Revelation 9:
The Trumpet Call to Repentance
Introduction
“O God (if there is God), save my soul (if
there is soul) from sin (if there is sin).”[1]
This is the general attitude of the modern human being. The consciousness of
sin is gradually fading away. Human being is trying to play God through various
scientific experiments. Ethical, environmental and human considerations are not
taken into consideration when economic policies of globalization and development
are planned and executed. Farmers are committing suicide. Children are dying of
malnutrition. The PDS (Public Distribution System) is in shambles as millions
of tonnes of foodgrain is rotting in government’s FCI godowns. India seems to
be in the clutches of the evil one.
Communalism is on the rise; fundamentalist
forces are making the life of poor Christians unlivable in many places in
India. The attitude towards women is still very negative; they are looked at as
mere sex objects. Prostitution, child labour, domestic violence, substance
abuse, terrorism, naxalism, exploitation of the weak and the marginalized; the
list of human sinfulness is endless.
It seems that the present situation in India is
not much different from the situation prevalent in Asia Minor when The
Revelation was written by John. In the midst of this sinful situation, the
trumpet call from the angels is a wakeup call to arise from our slumber.
The message of the Trumpets is loud and clear:
repent and return to God (the almighty παντακράτωρ, the creator and the sovereign God of the
universe) and his Son Jesus Christ (the redeemer, the slaughtered lamb standing),
so that “every creature in heaven and on earth and under the earth and in the
sea may sing” their praises (Rev 5:13). Through the symbolism of Trumpets, John
is pleading with the Christians: “Can’t you see what is happening. Repent!
Change your way of looking at things! Wake up before it is too late.”[2]
My way of
proceeding
Reality is multifaceted and when this reality
is expressed in symbolic language, it becomes even more complex and intricate.
The same is true about the Revelation. As Harrington says, “The Apocalypse
[Revelation] has the freedom of great art” and it is “a work of great
imaginative power and of deep religious feeling.”[3]
So, we cannot look at it in one single perspective. Various authors approach the
Revelation from varying points of view. This causes a difficulty for a beginner
like me to do the exegetical analysis of this great work of art. That is why I
would like to approach this Herculean task of exegesis of Revelation 9 with complete
humility.
I know
fully well that however much I try I will not be able to deal the topic
comprehensively and do full justice to the rich symbolism this text and the
whole book offers. Nevertheless, I will give my best. I will approach the topic
by using the following methodology: (1) The delimitation of the text; (2) Examining
the original text for textual criticism, (3) Exploring the Sitz im leben (4) Exploring
the literary context of the text (5) Exegesis of the Text and (6) Theological
implications and Contextual reflections for today.
1.
The Delimitation of the text
The text under consideration includes fifth and
sixth trumpet judgment which comes immediately after the announcement of the three
woes by an eagle in Rev 8:13 and before the prophetic vision of the mighty
angel and the scroll. The question of delimitation is whether we can consider this
as a single unit. Let us first see analysis of the structure of the seven
trumpets (8:2–11:19) given by Robert Mounce:
A. Preparation (8:2–5)
B. First Four Trumpets (8:6–12)
C. Eagles’ Warning (8:13)
D. Fifth Trumpet (First Woe): Demonic Locusts (9:1–12)
E.
Sixth Trumpet (Second
Woe): Fiendish Cavalry (9:13–21)
Interlude: Visions of the Prophetic Role
(10:1–11:14)
1. The Mighty Angel and the Little Scroll (10:1–11)
2. Measuring the Temple (11:1–2)
3. The Two Witnesses (11:3–14)
F. Seventh Trumpet (11:15–19)[4]
As seen above, these are two
pericopes put together. However, since the accounts of two trumpets display a parallel
structure[5],
it is fitting to put them together as delimitation.
2.
Textual Criticism
After going through the original text, I found
that a minor textual critical problem arises in Rev 9:13 which reads “καὶ ὁ ἕκτος ἄγγελος ἐσάλπισεν, καὶ ἤκουσα φωνὴν μίαν ἐκ τῶν [τέσσαρων] κεράτων τοῦ θυσιαστηρίου τοῦ χρυσοῦ τοῦ ἐνώπιον τοῦ θεοῦ.” The
problem is concerning the bracketed word “τέσσαρων” which is present in
several manuscripts. However, scholars have resolved the issue by putting the
word in the bracket because the strong external evidence (being absent in older
manuscripts like ˡﬡ) suggests
that it is an addition (intentional error) made by later scribes to mention the
number of horns of the altar.
3.
Sitz im leben (Socio-Cultural Context)
Most scholars agree that the Revelation was
written in Asia Minor where Christians were undergoing persecution under the
emperor Domitian who had declared himself κύριος. Harrigton expresses this situation of the early Christians as follows:
“Emperor–worship demanded that sacrifice be offered (or incense burned) before
an image of Caesar, with the declaration: Kyrios Kaisar—‘Caesar is
Lord’, that is, divine—sheer blasphemy in Christian eyes. For Christians Jesus
Christ was Kyrios, and they must ‘hold fast his name’ (Rev 2:13),
reserving that title for him alone.”[6]
In that context, The Revelation can be seen as
“the confrontation between the followers of Jesus and the Roman Empire.”[7]
Fallon expresses the concern of the author and his purpose of writing the book
as follows: “He [John] is concerned with what is
happening in Asia Minor, and he is concerned to challenge those Christians who
are giving in to the seductive temptation to compromise with the Roman system
and enjoy its apparent benefits, and to support those who are trying to be
faithful to the way of life they learned from Jesus, even though they are being
disadvantaged and even persecuted because of it.”[8]
Keeping these things in mind, I think, ‘Renouncing
idolatry and wickedness and being a true witness (μάρτυς) to Jesus Christ in the midst of persecution’ is the main message of
John to his readers. Fallon puts it aptly, “John is calling the Christians to
look squarely at the rotten fruit of those who arrogantly ignore God and to
repent while there is still time.”[9] That
is what the trumpet call is all about. It is a warning as well as encouragement
to the struggling churches in Asia Minor.
4.
Literary Context of the Text
It is not easy to give the literary context of
this text because as I said earlier there is not one way of looking at the text.
Adela Collins looks at “what is to come” (1:19) as cycles of seven visions following
one after the other (seals, trumpets, unnumbered visions×2, bowls).[10]
Harrington divides the book in three parts; Part I: Church
and Israel (4–11), Part II: The Church and pagan Rome (12:1–20:15) and Part
III: The New Jerusalem (21:1–22:5).[11]
It is interesting to
see how Fr. Joyce Kaithakottil puts the whole book pictorially: God the
Almighty (1:8) and the Lamb, Risen Christ (5:6) seek the conversion of the
Churches (2–3) so that the Church becomes a faithful witness (11:1–13). In this
process of witnessing, there is identification with Christ (11:8) and
confrontation with the world (11:7). This faithful witness through cross and
martyrdom brings about the conversion of the world and in turn the New Heaven
and New Earth (21:1). God almighty sees all this and vindicates the faithful
through resurrection. He judges and punishes the wicked by throwing them in the
lake of fire.
In this schema, we see Seals, Trumpets and
Bowls as judgments coming from God, calling people to conversion. Harrington
sees seals and trumpets coming under Part I which deals with Church and Israel,
the people of God. Hence the judgments are only partial and can be seen as a
clear call to conversion. However, Adela Collins gives the dramatic progression
taking place with varying points of views: messages (Christian communities) to
seals (all humanity) to trumpets (cosmic point of view) with her focus on the
vision of the end with escalating scale of judgment (1/4th humanity
is destined to die in the 4th seal to 1/3rd in the sixth
trumpet). [12] Thus, the trumpets are midway in the crescendo of
divine judgment. Through partial judgment, he merciful God calls his people
back to his loving embrace.
5.
Exegesis
Before giving the exegesis of the given text (Rev 9:1–21),
first I will give a short description about Trumpets in the Bible; then I will
explain the preparation (8:2), first four trumpets (8:6–12), and Eagle’s
warning (8:13) briefly and then move towards the exegesis.
Trumpet (σάλπινξ)
The Revelation is full of symbolism. Trumpet is one
such powerful symbol deeply rooted in Semitic culture and literature. In the OT
the trumpet was used extensively for a variety of purposes.[13]
It is interesting to know that in Hebrew Bible, the word ‘trumpet’ occurs 93
times, in the Deutero–canonical book 18 times and in the New Testament 20
times, out of which 15 occurrences are in the Revelation.
The judgment motif is
very strong in the later literature, especially in the Intertestamental
literature and in the New Testament (Apoc. Zeph. 9–12; Mt 24:31;
1 Cor 15:52; 1 Thes 4:16). Collins mentions, “the form of the cycle of trumpets was inspired
by the image of the trumpet blast on the Day of the Lord (see Joel 2:1 and Is
27:13).[14]
In the Revelation, the significance of the trumpet is
described by Jones in the following points: (i) Imagery is based on what is
heard, “a loud voice like a trumpet” (Rev 1:10). (ii) Devastation of the earth
with its plague and its cosmic associations (Rev 8:6–9:13). (iii) The call to
penitence (Rev 9:20). (iv) The announcement of the
Day of the Lord (Rev 14). (v) The holiness of the
divine presence (Rev 4:1, cf. Ex 19:16). (vi) Interplay of heavenly
and earthly liturgies (Rev 8:1ff).[15] Voice
of the trumpet conveys prophetic authority, too (Ezek 2:2; 3:12; 11:1; 14:22).
So, I would like to focus the trumpets as the prophetic call to repentance in
the face of the impending judgment.
Preparation (8:2)
It is very interesting to see the gradual
unraveling taking place in the Revelation. The seventh seal unfolds seven trumpets
(8:1–5) and the seventh trumpet unfolds seven bowls (11:15–19). Here we have
dramatic change of scene taking place. Ford expresses it beautifully, “The chapter
begins with an ominous silence. This has an important dramatic effect as well
as theological relevance, by providing a sharp contrast to the loud and
ceaseless songs of praise sung in ch. 7 by the angels, elders, and living
creatures in heaven. The silent pause is calculated to fill the reader with
expectation.”[16]
The author prepares the scene for
the trumpeting angels in 8:2 where seven angels who stand before God are given seven trumpets. According
to Harrington, “These are the ‘angels of the presence’ (cf. Is 63:9—‘the angel
of the presence’), the seven ‘archangels’ (cf. 1 Enoch 20: 1–8) of Jewish
tradition who serve God, namely, Michael, Gabriel, Raphael, Uriel, Raguel,
Sariel and Remiel.[17] The
term ‘seven angels’ έττα α҆γγέλους appears nine times in the Revelation, twice in
the section of Trumpets and seven times in the section of Bowls. Aune gives us
parallels between seven trumpets and seven bowls (15:1–16:21).[18]
We must keep in mind that all the three judgments (Seals, Trumpets and Bowls)
are issued from the Divine Throne room where the Almighty and his Lamb are
being worshipped (5:13).
First four
trumpets (8:6–12)
The cycle of Trumpets begins. Harrington connects
the prayers of martyrs with it very insightfully, “The martyrs had prayed: ‘…
how long before you will judge and avenge our blood on those who dwell upon the
earth?’ (6:10); now their prayer, which had gone up to God (8:4), returns to
the earth in wrath.”[19] It
is not difficult to see the connection between the trumpet plagues with plagues
in Egypt (Ex 7–12). Collins rightly points out, “An analogy is seen between
their [Christians in Asia Minor] ill treatment by the Romans and the slavery
experienced by the children of Israel in Egypt. Just as God delivered his
people in the past, so will he again.”[20]
Because of these plagues, 1/3rd of earth, sea, fresh waters and
heavenly bodies get affected. This imperfect number (1/3) symbolizes partial
judgment.
Eagles’ warning (8:13)
After this comes a surprise entry of
an eagle. As Fallon puts it, “John injects special dramatic tension into the
scene, preparing us for the terrible final three announcements.”[21]
Aune describes the
development so far as follows: “The plagues unleashed by the seven trumpets
consist of a group of four that have a homogeneous character and are described
very succinctly (8:7–12). The last three trumpets also have a homogeneous
framework in that they presumably consist of a series of three woes (8:13–9:21;
11:14–18).”
Now I come to the exegesis of the text proper. It
is impossible to give the detailed exegesis. Therefore, I will mention only major
exegetical points leaving aside intricate exegetical details which were given
during the class presentation. I will briefly mention fifth and sixth trumpet,
and then focus on the call to repentance (9:20–21).
Fifth Trumpet
(9:1–12)
The fifth trumpet plague deals with the horde of
demonic locusts. This has close parallel with the eighth plague in Egypt (Ex
10:1–20) and Joel 2:4–11. As Collins puts it, “In the book of Exodus, a swarm of locusts was
God’s instrument in chastising the enemies of God’s people. In Joel 2, a plague
of locusts is about to be used by the Lord to punish the Lord’s own people.[22]The
description of demonic locusts finds close parallel with Joel 2:4–11.
Fallen star from
heaven was given the key to the shaft of the bottomless pit
(9:1):
(a) Fallen star (ἀστέρα πεπτωκότα): In early Jewish literature,
stars represent angelic beings (Judg 5:20; Job 38:7; Dan 8:10), demons (1
Enoch 86:3; 88:1; 90:24; T. Sol. 20.14–17; Jude 13), or even Satan (1
Enoch 86:1; Apoc. El. 4:11; Luke 10:18; Rev 12:9. The falling star in Sib. Or. 5.155–61 has some parallels with Rev
9:1–2.[23] Many scholars hold that position. However, in 20:1–3,
we see a similar occurrence where an angel comes down from heaven and binds and
throws Satan into the pit. So, the identity of the fallen angel remains unknown
to us. However, in the scheme of Revelation, we would have to rule out Satan.
(b) The key (κλείς): We have
four references to the key in the Revelation (1:18; 3:7; 9:1; 20:1). This key
is a sign of authority over death and Hades and only God and his lamb possess
it, showing their supremacy.
(c) The bottomless pit
(ἄβυσσος): The term ἄβυσσος occurs seven times in
Revelation (9:1, 2, 11; 11:7; 17:8; 20:1, 3). In the three–level
cosmology of Revelation, it is the place where demons are imprisoned (Luke 8:31; 1 Enoch 18–21). In Revelation the beast ascends from the abyss (11:7; 17:8), and it is
also the abode of Satan (20:1–3), of the angel of the abyss, Abaddon or
Apollyon (9:11), and of demons (9:1–10).[24]
Thus, in the first verse of the chapter, a great
drama takes place after the fifth angel blows his trumpet. Collins attributes
the resurgence of evil in the world to this phenomenon of the release of the evil
spirits from their confinement.[25] Then,
John goes on to give a very graphic description of the swarm of demonic
locusts. This horde of demonic locusts is deadly because of their quantity and
harmfulness (the authority of scorpions, 9:3).
The Demonic Locusts (9:7–10): Some scholars consider this plague either as
actual attack of locusts (ακρίδες) or symbolically referring to the army of
Parthians (Iranians). Both interpretations are feasible if we carefully examine
the description of Demonic Locusts. I will not go into the details, but
highlight a few areas to make my point.
Vincent consistently
considers this plague to actual locusts. He writes, “The likeness of a locust
to a horse, especially to a horse equipped with armor, is so striking that the
insect is named in German Heupferd Hay-horse, and in Italian cavaletta
little horse.”[26]He
focuses on the word “ὡς” repeatedly used and gives
various examples to show how real locusts are capable of creating great
catastrophe.[27] No wonder, a vast enemy army is compared in number to locusts
(Judg 6:5; 7:12; Jer 46:23; 51:14; Joel 1–2; Amos 4:9).
On the other hand, Ford and Aune
compare these demonic locusts to the Parthians who
wore long hair (like women),[28] who had heavily
armored cavalry (both horse and rider)[29] and who shot poisoned arrows over their shoulders
as they retreated (like scorpion’s sting).[30]
The king of the demonic locusts (9:11): 9/11 brings to our mind destruction
and right enough the king of this infernal army is named Abaddon (אֲבַדּוֹ֝):
destruction personified; which is a Hebrew term for the kingdom of the dead
(Prov 15:11; Job 26:6; 28:22; 31:12; Ps 88:12).[31]
In Greek, he is called Appolyon (Απολλύων): Greek archer god Apollo who poisoned his victims and
who had the grasshopper or locust as one of the emblems.[32]
Some other exegetically important points need
to be clarified. They are as follows:
Divine protection for the sealed (9:4): The seal of God (σφραγῖς τοῦ θεοῦ) refers us back to 7:2–8 and makes it explicit that the purpose of
sealing is that of protection. According to Aune, “The motif of protection is central
in the sealing episode in Ezek 9:3–8, as it is in Pss. Sol. 15:4–9, a
passage that expands on Ezek 9 and contrasts the mark of God with the mark of
destruction.”[33] Jn 6:27 speaks about God
putting his seal on Jesus Christ and St. Paul speaks about God putting the seal
of the Holy Spirit on us (2 Cor 1:22; Eph 1:13; Eph 4:30). This shows God’s
concern for the faithful in the midst of fearful events.
Symbolism of five
months (9:5): The locusts do not kill men, but torment them for
five months (μήνας πέντε). Ford gives three
explanations referring the plague as: (i) the ancients’ fear of locust
invasions, which occurred during the last five months of the Jewish year, (ii)
partial punishment because five months is less than half the total twelve
months of the year, and (iii) the five months during which the troops of
Gessius Florus cast terror over Palestine. [34] For
me, the most plausible explanation is that through this partial and moderated punishment
God calls people to repent and return to him. God is in control of the history.
The faithful are protected, but wicked are tortured so that they seek death
(9:6).
Use of the Divine
passive (9:1–5):
While it seems the hell is being let loose, the faithful need not be afraid
because God is in complete control. In vv 3–5, a series of statements is made using passive verbs (v 3, ἐδόθη, “was given”; v 4, ἐρρέθη, “were instructed”; v 5, ἐδόθη, “was given”).[35] In v 1, too, we find ἐδόθη. Besides, God shows his ecological consciousness by giving
command not to damage any vegetation (9:4). All these things point out that
these trumpet plagues are sent by good God with a specific purpose.
Sixth Trumpet
(9:13–19)
A voice from the
horns of the golden altar before God (9:13): According to Ford, “This
is the heavenly altar, a counterpart of the earthly one; Exod 27:1–2, 30:1–2.”[36]
This is the altar under
which the souls of the righteous cried out (6:9). The horn represents
strength; the horns of the altar represent the strength and splendour of God;
so the voice coming out from it carries the power of God to establish justice
in the world on behalf of the righteous.
The four angels
bound at the great river Euphrates (9:14): The Euphrates is the
longest river in western Asia: seventeen hundred miles long. According to
Vincent, “The melting of the
mountain snows causes an annual flood, beginning in March and increasing until
May. These floods became an emblem of the judgments inflicted by God upon
Israel by means of Babylon and Assyria…To the prophets the Euphrates was the
symbol of all that was disastrous in the divine judgments. (Is 8: 5–8; Jer
17:13).”[37]This
may also refer to the marauding Parthians coming beyond Euphrates to invade
Palestine.
Prepared to kill a
third of humankind with a huge cavalry (9:15–16): Unlike
the fifth trumpet plague, here 1/3 of humankind (partial) is destined to be
killed according to the pre-determined Divine plan (9:15). Cavalry of two hundred million riders (9:16) appears
to be a demonic rather than a human army. Huge armies of destroying angels are
mentioned in Babylonian Talmud.[38] In 1
Enoch 56:5–6, there is a reference that the angels explicitly functioned to
incite the kings of the east to gather their armies and attack Israel.[39]This
might give us the connection between four angels and the demonic cavalry. “Who were prepared (οἱ ἡτοιμασμένοι) and “were released” (ἐλύθησαν) are divine passive.
Vision of the Demonic
Cavalry (9:17–19): Aune finds similarity between the creature
mentioned in the Revelation with Chimaera in Greko–Roman mythology.
A combination of three creatures, with the body of
a horse, the head of a lion, and the tail of snake heads. The closest
approximation to such a creature in antiquity is probably the Chimaera slain by
the hero Bellerophon with the aid of Pegasus as described in Greek and Roman
mythology. The Chimaera is consistently described as having the head of a lion,
the tail of a dragon or serpent, and the body of a goat and belching fire (Iliad
6.181–82; Hesiod Theog. 319–24; Euripides Ion 203–4; Electra
474–75; Apollodorus 2.3.1.[40]
We find a fire–breathing sea–monster named Leviathan
in Job 41:19–21. Here plagues of fire and smoke and sulfur came out of these
creatures’ mouths. The word “Plagues” (πληγῶν) occurs 15 times in the
Revelation and this is the first occurrence. We have Gen 19:24 account of the
destruction of Sodom and Gomorrah by fire and brimstone as a prototype of
judgment. Similarly fire and sulfur are frequently mentioned in the Revelation
as vehicles of divine judgment (9:17–18; 14:10; 19:20; 20:10; 21:8).[41]
Parallel with the
Egyptian plagues: Collins
sees the tenth plague as the closest parallel, in which all of the first–born
in Egypt were slain, including human beings (Exodus 11–12). Here, a third of
humanity is slain.[42] Ford has an
interesting theory where he calls it the reversal of the red sea drowning of
the horses and riders.[43]
The main point to keep in mind is that God who heard the cry ( (צעקof Israelites in
Egypt and liberated them is the same God active in liberating his people
suffering under the imperial rule.
Call to Repentance
(9:20–21)
Now we come to the purpose of the trumpet
plagues, which is the call to penitence:
They did not repent (ουδέ μετενόησαν): Unfortunately just as Pharaoh and
Egyptians responded to the plagues by being hard–hearted, humanity responds to
the trumpet judgments. They do not repent of their idolatry and wickedness.
ἵνα μὴ προσκυνήσουσιν τὰ δαιμόνια καὶ τὰ εἴδωλα: Idolatry quickly brings to our mind
the Emperor worship. Seeing from the perspective of the strict Judeo-Christian monotheistic
faith, it is completely unacceptable. It is breaking the very first commandment
of Decalogue (Ex 20:2–6). Aune explains this beautifully, “The ἵνα clause here functions as a result clause; i.e.,
they did not repent with the result that they might no longer worship
idols.”[44] Besides ‘καὶ’ is an explanatory καὶ, which means, demons, i.e. idols. Ps 115:4–7 speak about the powerlessness
of idols.
Covenantal infidelity and social injustice were the two evils prophets in
OT denounced vehemently. Actually both are not divorced from one another, but
intimately connected. According to Fallon, “Failure to worship the true
God leads to a breakdown of just human relationships. This is stated by John
(9:21) in terms of the fifth to the tenth commandments (Ex 20:13–17).”[45] Three vice-lists
are given in the Revelation (9:21; 21:8; 22:15), which are quite similar and
all of them denounce idolatry and wickedness. Thus we find the message of this
chapter very clearly towards the end: “repent or perish.”
6.
Theological Implications and Contextual
Reflections
The situation of John’s church in Asia Minor is
not much different from the situation of India. In this context, I draw out a
few theological and contextual reflections as follows:
i) The
rule of Abaddon/Appolyon in today’s world: Abaddon or Applyon is the personified
destruction. Today, US-sponsored neo-imperialistic globalizing propaganda is
turning out to be Abaddon for the third-world countries like India. The result
of it is seen in all spheres of life. Ethical and ecological degradation, spiritual
bankruptcy, loss of bio–diversity, escalating poverty and inequality, wars,
famines, etc. are only a few expressions of this destructive force. Demonic
powers are working through human agency. Humanbeing has become a strong ally of
the angel of the bottomless pit. That is why, humanity is sinking into deep
abyss, losing itself in the false prosperity theology, materialism and
consumerism.
ii)
Modern day Idolatry and new list of vices: “Na baap, no bhaiyya, sabse bada rupayya”
(Not father, not brother, the greatest is money) that is the slogan of today.
Mammon has assumed primacy in the world. Jesus tells us, “You cannot serve two
masters” (Mt 6:24). But, idolatry of “I” is reaching greater heights. The place
of one true God is taken over by demi-gods, competing for our allegiance. The
Revelation gives us three lists of sins. In the modern world, all ethical norms
are thrown to the wind and the culture of death is promoted through abortion, euthanasia,
same-sex marriage, genetic modifications, abuse of technology, etc.
c) Know
God, Know Salvation:
In the midst of this world, where apparently evil force is having its sway, we
are invited to know the true nature of God, i.e. God is love. He loves
passionately and he desires all to come to him and be saved. The so-called
“wrath” is also expression of his love, calling all to repentance. Once we know
the all-powerful, all-loving, merciful and just God, then we will not lose
heart in the face of the evil. We will be reflectors of God’s light in the
world. We will go through continual process of repentance. We will struggle
with the evil forces within and without and persevere in faith. Because we know
that in God and in the slaughtered and standing lamb, our salvation lies.
d) Repent and Return: Even if we have been far away
from God, we are not doomed. Through trumpet warnings, God gives us chances to
come back. Trumpet judgments are only partial. It is never too late. Surrendering to God and giving
witness to him will ascertain eternal life for us.
Conclusion
The book of Revelation is a highly dynamic book. It is a
revolutionary and subversive piece of work. The allusion to Egyptian plagues makes
this book a second Exodus. Just as Exodus, God’s definitive intervention in the
history formed the people of God, Israel. In a similar way, new Israel, the
kingdom of God is formed by Gods’ continual intervention in the history through
the faithful witness of the Church. It is not easy. Church also falters and
fails and that is why the trumpet call keeps us on our toes and calls us to
continuous conversion of heart so that God and his lamb may be glorified by all
(5:13), Amen.
BIBLIOGRAPHY
Aune, D. E. Revelation
6-16. The Word Biblical Commentary, Vol. 52B. Dallas: Word Books, 2002
Collins, Adela Yarbo. The Apocalypse. Collegeville: The
Liturgical Press, 1990.
Fallon, Michael. The Apocalypse:
A Call to Embrace the Love that is Stronger than Death. Bangalore: Asian
Trading Corporation, 2005.
Ford, J. M. Revelation. The Anchor Yule Bible
Commentary. London: Yale University Press, 2008.
Harrington, Wilfrid J. The
Apocalypse of St. John. London: Geoffrey Chapman, 1969.
Jones, Ivor H. “Musical
Instruments,” The Anchor Bible Dictionary, Vol. 4. New York: Doubleday:
1992; 934-939.
Mounce, Robert. The
Book of Revelations Revised. The New International Commentary on the New
Testament (NICNT). Michigan: Grand Rapids, 1977.
Vincent, Marvin R. The
Writings of John. Word Studies in the New Testament, Vol. II Massachusetts:
Henrickson, 1980.
Table of Contents
[1] A
popular saying modified: ‘from sin (if there is sin)’ is my personal addition.
[2] Michael Fallon, The Apocalypse: A
Call to Embrace the Love that is Stronger than Death (Bangalore: Asian
Trading Corporation, 2005), 61.
[3] Wilfrid
J. Harrington, The Apocalypse of St. John (London: Geoffrey Chapman,
1969), 26.
[4] Robert Mounce, The
Book of Revelations Revised (NICNT; Michigan: Grand Rapids, 1977), 34.
[5] See David E. Aune, Revelation
6-16 (WBC 52B; Dallas: Word Books, 2002), 497.
[6] Harington, Apocalypse of St. John,
23.
[7] Adela Yarbo Collins, The
Apocalypse (Collegeville: The Liturgical Press, 1990), xi.
[8] Fallon, Apocalypse, 11.
[9] Fallon, Apocalypse, 66.
[10] Collins, Apocalypse, xii-xiii.
[11] Harrington, Apocalypse of
St. John, 26-28.
[12] Collins, Apocalypse, 56.
[13] For detailed discussion on the use
of trumpets in OT and intertestamental period, see Ivor H. Jones, “Musical Instruments,” The Anchor
Bible Dictionary, Vol. 4 (New York: Doubleday: 1992; 934-939), 939.
[14] Collins, 57-58.
[15] Jones, “Musical Instruments”, 939.
[16] J. Massyngberde Ford, Revelation (ABC; London:
Yale University Press, 2008), 134
[17]
Harrington, Apocalypse of St. John,134.
[18] See Aune,
Revelation 6-16,498.
[19] Harrington, Apocalypse of
St. John, 135.
[20] Collins, Apocalypse, 58.
[21] Fallon, Apocalypse, 63.
[22] Collins, Apocalypse, 60-61.
[23]Aune, Revelation 6–16, 525.
[24]Aune, Revelation 6–16, 526.
[25] Collins, Apocalypse, 60.
[26] Marvin R. Vincent, The Writings of John (Word Studies in the NT, II
Massachusetts: Henrickson, 1980), 508.
[27] For detailed discussion, see
Vincent, Writings of John, 508-09.
[28] Ford, Revelation, 151.
[29]Aune, Revelation, 533.
[30] Ford, Revelation, 151.
[31]
Aune, Revelation 6–16, 534.
[32]
Ford, Revelation, 152.
[33] Aune, Revelation 6–16, 530.
[34] Ford, Revelation, 149.
[35] Aune, Revelation 6–16, 527.
[36] Ford, Revelation, 153.
[37] Vincent, Writings of St. John, 509.
[38] Aune, Revelation 6–16, 538.
[39] Aune, Revelation 6–16, 538.
[40] Aune, Revelation 6–16, 539.
[41] Aune, Revelation 6–16, 541.
[42] Collins, Apocalypse, 63.
[43] Ford, Revelation, 155.
[44]Aune, Revelation 6–16, 542.
[45] Fallon, Apocalypse, 67.
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