In the same hour oame forth fingers of a man's hand, and wrote over against the candlestick upon the plaster of the wall of the king's palace: and the king saw the part of the hand that wrote. The two versions given in the Septuagint here do not seriously differ from each other or from the Massoretic text, only that they both omit "the part of," and represent the king as seeing the hand.
Theodotion has ἀστραγάλους, which maybe rendered "finger-joints;" otherwise this version is very like both the Massoretic and the LXX. The Peshitta presents no point of remark. The word translated "lamp" (nebhrashta) became in Talmudic times the equivalent of menoorah, "the golden candlestick."
From this it has been supposed that "the candlestick" was the golden candlestick which later proved the crowining glory of Titus's triumph, and is still to be seen carved on his arch. When the other vessels of the house of the Lord were brought to deck the table of the monarch, it would not be unnatural that the golden candlestick should also be brought.
In the great hall in which a thousand guests were accommodated, more lamps than one would be required. The Septuagint (text) adds, "over against the king:" this would individualize the lamp referred to; but there does not seem to be any support for this reading, which may be due to the desire to explain the satatus emphaticus.
Gesenius derives the word נֶבְרַשְׁתָּא from נור, "light," and אש, "flame." As וas a consonant was unused in Assyrian, this derivation is by no means impossible We know that the Ninevite monarchs surrounded the great halls of their palaces with bas-reliefs of their victories.
The remains of Babylon have not given us anything like the gypsum slabs of Kouyounjik. Yet the Babylonian monarchs not unlikely followed the same praetices as those of Nineveh. The walls were built and plastered, and then the slabs were moved up to them.
In the ease of Belshazzar, the palace walls might well be fresh; no gypsum slabs had yet recorded his prowess. As he looks to the white plaster, the fingers of a hand come out of the darkness, and write opposite him.
"The king," thus it is in the Massoretic text, saw the "part" of the hand that wrote. Pas is the word. Furst renders it "wrist;" Gesenius, "the extremity;" Winer, vola manus," the hollow of the baud;" with this Buxtorf agrees.
The balance of meanings seems to be in favour of "hollow of the hand," only it is difficult to understand the position of the hand relatively to the king when he saw the hollow of the hand. The smoke from the numerous lamps would obscure the roof of the hall of the palace; however numerous the lamps, their light would be unable to pierce the darkness, so out of the darkness came the hand.