The Expositor's Bible: The Book of Revelation

by William Milligan

For these reasons the view often entertained that the visions to which we proceed are developed out of the seventh Seal may be regarded as correct.

If so, how far does the development extend? The answer invariably given to this question is, To the end of the Trumpets. But the answer is not satisfactory. The general symmetry of the Apocalypse militates against it. There is then no correspondence between the last Trumpet and the last Seal, nothing to suggest the thought of a development of the Bowls out of the seventh Trumpet in a manner corresponding to the development of the Trumpets out of the seventh Seal. In these circumstances the only probable conclusion is that both the Bowls and the Trumpets are developed out of the seventh Seal, and that that development does not close until we reach the end of chap. xvi.

If what has now been said be correct, it will throw important light upon the relation of the Seals to the two series of the Trumpets and the Bowls taken together; while, at the same time, it will lend us valuable aid in the interpretation of all the three series.

Returning to the words before us, it is said that, at the opening of the seventh Seal, there followed silence in heaven about the space of half an hour. This silence may perhaps include a cessation even of the songs which rise before the throne of God from that redeemed creation the voice of whose praise rests not either day or night.[197] Yet it is not necessary to think so. The probability rather is that it arises from a cessation only of the "lightnings and voices and thunders" which at chap. iv. 5 proceed out of the throne, and which are resumed at ver. 5 of the present chapter, when the fire of the altar is cast from the angel's censer upon the earth. A brief suspension of judgment is thereby indicated, a pause by and during which the Almighty would call attention to the manifestations of His wrath about to follow. The exact duration of this silence, "about the space of half an hour," has never been satisfactorily explained; and the general analogy of St. John's language condemns the idea of a literal interpretation. We shall perhaps be more in accordance with the spirit in which the Revelation is written if we consider—(1) that in that book the half of anything suggests, not so much an actual half, as a broken and interrupted whole,—-five a broken ten, six a broken twelve, three and a half a broken seven; (2) that in the Gospel of St. John we find on more than one occasion mention made of an "hour" by which at one time the actions, at another the sufferings, of Jesus are determined: "Woman, what have I to do with thee? Mine hour is not yet come;" "Father, save Me from this hour: but for this cause came I unto this hour."[198] The "hour" of Jesus is thus to St. John the moment at which action, having been first resolved on by the Father, is taken by the Son; and a "half-hour" may simply denote that the course of events has been interrupted, and that the instant for renewed judgment has been delayed. Such an interpretation will also be in close correspondence with the verses following, as well as with what we have seen to be the probable meaning of the "silence" of ver. 1. Preparation for action, rather than action, marks as yet the opening of the seventh Seal.

That preparation is next described.

St. John saw seven trumpets given to the seven angels which stand before God. In whatever other respects these seven angels are to be distinguished from the hosts of angels which surround the throne, the commission now given shows that they are angels of a more exalted order and a more irresistible power. They are in fact the expression of the Divine Judge of men, or rather of the mode in which He chooses by judgment to express Himself. We are not even required to think of them as numerically seven, for seven in its sacred meaning is the number of unity, though of unity in the variety as well as the combination of its agencies. The "seven Spirits of God" are His one Spirit; the "seven churches," His one Church; the "seven horns" and "seven eyes" of the Lamb, His one powerful might and His one penetrating glance. In like manner the seven Seals, the seven Trumpets, and the seven Bowls embody the thought of many judgments which are yet in reality one. Thus also the angels here are seven, not because literally so, but because that number brings out the varied forms as well as the essential oneness of the action of Him to whom the Father has given "authority to execute judgment, because He is a Son of man."[199]

As yet the seven trumpets have only been given to the seven angels. More has to pass before they put them to their lips and sound. Another angel is seen who came and stood over the altar, having a golden censer in his hand. At the opening of the fifth Seal we read of an "altar" which it was impossible not to identify with the great brazen altar, the altar of burnt-offering, in the outer court of the sanctuary. Such identification is not so obvious here; and perhaps a majority of commentators agree in thinking that the altar now spoken of is rather the golden or incense altar which had its place within the Tabernacle, immediately in front of the second veil. To this altar the priest on ordinary occasions, and more particularly the high-priest on the great Day of Atonement, brought a censer with burning frankincense, that the smoke of the incense, as it rose into the air, might be a symbol to the congregation of Israel that its prayers, offered according to the Divine will, ascended as a sweet savour to God. It is possible that this may be the altar meant; yet the probabilities of the case rather lead to the supposition that allusion is made to the altar of sacrifice in the Tabernacle court; for (1) when the Seer speaks here and again in ver. 5 of "the altar," and in ver. 3 of "the golden altar," he seems to distinguish between the two. (2) The words fire of the altar are in favour of the same conclusion. According to the ritual of the Law, it was from the brazen altar that fire was taken in order to kindle the incense,[200] while at the same time fire continually burned upon that altar, but not upon the altar within the Tabernacle. (3) The thought represented by the symbolism seems to be that the sufferings of the saints gave efficacy to their prayers, and drew down the answer of Him who says, "Call upon Me in the day of trouble, and I will answer thee, and thou shalt glorify Me."[201] (4) The words of ver. 3, the prayers of all the saints, and the similar expression in ver. 4, remind us of the prayers of the fifth Seal, now swelled by the prayers of those New Testament saints who have been added to "the blessed fellowship" of the Old Testament martyrs. These prayers, it will be remembered, rose from beneath the altar of burnt-offering; and it is natural to think that the same altar is again alluded to in order to bring out the idea of a similar martyrdom. What we see, therefore, is an angel taking the prayers and adding to them much incense, so that we may behold them as they ascend up before God and receive His answer.

Further, it ought to be observed that the prayers referred to are for judgment upon sin. There is nothing to justify the supposition that they are partly for judgment upon, partly for mercy to, a sinful world. They are simply another form of the cry, "How long, O Master, the holy and true, dost Thou not judge and avenge our blood on them that dwell on the earth?"[202] They are a cry that God will vindicate the cause of righteousness.[203]