Daniel 2:34-49 You saw till that a stone was cut out without hands, which smote the image on his feet that were of iron and clay… In primitive times dreams were often used as the mediums of Divine intimations. "In slumberings upon the bed," says Elihu, "God openeth the ears of teen, and sealeth their instruction." I. The first point of contrast is the ENORMOUS BULK of the statue as compared with the SMALLNESS of the stone. Man estimates the importance of things by their size and appearance. Vast proportions produce a feeling of awe; and primitive races strove to minister to this feeling by building gigantic structures which would exalt the idea of human genius in contrast with man's personal insignificance. The idol which the Babylonish monarch saw in his dream was in harmony with the huge monoliths, temples, and human-headed bulls which formed the architectural ornaments of his capital. Its colossal size admirably represented the material power and extent of his kingdom. Mere bulk and physical massiveness were the characteristics of the great empires of antiquity. But God's thoughts are not as man's thoughts. In nature He accomplishes His mightiest operations by the most insignificant agencies. Large islands are created by the labours of tiny coral polyps. And as in nature, so in grace. The Kingdom of Heaven is like a grain of mustard seed, which is the least of all the seeds that be in the earth. What was Palestine but a very little country among the mighty continents of the earth? And what was Israel but an insignificant people in comparison with the great nations of antiquity? And was not Bethlehem where Jesus was born one of the least cities of the land, and the house of Joseph among the poorest and most obscure families in it? II. Another point of contrast is the HETEROGENEOUS CHARACTER of the statue as compared with the HOMOGENEOUS NATURE of the stone. The statue was composed of gold and silver, iron and clay; and these substances were moulded and held together in a human shape, not by a vital organisation, nor by chemical affinity, but by mere mechanical force. And in this respect the statue graphically represented the outward symmetry of the great world-kingdoms of antiquity, which was the result, not of a natural spontaneous association, but, of a forced union of discordant elements by human power. The might of the autocrats of Egypt, Assyria, and Rome blended together races and creeds that had no natural affinity or sympathy with each other into one form of government, one mode of political life, and one mould of religious profession. This hard mechanical uniformity was secured by crushing the instincts of human nature and the liberties of the individual. And hence there was a constant tendency in this compulsory unity towards disintegration. The kingdom of Satan is a kingdom divided against itself, and, therefore, cannot stand. Men who hate each other, and have nothing otherwise in common, will combine for some wicked purpose. But the unhallowed alliance has in it a principle of schism. But widely different was the stone, which symbolized the Kingdom of Heaven. It was a homogeneous substance. All its particles were of the same nature, and they were held together by the law of mutual cohesion and chemical affinity. The same force that united these particles into this compact form, changing the mud at the bottom of the ocean, or the sand on its shores, by pressure under massive rocks, or by the induration of volcanic outbursts into stone, still held these particles together because of their similarity, and resisted the processes of weathering to which they were exposed. The stone of the vision was no conglomerate or breccia in which pebbles or fragments of different minerals were held together by mechanical force, but in all likelihood, judging from the geological formation of the region where the vision occurred, a mass of limestone or marble, whose substance was homogeneous — composed of the same calcareous sediment, which fire and pressure had metamorphosed into this solid and enduring form. And how strikingly in this respect did it symbolize the City of God, which is compactly built together — the Kingdom of God, which is composed of those who are all one in Christ Jesus. Believers have a strong family resemblance. Notwithstanding their individual peculiarities, and their varieties of character, culture, and circumstance, they are all essentially one, after the image of God's unity, and consequently of His eternity. Their unity is not legal, but spiritual; not of dull uniformity, but of bright unanimity. III. Another point of contrast is the LIMITATION of the statue as compared with the ILLIMITABLE DEVELOPMENT of the stone. The statue was of gigantic size, but its human shape circumscribed its boundaries. Its outlines were rigidly determined. And this was the characteristic of the vast empires of antiquity, which, almost as soon as they were formed, became stereotyped and incapable of progress. Unassisted human nature had reached in the Egyptian, Assyrian, and Roman empires its utmost limits, and disclosed its fullest capacities; and we see how incapable it was of bringing anything to perfection — how stunted and stereotyped all its mightiest efforts were. China has lived for two thousand years upon the work of five centuries; it has never got beyond the doctrines of Confucius as explained and unfolded by Menucius. In striking contrast with the fixed limits and definite proportions of these human civilizations is the indefinite size and shape of the Kingdom of God. The stone is an appropriate symbol of it, the rough stone taken out of the quarry — the amorphous boulder lying on the moor, not the stone crystallized into the mathematical facets of the gem. The statue, moulded by human art, shares in the limitations of man's own nature. Made by God, the stone shares in His infinitude. The mystic stone in the vision grew and expanded until it became a great mountain and filled the whole earth. The landscape consisted of itself and its shadow. It presented a different aspect from each new point of view. The uniform monotonous despotisms of antiquity were created by man for his own aggrandisement; they had, therefore, fixed bounds of space and duration beyond which they could not pass. But the Kingdom of god is the creation of Divine love and grace, and, therefore, it unfolds with the need of man, and develops new capacities of blessing him, and endures for ever. The image of the stone does not suitably convey this idea. Every stone, however rough, has a limit as fixed as the statue. But the idea of fixed shape is not so inherent in the stone as in the statue, A stone may be of any shape — may be weathered by the elements, or roughened by violent contact with other stones into the most varied forms; but a human statue must preserve the human shape and observe the fixed proportions of the human form. So, in like manner, the idea of development is not inherent in a stone. It is of a fixed size; it cannot become larger. But Scripture imparts the power of growth to it, and secures, by a combination of images, what one alone cannot effect. We see this in the union of ideas borrowed from the mineral and vegetable kingdoms — from architecture and plant life — in some of the images employed to designate the Christian Church and the Christian life. "In whom all the building framed together, groweth into an holy temple in the Lord"; "Rooted and grounded in love." The grandeur of the Bible gives the grandeur of its own conceptions to every comparison it uses, expands its powers, and imparts to it qualities which it does not inherently possess, and thus makes it more elastic to represent the expansive force of the Kingdom of God. There is nothing fixed or stereotyped in this kingdom. It has a wonderful power of adjustment and assimilation. It expands its horizon as humanity progresses. It grows with human growth. The idea of growth is inherent in the Christian religion. It has created for itself a literature and an art in which progress is essential. The horizontalism and exact regularity of Greek and Assyrian architecture expressed the permanence and immutability of the religious system associated with it; while the verticalism and endless variety of the Gothic architecture embodied in a physical form the ideas of advancement, elevation, and progress contained in the Christian religion, which has chosen that style of art for its own. The religious of the heathen keep man as he is — confined to the earth, limited and bounded on every side by the restrictions and incapacities of his faith; the religion of Jesus raises man from the ground, lifts up his nature to another world, arouses his intellect and lightens his cares, bursts the fetters of his flesh, sublimes his affections, fills the whole sphere of his vision with grand and aspiring spectacles, and embodies itself in structures which exhibit a similar analogy. The religion that will satisfy the soul is a religion that makes provision for its growth and expansion, that shares in the infinitude and indefinite progressiveness of man. The stone must destroy the statue. IV. Another point of contrast is the BRILLIANT APPEARANCE of the statue, and the VALUE of the materials of which it is composed, as compared with the MEANNESS and commonness of the stone, and the WORTHTLESSNESS of its substance. With the exception of the clay, out of which its extremities were partly moulded, all the other materials used in the composition of the statue were exceedingly valuable according to the human standard. These materials are the highest forms which the mineral kingdom assumes — the sublimation of the substance of the earth, and therefore they fitly represent all the pomp and circumstance of the proud kingdoms of the world — all that is strongest, most precious, and enduring in human sovereignty. On the other hand, the stone which smote the magnificent statue had no value or splendour. It was a rude aggregation and consolidation of the common sand or mud or dust of the earth. It was made up of the materials which are trodden under foot or employed only m the humblest uses. Who values a rough stone by the wayside? And in this respect it is a fit symbol of the Founder of the Heavenly Kingdom, who, while on earth, had no form or comeliness, and was despised and rejected of men. Christ in His life and death presents no attraction to the natural eye. His Church was the filth and offscouring of all things to the world. The subjects of His kingdom were the weak, the foolish, the ignorant, and the poor. The dream of the night has become the grandest fact of history; the vision of a heathen monarch has become the reality of Christendom; and every age will give the vision and the dream a grander and yet grander interpretation. (H. Macmillan, D.D.) Parallel Verses KJV: Thou sawest till that a stone was cut out without hands, which smote the image upon his feet that were of iron and clay, and brake them to pieces. |
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