Thou, O king, sawest, and behold a great image. This great image, whose brightness was excellent, stood before thee; and the form thereof was terrible. The Greek versions do not require notice, as they do not imply any difference in reading from the Massoretic text. The Peshitta is shorter, "Thou, O king, wert seeing, and, lo! a great image of beauty exceeding excellent, and it stood before thee." The opening clause of the next verse may be regarded as taking up the last clause of the verse before us. As to the Aramaic of the passage, it is to be observed that the s, me long form of the second person is used in Daniel 2:29. The numeral חַד (ḥad) is used in this verse very much in the sense of the English indefinite article which is used to translate it in the English versions. It is represented in the Greek Version by μία. The particle אְלַוּ ('alu)," behold," does not occur in the Targums; a cognate form occurs in Samaritan, hala. In Talmudic it occurs in a form like the Samaritan. This word occurs in Daniel 7:1-28; varied by אֲרוּ ('arū), which is regarded as a phonetic variation. It may, however, be due to defective penmanship, having the top of the לtoo faintly written. Its etymology is doubtful. No Assyrian root has been found from which it may be derived. The word for "image," צֶלֶם (tzelem), occurs in the Palmyrene inscriptions, as the regular term for a memorial statue. Hence, unless reason can be shown to the contrary, we could assume, even though there had been no more, that the figure was like a statue of a man. The word for this, דִכֵּן (diccēn), occurs only in Daniel; the corresponding word in Ezra is דֵךְ (dēc). The n sound is one that so readily slips away, that its presence as a final letter is a sign that the form of a word possessing it is in an older stage than that without it; hence we would argue that as דֵךְ (dēc) is older than דָא (da) of the Targums, so דִכֵּן (diccēn) of Daniel is older than דֵךְ (dēc). The word that is most interesting is זִיוֵהּ (zivēh); it is rendered "brightness" in our version. It is recognized by Professor Bevan, on the authority of Delitzsch, as an Assyrio-Babylonian word, therefore affording an additional evidence of the Eastern origin of Daniel. Noldeke would derive it from the Persian zeb (quoted by Behrmann, but there is some mistake in his reference). This tendency to derive everything from the Persian is to be suspected. The long political connection between Babylon and the Aryan nations north and east of it might easily introduce words of such an origin into the writings of a Babylonian diplomat. Another derivation is from זָחָה (zahah), but seems doubtful, as, although in Hebrew, there is no trace of such a verb in Aramaic. The only other word that merits note is רֵוֵה (rēvē), "appearance." Professor Bevan says it is the only appearance in Aramaic of a corresponding root to the Hebrew רָאָה (rā'āh), "to see." Daniel, it will be seen, lays stress on the emotions which each feature excited, in order to recall, not only the dream, but something of the feelings with which Nebuchadnezzar had beheld it. With this dream of Nebuchadnezzar we might compare the dream of the seer of Asshurbanipal, given by Lenormant, "The seer (voyant) narrated to Asshurbanipal how the goddess Istar had stood before him seated in her chariot, surrounded by flame, with a bow in her hand". It is unlikely that the colossal image was identified by Nebuchadnezzar with any one of the Babylonian gods; perhaps this was one of the elements of the terror excited by the vision, that he could not identify him. If he did make any identification, Daniel does not do anything to justify him in any such identification.
This image's head was of fine gold, his breasts and his arms of silver, his belly and his thighs of brass, his legs of iron, his feet part of iron and part of clay. The versions present no occasion of r,-mark, save that Theodotion has a doublet, αἱ χεῖρες, translating, "the hands, the breast, and the arms." The word rendered "fine" is really "good" ( טָב, ṭab). Naturally, there have not been preserved to us any composite images of this kind; gold and silver would certainly soon have found their way to the melting-pot after the fall of the Babylonian empire, had such a statue been erected in Babylon. Brass and iron were too precious not to follow in the same road. Among the Greeks, as we know, there were what were called "chryselephantine" statues, partly gold and partly ivory. In the description given of the Temple of Belus, we see a succession something akin to that in the statue, but it may be doubted whether we may deduce any connection between the two on that account. In the Book of Enoch the apocalyptist sees mountains of different kinds of metal—of gold, silver, brass, iron, tin, and mercury, the first four coinciding with the metals in Daniel's vision. Ewald refers in a note to the possibility that this idea might be borrowed from Hesiod, but rightly dismisses it as improbable. As to the metals used, gold and silver were well known in ancient times, as also iron, though, from the difficulty of working it, later. What is here translated "brass" ought to be rendered "copper;" "bronze" certainly was known very early, but the whole use of the word, נְחָשׁ (Aramaic), or נְחשֶׁת (Hebrew), implies that it is a simple metal; thus Deuteronomy 8:9, "Out of whose hills thou mayest dig brass" (Hebrew, נְחשֶׁת; Onkelos, נְחָשָׁא). In this statue the progressive degradation of the material and situation is to be observed. The head, the highest part, gold; the shoulders, lower, silver; the belly and thighs, lower still, brass; the legs, lower yet, iron; and the feet and toes, lowest of all, a mixture of iron and clay. It is observed by Kliefoth that there is further a growing division. The head is one, without any appearance of division; the portion consisting of the breast and arms is divided, though slightly, for the chest is more important and bulky than the arms; the belly and thighs form a portion which from the plural form given to the word translated "belly," מעוֹהי (m‛ohı̄), suggests more of dividedness than does that above. The lowest portion, that forming the legs and toes, has the greatest amount of division. Kliefoth also refers to another point—that while there is a progressive degradation of the metal, there is also progression in degrees of hardness, silver being harder than gold, copper harder than silver, and iron hardest of all; then suddenly the iron is mingled with clay. There is not a new, softer material added to form a new fifth part; but there is a mingling of "clay "—clay suitable for the potter, or rather that has already been baked in the kiln, and therefore in the last degree brittle. In fact, there is a progress in frangibility—gold the most ductile of metals, and iron the least so, then clay, when baked, more brittle still. There are many other successions that might be followed, which are at least ingenious. The idea suggested by the phrase, "part of iron and part of clay," is that there was not a complete mingling, but that portions were seen that were clearly clay, and other portions as clearly still iron; there was therefore the superadded notion of the imperfect union of the parts with the necessary additional weakness which follows.