The model of this symbol is in Ezek. 10: 2 seq.; where, however, the fire is taken from between the cherubim under the throne, and scattered over the city of Jerusalem, as an emblem of its destruction. So here; the fire from the altar, cast down upon the earth, of course indicates that the land on which it falls is to be consumed or destroyed. The additional symbols of thunder, lightning, and earthquake, leave no room for doubt as to the meaning of this symbolical transaction. The prayers of the saints are accepted; consequently the power of persecutors is about to come to an end.—govaì zai ßoorraí, see on 4: 5.

(6) And the seven angels, who had the seven trumpets, made themselves ready that they might sound [them].

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Ἡτοίμασαν ἑαυτούς, i. e. assumed the attitude of readiness to blow the trumpet.—Ἵνα σαλπίσωσι ouhπíÇɛw; see Gramm. § 162. 3. Note 2. The Aor. form here used belongs to the later Greek; old Aor. Subj. σαλπίγξω.

After the indications thus given, as to what the will of Heaven was in respect to persecutors, no further delay was to be expected. All is now ready for the commencement of final action.

(7) And the first [angel] sounded, and there was hail and fire mingled with blood, and they were cast upon the earth; and the third part of the earth was burned up, and the third part of the trees was burned up, and all the green grass was burned up.

The passage of the O. Testament which closely resembles this, is in Ex. 9: 22-25, comp. Ps. 78: 47, 48. In Ex. 9: 24 it is said, that "fire was mingled with the hail." But here "the hail and fire are mingled with blood." By blood we must naturally understand, in this case, a shower of coloured rain, i. e. rain of rubedinous aspect; an occurrence which is known sometimes to take place, and which, like falling stars, eclipses, etc., was viewed with terror by the ancients, because it was supposed to be indicative of blood to be shed. The neut. plur. peruera follows (as often in such cases) the gender of the nearest noun, zug; the sing. number could not be used here, because the participle refers both to χάλαζα and πυρ. Εβλήθη, i. e. the mixture, μεμιγ μέva, was cast upon the earth; or 240 may be connected in syntax with the nearest of the two nouns, Aug; as is often the case, even when the verb relates to two or more subjects, while, in respect to form or number, it conforms only to the last of the two.

Τὸ τρίτον . . . κατεκάη, evidently a definite quantity for a considerable one. The use of this number (a third) is very frequent in the Apocalypse; see in vs. 8-12, also 9: 15, 18. 12: 4. But such a usage is not new. The model is in Ezek. 5: 2, 12. So in Zech. 13: 8, 9. The same usage is common in the Rabbinic writings. The herbs and

trees are here mentioned as being destroyed by the hail and fire, just as in Ex. 9: 25.

(8) And the second angel sounded, and as it were a great mountain burning with fire was cast into the sea; and a third part of the sea became blood.

The image here is that of a volcanic mountain cast into the ocean, by which the waters are discoloured, or turned red. The original of this picture in the main is in Ex. 7: 20-25. But the image of the burning mountain is new, and appropriate to John.

(9) And a third part of the creatures in the sea, which have life, perished; and a third part of the ships were destroyed.

Comp. Ex. 7: 21 for the first part of this verse.- Τὰ ἔχοντα here is the neuter plural Nom. agreeing with zzouárov Gen. plural. Such a construction in a participial clause is quite common; see Gramm. § 72. 1.

Τὸ τρίτον τῶν πλοίων διεφθάρησαν. Here the third pers. plur. of the verb is employed, because roítor is a generic noun. This imagery is peculiar to John, and is not found in Ex. 7: 20-25.—A third part is designated, in this case, with the same meaning as before. The whole symbol imports, that destruction awaits the persecutors of the church, on the sea as well as on the land.

(10) And the third angel sounded, and there fell from heaven a great star, burning like a lamp; and it fell upon a third part of the rivers, and upon the fountains of the waters.

The image of falling stars we have already found, in 6: 13. These were apparently smaller bodies than the burning mountain, and so might fall into rivers and fountains. That the writer had a comet here in view, as Eichhorn and Heinrichs suppose, does not seem to be probable. The image is taken from the blazing meteors, which often appear in the atmosphere, and which do actually fall upon the earth. But the mischief which the star occasions, in this case, is an idea that is purely poetic.

(11) And the name of the star is called Wormwood; and a third part of the waters become wormwood, and many men died by reason of the waters, because they were bitter.

The poisonous quality ascribed to the star in this case, seems to result from a designed analogy to the effects of the second trumpet, where the waters are turned to blood. Here the quality of the waters into which the star falls, becomes such as is found at times in the desert and morasses, of which unwary and thirsty travellers sometimes drink so as to bring on dangerous diseases. How one star could affect so many rivers and fountains, it would hardly belong even to the rhetorician to inquire; for in such a poetic representation as this, a liberty of such a

nature is nothing strange. Evidently the author supposes the star to have fallen upon the sources of springs and rivers.

O airdos is anomalous in respect to gender, for in common Greek usage it is feminine. But as the herb wirdos is not here meant, but a star, it is probable that the change of gender is a matter of design. Moreover it is not very common to put the article before the noun which follows a verb of naming; but still, this usage is sometimes followed even in the classics, as well as in this book; see Gramm. § 89. 7. The Hebrew word (Prov. 5: 4) is rendered dirotor by Aquila; and the poisonous effects of this herb may be seen by comparing Jer. 9: 15. 23: 15. Lam. 3: 15, 19. Deut. 29: 18. Heb. 12: 15. See also in Ex. 15: 23, where the waters of Marah (bitterness) are represented as not being drinkable. Of the poisonous quality of the airdos here named, there can be no doubt; that is, no doubt can be entertained, that the author viewed the subject in this light.

The destruction of men commences with this third trumpet; but only in a moderate degree. Only one third part of the rivers and fountains are poisoned by the star; and only πολλοὶ τῶν ἀνθρώπων, who drank of these, are destroyed, i. e. as we say, many persons, a considerable number, perished.

(12) And the fourth angel sounded, and a third part of the sun, and a third part of the moon, and a third part of the stars, was smitten, in order that a third part of them might be darkened, and the day might not shine as to a third part thereof, and the night likewise.

The original of this picture may be found in Ex. 10: 21-23. But here are special characteristics which belong to the author only. A third part of all the luminaries being eclipsed, a gloomy and ominous light would of course be diffused over the earth, which would fill the inhabitants with consternation; as eclipses always did in former times, whether partial or total. The idea is not, that one third part of the time or length of the day, etc., was totally dark-but that the luminaries by day and night were shorn of one third part of their usual splendour; although, at first view, the latter part of the verse would seem to intimate the former meaning.

Ἡ ἡμέρα . . . τὸ τρίτον αὐτῆς, i. e. as to a third part of its accustomed light. To roírov avrys is epexegetical, and is to be considered as in the Acc. abs. adverbial.—Καὶ ἡ νὺξ ὁμοίως, i. e. καὶ ἡ νὺξ [μὴ φαίνῃ τὸ τρίτον αὐτῆς] ὁμοίως, the phrase being brachylogical or elliptic. The meaning is, that the moon and stars, which give light by night, were deprived of one third part of it, in like manner as the sun, so that the night had but two thirds of its usual light.

Thus are completed the four preparatory symbols, which annoy and terrify men, rather than destroy them to any great extent. But the

execution of divine justice is now to commence, with deeper tones of indignation and scourges more highly lifted up. Yet before this is done, a herald, flying through mid-air, makes a solemn proclamation to the world of that which is about to take place.

(13) And I looked, and I heard an eagle, flying in mid-air, saying with a loud Voice: Woe! woe! woe to those who dwell in the land, by reason of the remaining sounds of the trumpet of the three angels who are yet to sound.

Evós, used as a pronoun indefinite; see on is under 5: 5.-Aɛtov, an eagle. But does this mean merely the bird itself? Or does the author intend to signify, that an angel, moving as swiftly as an eagle, flies, or with wings like an eagle's, passes, through the air? The latter, I doubt not; for the writer immediately says: 2éyovros gwry μeráλῃ κ. τ. λ. This would be incongruous, in case we consider dɛzov as a mere bird. In Is. 21: 8, the watchman cries out, i. e. as a lion, for it is the Acc. of manner, quasi lion-wise. Here the angel, furnished with eagle-wings, (the swiftest and most powerful of all wings), moves through mid-air solemnly to proclaim the approaching catastrophe, so as to inspire terror, and give warning to all.-Mecovoariuati, usually the meridian, but here plainly the mid-air. Ovgarós, like, frequently means the air, i. e. the space between the sky and the earth. Borne aloft, then, midway between earth and sky, this heavenly messenger proclaims to the world the approaching doom of persecutors.

FIRST WOE-TRUMPET: CHAP. IX. 1-12.

[The three remaining trumpets are usually designated by the name of the woetrumpets, in reference to the proclamation of woes, as mentioned in 8: 13. The nature of the first woe may be explained in a few words.

In the eastern world, over most of the countries of hither Asia, the appearance of locusts in great numbers was with good reason dreaded as a great calamity. Drought, famine, and pestilence, were the usual accompaniments. Drought favoured the multiplication and progress of the locusts; famine was the necessary consequence of their destroying all vegetation; and pestilence was bred by the destruction (sooner or later) of unnumbered multitudes of these rapacious and fetid animals. A most vivid and glowing, as well as sublime, description of an invasion by locusts, is given by Joel in chap. ii. His excited imagination views them as advancing like a mighty overwhelming army, covering every part of the land, thrusting themselves into every habitation, and spreading destruction on every side. Their noise is like that of chariots upon the mountain tops; all faces turn pale; the earth quakes before them; the sun and moon are darkened; the stars withdraw their light; the Almighty God marches at the head of this his countless host, clothed with terror; the great and terrible day of his judgment is come. The garden of Eden is before this army as they advance, and behind them a desolate wilderness.

Many traits of this vivid picture by Joel, are transferred to the description now before us. Yet there is nothing that borders on mere imitation in our author. Besides a regard to the representation of Joel, it is manifest that John's mind is also affected by a view of the ninth plague of Egypt, i. e. the plague of the locusts, as exhibited in Ex. 10: 12-15. But there, as well as in the prophet Joel, the locusts are presented in their appropriate and natural character, viz., as consumers or destroyers of the vegetable productions of the earth. But this is not their office in the Apocalypse. The writer had already (6: 5-7) introduced famine as one of the judgments which is connected with the breaking of the third seal. His present object is, to designate the punishment more immediately inflicted upon the persons of men.

In accordance with this design, the locusts are not commissioned against the trees and herbage (9: 4), but to injure those "who have not the seal of God upon their foreheads." For the accomplishment of this end, they are furnished with teeth like those of a lion (v. 8), and with a sting in their tails like that of a scorpion (v. 10). In this respect, therefore, they are peculiar to our author, and entirely a conception of his own; although many traits of the picture resemble those found in the descriptions of locusts exhibited by other writers. Yet, lest the final catastrophe should be hastened faster than the plan of the writer admits, the wounds which they inflict are not mortal, (for how then should any escape with life?) but only painful in the extreme, occasioning agony like that which a scorpion inflicts when he strikes a man, v. 5.

To make the description more terrific, these new and unheard of armies of locusts are not the offspring of those which are produced in the natural course of things, but they come from the principal source and seat of all that is evil and abominable and dreadful-from the bottomless pit or abyss, where Satan and evil spirits reign. That horrid place is fraught with all that can hurt or destroy men; and when once it is unlocked, there issues from it, in one form or another, monstra ingentia, malefica, to plague and to lay waste the earth. In the present case, Apollyon himself, i. e. is or the Destroyer, leads on and directs the hosts of tormentors, commissioned against the enemies of the church. Their commission, however, is but for a short time. As common locusts perform their work of destruction in about five months, and then die off or remove, so, in order that some general analogy may be presented, the author limits the time of the locusts, which issue from the abyss, to the same period. The number of months need not be literally understood; it should be taken in a symbolical sense; and as meaning but a comparatively short period. The shape of the sentiment seems to be plainly thus: As the natural locusts commit their ravages only for five months, so the ravages of these symbolical ones will be only for a short period.'

One other remark is proper. As the author has here plainly gone out of the world of nature into that of imagination, in order to obtain materials wherewith he may draw his picture, so we are not to tax him with incongruities or monstrosities, because he does not confine himself within the bounds of natural verisimilitude. Beings purely imaginary in some respects he means to present; beings endowed with powers unknown in the natural world his imagination forms; and to compare the progeny thus ushered into symbolical existence with simple and mere natural objects, would be most evidently to, do him injustice. That he should make his own picture consistent with itself, and even preserve natural verisimilitude where he can do so without marring his own particular design, is all that we can reasonably demand of him in a case of this nature. And this demand he has met and satisfied.