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In Daniel, Michael, the angel of Israel, is in battle with the "prince (i.e., angelic patron) of Persia", and this will be followed by further battle with the "prince of Greece"; the theological point being made is that the fate of nations is decided in heaven, not on earth. The same theme underlies the reference to the heavenly "Book of Truth ...
Daniel's vision of the four beasts – woodcut by Hans Holbein the Younger. In the first year of Belshazzar, king of Babylon (probably 553 BC), Daniel receives a vision from God. He sees the "great sea" stirred up by the "four winds of heaven," and from the waters emerge four beasts, the first a lion with the wings of an eagle, the second a ...
Clarke viewed Daniel 8 as a separate vision from Daniel 7. In his 1831 commentary on Daniel 8:14, he states that the 2,300-year period should be calculated from 334 BC, the year Alexander the Great began his conquest of the Persian Empire. His calculation ends in the year 1966, where he links to Daniel 7:25. [31]
Daniel spake and said, I saw in my vision by night, and, behold, the four winds of the heaven strove upon the great sea. And four great beasts came up from the sea, diverse one from another. The first was like a lion, and had eagle's wings: I beheld till the wings thereof were plucked, and it was lifted up from the earth, and made stand upon ...
The Book of Daniel is a 2nd-century BC biblical apocalypse with a 6th-century BC setting. Ostensibly "an account of the activities and visions of Daniel, a noble Jew exiled at Babylon", [1] the text features a prophecy rooted in Jewish history, as well as a portrayal of the end times that is both cosmic in scope and political in its focus. [2]
The fully apocalyptic visions in Daniel 7–12, as well as those in the New Testament's Revelation, can trace their roots to the pre-exilic latter biblical prophets; the sixth century BCE prophets Ezekiel, Isaiah 40–55 and 56–66, Haggai 2, and Zechariah 1–8 show a transition phase between prophecy and apocalyptic literature.
The additional two illustrations of the Map of Hell and Lucifer lie outside this canto-text structure, thus providing an element of continuity which unifies the work. [26] Lucifer's second drawing by Botticelli from Inferno XXXIV spans across two pages, and lies outside the text-illustration structure, unifying the narrative of the series.
Visions of Heaven and Hell before Dante. New York: Italica Press, 1989. Includes text of the ”Vision of Owein,“ based on the version in Roger of Wendover's Chronicle, plus other related visions. Gardiner, Eileen. The Pilgrim's Way to St. Patrick's Purgatory. New York: Italica Press, 2010.