Equipo de seguridad obligatorio

N

ow we encounter more statues, but this time the dream does not derive from God but results from Nebuchad­

nezzar's own desires. Having understood that according to the dream of the statue his reign would hardly go beyond the head of the statue, Nebuchadnezzar decides to revise history. He orders the erection of the human statue that he saw in his dreams, employing the same tem1 tselem used to designate the first statue (Dan. 3: 1 ; cf 2:3 1), whose purpose was to remind him of his limitations. But he reproduces it entirely in gold. Nebuchadnezzar wants a kingdom that extends down to the toes-until the end. And he goes even further. Through a play of echoes between chapters 2 and 3, the text suggests that Nebuchadnezzar not only desires his reign to cover the time span of the statue, but he wants it of an eter­

nal nature, ¹ like the kingdom established by God, represented in his dream (chapter 2) by the stone. Significantly, in the Aramaic part of the text, the same word, haqim (Dan. 2:44), used to describe the es­

tablishment of God's reign (translated "to set up"), becomes in chap­

ter 3 a key word that resounds like a refrain-it appears eight times (verses 1 , 2, 3, 5, 7, 12, 1 4, 1 8)-to describe the erection of the statue. The kingdom of Nebuchadnezzar replaces God's kingdom.

I. The Babel Complex

This usurpation by the king of Babylon reminds the reader of

44

f o o t s t e p s i n t h e f u r n a c e that by the ancient city of Babel. The common use of the word biqah at the head of both passages (Gen. 1 1 : 1 ; cf Dan. 3 : 1 ) already sug­

gests the link between the two. The tower, like the statue, is erected

"on the plain," evoking the vast vistas of this region 2-the space needed for the crowd gathered there to worship together.

Both events most likely occurred in the same place. It is defi­

nitely the same geographical area. And if we take the somewhat vague expression of the "plain of Shinar" used in Genesis 1 1 :2 (KJV) in the broader sense as a "province of Babylon," it may well be that it applies to the plain of Dura, also situated "in the province of Babylon" (Dan. 3 : 1 ) . Archaeological excavations led to the discov­

ery of a spot whose Arabic name still echoes its ancient designation as Tolul Dura (mound of Dura) . It is located three miles south of an­

cient Babylon near the River Dura as it joins the Euphrates. The digs even uncovered a platfom1 1 9)i' feet high with 1 6)i' square yards of surface that could well have served as a support to the statue.'

The ceremony to which Nebuchadnezzar calls his guests is, as in the episode of Babel, a religious one. It is a dedication, a hanukkah (verses 2, 3) . The Bible always uses the word in relation to the altar or the Temple (Num. 7: 1 0; 2 Chron. 7:9) . Nebuchadnezzar's in­

tentions are therefore clear: he substitutes the cult of his person for divine adoration. It is therefore not surprising that the whole sce­

nario leads to rituals of adoration. The same gesture of prostration, sgd, through which the Nebuchadnezzar of chapter 2 expressed his adoration for God (verse 46), the king now requires of others for his statue. Nebuchadnezzar has replaced God. Such a usurpation of God perfectly reflects the proud tradition of Babel: a movement from below that soars up to claim divine glory and prerogatives.

The parallel between the two events is striking. At the time of Babel "the whole world" clustered in the plain to unite in a com­

mon sacred act (Gen. 1 1 : 1) . Nebuchadnezzar gathers in the same plain not only his officials but all "peoples, nations and men of every language" (Dan. 3:4) to unite them in a sacred ceremony in his honor. Here we discern a fundamental trait of the religion of Babel: it does not tolerate diversity. It is the same passion for unity that we witness among the builders of Babel: "Let us build ourselves

45

C HAP l t R

FOOTSTEPS IN THE FURNACE

N

ow we encounter more statues, but this time the dream does not derive from God but results from Nebuchad­

nezzar's own desires. Having understood that according to the dream of the statue his reign would hardly go beyond the head of the statue, Nebuchadnezzar decides to revise history. He orders the erection of the human statue that he saw in his dreams, employing the same tem1 tselem used to designate the first statue (Dan. 3: 1 ; cf 2:3 1), whose purpose was to remind him of his limitations. But he reproduces it entirely in gold. Nebuchadnezzar wants a kingdom that extends down to the toes-until the end. And he goes even further. Through a play of echoes between chapters 2 and 3, the text suggests that Nebuchadnezzar not only desires his reign to cover the time span of the statue, but he wants it of an eter­

nal nature, ¹ like the kingdom established by God, represented in his dream (chapter 2) by the stone. Significantly, in the Aramaic part of the text, the same word, haqim (Dan. 2:44), used to describe the es­

tablishment of God's reign (translated "to set up"), becomes in chap­

ter 3 a key word that resounds like a refrain-it appears eight times (verses 1 , 2, 3, 5, 7, 12, 1 4, 1 8)-to describe the erection of the statue. The kingdom of Nebuchadnezzar replaces God's kingdom.

I. The Babel Complex

This usurpation by the king of Babylon reminds the reader of

44

f o o t s t e p s i n t h e f u r n a c e that by the ancient city of Babel. The common use of the word biqah at the head of both passages (Gen. 1 1 : 1 ; cf Dan. 3 : 1 ) already sug­

gests the link between the two. The tower, like the statue, is erected

"on the plain," evoking the vast vistas of this region 2-the space needed for the crowd gathered there to worship together.

Both events most likely occurred in the same place. It is defi­

nitely the same geographical area. And if we take the somewhat vague expression of the "plain of Shinar" used in Genesis 1 1 :2 (KJV) in the broader sense as a "province of Babylon," it may well be that it applies to the plain of Dura, also situated "in the province of Babylon" (Dan. 3 : 1 ) . Archaeological excavations led to the discov­

ery of a spot whose Arabic name still echoes its ancient designation as Tolul Dura (mound of Dura) . It is located three miles south of an­

cient Babylon near the River Dura as it joins the Euphrates. The digs even uncovered a platfom1 1 9)i' feet high with 1 6)i' square yards of surface that could well have served as a support to the statue.'

The ceremony to which Nebuchadnezzar calls his guests is, as in the episode of Babel, a religious one. It is a dedication, a hanukkah (verses 2, 3) . The Bible always uses the word in relation to the altar or the Temple (Num. 7: 1 0; 2 Chron. 7:9) . Nebuchadnezzar's in­

tentions are therefore clear: he substitutes the cult of his person for divine adoration. It is therefore not surprising that the whole sce­

nario leads to rituals of adoration. The same gesture of prostration, sgd, through which the Nebuchadnezzar of chapter 2 expressed his adoration for God (verse 46), the king now requires of others for his statue. Nebuchadnezzar has replaced God. Such a usurpation of God perfectly reflects the proud tradition of Babel: a movement from below that soars up to claim divine glory and prerogatives.

The parallel between the two events is striking. At the time of Babel "the whole world" clustered in the plain to unite in a com­

mon sacred act (Gen. 1 1 : 1) . Nebuchadnezzar gathers in the same plain not only his officials but all "peoples, nations and men of every language" (Dan. 3:4) to unite them in a sacred ceremony in his honor. Here we discern a fundamental trait of the religion of Babel: it does not tolerate diversity. It is the same passion for unity that we witness among the builders of Babel: "Let us build ourselves

45

S e c r e t s o l D a n i e !

a city, with a tower . . . , so that we may make a name for our­

selves" (Gen. 1 1 :4) .

Both the metals and the measurements of the statue evoke a pre­

occupation with unity. The statue is entirely of gold. In reaction to the statue in the dream, which consisted of several metals, each rep­

resenting another kingdom, Nebuchadnezzar casts his statue in one metal only, depicting his own kingdom, the gold. He not only re­

jects the idea of succession, but also the concept of difference: all is cast in the same mold.

The statue measures 60 cubits high. We must understand the number 60 here in its cultural context. The Sumero-Akkadian nu­

merological system is sexagesimal, unlike the Egyptian system that we have adopted. Interestingly, the sexagesimal system has survived in our conception of time and space: 60 minutes, 60 seconds, 360 degrees, etc. The utilization of a six-cubit measuring stick (approximately 3 meters or 3.3 yards) by the prophet Ezekiel (Eze. 40:5) indicates a Babylonian influence. The measurement of 60 cubits confirms the ac­

count's historical authenticity. Moreover, the disproportion between the 60 cubits in length versus only six cubits of width suggests a form resembling more an obelisk than a statue, similar to the many monu­

ments of antiquity that Pliny the Elder would compare to towers. ^-1 The extreme height echoes the arrogance of a king who seeks to im­

press the newcomer. But the number 60 points to yet another preoc­

cupation: in Babylonian numerical symbolism 60 represents the notion of unity. In erecting his statue to a height of 60 cubits, Nebuchadnezzar seeks primarily to enforce his will for unity-for one kingdom, one religion. We can better understand his obsession for unity in the light of a recent archaeological finding of a cuneiform tablet dating from the ninth year of his reign (595-594).5 The tablet relates a certain insurrection that threatened the kingdom's unity.

In the light of such later events, we understand that the king felt compelled to erect his statue as a symbol of unity,1' as a test to ensure his subordinates' fidelity. Down to our times we know what forms of intolerance such politics have engendered. From Louis XIV to the ayatollahs, not forgetting Hitler and Stalin, it is a historical constant:

when unity is the ideal, suspicion falls on any kind of difference. It

46

F o o t s t e p s in t h e F u r n a c e

must then b e eliminated. Woe to anyone who cannot squeeze into the mold! Violence becomes the corollary to intolerance. Hence the threat accompanying the call to adoration: "Whoever does not fall down and worship will immediately be thrown into a blazing fur­

nace" (Dan. 3:6).

The religion described in these lines is not the result of a reflec­

tion, of a choice, nor the expression of a faith or of a deep experi­

ence. Here, we worship because something forces us to do so. We kneel, but the heart is elsewhere. It is a religion of bureaucrats, of sheep, a religion of automatons. And indeed, they are the prototypes we encounter in the plain of Dura.

The passage first cites the bureaucrats, the officials ranking from highest to lowest. We find them all present, recorded by the lengthy list of Daniel in hierarchical order (verse 3) . Their adoration is a for­

mality-they are there only because of their position. It is in their best interest to show some zeal, for their religion is their position and success in the social pyramid.

Following the officials comes the crowd. They are like sheep shar­

ing the same feeble, stereotyped bleat. Unable to adore on their own, they need directions, a starting signal, as in a typical totalitarian soci­

ety. All is in order, in a straight line, as narrated by the text: "They stood before it" (verse 3), ready to raise their hands, or fists, like pup­

pets, as suggested particularly by the repetitious reading of the list of officials when convoked by the king and as they execute his com­

mand, and by the refrain of the musical instruments. Nebuchadnezzar then summoned the satraps, prefects, governors, advisers, treasurers, judges, magistrates, and all the other provincial officials to assemble7 for the dedication of the image he had set up (verse 2).

"So the satraps, prefects, governors, advisers, treasurers, judges, magistrates and all the other provincial officials assembled for the dedication of the image that King Nebuchadnezzar had set up, and they stood before it" (verse 3).

"As soon as you hear the sound of the horn, flute, zither, lyre, har�, pipes and all kinds of music, you must fall down and worship the image of gold that King Nebuchadnezzar has set up" (verse 5).

"Therefore, as soon as they heard the sound of the horn flute

47

' '

S e c r e t s o l D a n i e !

a city, with a tower . . . , so that we may make a name for our­

selves" (Gen. 1 1 :4) .

Both the metals and the measurements of the statue evoke a pre­

occupation with unity. The statue is entirely of gold. In reaction to the statue in the dream, which consisted of several metals, each rep­

resenting another kingdom, Nebuchadnezzar casts his statue in one metal only, depicting his own kingdom, the gold. He not only re­

jects the idea of succession, but also the concept of difference: all is cast in the same mold.

The statue measures 60 cubits high. We must understand the number 60 here in its cultural context. The Sumero-Akkadian nu­

merological system is sexagesimal, unlike the Egyptian system that we have adopted. Interestingly, the sexagesimal system has survived in our conception of time and space: 60 minutes, 60 seconds, 360 degrees, etc. The utilization of a six-cubit measuring stick (approximately 3 meters or 3.3 yards) by the prophet Ezekiel (Eze. 40:5) indicates a Babylonian influence. The measurement of 60 cubits confirms the ac­

count's historical authenticity. Moreover, the disproportion between the 60 cubits in length versus only six cubits of width suggests a form resembling more an obelisk than a statue, similar to the many monu­

ments of antiquity that Pliny the Elder would compare to towers. ^-1 The extreme height echoes the arrogance of a king who seeks to im­

press the newcomer. But the number 60 points to yet another preoc­

cupation: in Babylonian numerical symbolism 60 represents the notion of unity. In erecting his statue to a height of 60 cubits, Nebuchadnezzar seeks primarily to enforce his will for unity-for one kingdom, one religion. We can better understand his obsession for unity in the light of a recent archaeological finding of a cuneiform tablet dating from the ninth year of his reign (595-594).5 The tablet relates a certain insurrection that threatened the kingdom's unity.

In the light of such later events, we understand that the king felt compelled to erect his statue as a symbol of unity,1' as a test to ensure his subordinates' fidelity. Down to our times we know what forms of intolerance such politics have engendered. From Louis XIV to the ayatollahs, not forgetting Hitler and Stalin, it is a historical constant:

when unity is the ideal, suspicion falls on any kind of difference. It

46

F o o t s t e p s in t h e F u r n a c e

must then b e eliminated. Woe to anyone who cannot squeeze into the mold! Violence becomes the corollary to intolerance. Hence the threat accompanying the call to adoration: "Whoever does not fall down and worship will immediately be thrown into a blazing fur­

nace" (Dan. 3:6).

The religion described in these lines is not the result of a reflec­

tion, of a choice, nor the expression of a faith or of a deep experi­

ence. Here, we worship because something forces us to do so. We kneel, but the heart is elsewhere. It is a religion of bureaucrats, of sheep, a religion of automatons. And indeed, they are the prototypes we encounter in the plain of Dura.

The passage first cites the bureaucrats, the officials ranking from highest to lowest. We find them all present, recorded by the lengthy list of Daniel in hierarchical order (verse 3) . Their adoration is a for­

mality-they are there only because of their position. It is in their best interest to show some zeal, for their religion is their position and success in the social pyramid.

Following the officials comes the crowd. They are like sheep shar­

ing the same feeble, stereotyped bleat. Unable to adore on their own, they need directions, a starting signal, as in a typical totalitarian soci­

ety. All is in order, in a straight line, as narrated by the text: "They stood before it" (verse 3), ready to raise their hands, or fists, like pup­

pets, as suggested particularly by the repetitious reading of the list of officials when convoked by the king and as they execute his com­

mand, and by the refrain of the musical instruments. Nebuchadnezzar then summoned the satraps, prefects, governors, advisers, treasurers, judges, magistrates, and all the other provincial officials to assemble7

for the dedication of the image he had set up (verse 2).

"So the satraps, prefects, governors, advisers, treasurers, judges, magistrates and all the other provincial officials assembled for the dedication of the image that King Nebuchadnezzar had set up, and they stood before it" (verse 3).

"As soon as you hear the sound of the horn, flute, zither, lyre, har�, pipes and all kinds of music, you must fall down and worship the image of gold that King Nebuchadnezzar has set up" (verse 5).

"Therefore, as soon as they heard the sound of the horn flute

47

' '

S e c r e t s o f D a n i e l

zither, lyre, harp and all kinds of music, all the peoples, nations and men of every language fell down and worshiped the image of gold that King Nebuchadnezzar had set up" (verse 7) .

Lengthy paragraphs, but intentionally so, they highlight the au­

tomatic character of such adoration through the satirical technique of repetition. The role played here by music has a significant role, as the narrator mentions numerous instruments of "all kinds," balanc­

ing three wind instruments with three string instruments, thus fram­

ing the ceremony with the threefold symbol of perfection.

Everything is measured, in place. Although it may lack depth, the form is at least maintained. A focus on external organization often seeks to compensate for internal sterility. The administrators are pre­

occupied with structures and policies as though hinting at an ex­

tinction of reflection and faith. The formalism of the religion of Babel prevails over spiritual truth. The primary role of music in such a context is to produce the illusion of religious sentiment.

The ancients knew how to use music to elicit a mystical experi­

ence. And indeed, music has long been associated with the use of drugs and the practice of mutilation to induce ecstasy, or unio mys­

tica. Everything remains on the level of the emotions and the nerv­

ous system. Even today, thanks to the media, we can witness the effect of music on the masses. Singers and musicians exercise tremendous power over crowds of adoring fans. We no longer need lyrics or a coherent message to convince others. The phenomenon has even invaded religious communities. In reaction to the cerebral frigidity of traditional services, certain denominations have fallen into the other extreme. They spoon-feed and wash down the mes­

sage by the continuous purring of background music. Believers, transported by the spirit, shout and cry out in delirious enthusiasm.

Such an approach considers reflection unnecessary and outdated. It only smiles at absolute judgments. This episode in the book of Daniel warns us against a strictly emotional religion. Emotion can be

Such an approach considers reflection unnecessary and outdated. It only smiles at absolute judgments. This episode in the book of Daniel warns us against a strictly emotional religion. Emotion can be

In document ÍNDICE. La Carrera Panamericana REGLAMENTO 2022 I - EVENTO Y FECHA 5 (página 50-55)