Page 59 - The Prophet-statesman a Drama of Daniel

In the next thirty days, while the construction of the golden image was in progress,
the evil spirit of pride and rebellion in the heart of Nebuchadnezzar seemed to grow
apace. More and more obsessed did he become with the determination not only to exalt

himself but even to deify himself. The image was to be at the same time an object of
worship and a symbolical declaration of the perpetuity of the kingdom of Babylon and
a denial of the word that had come from the Revealer of secrets that “Another kingdom
shall arise after thee.” Again the one in the envirous of the capital city of Babylon who

was ignorant concerning the image and the king’s determination in regard to it was the
queen.

Toward her the king had maintained the strictest secrecy with regard to it, and none

of the domestics or eunuchs ever dared to it, and none of the domestics or eunuchs ever
dared breathe anything to the queen about the affairs of the kingdom. But the king did
not grow aloof from his queen as on the former occasion, but continued his ardent
demonstrations of affection toward her. However, her keen discernment noted the

restlessness of his spirit and his disinclination to discuss with her anything concerning
the great God Jahveh under whose wings she had come to take spiritual refuge. Several
times he had evaded and sidestepped when she had requested that Daniel should be
invited to a dinner in their home, in order that he might tell them more concerning his

God. The last time she made such a request, he told her that Daniel had been sent back
on a mission to his native Jerusalem. He well knew that if he told her of the image and
his determination to require the worship of it by all his subjects, she would be horrified
and protest vigorously against it. He sensed that she must ultimately know, but still he

did not abate his determination to go through with it, as he was driven by a force that
he did not himself fully understand.

He summoned that best musicians in the realm and demanded of them that they

should assemble those skilled in playing all kinds of instruments. The music of Babylon
had improved during Nebuchadnezzar’s reign as had all other departments of culture
and art.

Alien dwellers in Babylon from distant Greece were the leaders in promoting this
musical renaissance in the Babylonian capitol. They introduced the Aeolian harps and
were the pioneers in perfecting and instructing in the playing of the dulcimer and

sackbut and psaltery. The wind-instruments, cornet and flute and a small harp were
indigenous to Chaldea, but even the performance of these native instruments was
improved and stimulated by the Greeks.

To Mithras the Greek and his compatriots from far off Athens was committed the

orchestration of instruments and the arrangement for continuous music during the four-
day festival that was appointed by the king as a public demonstration and to be devoted