otherwise. Is it not the teaching of Scripture that, unless God interpose, society will steadily slide downwards? And has not the fact been so, wherever the brake and lever of revelation have not arrested the decline and effected elevation? We are told nowadays of evolution, as if the progress of humanity were upwards; but if you withdraw the influence of supernatural revelation, the evidence of power in manhood to work itself clear of limitations and lower forms is very ambiguous at the best--in reference to morals, at all events. Evil is capable of development, as well as good; and perhaps Nebuchadnezzar's colossus is a truer representation of the course of humanity than the dreams of modern thinkers who see manhood becoming steadily better by its own effort, and think that the clay and iron have inherent power to pass into fine gold.