VERSE 1 When the Lamb [He] broke the seventh seal (Kai. o[tan h;noixen th.n sfragi/da th.n e`bdo,mhn [conj kai + conj hotan when + aor.act.ind.3s. anoigo open + art.w/noun acc.f.s. sphragis seal + art.w/adj.acc.f.s. ebdomos seventh], there was silence in heaven for about half an hour [evge,neto sigh. evn tw/| ouvranw/| w`j h`miw,rion [aor.dep.ind.3s. ginomai come to be + noun nom.f.s. sige silence, quiet + prep en + art.w/noun loc.m.s. ouranos heaven + conj hos as, like, something like; "about" + noun acc.nt.s. hemiorion half an hour; 1x]).

ANALYSIS: VERSE 1

1. The intercalation on "The Servants of God" (chap. 7) having ended, the numerical sequence of the seals picks up from the end of chapter 6 as the Lamb opens the 7^th and last seal.
2. The repetition of "And when He opened the seventh seal" signals a continuation of the seal-series from 6:12 (cf. also 6:1, 3, 5, 7, 9).
3. The scene shifts back to the throne room in the 3^rd heaven with the Lamb as the approved agent for opening the seals with the corresponding wrath poured out on the nations.
4. The breaking of the final seal brings an unexpected result: "there was silence in heaven for about half an hour."
5. This silence contrasts with the previous openings and has proved a puzzle for interpreters, resulting in five proposals: (1) It is a silence at the beginning fo the sabbatical rest or the Millennium. (2) It is not literal silence because of the continuing heavenly songs, but is a brief cessation in judgment. (3) It is a temporary suspension of the revelations granted to John. (4) It is a pause in the heavenly praises to allow the prayers of the saints to be heard before the throne. (5) It is a dramatic pause to symbolize the awe and dread with which the heavenly hosts await the events about to happen.
6. View number makes the 7^th seal a display of blessing when in fact it is a display of wrath like the preceding seals.
7. This same consideration rules out view number 2 since the 7^th seal is not a cessation in judgment.
8. The third proposal has merit only in the sense that there is a very brief cessation of judgment, but it is more accurate not to call it a cessation of revelation.
9. The problem with view number four is that the prayers of the saints come after the period of silence and not during it.
10. The fifth view has the silence as preparatory for what is about to happen and is most consistent with the immediate context of chapter 8.
11. So when the 7^th seal is opened a great hush settles over the worshipping hosts of heaven.
12. For a period of about thirty minutes there is a breathless silence as all await the judgments of the scroll now fully unsealed.
13. Kiddle judges it a "brilliant device for deepening the suspense."
14. It is akin to the restraining of the four winds of destruction (7:1-3) and the sealing up of the utterance of the seven thunders (10:4).
15. So the silence is neither a symbol of eternal rest nor a necessary precaution so God can hear the prayers of the saints.
16. It is a dramatic pause that makes even more impressive the judgments about to fall upon the earth.
17. Although thirty minutes is a relatively short period, it would be an impressive break in such a rapidly moving drama.
18. One view sees the angelic activity of verses 2-5 taking place during this interval of silence.
19. Trumpets are given to the seven angels before the throne.
20. An angel standing over the altar mingles incense with the prayers of the saints, and taking fire from the golden altar fills his censer and casts it down upon the earth.
21. The intensity of the scene is heightened incredibly by the complete absence of any sound.
22. The silence is broken by the sounds described in verse 5.
23. The natural view is that the actions described in verses 2-5 as taking place immediately after the thirty minutes of silence (and in inactivity).
24. Earlier chronological placement of the first six seals in the first half of the prophetic week of Daniel dictates that the first trumpet (v. 7) happens early in the last half of that week.

Preliminary to the Sounding of the Trumpets (vv. 2-5)

VERSE 2 And I saw the seven angels who stand before God (kai. ei=don tou.j e`pta. avgge,louj oi] evnw,pion tou/ qeou/ e`sth,kasin [conj kai + aor.act.ind.1s. eidon see + art.w/adj.acc.m.p. heta seven + noun acc.m.p. angelos angel + rel.pro.nom.m.p. hos who + prep enopion before + art.w/noun gen.m.s. theos God + perf.act.ind.3p. histemi stand], and seven trumpets were given to them [kai. evdo,qhsan auvtoi/j e`pta. sa,lpiggej [conj kai + aor.pass.ind.3p. didomi give + pro.dat.m.p. autos + adj.nom.f.p. hepta seven + noun nom.f.p. salpingz trumpet]).

ANALYSIS: VERSE 2

1. A new development of "and I saw" marks a new phase of John’s 7^th seal vision.
2. This scene presumably follows the half hour of silence and includes preparatory actions relative to the trumpet series (8:2-6) and the sounding of the first four trumpets (vv. 7-12), the next "and I saw" not coming until 8:13.
3. Because of the definite article with "angels" some have identified these angels as a special group within the angelic hierarchy, possibly archangels.
4. The perfect indicative "stand" indicates continuing results from some undetermined time in the past.
5. Another support for this identification is a similar description of Gabriel’s position before God in heaven in Lk. 1:19.
6. Two things work against this proposed identification.
7. These seven are missing from the description of the heavenly company in chapters 4-5.
8. An angel distinct from this group offers ceremonially the prayers of the saints in vv. 2-5.
9. If such were a special group of long-standing, certainly one of them would have performed this task.
10. The perfect tense of the verb "stand" simply puts them in a position similar to that of Gabriel.
11. The view that sees them as seven archangels is based on a Jewish tradition that identifies them as Uriel, Raphael, Michael, Saraqael, Gabriel, and Remiel.
12. We must not place any stock in the traditions of men!
13. The preferable course is to explain the definite article as pointing out a specific group, not one based on Jewish tradition.
14. This group was chosen by God to sound the seven trumpets which symbolically initiate the trumpet afflictions.
15. This satisfies the natural sense of the language, and no valid reasons points to another understanding.
16. John saw the seven angels receive seven trumpets.
17. Trumpets played an important role in the national life of ancient Israel, finding use in procession (e.g., Josh. 6:1; 1 Chron. 15:24), in assembling people for war and special feasts (e.g., Num. 10:9-10), and in announcing the new year (e.g., Num. 29:1).
18. The New Year began with a holiday called the Feast of Trumpets (Lev. 23:24).
19. The Rapture of the church will be associated with the sound of a trumpet (1 Thess. 4:16); in fact, a trumpet blast will signal the resurrection of church age believers, whether alive or deceased.
20. Here the trumpets and the wrath they unleash are precursors to "the war of the great day of God, the Almighty" (Rev. 16:14, e.g., Armageddon).

Prayers of the Saints (vv. 3-4)

VERSE 3 Another angel came and stood at the altar (Kai. a;lloj a;ggeloj h=lqen kai. evsta,qh evpi. tou/ qusiasthri,ou [conj kai + adj.nom.m.s. allos another + noun nom.m.s. angelos + aor.act.ind.3s. erchomai come + conj kai + aor.pass.ind.3s. histemi stand + prep epi, on, at + art.w/noun gen.nt.s. thusiasterion altar], holding a golden censer; and much incense was given to him [e;cwn libanwto.n crusou/n( kai. evdo,qh auvtw/| qumia,mata polla. [pres.act.part.nom.m.s. echo have; "holding" + noun acc.m.s. libanos frankincense; but with the adjective "golden" is means here and in v. 5 "censer" or "firepan" + adj.acc.m.s. chrusous golden + conj kai + aor.pass.ind. didomi give + pro.dat.m.s. autos "to him" + noun nom.nt.p. thumiama incense + adj.nom.nt.p. polus much], so that he might add it to the prayers of all the saints on the golden altar which was before the throne [i[na dw,sei tai/j proseucai/j tw/n a`gi,wn pa,ntwn evpi. to. qusiasth,rion to. crusou/n to. evnw,pion tou/ qro,nou [conj hina so that (purpose) + fut.act.ind.3s. didomi give; "add" + art.w/noun dat.f.p. proseuche prayer + art.w/adj.gen.m.p. hagios holy; saint + adj.gen.m.p. pas all + prep epi on + art.w/noun acc.nt.s. thusiasterion altar + art.w/adj.acc.nt.s. chrusous golden + art.w/prep enopion before + art.w/noun gen.m.s. thronos throne]).

ANALYSIS: VERSE 3

1. As John watched, another angel with a golden censer came on the scene and stood before the altar of incense.
2. The purpose of this angel is not to perform a mediatorial function, but rather to serve to underscore something that is in the process of taking place, e.g., the answering of a particular prayer petition offered up by believers through the ages.
3. The only mediator between God and man is Jesus Christ (1 Tim. 2:5 "For this one God, and one mediator between God and men, the man Christ Jesus."
4. Therefore all prayers to angels and saints are completely bogus.
5. The protocol of prayer is to address God the Father in the name of Jesus Christ (cf. Lk. 11:2 "And He said to them, "When you pray, say: ‘Father, hallowed be Your name. Your kingdom come.’).
6. This angel of the same category (allos, "another of the same kind") as those in verse 2.
7. He simply is assigned the duty of taking the provided incense with a view to performing a ritual.
8. The elements of the ritual are incense and glowing coals of fire.
9. The reality behind the ritual is God answering the prayers of the saints with respect to the establishment of the promised messianic kingdom (i.e., the Millennial Age).
10. Incense is used in Scripture as a symbol for prayer.
11. The stimulating aroma of the incense depicts acceptable prayer before God (cf. Ps. 141:2 "May my prayer be counted as incense before You.").
12. Under the ceremonial code (part of the Mosaic Law) of ancient Israel, the holy incense was a particular formulation, which was forbidden for common usage (cf. Ex. 30:34-38).
13. This incense was to be brought to the altar of incense situated before the veil in the holy place before the most holy place of the tabernacle and temple.
14. It was there the officiating priest was to offer up incense daily symbolizing the prayers of the nation before God.
15. The prototype (archetype, first of its kind) in the throne room is the one in view in the present verse.
16. The altar of incense is featured in the Apocalypse at 6:9; 8:3, 5; 9:13; 16:7; but not 11:1).
17. The altar of incense in the Jewish tabernacle and temple was built according to divine specifications (cf. Ex. 37:25-27; cp. Ex. 30:27; 31:8; 35:15; 40:5; 1 Chron. 6:49; 28:18; 2 Chron. 26:16, 19; Lk. 1:11; Heb. 9:4).
18. Incense that was not according to the spices and their proportions prescribed under the Law illustrated "strange incense" or bogus prayers (cf. Ex. 30:9; see Doctrine of Prayer for details).
19. This prototype stands before God’s throne.
20. The "golden censer," sometimes referred to as a "firepan," was an implement used in Solomon’s temple (cf. 1 Kgs. 7:50; 2 Kgs 25:15; 2 Chron. 4:22; Jer. 52:18-19).
21. The term is derived from libanos ("frankincense") (Matt. 2:11; Rev. 18:13), libantos is used in the LXX to refer to "incense" or "frankincense" (e.g., 1 Chron. 9:27, LXX).
22. It is found only in Rev. 8:3, 5 in the NT, and it means "censer."
23. The adjective "golden" decides for the meaning "censer" instead of "incense."
24. Frankincense was the lead ingredient in the holy incense of the ritual code of Israel.
25. The angel approaches the throne with a golden censer containing burning coals.
26. The next step in the drama was for the angel to receive from God "much incense" to offer on the altar of incense.
27. Though the source of the incense is unstated, customary usage in Revelation of "was given" indicates that it was from God (cf. 6:2, 4, 8, 11; 7:2; 9:1, 3, 5; 11:1, 2; 13:5, 7, 14, 15; 16:8; 19:8; 20:4).
28. Incense in OT ritualistic worship served as a reminder of intercessory prayer.
29. The sweet aromatic fragrance put off when the incense was placed on coals of fire symbolized the efficacy of prayer before God.
30. When the officiating priest performed the ritual a fragrant cloud filled the tabernacle.
31. It was a reminder of the importance of prayer in the life of the people.
32. This connection between incense and the prayers of the saints occurs here and in 5:8.
33. In this 8:3 "much incense" is the same as the prayer of the saints.
34. Grammatically "the prayers" can mean "consisting of the prayers of the saints."
35. But this metaphor differs from 5:8, with the prayers corresponding to the live coals on which the grains of incense fall.
36. The meeting of the incense and hot coals produces a fragrant smoke cloud, a symbol of divine acceptance.
37. It is better to observe the contextual distinction between incense and prayers.
38. The angel adds "much [more] incense" to the prayers to increase greatly the volume of aromatic smoke.
39. The prayers and the incense ascend together (8:4).
40. The preferable understanding of tas proseuchais ("on behalf of the prayers") is a dative of advantage.
41. The offering of incense is to help the prayers, i.e., to make them more acceptable to God.
42. This does not assign a mediatorial role to the angel, but it simply says that h prayers rise directly to God, being reinforced by the accompanying incense.
43. In the context of the Apocalypse the prayers are unquestionably the cries of the saints during the future Great Tribulation for judgment against their persecutors.
44. The prayers are prayers for vindication with an understanding that the long promised kingdom is about to be established.
45. This being the case, it is improper to see them as the prayers of all the saints of all time.
46. Martyrs in heaven will be a significant element in these added prayers, but the number of future tribulation causalities will not be limited to them.
47. It is very important to keep in mind that the "much incense" given to the officiating angel is the prayers of the all the pre-tribulational saints of all the ages who have petitioned God on behalf of the promised kingdom.
48. The model prayer features a petition of this kind (Matt. 6:10 "Your kingdom come, Your will be done, on earth as it is in heaven.").
49. Again, the prayers that are added are the prayers of the tribulational saints in heaven, that they offered while under duress on earth, and the incense represented by the incense given to the angel, represent the prayers through the past ages of the saints, who of course are in heaven at this juncture; namely, the mid point of the tribulation.
50. The focal point of the prayers is the golden altar before God’s throne, the place of origination of the final judgments, or the trumpet judgments, culminating in the coming of Christ to establish on earth the eternal kingdom.

Answered Prayer Illustrated (v.4)

VERSE 4 And the smoke of the incense, with the prayers of the saints (kai. avne,bh o` kapno.j tw/n qumiama,twn tai/j proseucai/j tw/n a`gi,wn [conj kai + aor.act.ind.3s. anabaino ascend, go up, move upward; "went up" + art.w/noun nom.m.s. kapnos vapor, fume, smoke + art.w/noun gen.nt.p. thumiama incense + art.w/noun instr.f.p. proseuche prayer + art.w/adj.gen.m.p. hagios saint], went up before God out of the angel's hand [evk ceiro.j tou/ avgge,lou evnw,pion tou/ qeou/ [prep ek from + noun abl.f.s. cheir hand + art.w/noun gen.m.s. angelos angel + prep enopion before + art.w/noun gen.m.s theos God]).

ANALYSIS: VERSE 4

1. The symbolism of verse 4 suggests prayers answered.
2. All the prayers of the saints to this point in the angelic conflict, namely the mid point of the tribulation are seen the process of being answered.
3. The drama with the angel at the golden altar to incense before God’s throne underscores this fact.
4. The many prayers on behalf of the inauguration of the kingdom age are now in the final process of being answered.
5. This process includes the subjugation of all enemies angelic and human.
6. "The smoke of the incense" represents divine acceptance.
7. An answered petition is one that God if free to act upon.
8. When He acts he honors the request of the one offering the prayer.
9. In all prayer there is either instant response or there is necessary delay.
10. Prayers related to the inauguration of the kingdom have all been put on hold since other factors have to be in place before the prayer for the Lord’s coming can be realized.
11. The smoke resulting from the burning of the incense indicates prayer that is answered.
12. The incense itself indicates the prayer itself.
13. The contact with the fire of the coals and the resultant smoke indicates answered prayer.
14. Here, the answered prayer is for the final seal judgments to be enacted so Christ can return in power and glory.
15. This petition has been offered in forms and times over the course of human history.
16. Because of the maturation of the season, the smoke indicates realized immanency.
17. All that stands in the way of the messianic kingdom is the judgments associated with the seven trumpets of the 7^th seal.
18. In v. 4 the phrase "with the prayers of the saints" is an associative instrumental.
19. The smoke produced by the burning incense, which symbolizes the prayers of pre-tribulational saints, rises in the company of the prayers of the tribulational saints.
20. Their prayers are "added" to the prayers of previous generations of believers.
21. This ceremony is accomplished not at the end of the tribulation but at the mid-point.
22. This fact underscores the significance of the 7^th seal with its seven trumpets and seven bowls of wrath as compared to seals one through six.
23. The second half the seven years is the home stretch so to speak.

An Interlude (v.5)

VERSE 5 Then the angel took the censer and filled it with the fire of the altar (kai. ei;lhfen o` a;ggeloj to.n libanwto,n kai. evge,misen auvto.n evk tou/ puro.j tou/ qusiasthri,ou [conj kai + perf.act.ind.3s. lambano take, receive + art.w/noun nom.m.s. angelos + art.w/noun acc.m.s. libanos frankincense; "censer" + conj kai + aor.act.ind.3s. gemizo fill + pro.acc.m.s. autos it + prep ek from; "with" + art.w/noun abl.nt.s. pur fire + art.w/noun gen.nt.s. thusiasterion altar], and threw it to the earth; and there followed peals of thunder and sounds and flashes of lightning and an earthquake [kai. e;balen eivj th.n gh/n( kai. evge,nonto brontai. kai. fwnai. kai. avstrapai. kai. seismo,j [conj kai + aor.act.ind.3s. ballo throw + prep eis to + art.w/noun acc.f.s. ge earth + conj kai + aor.dep.ind.3p. ginomai become; "followed" + noun nom.f.p. bronte the rolling sound associated with a flash of lightning + conj kai + noun nom.f.p. phone sound; reverberation + conj kai + noun nom.f.p. astrape lightning + conj kai + noun nom.m.s. seismos earthquake, a shaking; used of the sea during a tempest or violent storm]).

ANALYSIS: VERSE 5

1. The final item before the trumpet series begins brings the inhabitants of the earth into the picture.
2. The angel takes burning coals from the heavenly altar of incense and fills his censer and hurls the coals earthward.
3. This connotes judgment about to be unleashed in answer to the prayers connected with the altar of verses 3 and 4.
4. The connection between the divine wrath about to fall and the prayers of God’s people is conspicuous.
5. The censer with its burning coals is associated with judgment.
6. Whenever God honors prayer it is an act of God’s will and is in effect a judgment rendered by Him on behalf of those who pray according to the will of God.
7. In this case, the answer includes bringing wrath against humanity living in the second half of the tribulation.
8. Because until this is done, it is not in the divine program to bring in the kingdom age.
9. Christ cannot return in victory and vindication until the things associated with the seven trumpets have transpired in accordance with the eternal decrees of God.
10. Fire is associated with judgment in the Bible whether it is the eternal fire of the unbelievers or the fire of the altar of burnt offering.
11. The fire associated with the altar of incense indicates divine judgment executed even on behalf of the adjusted.
12. God always renders judgment in accordance with His perfect character and the truth of His revealed word.
13. Even in acts of grace God renders judgment.
14. His perfect love does not extend its benefits a part from the satisfaction of God’s +R and J.
15. It is the responsibility of believers to pray for the inauguration of perfect righteousness on earth, and it is God’s prerogative to determine the time and the means of its accomplishment.
16. Following the violent casting of burning coals toward planet earth, follows a storm theophany.
17. The hurling of fire to the earth recalls the saint’s question of 6:10, "How long?" and signals that an answer to their plea is on the way.
18. This is the second such theophany thus far in the Apocalypse (cf. 4:5).
19. A theophany is a manifestation of deity either on earth (like the burning bush) of one in heaven proper, such has we see here.
20. What we see here is a storm theophany, accompanied with an earthquake or a shaking.
21. The earthquake is an added feature not seen in the earlier theophany of 4:5.
22. This heavenly theophany does not necessarily imply associated natural trauma on earth.
23. It seems best to relegate this theophany with the breaking of the silence of verse 1.
24. Earth’s inhabitants are about to experience this display of divine displeasure in the form of the trumpet and bowl judgments that immediately follow.
25. Like the theophany at Sinai, at the giving of the Law, the world will soon tremble at the onslaught of divine wrath designed to purge the heavens and earth of wickedness.

Close of the Interlude (v. 6)

VERSE 6 And the seven angels who had the seven trumpets prepared themselves to sound them (Kai. oi` e`pta. a;ggeloi oi` e;contej ta.j e`pta. sa,lpiggaj h`toi,masan auvtou.j i[na salpi,swsin [conj kai + art.w/adj.nom.m.p. hepta seven + noun nom.m.p. angelos + art.w/pres.act.part.nom.m.p. echo have + art.w/adj.acc.f.p. hepta seven + noun acc.f.p. salpingx trumpet + aor.act.ind.3p. hetoimazo prepare, make ready + conj hina (purpose) + aor.act.subj.3p. slapinzo sound or blow the trumpet]).

ANALYSIS: VERSE 6

1. To close the interlude, the seven angels reappear and prepare to blow their trumpets.
2. Their preparatory activity, probably in a deliberate arranging of themselves in the proper order and raising their trumpets in readiness to sound, heightens the sense of expectancy even more.
3. The signal for them to prepare was the presentation of incense on the altar (v.3) and the casting of fire earthward (v.5).
4. Following the pattern of the seal series, the first four trumpets are different in kind from the last three.
5. These four set in motion the forces of nature to achieve their destructive effects within the natural world.
6. Of the fifteen items affected by the plagues associated with the blowing of the first four trumpets, one-third receives major injury or complete destruction in twelve instances (vv. 7, 10, 11 being the exceptions).
7. On the other hand, in the last three trumpets, sustaining human life in the face of demonic onslaughts is the major concern.
8. Like the seven bowls to follow (arising out of the 7^th trumpet), the trumpet series has reminiscences of OT plagues against Egypt─the 1st trumpet paralleling the 7^th Egyptian plague (Ex. 9:24), the 2^nd trumpet recalling the 9^th plague (Ex. 10:21), and the 5^th trumpet paralleling the 8^th plague (Ex. 10:12).
9. Both series are judgments against the enemies of God.

First Trumpet: Destruction of Vegetation (v. 7)

VERSE 7 The first sounded, and there came hail and fire, mixed with blood (Kai. o` prw/toj evsa,lpisen\ kai. evge,neto ca,laza kai. pu/r memigme,na evn ai[mati [conj kai + art.w/adj.nom.m.s. protos first + aor.act.ind.3s. salpizo sound, blast + conj kai + aor.dep.ind.3s. ginomai "there came" + noun nom.f.s. chalaza hailstone, hail; cf. 11:19; 16:21 + conj kai + noun nom.nt.s. pur fire + perf.pass.part.nom.nt.p. mignumi mix, mingle + prep en + noun instr.nt.s. haima blood], and they were thrown to the earth [kai. evblh,qh eivj th.n gh/n [conj kai + aor.pass.ind.3s. ballo cast, throw + prep eis to + art.w/noun acc.f.s. ge earth]; and a third of the earth was burned up [kai. to. tri,ton th/j gh/j kateka,h [conj kai + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.f.s. ge earth + aor.pass.ind.3s. katakaio burn (up), destroy by burning], and a third of the trees were burned up [kai. to. tri,ton tw/n de,ndrwn kateka,h [conj kai + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.nt.p. dendron tree + aor.pass.ind.3s. katakaio burn (up), and all the green grass was burned up [kai. to. tri,ton tw/n de,ndrwn kateka,h kai. pa/j co,rtoj clwro.j kateka,h [conj kai + adj.nom.m.s. pas all + noun nom.m.s. chortos grass + adj.nom.m.s. chloros green + aor.pass.ind.3s. katakaio burn (up)]).

ANALYSIS: VERSE 7

1. In contrast to the last three trumpets, the first four afflict natural objects, i.e., earth, trees, grass, sea, rivers, and the like.
2. The 5^th and 6^th have men as their special objects, and unlike the first four which are connected and interdependent, are separate and independent.
3. In contrast to these two, the first four have only an indirect effect upon mankind.
4. Besides these differences, the voice of the eagle in 8:13 separates the trumpets into two groups.
5. All humanity, except the 144,000 are adversely affected by the trumpet judgments.
6. The effect on believers is testing, while the divine visitation upon unbelievers is to lead them to repentance (cf. 9:20-21).
7. This latter purpose is realized in only limited cases.
8. The afflictions of the trumpets are much more supernatural in nature than the first six seal judgments.
9. The judgments beginning with the sounding of the 1^st trumpet were held back until the servants of God were sealed.
10. The combination of hail, fire and blood resembles volcanic activity in the Mediterranean basin that John was no doubt familiar with.
11. However, the regular use of OT material in the Apocalypse argues for a harbinger of Ex. 9:24 in this description (cf. Ps. 105:32).
12. Hail and stones fell in a shower of "blood" as hail and/or volcanic fireballs commonly fall in a shower of rain.
13. The allusion to the 7^th plague of Egypt (Ex. 9:23-24) is clear, except here blood is added to the feature.
14. The combining of fire and blood recalls an end-time feature in Joel 2:30, but this is not the same event.
15. The OT prophets understood that the miracles of Egypt were to be repeated in the future (e.g., Isa. 10:22-25; 30:30; Jer. 16:14-15; 23:7-8; *Ezek. 38:22; Mic. 7:15).
16. The question is whether or not the blood element is to be taken literally.
17. Blood is employed in Scripture literally and metaphorically.
18. This storm falling from the sky is red in color.
19. The hail is probably large rocks.
20. Fire supplies the heat associated with this phenomenon.
21. The casting of hail and fire mixed with blood has a threefold result.
22. The threefold repetition of the verb "burned up" (aor.pass.ind. katabaino) is for dramatic effect.
23. The destructive power of this plague lies in the fire that burns major portions of the earth’s vegetation.
24. It was the hail in the comparable Egyptian plague that wrought destruction of vegetation (Ex. 9:25).
25. The first object in the list is one third of all trees were destroyed around the world.
26. The second object is destruction upon "all green grass."
27. This poses a dilemma, because grass still exists when the 5^th trumpet commences ((:4).
28. A time lapse between the 1^st and 5^th trumpets allows time for the grass to recoup.
29. This plague seems to match up with what we know about volcanic activity which includes rocks ("hail"), fire and blood or a red effect.
30. However, there seems to be no good reason to take blood metaphorically.
31. Blood is also featured in the 2^nd trumpet judgment.
32. If this is strictly a supernatural phenomenon then anything is possible.

Second Trumpet (vv. 8-9)

VERSE 8 The second angel sounded, and something like a great mountain burning with fire was thrown into the sea (Kai. o` deu,teroj a;ggeloj evsa,lpisen\ kai. w`j o;roj me,ga puri. kaio,menon evblh,qh eivj th.n qa,lassan [conj kai + art.w/adj.nom.m.s. deuteros second + noun nom.m.s. angelos + aor.act.ind.3s. salpinzo sound + conj kai + conj hos like + noun nom.nt.s. oros mountain + adj.nom.nt.s. megas great + noun instr.nt.s. pur fire + pres.pass.part.nom.nt.s. kaio burn + aor.pass.ind.3s. ballo throw + prep eis into + art.w/noun acc.f.s. thalassa sea]; and a third of the sea became blood [kai. evge,neto to. tri,ton th/j qala,sshj ai-ma [conj kai + aor.dep.ind.3s. ginomai become + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.f.s. thalassa sea + noun nom.nt.s. haima blood]),

VERSE 9 and a third of the creatures which were in the sea and had life, died (kai. avpe,qanen to. tri,ton tw/n ktisma,twn tw/n evn th/| qala,ssh| ta. e;conta yuca,j [conj kai + aor.act.ind.3s. apothnesko die + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.nt.p. ktisma creature + art.gen.nt.p. ta "which were" + prep en + art.w/noun thalassa sea + art.w/pres.act.part.nom.nt.p. echo has "had"; this participle stands in apposition with the genitive of "the living creatures"; this appositional nominative, a grammatical rarity, is rather common in Revelation (cf. 2:13, 20; 3:12; 9:14; 14:12) + noun acc.f.p. psuche soul; "life"]; and a third of the ships were destroyed [kai. to. tri,ton tw/n ploi,wn diefqa,rhsan [conj kai + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.nt.p. ploion ship + aor.pass.ind.3p. diaphtheiro utterly destroy]).

ANALYSIS: VERSES 8-9

1. One opinion sees the mountain as representing a great kingdom (e.g., Babylon).
2. The figure of a mountain to represent a kingdom is an occasional figure in the OT (e.g., Ps. 48:1; Jer. 51:25).
3. What works against this interpretation in the present instance is the use of the comparative conjunction hos ("like") to indicate it was not an actual mountain, but a burning mass so large as to be like a "great mountain."
4. It confuses the metaphorical sense, and then to use it as a simile to identify the object.
5. A second view has connected the fall of the mountain-like object with volcanic activity.
6. But this also falters in that it was not something from the mass, but the mass itself that fell into the sea.
7. This allows for the comparative hos and falls into the category of falling "stars" from heaven under the 6^th seal.
8. This maintains a basically literal approach to the text that incorporates provisions for figurative language when the text itself so indicates.
9. "The sea" into which it the burning mass is thrown is the sea as a whole, not just the Mediterranean Sea.
10. Is this actual blood or only a blood-like color?
11. The sea around Tera, an island near Patmos where volcanic eruptions were frequent, was often a bright orange color.
12. This may be what the description means, but it is doubtful, because the text says the sea becomes blood, not like blood.
13. On the basis of his vision John believed that a large part of the earth’s seas, quite literally, turn to blood as it had under the first plague in Egypt.
14. On a natural level it is impossible for an object like a burning mountain to turn one-third of the sea into blood, cause one-third of marine life to perish, and destroy one-third of all shipping vessels.
15. The impact of this trumpet is beyond anything the advance of science has a frame of reference for.
16. Man is in no position to question the manner and extent of what God devises and implements.
17. The noun ktisma refers to something created (cf. 1Tim. 4:4; Jam. 1:18), which in this context must mean marine life.
18. Ships on the high seas meet with calamity when this calamity strikes.
19. They meet with destruction attributing a quasi personal life to ships in view of their human crews.

Third Trumpet Judgment (vv. 10-11)

VERSE 10 The third angel sounded, and a great star fell from heaven, burning like a torch (Kai. o` tri,toj a;ggeloj evsa,lpisen\ kai. e;pesen evk tou/ ouvranou/ avsth.r me,gaj kaio,menoj w`j lampa,j [conj kai + art.w/adj.nom.m.s. tritos third + noun nom.m.s. angelos + aor.act.ind.3s. salpinzo sound + conj kai + aor.act.ind.3s. pipto fall + prep ek + art.w/noun abl.m.s. ouranos heaven, sky + noun nom.m.s. aster star + adj.nom.m.s. megas great + pres.pass.part.nom.m.s. kaio burn + conj hos like + noun nom.f.s. lampas torch; lamp], and it fell on a third of the rivers and on the springs of waters [kai. e;pesen evpi. to. tri,ton tw/n potamw/n kai. evpi. ta.j phga.j tw/n u`da,twn [conj kai + aor.act.ind.3s. pipto fall + prep epi upon + art.w.adj.acc.nt.s. tritos third + art.w/noun gen.m.p. potamos river, stream + conj kai + art.w/noun acc.f.p. pege fountain, spring + art.w/noun gen.nt.p. hudor water]).

VERSE 11 The name of the star is called Wormwood (kai. to. o;noma tou/ avste,roj le,getai o` :Ayinqoj [conj kai + art.w/noun nom.nt.s. onoma name + art.w/noun gen.m.s. aster star + pres.pass.ind.3s. lego be called + art.w/noun nom.m.s. Apsinthos signifying bitterness; "Wormwood"]; and a third of the waters became wormwood [kai. evge,neto to. tri,ton tw/n u`da,twn eivj a;yinqon [conj kai + aor.act.ind.3s. ginomai become + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.nt.p. hudor water + prep eis into + art.w/noun acc.f.s. apsinthos wormwood, absinthe, dark green oil made from certan strong-smelling plants with white or yellow flowers; alcoholic; called wormwood and used to kill intestinal worms], and many men died from the waters, because they were made bitter [kai. polloi. tw/n avnqrw,pwn avpe,qanon evk tw/n u`da,twn o[ti evpikra,nqhsan [conj kai + adj.nom.m.p. polus many + art.w/noun gen.m.p. anthropos man + aor.act.ind.3p. apothnesko die + prep ek from + art.w/noun abl.nt.p. hudor water + conj hoti + aor.pass.ind.3p. pikraino become bitter]).

ANALYSIS: VERSES 10-11

1. The most natural understanding of this star falling from the sky is that it is a meteor.
2. Ancient usage of lampas ("torch") to denote a meteor shooting through the sky confirms this identification.
3. In 6:13 we took the term symbolically in light of the banishment of Satan and his angels, and the fact physical stars remain in their place as seen in the 4^th trumpet judgment.
4. This special star lands on and pollutes a third of earth’s fresh water systems, including rivers and springs.
5. This recalls the first Egyptian plague that contaminated the drinking-water supply (Ex. 7:21).
6. This was a familiar token of divine punishment (cf. Jer. 9:15).
7. The star is dubbed by humans Absinthos translated "Wormwood" in the English versions, a word found nowhere else in the Greek NT.
8. The OT equivalent is varo (rosh) and is so translated 8x (Deut. 29:18; Prov. 5:4; Jer. 23:15; Lam. 3:15, 19; Amos 5:7; 6:12).
9. It is used in the OT as a symbol for divine judgment.
10. Absinthos is a plant with a bitter taste appearing in several varieties in Palestine.
11. It was used medicinally to kill intestinal worms, hence the name wormwood.
12. It is made into a liqueur.
13. Wormwood was not a poison per se, but its consumption could lead to death.
14. Here however, the falling meteor is called "Wormwood" but the poison it spreads is deadly, whatever its classification.
15. It is clear from verse 11 that "many" but not all who drink the water polluted by the dispersion of this contaminate die.
16. This falling "star" scatters its deadly poison over one-third of earth’s fresh water systems be they rivers/streams or springs.
17. People have to drink water to survive and this results in many deaths in the areas affected.
18. The waters do not become literal Wormwood, but only embittered by it.
19. Probably the preposition eis would have been omitted from the text if the waters had become literal wormwood as in 8:8.
20. The blood in 8:8 is probably the same pollutant as in the 1^st plague of Egypt, meaning that one-third of the earth’s oceans do not become 100% blood!
21. It would not take allot of whatever this blood is to kill off marine and plant life in the oceans, as was the case with the Nile River in the time of Moses.
22. The particular contaminate, probably not actual wormwood, has as bitter unpleasant taste, and when taken in high concentrations leads to serious illness and even death for many.

The Fourth Trumpet Judgment (v. 12)

VERSE 12 The fourth angel sounded, and a third of the sun and a third of the moon and a third of the stars were struck (Kai. o` te,tartoj a;ggeloj evsa,lpisen\ kai. evplh,gh to. tri,ton tou/ h`li,ou kai. to. tri,ton th/j selh,nhj kai. to. tri,ton tw/n avste,rwn [conj kai + art.w/adj.nom.m.s. tetartos fourth + noun nom.m.s. angelos angel + aor.act.ind.3s. salpinzo sound + conj kai + aor.pass.ind.3s. plesso strike + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.m.s. helios sun + conj kai + art.w/adj.nom.nt.s. tritos third + art.w/noun gen.f.s. selene moon + conj kai + art.w/noun gen.f.p. aster star], so that a third of them would be darkened and the day would not shine for a third of it [i[na skotisqh/| to. tri,ton auvtw/n kai. h` h`me,ra mh. fa,nh| to. tri,ton auvth/j [conj hina (purpose) + aor.pass.subj.3s. skotizo become dark + art.w/adj.nom.nt.s. tritos third + pro.gen.m.p. autos it; "them" + conj kai + art.w/noun nom.f.s. hemera day + neg me + aor.act.subj.3s. phaino shine + art.w/adj.nom.nt.s. tritos third + pro.gen.f.s. autos "it"], and the night in the same way [kai. h` nu.x o`moi,wj [conj kai + art.w/noun nom.f.s. nux night + adv homoios in the same way]).

ANALYSIS: VERSE 12

1. In the restoration of the planet on D + 4, God established the sun to rule the day, and the moon and stars to rule the night (Gen. 1:14-19).
2. Darkening is as symbol for judgment in the OT.
3. Amos called the day of the Lord a day of darkness (Amos 5:18; cf. Isa. 13:10: Joel 2:2; Mk. 13:24).
4. The fourth trumpet contributes to that anticipation.
5. How the functional darkening of the heavenly bodies can produce a reduced duration of daylight, moonlight, and starlight is as puzzle.
6. Yet man’s ability to grasp the "how" of the cause and effect is no grounds to attribute error to the author.
7. The way this takes place belongs to the supernatural.
8. The Creator can certainly devise a means by which light coming to the earth from the heavens is reduced by one-third.
9. The object of the striking is the sun, moon and stars.
10. The verb plesso "to strike" has a cognate noun plege which is sometimes translated "plague."
11. The sun’s output will be reduced by one-third for an undetermined period of time, which will naturally affect the amount of light reflected by the moon (indirect).
12. This same striking will come against the stars of heaven reducing their magnitude accordingly.
13. The magnitude of the light coming to the earth from these sources will be reduced by one-third.
14. This will have a profound effect on the psychological well being, if not the physical well being, of all humanity.
15. One view sees this as a speeding up of the earth’s rotation to where a day and a night goes from 24 hours to 16 hours.
16. But the language indicates that the sun is struck and not the earth.

Angelic Announcement (v. 13)

VERSE 13 Then I looked, and I heard an eagle flying in midheaven (Kai. ei=don( kai. h;kousa e`no.j avetou/ petome,nou evn mesouranh,mati [conj kai + aor.act.ind.1s. eidon see + conj kai _ aor.act.ind.1s. akouo hear + adj.gen.m.s. eis one; "an" + noun gen.m.s. aetos eagle; vulture + pres.dep.part.gen.m.s. petomai fly + prep en + noun loc.nt.s. mesouranema midheaven, midair, directly overhead], saying with a loud voice, "Woe, woe, woe to those who dwell on the earth [le,gontoj fwnh/| mega,lh|( Ouvai. ouvai. ouvai. tou.j katoikou/ntaj evpi. th/j gh/j [pres.act.part.gen.m.s. lego say + noun instr.f.s. phone voice + adj.instr.f.s. megas great; "loud" + particle of interjection repetede 3x: ouai woe + art.w/pres.act.part.acc.m.p. katoikeo dwell, settle down + prep epi on + art.w/noun gen.f.s. ge earth], because of the remaining blasts of the trumpet of the three angels who are about to sound [evk tw/n loipw/n fwnw/n th/j sa,lpiggoj tw/n triw/n avgge,lwn tw/n mello,ntwn salpi,zein [prep ek (source) + art.w/adj.abl.f.p. loipos remainder, rest + noun abl.f.p. phone voice, sound; "blasts" + art.w/noun abl.f.s. salpingz trumpet + art.w/adj.gen.m.p. treis three + noun gen.m.p. angelos angel + art.w/pres.act.part.gen.m.p. mello be about + pres.act.infin. salpinzo sound]) !"

ANALYSIS: VERSE 13

1. John signals an interruption in the reporting of the sequence of trumpet judgments.
2. This brief interlude is designed to draw everyone’s attention to the extreme severity of the final trumpet judgments.
3. Once again John calls attention to the fact that in his visions he is constantly seeing new things transpire.
4. Verse 13 serves as a transition between the four plagues that wreck environmental havoc and the final three woes that are targeted against the physical being of men around the globe.
5. "Eagle" has much stronger MS support than "angel", the rendering of the KJV.
6. While animate creation rarely is granted the ability to speak (cf. Gen. 3:1-5; Num. 22:28-30) there is a problem with taking this "eagle" as a literal bird of prey.
7. The noun is also used of the vulture class of predatory birds as in Matt. 24:29; Lk. 17:37, that sense is inappropriate here.
8. Eagles feed on live prey while vultures feed on carcasses.
9. Some see this as a literal bird but that possesses problems.
10. A literal bird that is intended to warn humans of the impending woes would not only have to be granted the ability to speak, and to speak in a very loud voice in many languages; this bird would have to be large enough to be seen, and more importantly, it would have to be exceedingly fast to canvass all the earth in so short a time.
11. This "eagle" is an angel morphed into a very large eagle that will cover the earth with a very important announcement.
12. We have already seen an angel manifesting the form of a flying eagle in connection with the 2^nd living creature (Rev. 4:7).
13. And then there is the eagle motif in connection with the flight of the Jews in Rev. 12:14: "But the two wings of the great eagle were given to the woman (Israel), so that she might fly into the wilderness to her place, where she is nourished for a time (one year) and times (two years) and a half time (1/2 year), from the presence of the serpent (Satan)."
14. So there is ample support for taking this eagle as an angelic UFO.
15. We will note other angels who make dramatic and worldwide announcements to humanity in chapter 14.
16. Then there is the angel that announces the fall of America and illustrates the finality of the judgment by casting the Statue of Liberty into the ocean (Rev. 18:21)!
17. The hapax mesouranema ("midheaven") establishes the eagle’s sphere of flight.
18. This is the place where all can see him and hear his "loud voice" assuring total coverage around the globe.
19. Broad coverage is important, for the disasters will touch all humanity.
20. His announcement is brief introduces by three "woes" corresponding to the three final trumpet blasts.
21. The last three judgments are much more grievous than the first four.
22. This announcement forebodes that the last three judgments will have to have a new name "woe" reserved for them (cf. 9:12; 11:14).
23. Double "woes" are for emphasis in Ezek. 16:23; Rev. 18:10, 16, 19, but the triple woe refers to dire calamity for humanity at large.
24. The triple woe only occurs here in the Bible.
25. Again, the immediate object of the triple woe is "those who dwell upon the earth.
26. They comprise three judgments that will bring humanity to the 2^nd Advent, and that is not a good thing from the perspective of negative volition.