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Daniel 2 (the second chapter of the Book of Daniel) tells how Daniel related and interpreted a dream of Nebuchadnezzar II, king of Babylon.In his night dream, the king saw a gigantic statue made of four metals, from its head of gold to its feet of mingled iron and clay; as he watched, a stone "not cut by human hands" destroyed the statue and became a mountain filling the whole world.
The historicist views of Daniel concern prophecies about the forces of evil viewed to have occurred as the four kingdoms of the image of Daniel 2, Babylon, Medo-Persia, Greece, and Rome. [43] Each kingdom had the symbol of an animal (beast), and the last beast of Daniel is considered to be the pagan Rome and the Papacy which goes till Christ ...
In chapter 7, Daniel has a vision of four beasts coming up out of the sea, and is told that they represent four kingdoms: A beast like a lion with eagle's wings (v. 4).; A beast like a bear, raised up on one side, with three Curves between its teeth (v. 5).
Daniel 3 forms part of a chiasmus (a poetic structure in which the main point or message of a passage is placed in the centre and framed by further repetitions on either side) within Daniel 2–7, paired with Daniel 6, the story of Daniel in the lions' den: [9] A. (2:4b-49) – A dream of four kingdoms replaced by a fifth B. (3:1–30 ...
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]
C'. (chapter 5) – Daniel interprets the handwriting on the wall for Belshazzar; B'. (chapter 6) – Daniel in the lions' den; A'. (chapter 7) – A vision of four world kingdoms replaced by a fifth; Daniel 5 is thus composed as a companion-piece to Daniel 4, the tale of the madness of Nebuchadnezzar, the two giving variations on a single theme.
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Daniel is episodic rather than linear: it has no plot as such. It does, however, have a structure. Chapters 2–7 form a chiasm, a literary figure in which elements mirror each other: chapter 2 is the counterpart of chapter 7, chapter 3 of chapter 6, and chapter 4 of chapter 5, with the second member of each pair advancing the first in some way.
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