Tag Archives: the seven trumpets

Ellen White and the Trumpets II (EWB 15)

For those who may feel that my position on the statement in GC 334-335 undermines the authority of Ellen White, I strongly encourage you to read the Appendices to Selected Messages, volume 3, pages 433-450. See also the Introduction to The Great Controversy, which touches more generally on these themes in Ellen White’s own words. These pages include statements to the General Conference session in 1911 by W. C. White and letters that he wrote concerning the process by which The Great Controversy 1911 Edition was put together. These remarks and letters occurred well within Ellen White’s lifetime by her own son, and could have been easily corrected by her were they in error. It is clear from these that she did not consider her work to provide an inspired guide to historical events and details such as those provided in relation to Revelation 9. I offer a quick sampling of key statements here.

“Mother has never claimed to be authority on history.” 3SM 437. The rest of the paragraph, and some of the pages that follow, describes how and why the history in Great Controversy came to be included in the book, particularly the standard edition of 1911. “When Controversy was written, Mother never thought that the readers would take it as authority on historical dates, or to settle controversy regarding details of history, and she does not now feel that it should be used in that way.” In 3SM 433-450, there is significant description of just how the process of including history in the book took place. History is not the main point of the book, it is used to illustrate the main points the writer was seeking to make for her readers (after considerable research at least two directors of the White Estate have concluded that the same applies to biblical exegesis, something that mainly appears in her books with a lot of quotes and borrowing from other authors).

The above is underlined in a 1912 letter from W. C. White to S. N. Haskell, which included a written note from Ellen White: “I approve of the remarks in this letter.” The crucial statement for our purpose in that letter follows: “I believe, Brother Haskell, that there is danger in injuring Mother’s work by claiming for it more that she claims for it, more than Father ever claimed for it, more than Elder Andrews, Waggoner, or Smith ever claimed for it. I cannot see consistency in our putting forth a claim of verbal inspiration when Mother does not make any such claim, and I certainly think we will make a great mistake if we lay aside historical research and endeavor to settle historical questions by the use of Mother’s books as an authority when she herself does not wish them to be used in any such way.” See the entire letter at https://whiteestate.org/legacy/vault-haskell-html/#:~:text=C.%20White%20Statement%20of%20October%2031,%201912%20.

Assuming Litch was in error, as he himself later concluded, what do we make of God allowing such a mistake in the midst of an important movement that had His approval? When one reads the Bible with care, it becomes clear that God works with mistake-prone people to gradually bring about clearer and clearer understandings of His character and government. He does not give out truth that people are not yet ready to handle (see John 16:12). In Great Controversy it is clear that Miller himself made a major error of biblical interpretation, but that did not invalidate his work as a whole. In the case of Litch’s prediction, I think it is not unlike God to preserve a threatened movement by providing the “fulfillment” it so desperately needed and was looking for.

Ellen White and the Trumpets (EWB 14)

When it comes to the trumpets, unfortunately, Ellen White has very little to say. Only two statements are generally understood to offer meaningful comment on Revelation 8:7 through 9:21; they are found in Letter 109, 1890 and GC 334-335. On the surface, at least, the two statements point in opposite directions. One is often used to support an end-time scenario for the trumpets, the other to support Josiah Litch’s historicist account, which places the first six trumpets well in the past. Each of these statements will be examined briefly in turn. Four other possibilities will also be explored. Statements regarding Revelation 8:3-5, 11:7 and 11:18 may shed some light on Revelation 8:7-9:21, and statements regarding the sealing of Revelation 7 are often understood to impact on the meaning of Revelation 9:4.

Until recently, Seventh-day Adventist interpreters have rejected any futurist understanding of the first six trumpets. In the last few years, however, some have suggested that the seven trumpets have an end-time fulfillment, either in addition to or in place of the historical understandings of the past. This kind of interpretation seeks support in Ellen White’s statement in Letter 109, 1890: “Solemn events before us are yet to transpire. Trumpet after trumpet is to be sounded, vial after vial poured out one after another upon the inhabitants of the earth. Scenes of stupendous interest are right upon us.” This statement from a private letter was later published in 7BC 982, part of the Ellen White notes in the SDA Bible Commentary.

The understanding of this statement is not particularly aided by its context. The statement is very general and uses the term “trumpet” as part of a collection of statements concerning the terrors of the end. The statement was not published in Ellen White’s lifetime, and it does not offer an exegesis of Revelation 8 and 9. The only connection to Revelation 8-11 is the single word “trumpet.” There is no indication of an exegetical usage and it is the lone reference like this in all of her writings. Since the comment is confined to a personal letter and is not intentionally included in her published works, she does not appear to be attaching any great significance to it. Rather than attempting to set the groundwork for future exegesis of the trumpets, Ellen White appears to be merely echoing the language of Scripture to heighten her description of future calamity to move a person to action and commitment. There are too many uncertainties with regard to her intention for the passage, therefore, to offer any conclusive guidance to exegesis of the trumpets. If the trumpets are to be interpreted as future, it needs to be demonstrated by exegesis of the text itself.

An entirely different approach seeks support from the statement in GC 334-335. In this statement Ellen White gives apparent support to the view proposed by Josiah Litch and published by Uriah Smith in Daniel and the Revelation that the fifth and sixth trumpets portray the activities of the Saracens and Turks over a 1200-year period. While the SDA church holds the official view that doctrinal and exegetical positions should be based on the Bible and not on the writings of Ellen White, most SDAs would be uncomfortable rejecting a view that she seems to state clearly and unequivocally. Her endorsement in a major published work would have an almost overwhelming effect on interpretation of the trumpets.

Many E. G. White scholars, however, including Arthur White (her grandson) and Robert Olson (both directors of the White Estate), do not consider her language to be an endorsement of the Islamic view. She uses such neutral terms as “according to his calculations,” and “the event exactly fulfilled the prediction.” This leads one to suspect that she herself was uncertain as to the correct understanding of Revelation 9 and reported Litch’s view because of its historical significance. She points out that as a result of the apparent fulfillment of Litch’s prediction, multitudes were convinced of the correctness of the Millerite principles of prophetic interpretation, and many men of learning and position united with Miller. Litch’s position played a critical role in the historical context she was describing.

To compound the problem with the interpretation, Litch himself later repudiated that view because of, among other things, an error in calculating the supposed time period of Revelation 9:15. He overlooked the effect of the calendar change in 1582 when he predicted that the supposed time period of Revelation 9:15 would wind up on August 11, 1840. So even if Revelation 9:15 portrays a period of time rather than a point in time (which is grammatically problematic—see my comments on Revelation 9:15 in the Facebook commentary at the Armageddon web site), the specific position described in Great Controversy is in error. Since no one since has been able to salvage Litch’s view in the form reported in GC 334-335, it is probably better to understand her account as a historical report and not a theological endorsement.

In the blog that follows this one in a few days, I will address the issue of how such a reading of Ellen White is supported by her own statements and those of her closest associates. Stay tuned.

Revelation Teacher’s Quarterly, Week 7, February 9-16 Analysis of Changes Made in the Editorial Process for the Teacher’s Edition

Basic theme: The Seven Trumpets

The changes to this quarter’s Teacher’s Edition of the Adult Sabbath School Study Guide (known popularly as the Sabbath School Quarterly) were fewer and less significant than in the previous week. I will review the changes that were interesting or substantive.

In Main Themes II of the Commentary section, the editors removed wording that alerted the readers to the fact that it is possible (but not likely) to read the trumpets as after the close of probation. Since quite a few Adventists read the trumpets that way I felt it was best to acknowledge that possibility and then show why it doesn’t likely work. The editors probably felt it was safer to act as if such views did not exist. That is a judgment call that editors have to make, like it or not. I’d prefer not to “make opponents disappear” but to deal honestly with their differences and seek to win them. But in practice my approach may not be as effective as I’d hope it would be.

In Main Themes III the editors removed my reference to Ezek 20: 47-48, which is critical to my interpretation of the first trumpet. But my interpretation was left intact. Do look at Ezekiel as you prepare to teach or participate. Regarding the second trumpet the editors added a reference to 1 Pet 5:13, which I think is helpful. I left it out because of space limitations. Regarding the fourth trumpet, the editors removed my suggestion (on the basis of comparison with the fifth trumpet) that the fourth could depict the rise of secularism after the Middle Ages. They prefer the interpretation of deepening apostasy in the church. I think that is less likely to be the case as we have there the imagery of eclipse rather than alteration (as in the third trumpet), but it may be correct. Regarding the fifth trumpet, the editors removed my references to Luke 8:31 in connection with the Abyss.

In Main Themes V I noted that the angel of Revelation 10 raised his “right” hand to heaven. The editors removed this, which puzzled me, since the word “right” (Greek: dexian) is clearly there in all manuscript traditions. But the NKJV, following the KJV, leaves that word out. Evidently the final editor, whoever that is, uses the NKJV almost solely and does not check the original.

In sum, I can only be delighted that most of my comments were accepted and published. The seven trumpets are extremely difficult and there is no SDA consensus on their interpretation. Have fun trying to work it through this week! I should mention that Uriah Smith’s interpretation (Fall of Rome) is not followed by most SDA scholars for a number of reasons. Among others, he did not study them himself (his comments are full of quotations from others), he got his views from non-SDA sources, the position is not based on analysis of the text itself, and Ellen White’s seeming endorsement is casual and her use of Rev 9 is peripheral to her intention for that chapter. For more on that see http://www.thebattleofarmageddon.com/interpreting_7_trumpets_jon_paulien.html.

Again, for those who don’t have access to the standard printed edition of the Adult Sabbath School Bible Study Guide or the Teacher’s Edition for this quarter, you can access them online week by week at https://www.absg.adventist.org/. My original pre-edited Teacher’s Edition manuscript for this week is provided in the previous blog. You can also download audio of me teaching the lesson ahead of time each week at http://pineknoll.org/sabbath-school-lessons.

The Spiritual Payoff in the Trumpets (Trumpets 7)

The material in the seven trumpets does not lend itself to a great deal of application to everyday life experience. But the following two points have been helpful to me.

1) How does the connection between the introduction to the trumpets (Rev. 8:3-5) and the fifth seal (Rev. 6:9-11) offer encouragement to those suffering for the sake of the gospel today? The martyrs’ cry for judgment in the fifth seal is answered by the seven trumpets (see Rev. 8:13). The trumpets are God’s judgment within history on powers that have been oppressing His people. The message of the trumpets is that God sees the suffering of His people and responds to the injustice, not only at the end of time, but in the course of history. Like Job, we may not always understand what God is doing, but we have reason to trust Him even in the darkest times.

2) The judgments of the first two trumpets fall on those powers that combined to crucify Jesus (the religious authorities of Jerusalem under Caiaphas and Roman civil authority under Pilate). What does this tell us about opposition to the gospel? Opposition to the gospel and those who embrace it tends to come from two distinct directions; opposition from inside the house and from outside the house. Jesus was crucified when the leaders of Israel (inside) combined with outside powers (Rome) to put Him to death. Historically, however, the greatest opposition to the true gospel and its followers often comes from those in the same faith.
A similar dynamic is seen in the parable of the prodigal son (Luke 15:11-32). The father is not only rejected (initially) by the son who left, but also by the one who stayed. The former is indifferent to the father, the latter is motivated by selfish gain. The prodigal son represents those today who care little about God and faith and are visibly on a different track. The elder son, on the other hand, represents those in the church who do not know or exhibit the character of the Father. On the outside they look pious and obedient, but inside is the heart of a rebel.

The Relation of the “Interlude” to the Seven Trumpets (Trumpets 5)

The trumpets focus on the opponents of God and of those bearing witness for Him (Rev. 9:4, 20-21) but the “interlude” between the sixth and seventh trumpets (Rev. 10:1 – 11:13) focuses on God’s people. The big question is whether the “interlude” is truly a pause or an “interruption” within the seven trumpets or whether it is actually part of the sixth or seventh trumpets themselves. Related to this is whether the interlude should be seen in terms of the timing of one of these trumpets or is it timeless in some sense. We have already seen that the “interlude” of Revelation 7 is closely related to the sixth seal rather than truly independent. Chapter seven answers the question of who will stand in the day of God’s wrath against the persecutors of His people (Rev. 6:17).

The answer to the question is not difficult to find when it comes to the material between the sixth and seventh trumpets. The “interlude,” however, is not separate from the trumpets, it is clearly part of the sixth trumpet. This is found in the sequencing of the three woes. Revelation 8:13 describes three woes coming upon those who live on the earth. According to Revelation 9:12, the first of these woes is the fifth trumpet. The second woe is the sixth trumpet, but it does not end at the close of chapter nine, it is described as ending at Revelation 11:14. So the bulk of chapters 10 and 11 are part of the sixth trumpet. While the forces of evil are gathering for the final crisis during the sixth trumpet (Rev. 9:16), the forces of the righteous are gathering to counter them (Rev. 7:4; Rev. 10:1 – 11:13). Since the sixth trumpet ends with the close of human probation (Rev. 10:7– the point where conversions no longer occur), the “interlude” within the sixth trumpet describes the final proclamation of the gospel to the world.

The Meaning of the First Six Trumpets (Trumpets 4)

Here’s a nutshell summary of the key themes in the first six trumpets. 1) The first trumpet uses the Old Testament language of God’s judgments (hail, fire and blood– Exod. 9:23-26; Isa 10:16-20; Ezek. 38:22) directed against symbols of God’s OT people (vegetation and trees– Isa. 28:2ff.; Ezek. 20:47-48). Hence the first trumpet represents God’s judgment on the Jerusalem that had rejected Christ (Matt. 23:37-38; Luke 23:28-31). 2) The second trumpet recalls in general God’s judgments on those who opposed Him (Exod. 7:19-21), and in particular the fall of ancient Babylon (Jer. 51:24-25, 41-42). This trumpet seems to describe the fall of the Roman Empire.

3) The symbolism of the third trumpet parallels biblical imagery for the work of Satan (Isa. 14:12-19; Luke 10:18; Rev. 12:9). But the symbolism of lamp, springs, rivers and water suggest spiritual life and growth (Psa. 1:3; 84:6-7; 119:105; Jer. 2:13). The falling of the star and the embittering of the waters connect the two ideas suggesting a perversion of truth and a rise of apostasy. This trumpet, then, may foretell the condition of the church in the Middle Ages. 4) In the fourth trumpet, on the other hand, a third of the sources of light (sun, moon and stars) are darkened, in other words, the symbols of truth are partially eclipsed. This could represent the rise of secularism after the Middle Ages or the deepening of apostasy in the church during the Middle Ages (Exod. 10:21-23; Job 38:2; Isa. 8:22; John 1:4-11; 3:18-21).

5) With the fifth trumpet the partial darkness of the fourth trumpet becomes total and worldwide (Rev. 9:1-2; Luke 8:31). If the fourth trumpet represents the rise of secularism after the Middle Ages, the fifth would represent the triumph of secularism in the modern age. With God and truth totally eclipsed, sinful mankind is left to the demonic torment of suicidal desires (Rev. 9:3-11; Luke 8:31; 10:17-20). The only safety is in genuine relationship with God (Rev. 9:4).

6) While the first five trumpets have many allusions to ancient Egypt, the sixth trumpet particularly echoes biblical accounts regarding ancient Babylon. There are references to the river of Babylon (Rev. 9:14), the idolatry of Babylon (Rev. 9:20; Dan 5:4, 23) and the fall of Babylon (Rev. 9:21; Isa 47:9-12). There are also many parallels with the sixth bowl (Euphrates, battle language, demonic imagery– Rev. 16:12-16). So the sixth trumpet portrays the rise of end-time Babylon, with its opposition to God arising from within the church (Rev. 17:4-5).

The readings in this blog are an attempt to take seriously the exegetical meaning of the trumpets, how the imagery would have been understood when it was originally written. It also takes seriously the apocalyptic nature of the trumpets and God’s ability to foretell the main lines of history in John’s future. The trumpets are not easy to understand, but when the imagery is read with an eye to its Old Testament backgrounds, the meaning is easier to follow.

The Time When the Trumpets Begin (Trumpets 3)

The throwing down of the censer (or fire) in Rev. 8:5 suggests to some Adventist interpreters that the events that follow (8:6—the blowing of the seven trumpets) are after the close of probation. This would mean that the seven trumpets represent end-time events rather than a forecast of events throughout the course of Christian history. But a number of indications in the text make this very unlikely.

First, the pattern in the first half of the book of Revelation (the churches, the seals and the trumpets) is that the visions begin with the New Testament era and cover events throughout Christian history. Second, whatever the casting down of the censer (fire) in Rev. 8:5 means, probation is clearly not yet closed at the time of the sixth trumpet. The intercession at the altar is still taking place (Rev. 9:13) and the gospel is still going forth (10:11; 11:3-6, 12-13). That the “interlude” of Revelation 10:1 – 11:13 should be included in our understanding of the sixth trumpet is shown in a following blog. Chapter ten and eleven are part of the sixth trumpet, not an independent vision. Finally, the proclamation of the gospel ends and probation fully closes only at the sounding of the seventh trumpet (Rev 10:7). So the seven trumpets of Revelation cover the whole course of history from John’s day to the close of probation and final events.

Major parts of Revelation DO concern end-time events in human history. But when John goes there, he makes it fairly clear that he is doing so. While each of the seven-fold series (churches, seals and trumpets) ends in the final era, the central focus of the second half of the book is almost entirely focused on the last events of earth’s history.

The Meaning of “Trumpets” in the Bible (Trumpets 2)

The seven trumpets section of Revelation (particularly 8:2 – 9:21) is one of the most difficult passages in the Bible to interpret. Faithful Adventist students of the Bible have not come to agreement on its meaning through the years, even though Ellen White makes passing reference to the passage in the book Great Controversy. There are enough biblical and historical issues with Josiah Litch’s explanations (referenced in GC) that consensus on the passage’s meaning has been elusive. But there are aspects of the passage that are reasonably clear and one of these is how it builds on the symbolic meanings that trumpets have exhibited throughout the Bible.

The Greek words for trumpets (nouns) and trumpeting (verbs) occur 144 times in the Septuagint, the Greek translation of the OT. The vast majority of those references (105 out of 144) concern either signaling in warfare, worship and prayer, or a combination of both. The clearest single passage on the meaning of trumpets is Num. 10:8-10. According to this text, in ancient Israel the trumpets were always to be handled by the priests (10:8), even when being used in the context of warfare. So there is a spiritual meaning that Israel was to discern in the blowing of trumpets.

The defense of the nation of Israel was considered a sacred task in the OT. So when Israel went out into battle, the trumpet priests went with them. The sounding of the trumpets not only indicated the moves that the battle line was to make, it represented a prayer for God’s intervention in that battle (10:9). Likewise, in the temple and on the feast days, the blowing of trumpets invited God’s spiritual intervention in the lives of His people (10:10). So the core meaning of trumpets in the OT is covenant prayer, calling on God to remember His people, both individually and collectively.

Most of the occurrences of trumpets and trumpeting in the NT are in Revelation, chapters 8 and 9. At first glance it might seem that signaling in warfare is the primary meaning in the seven trumpets of Revelation. But the connection between the trumpets and the fifth seal (see previous blog) underlines the prayer theme as the primary one here too. The trumpets are a response to the prayers of the suffering saints of God (Rev. 6:9-10; 8:2-6, 13). It assures them that God has noticed their suffering and, even though He may seem silent in their experience, He is already acting in history against those who have persecuted them. So the trumpets are more than just an outline of history, they contain a deep theological message for those who are suffering. God’s silence in the experience of His saints is not the whole picture. He is often responding in ways that we may not detect until later.

The Purpose and Key Themes of the Seven Trumpets (Trumpets 1)

The seven trumpets (Rev. 8:2 – 11:18) build on a view of the incense altar (8:3-4) and contain an “interlude” (10:1 – 11:13) which offers a view of God’s people in the midst of the horrific sixth trumpet (9:12-21).

The purpose of the trumpets is clarified in connection with the fifth seal (Rev. 6:9-11). In the daily (tamid) service of the temple in John’s time, incense was collected at the Altar of Burnt Offering and then offered at the Altar of Incense in the Holy Place of the earthly sanctuary. At the close of that service in the temple of Jesus’ day, seven priests blew seven trumpets to indicate that the sacrifice was complete. In the opening of the trumpets (Rev. 8:3-4) there is reference to the two different altars in the context of the daily service of the temple. The first altar mentioned is a reference to the Burnt Offering Alter of the fifth seal. The second altar mentioned is the Alter of Incense. Reference to both altars and to the prayers of the saints in Rev. 8:3-4 connects the trumpets as a whole with the scene in Rev. 6:9-10. The seven trumpets answer the prayers of the saints for judgment on those who have persecuted them (compare also 6:10 with 8:13). The trumpets, therefore, fall on the opponents of God’s people in the course of Christian history.

Our brief survey of the trumpets will introduce the following themes:

1. The Meaning of Trumpets in the Bible.
2. The Time When the Trumpets Begin.
3. The Meaning of the Imagery in the First Six Trumpets.
4. The Relation of the “Interlude” to the Seven Trumpets.
5. The Allusion to Dan. 12 in Rev. 10.

I’ll be exploring the five themes above in future posts.