The Revelation of St. John the Divine · Chapter I. Analysis of the Chapter · Part 24

CHAPTER VIII.

A ND when he had opened the 259seventh seal, there was silence in heaven about the space of half an hour.

1. And when he had opened the seventh seal. See Notes on ch. v. 1. ¶ There was silence in heaven. The whole scene of the vision is laid in heaven (ch. iv.), and John represents things as they seem to be passing there. The meaning here is, that on the opening of this seal, instead of voices, thunderings, tempests, as perhaps was expected from the character of the sixth seal (ch. vi. 12, seq.), and which seemed only to have been suspended for a time (ch. vii.), there was an awful stillness, as if all heaven was reverently waiting for the development. Of course this is a symbolical representation, and is designed not to represent a pause in the events themselves, but only the impressive and fearful nature of the events which are now to be disclosed. ¶ About the space of half an hour. He did not profess to designate the time exactly. It was a brief period—yet a period which in such circumstances would appear to be long—about half an hour. The word here used—ἡμιώριον—does not occur elsewhere in the New Testament. It is correctly rendered half an hour; and as the day was divided into twelve parts from the rising to the setting of the sun, the time designated would not vary much from half an hour with us. Of course, therefore, this denotes a brief period. In a state, however, of anxious suspense, the moments would seem to move slowly; and to see the exact force of this, we are to reflect on the scenes represented—the successive opening of seals disclosing most important events—increasing in interest as each new one was opened; the course of events which seemed to be leading to the consummation of all things, arrested after the opening of the sixth seal; and now the last in the series to be opened, disclosing what the affairs of the world would be at the consummation of all things. John looks on this; and in this state of suspense the half hour may have seemed an age. We are not, of course, to suppose that the silence in heaven is produced by the character of the events which are now to follow—for they are as yet unknown. It is caused by what, from the nature of the previous disclosures, was naturally apprehended, and by the fact that this is the last of the series—the finishing of the mysterious volume. This seems to me to be the obvious interpretation of this passage, though there has been here, as in other parts of the book of Revelation, a great variety of opinion as to the meaning. Those who suppose that the whole book consists of a triple series of visions designed to prefigure future events, parallel with each other, and each leading to the consummation of all things—the series embracing the seals, the trumpets, and the vials, each seven in number—regard this as the proper ending of the first of this series, and suppose that we have on the opening of the seventh seal the beginning of a new symbolical representation, going over the same ground, under the representations of the trumpets, in a new aspect or point of view. Eichhorn and Rosenmüller suppose that the silence introduced by the apostle is merely for effect, and that, therefore, it is without any special signification. Grotius applies the whole representation to the destruction of Jerusalem, and supposes that the silence in heaven refers to the restraining of the winds referred to in ch. vii. 1—the wrath in respect to the city, which was now suspended for a short time. Professor Stuart also refers it to the destruction of Jerusalem, and supposes that the seven trumpets refer to seven gradations in the series of judgments that were coming upon the persecutors of the church. Mr. Daubuz regards the silence here referred to as a symbol of the liberty granted to the church in the time of Constantine; Vitringa interprets it of the peace of the millennium which is to succeed the overthrow of the beast and the false prophet; Dean Woodhouse and Mr. Cunninghame regard it as the termination of the series of events which the former seals denote, and the commencement of a new train of revelations; Mr. Elliott, as the suspension of the winds during the sealing of the servants of God; Mr. Lord, as the period of repose which intervened between the close of the persecution by Diocletian and Galerius, in 311, and the commencement, near the close of that year, of the civil wars by which Constantine the Great was elevated to the imperial throne. It will be seen at once how arbitrary and unsatisfactory most of those interpretations are, and how far from harmony expositors have been as to the meaning of this symbol. The most simple and obvious interpretation is likely to be the true one; and that is, as above suggested, that it refers to silence in heaven as expressive of the fearful anticipation felt on opening the last seal that was to close the series, and to wind up the affairs of the church and the world. Nothing would be more natural than such a state of solemn awe on such an occasion; nothing would introduce the opening of the seal in a more impressive manner; nothing would more naturally express the anxiety of the church, the probable feelings of the pious on the opening of these successive seals, than the representation that incense, accompanied with their prayers, was continually offered in heaven.

2 And I saw the seven angels which 260stood before God; and to them were given seven 261trumpets.

2. And I saw the seven angels which stood before God. Professor Stuart supposes that by these angels are meant the “presence-angels” which he understands to be referred to, in ch. i. 4, by the “seven spirits which are before the throne.” If, however, the interpretation of that passage above proposed, that it refers to the Holy Spirit, with reference to his multiplied agency and operations, be correct, then we must seek for another application of the phrase here. The only difficulty in applying it arises from the use of the article—“the seven angels”—τοὺς—as if they were angels already referred to; and as there has been no previous mention of “seven angels,” unless it be in the phrase “the seven spirits which are before the throne,” in ch. i. 4, it is argued that this must have been such a reference. But this interpretation is not absolutely necessary. John might use this language either because the angels had been spoken of before; or because it would be sufficiently understood, from the common use of language, who would be referred to—as we now might speak of “the seven members of the cabinet of the United States,” or “the thirty-one governors of the states of the Union,” though they had not been particularly mentioned; or he might speak of them as just then disclosed to his view, and because his meaning would be sufficiently definite by the circumstances which were to follow—their agency in blowing the trumpets. It would be entirely in accordance with the usage of the article for one to say that he saw an army, and the commander-in-chief, and the four staff-officers, and the five bands of music, and the six companies of sappers and miners, &c. It is not absolutely necessary, therefore, to suppose that these angels had been before referred to. There is, indeed, in the use of the phrase “which stood before God,” the idea that they are to be regarded as permanently standing there, or that that is their proper place—as if they were angels who were particularly designated to this high service. Comp. Lu. i. 19: “I am Gabriel, that stand in the .” If this idea is involved in the phrase, then there is a sufficient reason why the article is used, though they had not before been mentioned. ¶ And to them were given seven trumpets. One to each. By whom the trumpets were given is not said. It may be supposed to have been done by Him who sat on the throne. Trumpets were used then, as now, for various purposes; to summon an assembly; to muster the hosts of battle; to inspirit and animate troops in conflict. Here they are given to announce a series of important events producing great changes in the world—as if God summoned and led on his hosts to accomplish his designs.

3 And another angel came and stood at the altar, having a golden censer; and there was given unto him much incense, that he should 262offer it with the 263prayers of all upon the 264golden altar which was before the throne.

3. And another angel came. Who this angel was is not mentioned, nor have we any means of determining. Of course a great variety of opinion has been entertained on the subject (see Poole’s Synopsis)—some referring it to angels in general; others to the ministry of the church; others to Constantine; others to Michael; and many others to the Lord Jesus. All that we know is, that it was an angel who thus appeared, and there is nothing inconsistent in the supposition that anyone of the angels in heaven may have been appointed to perform what is here represented. The design seems to be, to represent the prayers of the as ascending in the anticipation of the approaching series of wonders in the world—and there would be a beautiful propriety in representing them as offered by an angel, feeling a deep interest in the church, and ministering in behalf of the . ¶ And stood at the altar. In heaven—represented as a temple, with an altar, and with the usual array of things employed in the worship of God. The altar was the appropriate place for him to stand when about to offer the prayers of the —for that is the place where the worshipper stood under the ancient dispensation. Comp. Notes on Mat. v. 23, 24; Lu. i. 11. In the latter place an angel is represented as appearing to Zacharias “on the right side of the altar of incense.” ¶ Having a golden censer. The fire-pan, made for the purpose of carrying fire, on which to burn incense in time of worship. See it described and illustrated in the Notes on He. ix. 4. There seems reason to suppose that the incense that was offered in the ancient worship was designed to be emblematic of the prayers of , for it was the custom for worshippers to be engaged in prayer at the time the incense was offered by the priest. See Lu. i. 10. ¶ And there was given unto him much incense. See Notes on Lu. i. 9. A large quantity was here given to him, because the occasion was one on which many prayers might be expected to be offered. ¶ That he should offer it with the prayers. Marg., “add it to.” Gr., “that he should give it with”—δώσῃ. The idea is plain, that, when the prayers of the ascended, he would also burn the incense, that it might go up at the same moment, and be emblematic of them. Comp. Notes on ch. v. 8. ¶ Of all . Of all who are holy; of all who are the children of God. The idea seems to be, that, at this time, all the would unite in calling on God, and in deprecating his wrath. As the events which were about to occur were a matter of common interest to the people of God, it was to be supposed that they would unite in common . ¶ Upon the golden altar. The altar of incense. This in the tabernacle and in the temple was overlaid with gold. ¶ Which was before the throne. This is represented as a temple-service, and the altar of incense is, with propriety, placed before his seat or throne, as it was in the tabernacle and temple. In the temple, God is represented as occupying the in the holy of holies, and the altar of incense is in the holy place before that. See the description of the temple in the Notes on Mat. xxi. 12.

4 And the smoke of the 265incense, which came with the prayers of the , ascended up before God out of the angel’s hand.

4. And the smoke of the incense, &c. The smoke caused by the burning incense. John, as he saw this, naturally interpreted it of the prayers of the . The meaning of the whole symbol, thus explained, is that, at the time referred to, the anxiety of the church in regard to the events which were about to occur would naturally lead to much prayer. It is not necessary to attempt to verify this by any distinct historical facts, for no one can doubt that, in a time of such impending calamities, the church would be earnestly engaged in devotion. Such has always been the case in times of danger; and it may always be assumed to be true, that when danger threatens, whether it be to the church at large or to an individual Christian, there will be a resort to the throne of .

5 And the angel took the censer, and filled it with fire of the altar, and cast it 266into the earth: and there were 267voices, and thunderings, and lightnings, and an 268earthquake.

5. And the angel took the censer. Ver. 3. This is a new symbol, designed to furnish a new representation of future events. By the former it had been shown that there would be much prayer offered; by this it is designed to show that, notwithstanding the prayer that would be offered, great and fearful calamities would come upon the earth. This is symbolized by casting the censer upon the earth, as if the prayers were not heard any longer, or as if prayer were now in vain. ¶ And filled it with fire of the altar. An image similar to this occurs in Eze. x. 2, where the man clothed in linen is commanded to go between the wheels under the cherub, and fill his hands with coals of fire from between the cherubims, and to scatter them over the city as a symbol of its destruction. Here the coals are taken, evidently, from the altar of sacrifice. Comp. Notes on Is. vi. 1. On these coals no incense was placed, but they were thrown at once to the earth. The new emblem, therefore, is the taking of coals, and scattering them abroad as a symbol of the destruction that was about to ensue. ¶ And cast it into the earth. Marg., upon. The margin expresses undoubtedly the meaning. The symbol, therefore, properly denoted that fearful calamities were about to come upon the earth. Even the prayers of did not prevail to turn them away, and now the symbol of the scattered coals indicated that terrible judgments were about to come upon the world. ¶ And there were voices. Sounds, noises. See Notes on ch. iv. 5. The order is not the same here as there, but lightnings, thunderings, and voices are mentioned in both. ¶ And an earthquake. Ch. vi. 12. This is a symbol of commotion. It is not necessary to look for a literal fulfilment of it, any more than it is for literal “voices,” “lightnings,” or “thunderings.”

6 And the seven angels which had the seven trumpets prepared themselves to sound.

6. And the seven angels which had the seven trumpets prepared themselves to sound. Ver. 7. Evidently in succession, perhaps by arranging themselves in the order in which they were to sound. The way is now prepared for the sounding of the trumpets, and for the fearful commotions and changes which would be indicated by that. The last seal is opened; heaven stands in suspense to know what is to be disclosed; the , filled with solicitude, have offered their prayers; the censer of coals has been cast to the earth, as if these judgments could be no longer stayed by prayer; and the angels prepare to sound the trumpets indicative of what is to occur.

7 The first angel sounded, and 269there followed hail and fire mingled with blood, and they were cast upon the earth: and the third part of 270trees was burnt up, and all green grass was burnt up.

7. The first angel sounded. The first in order, and indicating the first in the series of events that were to follow. ¶ And there followed hail. Hail is usually a symbol of the divine vengeance, as it has often been employed to accomplish the divine purposes of punishment. Thus in Ex. ix. 23, “And the Lord sent thunder and hail, and the fire ran along the ground; and the Lord rained hail upon the land of Egypt.” So in Ps. cv. 32, referring to the plagues upon Egypt, it is said, “He gave them hail for rain, and flaming fire in their land.” So again, Ps. lxxviii. 48, “He gave up their cattle also to the hail, and their flocks to hot thunderbolts.” As early as the time of Job hail was understood to be an emblem of the divine displeasure, and an instrument in inflicting punishment:

“Hast thou entered into the treasures of the snow,

Or hast thou seen the treasure of the hail?

Which I have reserved against the time of trouble,

Against the day of battle and war?”

So also, the same image is used in Ps. xviii. 13;

“The Lord also thundered in the heaven,

And the Most High gave forth his voice,

Hailstones and coals of fire.”

Comp. Hag., ch. ii. 17. The destruction of the Assyrian army, it is said, would be accomplished in the same way, Is. xxx. 30. Comp. Eze. xiii. 11; xxxviii. 22. ¶ And fire. Lightning. This also is an instrument and an emblem of destruction. ¶ Mingled with blood. By blood “we must naturally understand,” says Professor Stuart, “in this case, a shower of coloured rain; that is, rain of a rubidinous aspect, an occurrence which is known sometimes to take place, and which, like falling stars; eclipses, &c., was viewed with terror by the ancients, because it was supposed to be indicative of blood that was to be shed.” The appearance, doubtless, was that of a red shower, apparently of hail, or snow—for rain is not mentioned. It is not a rain-storm, it is a hail-storm that is the image here; and the image is that of a driving hail-storm, where the lightnings flashed, and where there was the intermingling of a reddish substance that resembled blood, and that was an undoubted symbol of blood that was to be shed. I do not know that there is red rain, or red hail, but red snow is not very uncommon; and the image here would be complete if we suppose that there was an intermingling of red snow in the driving tempest. This species of snow was found by Captain Ross at Baffin’s Bay on the 17th of August, 1819. The mountains that were dyed with the snow were about eight miles long, and six hundred feet high. The red colour reached to the ground in many places ten or twelve feet deep, and continued for a great length of time. Although red snow had not until this attracted much notice, yet it had been long before observed in Alpine countries. Saussure discovered it on Mount St. Bernard in 1778. Ramond found it on the Pyrenees; and Summerfield discovered it in Norway. “In 1818 red snow fell on the Italian Alps and Apennines. In March, 1808, the whole country about Cadore, Belluno, and Feltri was covered with a red-coloured snow to the depth of six and a half feet; but a white snow had fallen both before and after it, the red formed a stratum in the middle of the white. At the same time a similar fall took place in the mountains of the Valteline, Brescia, Carinthia, and Tyrol” (Edin. Encyclo. art. “Snow”). These facts show that what is referred to here in the symbol might possibly occur. Such a symbol would be properly expressive of blood and carnage. ¶ And they were cast upon the earth. The hail, the fire, and the blood—denoting that the fulfilment of this was to be on the earth. ¶ And the third part of trees was burnt up. By the fire that came down with the hail and the blood. ¶ And all green grass was burnt up. Wherever this lighted on the earth. The meaning would seem to be, that wherever this tempest beat the effect was to destroy a third part—that is, a large portion of the trees, and to consume all the grass. A portion of the trees—strong and mighty—would stand against it; but that which was so tender as grass is, would be consumed. The sense does not seem to be that the tempest would be confined to a third part of the world, and destroy all the trees and the grass there; but that it would be a sweeping and general tempest, and that wherever it spread it would prostrate a third part of the trees and consume all the grass. Thus understood, it would seem to mean, that in reference to those things in the world which were firm and established like trees, it would not sweep them wholly away, though it would make great desolation; but in reference to those which were delicate and feeble—like grass—it would sweep them wholly away.—This would not be an inapt description of the ordinary effects of invasion in time of war. A few of those things which seem most firm and established in society—like trees in a forest—weather out the storm; while the gentle virtues, the domestic enjoyments, the arts of peace, like tender grass, are wholly destroyed. The fulfilment of this we are undoubtedly to expect to find in the terrors of invasion; the evils of war; the effusion of blood; the march of armies. So far as the language is concerned, the symbol would apply to any hostile invasion; but in pursuing the exposition on the principles on which we have thus far conducted it, we are to look for the fulfilment in one or more of those invasions of the northern hordes that preceded the downfall of the Roman empire and that contributed to it.—In the “Analysis” of the chapter, some reasons were given why these four trumpet signals were placed together, as pertaining to a series of events of the same general character, and as distinguished from those which were to follow. The natural place which they occupy, or the events which we should suppose, from the views taken above of the first six seals, would be represented, would be the successive invasions of the northern hordes which ultimately accomplished the overthrow of the Roman empire. There are four of these “trumpets,” and it would be a matter of inquiry whether there were four events of sufficient distinctness that would mark these invasions, or that would constitute periods or epochs in the destruction of the Roman power. At this point in writing, I looked on a chart of history, composed with no reference to this prophecy, and found a singular and unexpected prominence given to four such events extending from the first invasion of the Goths and Vandals at the beginning of the fifth century, to the fall of the Western empire, A.D. 476. The first was the invasion of Alaric, king of the Goths, A.D. 410; the second was the invasion of Attila, king of the Huns, “scourge of God,” A.D. 447; a third was the sack of Rome by Genseric, king of the Vandals, A.D. 455; and the fourth, resulting in the final conquest of Rome, was that of Odoacer, king of the Heruli, who assumed the title of King of Italy, A.D. 476. We shall see, however, on a closer examination, that although two of these—Attila and Genseric—were, during a part of their career, contemporary, yet the most prominent place is due to Genseric in the events that attended the downfall of the empire, and that the second trumpet probably related to him; the third to Attila. These were, beyond doubt, four great periods or events attending the fall of the Roman empire, which synchronize with the period before us. If, therefore, we regard the opening of the sixth seal as denoting the threatening aspect of these invading powers—the gathering of the dark cloud that hovered over the borders of the empire, and the consternation produced by that approaching storm; and if we regard the transactions in the seventh chapter—the holding of the winds in check, and the sealing of the chosen of God—as denoting the suspension of the impending judgments in order that a work might be done to save the church, and as referring to the divine interposition in behalf of the church; then the appropriate place of these four trumpets, under the seventh seal, will be when that delayed and restrained storm burst in successive blasts upon different parts of the empire—the successive invasions which were so prominent in the overthrow of that vast power. History marks four of these events—four heavy blows—four sweepings of the tempest and the storm—under Alaric, Genseric, Attila, and Odoacer, whose movements could not be better symbolized than by these successive blasts of the trumpet.

The first of these is the invasion of Alaric; and the inquiry now is, whether his invasion is such as would be properly symbolized by the first trumpet. In illustrating this, it will be proper to notice some of the movements of Alaric, and the alarm consequent on his invasion of the empire; and then to inquire how far this corresponds with the images employed in the description of the first trumpet. For these illustrations I shall be indebted mainly to Mr. Gibbon. Alaric, the Goth, was at first employed in the service of the emperor Theodosius, in his attempt to oppose the usurper Arbogastes, after the murder of Valentinian, emperor of the West. Theodosius, in order to oppose the usurper, employed, among others, numerous barbarians—Iberians, Arabs, and Goths. One of them was Alaric, who, to use the language of Mr. Gibbon (ii. 179), “acquired in the school of Theodosius the knowledge of the art of war, which he afterwards so fatally exerted for the destruction of Rome,” A.D. 392‒394. After the death of Theodosius (A.D. 395) the Goths revolted from the Roman power, and Alaric, who had been disappointed in his expectations of being raised to the command of the Roman armies, became their leader (Decline and Fall, ii. 213). “That renowned leader was descended from the noble race of the Balti; which yielded only to the royal dignity of the Amali; he had solicited the command of the Roman armies; and the imperial court provoked him to demonstrate the folly of their refusal, and the importance of their loss. In the midst of a divided court and a discontented people the emperor Arcadius was terrified by the aspect of the Gothic arms,” &c. Alaric then invaded and conquered Greece, laying it waste in his progress, until he reached Athens, ii. 214, 215. “The fertile fields of Phocis and Bœotia were instantly covered by a deluge of barbarians, who massacred the males of age to bear arms, and drove away the beautiful females, with the spoil and cattle of the flaming villages.” Alaric then concluded a treaty with Theodosius, the emperor of the East (ii. 216); was made master-general of Eastern Illyricum, and created a magistrate (ii. 217); soon united under his command the barbarous nations that had made the invasion, and was solemnly declared to be the king of the Visigoths, ii. 217. “Armed with this double power, seated on the verge of two empires, he alternately sold his deceitful promises to the courts of Arcadius and Honorius, till he declared and executed his purpose of invading the dominions of the West. The provinces of Europe which belonged to the Eastern empire were already exhausted; those of Asia were inaccessible; and the strength of Constantinople had resisted his attack. But he was tempted by the beauty, the wealth, and the fame of Italy, which he had twice visited; and he secretly aspired to plant the Gothic standard on the walls of Rome; and to enrich his army with the accumulated spoils of three hundred triumphs,” ii. 217, 218. In describing his march to the Danube, and his progress towards Italy, having increased his army with a large number of barbarians, Mr. Gibbon uses the remarkable language expressive of the general consternation, already quoted in the description of the sixth seal. Alaric approached rapidly towards the imperial city, resolved to “conquer or die before the gates of Rome.” But he was checked by Stilicho, and compelled to make peace, and retired (Decline and Fall, ii. 222), and the threatening storm was for a time suspended. See Notes on ch. vii. 1, seq. So great was the consternation, however, that the Roman court, which then had its seat at Milan, thought it necessary to remove to a safer place, and became fixed at Ravenna, ii. 224. This calm, secured by the retreat of Alaric, was, however, of short continuance. In A.D. 408 he again invaded Italy in a more successful manner, attacked the capital, and more than once pillaged Rome. The following facts, for which I am indebted to Mr. Gibbon, will illustrate the progress of the events, and the effects of this blast of the “first trumpet” in the series that announced the destruction of the Western empire:—

(a) The effect, on the destiny of the empire, of removing the Roman court to Ravenna from the dread of the Goths. As early as A.D. 303 the court of the emperor of the West was, for the most part, established at Milan. For some time before, the “ of the capital was gradually annihilated by the extent of conquest,” and the emperors were required to be long absent from Rome on the frontiers, until in the time of Diocletian and Maximian the seat of government was fixed at Milan, “whose situation at the foot of the Alps appeared far more convenient than that of Rome for the important purpose of watching the motions of the barbarians of Germany” (Gibbon, i. 213). “The life of Diocletian and Maximian was a life of action, and a considerable portion of it was spent in camps, or in their long and frequent marches; but whenever the public business allowed them any relaxation, they seem to have retired with pleasure to their favourite residences of Nicomedia and Milan. Till Diocletian, in the twentieth year of his reign, celebrated his Roman triumph, it is extremely doubtful whether he ever visited the ancient capital of the empire” (Gibbon, i. 214). From this place the court was driven away, by the dread of the northern barbarians, to Ravenna, a safer place, which thenceforward became the seat of government, while Italy was ravaged by the northern hordes, and while Rome was besieged and pillaged. Mr. Gibbon, under date of A.D. 404, says, “The recent danger to which the person of the emperor had been exposed in the defenceless palace of Milan [from Alaric and the Goths] urged him to seek a retreat in some inaccessible fortress in Italy, where he might securely remain, while the open country was covered by a deluge of barbarians” (vol. ii. p. 224). He then proceeds to describe the situation of Ravenna, and the removal of the court thither, and then adds (p. 225), “The fears of Honorius were not without foundation, nor were his precautions without effect. While Italy rejoiced in her deliverance from the Goths, a furious tempest was excited among the nations of Germany, who yielded to the irresistible impulse that appears to have been gradually communicated from the eastern extremity of the continent of Asia.” That mighty movement of the Huns is then described, as the storm was preparing to burst upon the Roman empire, ii. 225. The agitation and the removal of the Roman government were events not inappropriate to be described by symbols relating to the fall of that mighty power.