Daniel 3 5

Daniel 3:5 kjv

That at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of musick, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up:

Daniel 3:5 nkjv

that at the time you hear the sound of the horn, flute, harp, lyre, and psaltery, in symphony with all kinds of music, you shall fall down and worship the gold image that King Nebuchadnezzar has set up;

Daniel 3:5 niv

As soon as you hear the sound of the horn, flute, zither, lyre, harp, pipe and all kinds of music, you must fall down and worship the image of gold that King Nebuchadnezzar has set up.

Daniel 3:5 esv

that when you hear the sound of the horn, pipe, lyre, trigon, harp, bagpipe, and every kind of music, you are to fall down and worship the golden image that King Nebuchadnezzar has set up.

Daniel 3:5 nlt

When you hear the sound of the horn, flute, zither, lyre, harp, pipes, and other musical instruments, bow to the ground to worship King Nebuchadnezzar's gold statue.

Daniel 3 verses

Daniel 3 5 Meaning

This verse describes the distinct actions and sounds associated with various musical instruments that are to be played when the golden image, set up by Nebuchadnezzar, is presented. The prompt for the music is in anticipation of and during the act of worship or obedience to the king's decree.

Daniel 3 5 Context

Daniel chapter 3 describes Nebuchadnezzar's golden image and the ultimatum given to the people of Babylon to worship it. The chapter establishes a significant test of faith for Shadrach, Meshach, and Abednego, who refuse to bow down, leading to their fiery ordeal. Verse 5 details the specific moment and context when this enforced worship is to take place: whenever the specified musical instruments play, everyone is commanded to fall down and worship the image. This sets the stage for the refusal by the three Hebrew youths. Historically, Babylonian culture highly valued music and elaborate ceremonies. This decree leverages a common cultural practice to enforce absolute political and religious conformity, an element frequently seen in ancient Near Eastern empires, aiming to consolidate power and divine association with the ruler. The decree also implicitly attacks the Jewish monotheistic belief by demanding worship of an idol.

Daniel 3 5 Word Analysis

• and (Hebrew: וְ, waw)
  • A versatile conjunction, typically indicating "and," but can also signify "then," "but," or imply causality or sequence. Here, it links the condition (hearing the music) to the action (falling down and worshiping).
• at what time (Hebrew: בְּעִדָּנָא, bə‘iddānā)
  • Literally "in the time" or "when." It denotes a specific temporal point or period.
• ye hear (Hebrew: תִּשְׁמְעוּן, tišəmə‘ūn)
  • Second-person plural verb "to hear." It implies not just auditory perception but understanding and heeding.
• the sound (Hebrew: קָל, qāl)
  • Means "voice" or "sound." Refers to the audible output of the instruments.
• of the cornet (Hebrew: קַרְנָא, qarnā)
  • Refers to a horn or trumpet, likely made from an animal's horn, common in ancient Near Eastern cultures for signaling and worship. (See Numbers 10:10 for its use in Israel).
• flute (Hebrew: עוּגָב, ‘ūgāḇ)
  • Likely refers to a pipe, reed instrument, or perhaps an organ, suggesting a melodic instrument. The term can also refer to bagpipes or panpipes.
• harp (Hebrew: כִּנּוֹר, kinnōr)
  • A stringed instrument, often translated as "harp" or "lyre." A prominent instrument in ancient Near Eastern music and worship (see 1 Samuel 10:5).
• sackbut (Hebrew: שַׂבְּכָא, śabbəḵā)
  • This is one of the more debated terms. It's likely a type of stringed instrument, possibly a dulcimer or lute, or a string instrument played with a plectrum. The name might relate to a Hebrew word for net or interlacing.
• psaltery (Hebrew: פְּסַנְתֵּרִין, pəśanṯərīn)
  • A stringed instrument, often interpreted as a harp, lyre, or zither. The name is derived from Greek (psalterion), possibly indicating Greek influence or a loanword.
• dulcimer (Hebrew: לְיֵתַר, lēytār)
  • This term is typically understood to mean a stringed instrument, often translated as a stringed instrument in general or specifically a lute or guitar. It signifies instruments played with strings. The root is related to "string."
• and all kinds (Hebrew: וְכָל, wəḵāl)
  • "And all." Encompasses all remaining or accompanying musical types.
• of music (Hebrew: זִמְרָה, zimrāh)
  • Means "music," "song," or "melody." It broadly covers any form of musical sound.
• ye fall down (Hebrew: תִּפְּלוּ, tippəlū)
  • Second-person plural verb "to fall." Implies prostration, a gesture of extreme reverence or submission.
• and worship (Hebrew: וְתִסְגְּדוּ, wəṯisəgəḏū)
  • Second-person plural verb "to bow down" or "to prostrate oneself." This is a significant act of homage, religious devotion, or submission.
• the golden image (Hebrew: דִּיקְמַת דְּהַב, diqməṯ dǝhăḇ)
  • "Image of gold." Clearly identifies the object of worship as a metallic, likely gilded, statue.
• that Nebuchadnezzar the king (Hebrew: דִּֽי־מַלְכָּא נְבוּכַדְנֶצַּר, ḏī-malkā Nəḇūḵāḏəneṣṣar)
  • "Which King Nebuchadnezzar." Attributes the erection of the image to the reigning Babylonian monarch.
• hath set up (Hebrew: הֲקִים, haqīm)
  • "Has set up" or "caused to stand." Indicates the erection and establishment of the image, making it present and prominent.

Words-group by words-group analysis

• The musical instruments list (cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of music): This comprehensive list suggests the widespread use of music in Babylonian court and religious ceremonies. It signifies the intentional use of a full orchestral sound to create an atmosphere for forced worship. The variety of instruments reflects the sophistication of the musical traditions of the time, possibly incorporating instruments from different regions under Babylonian influence.
• "at what time ye hear... ye fall down and worship": This conditional clause creates an inescapable auditory trigger for the act of worship. The moment the music sounds, compliance is expected, leaving no room for individual reflection or delayed obedience. The temporal link is absolute.
• "fall down and worship": These two actions are often paired to denote the highest form of submission and reverence, both civil and religious. It highlights the syncretic nature of Babylonian decree, merging the authority of the king with demands for deification or religious devotion to his symbols.

Daniel 3 5 Bonus Section

The variety of instruments mentioned (cornet, flute, harp, sackbut, psaltery, dulcimer) suggests a developed musical culture. These instruments, while having equivalents in Israelite worship (e.g., trumpet, harp, stringed instruments), represent a broader spectrum, possibly indicating a multicultural context influenced by the Persian or earlier Mesopotamian empires. Scholars have debated the precise identification of some of these instruments due to the linguistic complexities and the nature of archaeological evidence. However, the clear intent is to create a powerful and widespread sonic cue for enforced participation in an idolatrous ritual, thereby contrasting the mandated, ecumenical worship of the Babylonian Empire with the faithful, singular worship of the God of Israel practiced by Shadrach, Meshach, and Abednego. The very act of commanding worship through music underscores how the state sought to control even the spiritual and emotional lives of its subjects, using cultural forms as tools of ideological enforcement.

Daniel 3 5 Commentary

The decree in Daniel 3:5 establishes a clear religious test of loyalty for all subjects of Nebuchadnezzar. The comprehensive array of instruments is designed to ensure that the command to worship is heard and obeyed throughout the province of Babylon. This forced universal observance aims to unify the empire under Nebuchadnezzar's religious ideology, making allegiance to him a public, audible declaration of devotion, enforced through sensory experience. The specific mention of numerous instruments serves to emphasize the grandeur and authoritative nature of the ceremony, amplifying the pressure to conform. For the three Hebrew youths, this was a direct confrontation of their exclusive commitment to Yahweh.