Historic Ism The Seals And The Trumpets

HISTORICISM, THE SEALS, AND THE TRUMPETS: PERSPECTIVES ON SOME CURRENT ISSUES

A Paper Presented to the Daniel and Revelation Committee March, 1990

by Jon Paulien

Berrien Springs, MI March, 1990

TABLE OF CONTENTS CURRENT ISSUES

. . . . . . . . . . . . . . . . . . . . . .

THE "GRAND STRATEGY" OF REVELATION . Revelation: A Giant Chiasm? . . The Function of the Sanctuary in The Introductory Scenes . Implicit Sanctuary Patterns Summary . . . . . . . . .

. . . . . .

5 5 7 7 9 14

. . . . . . . . . . . . .

16

. . . . . . . . . . . .

19

. . . . . . . . . . . . . . . . .

26

HISTORICISM AND THE SEVEN SEALS HISTORICISM AND THE SEVEN TRUMPETS CONCLUDING IMPLICATIONS

. . . . . . . . . . . . Revelation . . . . . . . . . . . . . . . . .

. . . . . .

. . . . . .

. . . . . .

. . . . . .

1

CURRENT ISSUES Toward the end of the last century leading SDA thinkers came to a basic consensus on how to apply the various parts of the book of Revelation to the history of the Christian era.

They

understood the letters to the seven churches (Rev 1-3) to be addressed initially to seven first-century churches over which John had a supervisory interest.

The meaning of these letters extended

as well to a preview of the seven major periods of Christian history.

SDA pioneers understood the seals, the trumpets, and

chapter twelve (Rev 4-12) to offer three parallel lines covering the entire Christian era. (1) The seven seals paralleled the seven churches as an outline of the major periods of Christian history. (2) The seven trumpets contained primarily the judgments of God upon the Western and Eastern portions of the Roman Empire.

(3)

Chapter twelve depicted the Great Controversy in heaven and its outworking in the experience of the church on earth.

The pioneers

also agreed that the bulk of the events described in chapters 13-19 concerned the end-time, leading up to the Second Coming of Christ. Rev 20-22, on the other hand, was seen to fall beyond the Second Coming. Historic Adventism, therefore, came to agree that the 1

2 Book of Revelation falls into two parts.

The first part covers the

major events of history between the two advents of Christ.

Though focusing on history, however, each series leads up

to the end in some fashion.

This interpretive approach to Rev 1-

12, known as historicism, was grounded on the fact that Daniel, Jesus, and the writers of Jewish Apocalyptic all portrayed the future in terms of a series of historical events leading from the time of the writer1 to the end.2

The second part of Revelation was

understood to cover primarily the events connected with the Second Advent itself. today,

Daniel

Although followed in exact detail by few, if any, and

Revelation

by

Uriah

Smith

continues

as

an

expression of this basic consensus hammered out about a hundred years ago by our spiritual parents.3 In explored

the

recent

years

possibility

a

number

that

the

of

SDA

interpreters

end-time

have

perspective

of

Revelation might be much broader than Adventists have thought.

By

and large, these interpreters agree with the historic consensus regarding the churches (Rev 1-3) and the latter half of the book (Rev 13-22).

The major point of disagreement lies in how the seals

and the trumpets (Rev 4-11) are to be understood.

1

Or in many cases, the "implied" writer.

2

Daniel 2 is a good example of this technique.

3

These "end-time

Uriah Smith, Daniel and the Revelation (Battle Creek, MI: Review and Herald Publishing Company, 1897).

3 interpreters"4 believe that the seals and trumpets (Rev 4-11) portray events associated with the end-time rather than with the overall sweep of the Christian era.

The seals (Rev 4-6) are

usually understood to portray aspects of the investigative judgment that began in 1844, and the trumpets (Rev 8-11) are understood to follow the close of probation just before the return of Christ. What has emerged from these discussions is the increasing realization that SDAs have not invested the kind of creative energy upon the seals and trumpets that would enable the historicist position, or any other position, to be declared firmly established. Adventists have tended to assume that the seals and trumpets are historical series, extending from the prophet's day to the end, but have

not

established

that

exegesis of the text.5

viewpoint

on

the

basis

of

careful

Whether or not the emerging end-time

interpretations of the seals and the trumpets prove to be correct, the authors of these interpretations have provided valuable service to their church in exposing this gap in the understanding of Scripture. Although an understanding of the seals and trumpets may not be critical to salvation, current realities require that they

4

They are often labeled "futurists" but while this designation is descriptive up to a point, it incorrectly associates many faithful SDAs with non-SDA versions of futurism which they consider unacceptable. 5

In support of this assertion, please note Uriah Smith's commentary on Rev 8:7-9:21. Some 62% of the text of Smith's comments are directly quoted from non-SDA commentators. Most of the rest is paraphrased. There is hardly a single instance where any reference is made to the text. The historicist position is assumed as a given, it is never argued from the text of the trumpets.

4 be given more careful attention than has been the case in the past. This paper, therefore, attempts to describe a number of realities in the book of Revelation that need to be taken into account when addressing how the seals and the trumpets are to be interpreted.

THE "GRAND STRATEGY" OF REVELATION Revelation: A Giant Chiasm? The major piece of evidence brought forth in recent years in defense of a historicist reading of the seals and trumpets is based on the observation by Kenneth Strand that the Book of Revelation is structured as a "chiasm."6

A "chiastic structure"

occurs when words and ideas parallel each other in reverse order from

the

beginning

to

the

end

of

a

book.

In

the

case

of

Revelation, the material before Rev 15 is, on the whole, paralleled in reverse by the material coming after chapter fifteen.

Strand

considers the first (and larger) half to be concerned with the entire Christian age, while the content of Revelation after chapter fifteen almost exclusively concerns the time after the close of earth's probation, an event that still lies in the future.

The

"chiasm" and its results are self-evident when one compares the first three chapters of Revelation with the last two.7

6

Kenneth A. Strand, Interpreting the Book of Revelation, second edition (Naples, FL: Ann Arbor Publishers, 1979), pp. 43-59. 7

Note the following parallels: 1:1 "things which must happen soon" 1:3 "blessed is the one who keeps . . ." 1:3 "the time is near" 5

22:6 22:7 22:10

6 End-time

interpreters,

however,

have

resisted

imposing

this

conclusion on the seals and trumpets. I have sought to clarify the applicability of Strand's outline to the seals and the trumpets by carefully comparing chapters 4-7 with chapter 19, as Strand suggests.

I found, in the

original language, four clusters of parallel ideas between the seals and chapter 19, two of which bear directly on the issue at hand.8

In chapters 4 and 5, first of all, the worship scenes

praise God for creation and the cross, in chapters 7 and 19, parallel scenes praise God for redeeming His people from end-time Babylon. This observation best fits the placement of chapters four and five at the beginning of the Christian era.

Secondly, Rev 6:10

depicts a time when God is "not yet judging", Rev 19:2 comes after the judgment is completed.

The judgment does not take place in

chapters four and five, when the seals have yet to be opened, but some

time

between

the

opening

pronouncement of Rev 19:2.9

of

the

fifth

seal

and

the

These two observations coincide with

what one would expect if the first part of Revelation concerns the

1:4

"the seven churches" 1:17 "first and last" 2:7 "tree of life" 2:11 "second death" 3:12 "New Jerusalem"

22:16 21:6 22:2 21:8 21:10

8

For a more complete discussion of these parallel clusters see my companion chapter "The Seven Seals in Context." 9

In chapters four and five the Lamb has not yet opened any of the seals. Rev 6:10 occurs after the fifth seal has been opened.

7 whole Christian age and the latter part the end-time.

8 The Function of the Sanctuary in Revelation The Introductory Scenes Further

research

has

uncovered

a

whole

series

of

indications that John himself understood the seals and the trumpets to cover the broad sweep of Christian history rather than the endtime alone.

For example, the sanctuary scenes that introduce

various parts of Revelation (Rev 1:12-20; 4:1-5:14; 8:3-5; 11:19; 15:5-8; 19:1-8; 21:1-22:5) show a significant progression. The first scene (1:12-20) uses sanctuary imagery to portray Christ's presence among the churches on earth, it is not a glimpse into the heavenly sanctuary.

The scene occurs on Patmos

itself, and the seven lampstands represent the seven churches. The explicit invitation to "come up" into the heavenly realm comes later in Rev 4:1. The second scene (4:1-5:14) shifts the focus from the churches

on

earth

to

the

sanctuary

in

heaven.

The

largest

collection of sanctuary images in the book, the scene contains a thorough mix of images from nearly every aspect of the Hebrew cultus.10

Only two occasions touched base with nearly every aspect

of sanctuary worship, the inauguration service at the time when the Sanctuary was dedicated (cf. Exod 40) and the Day of Atonement. The scene is the first view of the heavenly sanctuary. It is best identified with the inauguration or dedication service

10

See the extended description in the chapter on the seals.

9 of the ancient sanctuary.

The central focus of the scene is on the

consequences of the cross, one of which was the establishment of Christ's

reign

in

the

heavenly

sanctuary.

The

portrayal

is

definitely not a scene of judgment as one might expect if the Day of Atonement were in view.

In fact, the explicit language of

judgment is totally absent from the scene.11

The only time a Greek

word for judging appears in the first half of the book is in Rev 6:10 and there the assertion is that God has not yet begun to judge!

Since the scene in Rev 5 precedes the opening of the seals,

the assertion that the fifth seal occurs in a time of "not judging" is decisive. Scenes three and four (8:2-6 and 11:19) continue in the heavenly sanctuary, the former offering an explicit view of the first apartment with its services of intercession, and the latter an explicit view of the second apartment in the context of judgment (cf. 11:18).

The fifth scene (15:5-8) takes up the language of

inauguration again, but actually portrays a shutting down of the sanctuary,

its

(abandonment).

de-inauguration

or

cessation

of

its

ministry

In the sixth scene (19:1-10), the language of

throne, worship, and Lamb is characteristic of the second scene but all explicit sanctuary images are absent. has faded from view.

11

The heavenly sanctuary

The last sanctuary scene (21:1-22:5) returns

The Greek words for judgment, krisis, krima, and krinô are quite common in the second half of the book.

10 to earth as the counterpart to chapter one, God is with His people on earth (21:3). These introductory sanctuary scenes, therefore, show two definite lines of progression.

First, the reader's attention is

drawn from earth to heaven and back to earth again.

Secondly, the

reader is led from the inauguration of the heavenly sanctuary to intercession, to judgment, to the sanctuary's cesssation, and finally to its absence.

This progression is illustrated below.

(1) Rev 1:12-20 EARTH ------------------------------------------------------------(2) Rev 4 and 5 (Inauguration) * *

(3) Rev 8:3-5

*

(Intercession) *

(4) Rev 11:19

(Judgment)

HEAVEN *

(5) Rev 15:5-8

*

(Cessation) *

(6) Rev 19:1-10 (Absence) * ------------------------------------------------------------(7) Rev 21:1-22:5 EARTH In this progression the first explicit day of atonement-judgment scene takes place only in 11:18,19.

The first half of the book

focuses on inauguration and intercession, the latter half moves to judgment and rejection.

This is supportive of the pioneer's

consensus and Kenneth Strand's basic insight that the book of Revelation is divided into historical and an eschatological halves. Implicit Sanctuary Patterns The Daily/Yearly Pattern

11 When the book of Revelation as a whole is examined in the light of the sanctuary, discoveries of a more implicit nature are made. From historical sources we have become familiar with the way the daily and yearly services of the sanctuary were carried on in the century when Revelation was written.

A comparison of Rev 1-8

with these sources indicates that this section of Revelation is modeled on the daily services of the sanctuary, which foreshadow the cross.12 The first major act in the daily (Tamid) sacrificial service of the temple was for a selected priest to enter the Holy Place and trim the lampstand, making sure that each of the lamps was burning brightly and had a fresh supply of oil (cf. Rev 1:1220).

Following this act the great door of the Temple was left open

(cf. Rev 4:1).

Then a lamb was slain (cf. Rev 5:6) and its blood

was poured out at the base of the altar of burnt offering in the outer court of the Temple (Rev 6:9).

After the pouring out of the

blood, incense was offered at the golden altar in the Holy Place (cf. Rev 8:3,4, cf. also Luke 1:8-10).

Then during a break in the

singing (cf. Rev 8:1) the trumpets were blown to indicate that the sacrifice was complete (cf. Rev 8:2-6). Not only does the first part of Revelation contain all the major details of the daily sacrifice in the temple, it alludes

12

The source for the description of the daily sacrifice is the tractate Tamid in the Mishnah, a second-century AD collection of earlier traditions pertaining to the laws, traditions and practices of Early Judaism.

12 to them in essentially the same order.

Thus, the material making

up the churches, seals, and trumpets is subtly associated with the activities in the temple related to the daily or Tamid service. SDAs have traditionally understood these daily services to be typical of the intercessory phase of Christ's ministry begun in the heavenly sanctuary at the time of His ascension in AD 31.

The fact

that the introductory scenes to the seals and the trumpets are associated

with

inauguration

and

intercession

is

certainly

compatible with this finding. It is interesting, therefore, that in chapter eleven the book moves to the explicit language of the yearly services of the Day of Atonement.

Kenneth Strand has pointed out that Rev 11:1,2

contains a strong allusion to the Day of Atonement, which comes immediately

after

a

reference

to

prophecies of Daniel (Rev 10:5,6).13

the

completion

of

the

time

In Lev 16--the major Day of

Atonement chapter--atonement is made for the High Priest, the Sanctuary, the altar, and the people.

The only other place in

Scripture where the terms Sanctuary, altar, and people are combined is in Rev 11:1,2.

Since the NT High Priest (Jesus Christ) needs no

atonement, the common reference to sanctuary, altar, and people being measured appears to be a deliberate recollection of the Day of Atonement as a day when these are evaluated or "measured" (cf.

13

Kenneth A. Strand, "An Overlooked Old-Testament Background to Revelation 11:1," Andrews University Seminary Studies 22 (3, 1984):317-325.

13 2 Sam 8:2 and Matt 7:2).

This subtle Day of Atonement allusion

comes just prior to the more explicit one of Rev 11:18,19. In conclusion, the daily/yearly pattern embedded in the sanctuary imagery of the book of Revelation indicates that the first

portion

of

the

book

(Rev

1-10)

intercessory ministry of Christ in mind.

was

written

with

the

In the eleventh chapter,

imagery related to the daily services is replaced by allusions to the judgment-oriented ministry of the Day of Atonement.

This is

what one would expect if the first half of the book focuses primarily on the large events of the Christian age and the latter half of the book focuses on the final events of that age, when judgment will bring sin and sinners to an end. The Annual Feasts in Revelation Equally

striking

is

the

evidence

that

the

book

of

Revelation appears to be patterned also after the annual feasts of the Jewish year.14

The letters to the seven churches are strongly

reminiscent of Passover, the primary feast of the spring season. Nowhere else in Revelation are there such strong concentrations of references to Christ's death and resurrection (cf. Rev 1:5,17,18).15 Christ's searching scrutiny of the churches reminds one of the

14

I am indebted to Richard Davidson of the OT Department of the Seminary for many of the parallels described here. 15

Although the slain lamb is mentioned in the next part of Revelation (Rev 5:6), it has died previous to the scene in Rev 5 (Rev 5:5,6 cf. 3:21).

14 Jewish household's search for leaven just before Passover (cf. Exod 12:19; 13:7). Since Passover is the only festival fulfilled by the earthly Christ (1 Cor 5:7),

it is fitting that it would be

associated with that portion of the book where He is portrayed in His ministry to the churches on earth. As

the

inauguration

of

the

heavenly

sanctuary,

the

throne-scene of Rev 4-5 is fittingly associated with Pentecost. The first Pentecost took place during the time when the law was given to Moses on Mount Sinai (Exod 19-20).

As the New Moses,

Christ receives, as it were, the new Torah from God (Rev 5).

Exod

19 also involved the inauguration of Israel as the people of God (Exod 19:5,6 cf. Rev 5:9,10).

The Jewish liturgy for the feast of

Pentecost included the reading of not only Exod 19 but also Ezek 1, a major literary background to Rev 4-5. The blowing of seven trumpets near the center of the book (Rev 8-9, 11:15-18) reminds the reader of the seven monthly new moon feasts that climaxed in the Feast of Trumpets, thus marking the transition between the spring and fall feasts.

The Feast of

Trumpets itself, falling on the first day of the seventh month (corresponding to the seventh trumpet) ushered in the time of judgment that led up to the Day of Atonement (cf. 11:18,19).

There

is an increasing focus on the concept of judgment from that point on in the book (14:7; 16:5,7; 17:1; 18:8,10,20; 19:2, etc.). The last of the five basic feasts of the Levitical system (cf. Lev 23) was the Feast of Tabernacles, which followed the Day

15 of Atonement.

Harvest was over (cf. Rev 14-20).

"tabernacling"

with

His

people

(Rev

21:3).

God was now The

end-time

celebrations of Revelation are filled with images of feasting, palm branches, music, and rejoicing before the Lord.16 images

of

the

Feast,

water

and

light,

find

The primary

their

ultimate

fulfillment in Rev 22:1,5. Within Adventism, the spring feasts have been associated with the cross of Christ and his inauguration of and ministry in the heavenly sanctuary.

The fall feasts find their fulfillment in

the time of the end and in the events surrounding the Second Coming of Christ.

What has been overlooked is the fact that the Feast of

Trumpets is the climax of seven new moon feasts (Num 10:10) and forms the bridge between the spring and the fall feasts.

It is,

therefore, in the seven trumpets of Revelation that one finds the chronological bridge between the spring and fall feasts, between a focus on the cross and the beginning of the Christian age, and a focus on the end-time in Revelation. Thus the first half of Revelation, based on the daily sacrifices and the spring feasts, offers an emphasis on the cross and its effects; while the latter half of the book, based on the yearly sacrifices and the fall feasts, focuses on the end.

The

Feast of Trumpets (the first day of the seventh month) introduced the time of the year in which judgment took place and the sanctuary

16

Cf. Rev 7:9ff. and Rev 19:1-10 as well as Rev 21-22.

16 was cleansed (Rev 11:18,19). The transition to the end-time Day of Atonement focus in Revelation coincides with the opening of the scroll in Rev 10. That fateful scroll, containing God's plan for the redemption of the universe, was sealed shut in chapter five.

But on account of

the death of Christ (Rev 5:5,6 compare Rev 3:21) the book began to be opened.

That opening was not the final judgment (Rev 6:10), it

led up to it.

In Rev 10, in the context of allusions to Dan 12,

the book is finally seen to be open.

This is the point in

Revelation where Day of Atonement and judgment language begins to appear. Summary The

above

material

on

the

Sanctuary

background

of

Revelation indicates that Strand's chiasm is well supported by broad trends which span the book of Revelation as a whole.

These

trends suggest that John understood the seals and trumpets to cover the entire span of Christian history from his day until the Second Advent (however long John understood that to be).

The main point

of difference with Strand concerns whether the centerpoint of the book is Rev 11-12 or 14-15. difference.

This is not, however, a substantive

The material in Rev 12-14 is transitional.

Its goal

and focus is on the final wrath of the nations against the remnant (12:17; 13).

But it spends much time recapitulating the history

that would lead up to that climax, setting the stage for the final

17 operations of characters that have been functioning for much of the era.

With chapter fifteen the nearly exclusive focus is on the

very end of the end-time.

HISTORICISM AND THE SEVEN SEALS Space does not permit a point-for-point response to the arguments of those who feel that the seals were intended to portray the events of the end-time.17

The most crucial Biblical arguments

for this position, however, grow out of two observations: (1) It is clear that Rev 4 and 5 contain many parallels to Dan 7, Ezek 1-10, and Rev 19.

Since judgment is perhaps the primary theme of these

parallel passages, it may be inferred that the scene of Rev 4-5 must be that of the investigative judgment beginning in 1844.

(2)

It is also clear that some of the imagery in Rev 4-5 recalls aspects of the services on the Day of Atonement.18

Thus, it has

been assumed that the entire scene is a Day of Atonement portrayal. These arguments certainly merit investigation, but they do not overturn the larger picture outlined briefly above. For one thing, the parallels to Ezekiel and Daniel are

17

Significant arguments based on the writings of Ellen White are dealt with in the companion chapter "Ellen White and Exegesis." 18

The "door" of 4:1 can refer to the door between the apartments in the earthly tabernacle of the OT (it can be used for other openings within the sanctuary as well). The throne may recall the mercy seat upon the Ark of the Covenant. The three stones in the early part of Rev 4 can be found on the breastplate of the High Priest, who ministered on the Day of Atonement. The four living creatures remind one of the four cherubim in Solomon's Temple. 18

19 informative but are not the entire story.19

The Revelator alludes

to other major passages in the OT as well (Isa 6, 1 Kgs 22:19-22; Exod 19).

The common denominator among all five OT passages is not

judgment but a description of God's throne.

In fact, John selects

throne-room imagery from Dan 7 and Ezek 1-10 but avoids judgment aspects that could have been selected.20 Especially striking are the strong differences between Rev 4-5 and Dan 7.

In Daniel thrones are set up (Dan 7:9), in

Revelation the thrones are already there (4:2-4).

In Daniel many

books are open (Dan 7:10), in Revelation one book is sealed (Rev 5:1).

In Daniel the central figure is "the son of man" (Dan 7:13;

a term the Revelator is certainly familiar with--cf. 1:13), in Rev 5 it is the Lamb (a term more appropriate to the daily service than to the Day of Atonement in any case).

As noted above, the language

of judgment21 is totally absent in Revelation until Rev 6:10 where it is clear that judgment hasn't yet begun.

It seems inconceivable

that Rev 4-5 could be the end-time judgment scene when that judgment has not yet begun even at the opening of the fifth seal! While there are a few allusions to the sanctuary in Rev 4-5 that can be related to the Day of Atonement, there are many

19

The significance of the parallels to Rev 19 were examined earlier in this chapter.

20

Biblical authors frequently used earlier inspired writings for a different purpose than the major intent of the original author. 21

In Greek the words krima, krisis, and krinô.

20 more

that

relate

services.22

to

other

aspects

of

the

sanctuary

and

its

The overall impression is not of any one apartment or

service but of a comprehensive listing of nearly every aspect of the ancient ministry.

The above series of observations regarding

the sanctuary structure of Revelation strongly indicate that Rev 45 is a description of the inauguration service in the heavenly sanctuary that took place in AD 31.

What follows the inauguration

scene has to do with the entire Christian age, not just its end. A

more

thorough

consideration

of

arguments

for

an

end-time

interpretation of the seals can be found in the chapter on that portion of Revelation. Recent attempts to locate Rev 4 in the first apartment of the heavenly sanctuary and Rev 5 in the second apartment founder upon the absolute lack of evidence in the text for any movement of the throne between the two chapters.

The two chapters depict a

single visionary location.

22

Please see the corresponding chapter on the seals for more detailed information.

HISTORICISM AND THE SEVEN TRUMPETS The arguments for an end-time interpretation of the trumpet series are somewhat more impressive than those offered for the seals series.

It is argued that the throwing down of the

censer (Rev 8:5) depicts the close of probation. Thus, the trumpet series that follows (Rev 8:7ff.) must find fulfillment after the close

of

probation.

Further

evidence

for

a

post-probation

fulfillment is seen in the fact that the objects destroyed in the first two trumpets--the earth, sea, and trees--are not to be hurt until the sealing of chapter seven is complete (Rev 7:1-3).

The

third piece of evidence for a post-probation interpretation of the trumpets is the fact that the locust/scorpion plague of the fifth trumpet is not permitted to affect the sealed (Rev 9:4), thus suggesting a setting after the close of probation.23 These arguments, of course, fly directly in the face of the above evidence that the author had a concern for the Christian age as a whole in the first half of Revelation and only focused specifically on the end-time in the latter half of the book.

Under

closer examination, however, it becomes evident that the arguments

23

Statements in the writings of Ellen White that are used to support this position are dealt with in the accompanying chapter on Ellen White's role in Exegesis of Revelation. 21

for a post-probation setting for the trumpets are based more on assumptions rather than on the actual evidence of the biblical text. The major assumption that lies behind the first argument is that the introductory sanctuary scene of Rev 8:2-6--depicting Christ's priestly ministry of intercession--not only precedes the blowing

of

the

trumpets begin.

seven

trumpets

but

is

concluded

before

those

Thus, the throwing down of the censer precedes in

point of time the events that follow.

As a result, all seven

trumpets are understood to come after the close of probation. The assumption that the introductory scene is concluded before the trumpets begin can be tested in two ways.

First, we can

ask whether the other introductory visions (before the

seven

churches, the seven seals, and the seven bowls) conclude before each

seven-fold

series

begins,

or

continue

to

background of the entire visionary sequence.

remain

in

the

Second, if the

trumpets largely take place during probationary time, is there evidence

within

the

series

that

probation

is

still

open

to

humanity? When we examine the introductory scenes to the seven-fold visions of Revelation, we discover that they not only precede the subsequent scenes but remain in view throughout.

For example, in

the seven churches the introductory vision precedes the letters in the literary strategy of the book, but each of the letters refers

22

23 back to the characteristics of Christ listed in that introduction.24 Since the letters are largely written in ordinary prose, they provide a clear indication of the author's literary strategy. The

seven

seals

are

each

opened

during

the

Lamb's

continued activity in the heavenly throne-room (Rev 5-6).

That

scene, beginning with the inauguration of the heavenly sanctuary, continues through the breaking of the seals to the second coming and on to the time when all creation praises God (Rev 5:13). The introductory scene to the seven bowls (Rev 15:5-8) portrays an empty tabernacle in heaven, which is certainly fitting for the entire period after the close of probation. introductory

vision,

therefore,

provides

the

Each

setting

for

the

subsequent activity and remains active in the background right up to the conclusion of the vision.

Since this is so clearly the case

for three of the four seven-fold visions, the burden of proof is on anyone who wishes to argue that Rev 8:2-6 is an exception.

It is

more likely that the author of Revelation intended the reader to see the intercession at the golden altar being available right up to the instant when the seventh trumpet blows, leading to the finishing of the "mystery of God" (Rev 10:7), that is, the closing up of the gospel (Rom 16:25-27; Eph 3:2-7). The

above

is

supported

by

abundant

evidence

probation remains open through the sixth trumpet.

24

that

The sixth

This is brought out in greater detail in the accompanying chapter on the seven seals.

24 trumpet is equated with the second woe and as such clearly runs from Rev 9:12 to 11:14.

In Rev 9:13 there is a voice "from the

four horns of the golden altar which is before God," a clear reference to the golden altar of Rev 8:3,4.

This suggests that

intercession is still in process at the time the sixth trumpet is blown.

In Rev 9:20,21 the people who experience the plague of the

sixth trumpet fail to repent, which may indicate that repentance is still an option.

In Rev 10:11 the prophet learns that he must

prophesy again, something that would make little sense after the close

of

probation.

But

most

important,

a

group

of

people

described in Rev 11:13 as the "remainder" (hoi loipoi-- the same word applied to the remnant of Rev 12:1725) "take fear and give glory to the God of heaven."

Whatever point in history one takes

this to be, it is clearly an appropriate response to the gospel proclaimed by the first angel of Rev 14:6,7, "Fear God and give Him glory."26

Thus it is evident that probation remains open and the

intercession of Rev 8:3,4 continues until the end of the sixth trumpet.

The seven trumpets as a whole are clearly not understood

to be after the close of probation. A further argument for an end-time interpretation of the seven trumpets notes the similarity in language between Rev 7:1-3

25

26

Also in deliberate contrast to the unrepentant hoi loipoi of Rev 9:20.

In direct contrast are those in Rev 16:9 who prefer to reject repentance and blaspheme God rather than give Him glory. Note that the unrepentance has advanced in 16:9,11 beyond the stage of 9:20,21.

25 and Rev 8:7-9.

According to Rev 7 the earth, sea, and trees were

not to be hurt until the sealing of chapter seven was complete. Since these are the very things affected by the first and second trumpet, it is suggested that these trumpets follow the sealing chronologically and thus occur in post-probationary times. It should be noted, however, that Rev 8:2 introduces a new series; consequently, it is necessary to demonstrate that the trumpet series must follow chronologically the literary section that precedes it.

Chapters four and twelve certainly go back to an

earlier stage of history, why not chapter eight as well? Although it is true that the objects for destruction in the first two trumpets are protected in Rev 7:1-3, they are once again protected in the fifth trumpet (Rev 9:4), thus raising serious questions whether the trumpet series is to be related as an immediate sequel to the vision of chapter seven.

Even more

decisive, however, is the fact that the strongest parallel between the first part of Rev 7 and the seven trumpets is in Rev 9:14,16. In both sections binding and loosing are related to four angels. In both sections a people are being numbered; in Rev 7 the people of God, and in Rev 9, their demonic counterparts.

And these are

the only two places in Revelation containing the cryptic words "I heard the number" (êkousa ton arithmon). If probation remains open through the sixth trumpet and then closes with the sounding of the seventh, the sixth trumpet is the exact historical counterpart of Rev 7:1-8.

It is the last opportunity for salvation just before

26 the end. The seven trumpets, therefore, do not follow the events of Rev 7 in chronological order.

The trumpets take their cue,

instead, from the introductory vision of Rev 8:2-6. The main theme of that vision is intercession at the altar of incense.

This is an

appropriate follow-up to the inauguration of the heavenly sanctuary as described in Rev 5.

The book of Revelation flows naturally, as

shown above, from a view of the cross (Rev 1:5,17,18, cf. 5:6,9,12) to a view of the inauguration of Christ's ministry in the light of the cross (Rev 5), to a picture of the intercessory ministry that results (Rev 8:3,4), and ultimately to the judgment that precedes the end (Rev 11:18,19).

This order of events is characteristic of

the entire NT. The final major argument for an end-time interpretation of the trumpets rests on the observation that the fifth trumpet does not affect those who are sealed (Rev 9:4).

It is argued that

if the sealing is the last event before the close of probation, then the events of the fifth trumpet must occur after the close of probation. This argument, however, assumes a number of points that need to be demonstrated.

It assumes that "sealing" means exactly

the same in both contexts. It assumes that "sealing" is limited to the end-time.

It assumes that Ellen White's views on the sealing

in Rev 7:1-3 apply also to Rev 9:4. If one approaches Rev 9:4 within the larger NT context, these assumptions are difficult to sustain.

The words for sealing

27 (sphragis, sphragizô), in fact, are multiple in meaning.

For

example, when a seal is placed on a document, message, or tomb its purpose is to conceal or to confine (Matt 27:66; Rev 5:1,2,5,9; 6:1,3,5,7,9,12; 8:1; 10:4; 20:3; 22:10). An alternative meaning is to certify that something or someone is reliable (John 3:33; 6:27; Rom 15:28; 1 Cor 9:2).

But when related to God's people the

predominant meaning of sealing is ownership and acceptance by God ("The Lord knows them that are His" 2 Tim 2:19 cf. 2 Cor 1:22; Eph 1:13; 4:30).

In this sense it was a present reality already in the

time of Abraham (Rom 4:11).

If in a given passage the context

indicates that we are prior to the close of probation, the concept of a sealed people must be understood in the general sense of those who belong to God in any age.

Thus it should not be assumed that

the sealing in Rev 7:2,3 is necessarily identical with that of Rev 9:4. It should also not be assumed that the sealing of Rev 7:1-3 is limited to the end-time.

Rev 7:1-3 does not explicitly

limit the sealing to the end-time, it merely focuses on the significance of sealing work in an end-time setting.

Related to

this is the observation that whatever Ellen White understood by Rev 7:1-3,27 she never quotes Rev 9:4 in an end-time context, thus it is unwise to assume what she herself never stated.

27

See the accompanying chapter on Ellen White and Exegesis for a more detailed examination of her view on the sealing.

28 It is, therefore, clear that the arguments many have utilized to place the trumpets in an end-time setting do not carry the weight necessary to overturn the larger perspective outlined in the first part of this chapter, a perspective best served if the trumpet series is understood to cover the entire Christian age.

CONCLUDING IMPLICATIONS In this brief essay, which should be supplemented by a careful reading of the accompanying chapters on the seals, the trumpets, and the relation of Ellen White to exegesis of the text of Revelation, a number of textual observations have been combined to

demonstrate

that

the

author

of

Revelation

perspectives in mind when he wrote out his visions.

had

two

great

The first half

of the book he focused on the Christian era as a whole, moving from his time to the end.

In the second half of the book, he deliniated

primarily the events of the end. This insight parallels the pattern of the other two great "apocalyptic" passages of the NT, Matt 24 (and its parallels in Luke 21 and Mark 13) and 2 Thess 2.

Each of these passages

contains a section that focuses on the Christian age as a whole (cf. Matt 24:3-14 and 2 Thess 2:3-7).

These sections are followed

by special attention to the climax at the end (2 Thess 2:8-12; Matt 24:15-31, especially vss.27-31).28

Thus the book of Revelation,

rightly understood, is in perfect harmony with the theology and

28

It should be noted that this dual perspective is particularly clear in Luke where the "Times of the Gentiles" (Luke 21:24) forms a bridge between the description of AD 70 and the general realities of the Christian age (Luke 21:7-23) and the description of the end-time (Luke 21:25ff.) 29

30 literary practices of the NT, even though its language is quite unique. The thrust of the evidence brought forth in this chapter is the recognition that the basic consensus of the SDA pioneers on the

seals

and

trumpets,

though

marred

by

some

historical

inaccuracies and limited exegetical insights, nevertheless was accurate in its perception that the seals and the trumpets were intended by their author to cover the entire Christian age and not just the end of that age.