CHAPTER VIII.

ANALYSIS OF THE CHAPTER.

One seal of the mysterious roll (ch. v. 1) remains to be broken――six having already disclosed the contents of the volume relating to the future. It was natural that the opening of the seventh, and the last, should be attended with circumstances of peculiar solemnity, as being all that remained in this volume to be unfolded, and as the events thus far had been evidently preparatory to some great catastrophe. It would have been natural to expect that, like the six former, this seal would have been opened at once, and would have disclosed all that was to happen at one view. But, instead of that, the opening of this seal is followed by a series of events, seven also in number, which succeed each other, represented by new symbols――the blowing of as many successive trumpets. These circumstances retard the course of the action, and fix the mind on a new order of events――events which could be appropriately grouped together, and which, for some reason, might be thus more appropriately represented than they could be in so many successive seals. What was the reason of this arrangement will be more readily seen on an examination of the particular events referred to in the successive trumpet-blasts.

The points in the chapter are the following:――(1) The opening of the seventh seal, ver. 1. This is attended, not with an immediate exhibition of the events which are to occur, as in the case of the former seals, but with a solemn silence in heaven for the space of half an hour. The _reason_ of this silence, apparently, is found in the solemn nature of the events which are anticipated. At the opening of the sixth seal (ch. vi. 12, seq.) the grand catastrophe of the world’s history seemed about to occur. This had been suspended for a time, as if by the power of angels holding the winds and the storm (ch. vii.), and now it was natural to expect that there would be a series of overwhelming calamities. In view of these apprehended terrors, the inhabitants of heaven are represented as standing in awful silence, as if anticipating and apprehending what was to occur. This circumstance adds much to the interest of the scene, and is a forcible illustration of the position which the mind naturally assumes in the anticipation of dreaded events. Silence――solemn and awful silence――is the natural state of the mind under such circumstances. In accordance with this expectation of what was to come, a series of new representations is introduced, adapted to prepare the mind for the fearful disclosures which are yet to be made. (2) Seven angels appear, on the opening of {189} the seal, to whom are given seven trumpets, as if they were appointed to perform an important part in introducing the series of events which was to follow, ver. 2. (3) As a still farther preparation, another angel is introduced, standing at the altar with a golden censer, ver. 3‒5. He is represented as engaged in a solemn act of worship, offering incense and the prayers of the saints before the throne. This unusual representation seems to be designed to denote that some extraordinary events were to occur, making it proper that incense should ascend, and prayer be offered to deprecate the wrath of God. After the offering of the incense, and the prayers, the angel takes the censer and casts it to the earth; and the effect is, that there are voices, and thunderings, and lightnings, and an earthquake. All these would seem to be symbolical of the fearful events which are to follow. The silence; the incense-offering; the prayers; the fearful agitations produced by the casting of the censer upon the earth, as if the prayer was not heard, and as if the offering of the incense did not avail to turn away the impending wrath,――all are appropriate symbols to introduce the series of fearful calamities which were coming upon the world on the sounding of the trumpets. (4) The first angel sounds, ver. 7. Hail and fire follow, mingled with blood. The third part of the trees and of the green grass――that is, of the vegetable world――is consumed. (5) The second angel sounds, ver. 8, 9. A great burning mountain is cast into the sea, and the third part of the sea becomes blood, and a third part of all that is in the sea――fishes and ships――is destroyed. (6) The third angel sounds, ver. 10, 11. A great star, burning like a lamp, falls from heaven upon a third part of the rivers, and upon the fountains of waters, and the waters become bitter, and multitudes of people die from drinking the waters. (7) The fourth angel sounds, ver. 12. The calamity falls on the sources of light――the sun, the moon, and the stars――and the third part of the light is extinguished, and for the third part of the day there is no light, and for the third part of the night also there is no light. (8) At this stage of things, after the sounding of the four trumpets, there is a pause, and an angel flies through the midst of heaven, thrice crying _woe_, by reason of the remaining trumpets which are to sound, ver. 13. Here would seem to be some natural interval, or something which would separate the events which had occurred from those which were to follow. These four, from some cause, are grouped together, and are distinguished from those which are to follow――as if the latter appertained to a new class of events, though under the same general _group_ introduced by the opening of the seventh seal.

A few _general_ remarks are naturally suggested by the analysis of the chapter, which may aid us in its exposition and application. (a) These events, in their order, undoubtedly _succeed_ those which are referred to under the opening of the first six seals. They are a continuation of the _series_ which is to occur in the history of the world. It has been supposed by some that the events here symbolized are substantially the same as those already referred to under the first six seals, or that, at the opening of the sixth seal, there is a catastrophe; and, one series being there concluded, the writer, by a new set of symbols, goes back to the same point of time, and passes over the same period by a new and parallel set of symbols. But this is manifestly contrary to the whole design. At the first (ch. v. 1) a volume was exhibited, sealed with seven seals, the unrolling of which would manifestly develop _successive_ events, and the whole of which would embrace _all_ the events which were to be disclosed. When _all_ these seven seals were broken, and the contents of _that_ volume were disclosed, there might indeed be _another_ set of symbols going over the same ground with another design, or giving a representation of future events in some other point of view; but clearly the series should not be broken until the whole seven seals are opened, nor should it be supposed that there is, in the opening of the same volume, an arresting of the course of events, in order to go back again to the same beginning. The representation in this series of symbols is like drawing out a telescope. A telescope might be divided into seven parts, as well as into the usual number, and the drawing out of the seventh part, for example, might be regarded as a representation of the opening of the seventh seal. But the seventh part, instead of being one unbroken piece like the other six, might be so constructed as to be subdivided {190} into seven minor parts, each representing a smaller portion of the seventh part. In such a case, the drawing out of the seventh division would _succeed_ that of the others, and would be designed to represent a subsequent order of events. (b) There was some reason, manifestly, why these seven last events, or the series represented by the seven trumpets, should be grouped together, as coming under the same general classification. They were sufficiently distinct to make it proper to represent them by different symbols, and yet they had so much of the same general character as to make it proper to group them together. If this had not been so, it would have been proper to represent them by a succession of _seals_ extending to thirteen in number, instead of representing six seals in succession, and then, under the seventh, a new series extending also to the number seven. In the fulfilment, it will be proper to look for some events which have some such natural connection and bearing that, for some reason, they can be classed together, and yet so distinct that, under the same general symbol of the _seal_, they can be represented under the particular symbol of the _trumpets_. (c) For some reason there was a further distinction between the events represented by the first four trumpets and those which were to follow. There was some reason why _they_ should be more particularly grouped together, and placed in close connection, and why there should be an interval (ch. viii. 13) before the other trumpet should sound. In the fulfilment of this we should naturally look for such an order of events as would be designated by four successive symbols, and then for such a change, in some respects, as to make an interval proper, and a proclamation of _woe_, before the soundings of the other three, ch. viii. 13. Then it would be natural to look for such events as could properly be grouped under the three remaining symbols――the three succeeding trumpets. (d) It is natural, as already intimated, to suppose that the _entire_ group would extend, in some general manner at least, to the consummation of all things; or that there would be, _under_ the last one, a reference to the consummation of all things――the end of the world. The _reason_ for this has already been given, that the apostle saw a volume (ch. v. 1), which contained a sealed account of the future, and it is natural to suppose that there would be a reference to the great leading events which were to occur in the history of the church and of the world. This _natural_ anticipation is confirmed by the events disclosed under the sounding of the seventh trumpet (ch. xi. 15, seq.): “And the seventh angel sounded; and there were great voices in heaven, saying, The kingdoms of this world are become the kingdoms of our Lord, and of his Christ, and he shall reign for ever and ever. And the four and twenty elders, which sat before God on their seats, fell upon their faces, and worshipped God, saying, We give thee thanks, O Lord God Almighty, which art, and wast, and art to come; because thou hast taken thy great power, and hast reigned,” &c. At all events, this would lead us on to the final triumph of Christianity――to the introduction of the millennium of glory――to the period when the Son of God should reign on the earth. After that (ch. xi. 19, seq.) a new series of visions commences, disclosing, through the same periods of history, a new view of the church to the time also of its final triumph:――the church internally; the rise of Antichrist, and the effect of the rise of this formidable power. See the Analysis of the Book, part fifth.