Angels in Revelation
In the words of Peter Carrell, angels function as “heavenly beings distinct from God and from human beings, who exist to serve God as messengers, as the heavenly congregation at worship and as agents of the divine will.”
When I decided to travel into the Book of Revelation, I chose to link myself to the angels. In popular culture, these benign and non-threatening creatures flit invisibly through the air to aid and comfort humans. Perhaps they would—gently-- protect my journey through the violence of the apocalypse.
Angels abound in John's Revelation. If Eden existed as a serene garden, overseen by a single couple, with God occasionally strolling through to observe, Revelation’s heaven is a city, populated by a multitude.
In Revelation, however, angels provide little comfort: they are mighty, they speak in loud voices, they blast trumpets, and they wield instruments of doom. They unquestioningly obey the divine commands. They never argue with God over the horrendous damage they’re instructed to inflict on the earth. They are not Lot, pleading for Sodom and Gomorrah, and they stand in stoic contrast to John, who weeps when he thinks the scroll secured with seven seals can’t be opened. They’re not the graceful, winged bird-people of Renaissance annunciation paintings or the disarming cherubs of Baroque ceiling art. Instead, they are the powerful, masculine figures painted by William Blake.
George Fox wrote about Revelation and claimed to understand it. Its apocalyptic imagery saturated his writings as he anticipated the establishment of the New Jerusalem in his lifetime. Most interestingly, he interpreted Revelation through the lens of the peace testimony. He writes “Now the holy angels of God are spirits, so then they had spiritual weapons, and not carnal swords, muskets, pikes, and pistols, &c. to fight with the dragon.”
We're told to enter the "conical spiral" of Revelation imaginatively, and many artists have done so. Apparently, Fox did so, reading through its violent imagery to a message of spiritual warfare overcoming carnal weapons.
The William Blake painting above of a mighty, muscular angel with his arm upheld captures the imagery of Revelation's angels. I have also included a Turner painting, highly impressionistic, of an angel blocking the sun, a tenth-century miniature of an apocalyptic angel playing a zither in heaven, and a 14-century tapestry of an angel blowing the second trumpet, causing the seas to rage. None of these paintings, however, show heaven as a city teeming with angelic beings.
I particularly like the way the poems below echo the hard, grinding ethos of these angels who poured woe on the earth. This is how Revelation's angels look from below, from earth's perpective. In heaven, they are a different story, mighty and loud but part of the divine harmony, tens of thousands of them singing praises to God and the Lamb.
Interestingly, the first of the two poems below speaks of silence:
O, clanging choirs of angels,
pour your holy cataract of echoing silence
into our deaf listening ...
Yet, we as Quakers, don't gravitate anymore to this strange, poetic and sometimes terrifying book of the Bible. Why not? Should we reopen it?
What do you think of these angels? Of the book of Revelation? Of these poems?
Song of the Angels II
by Hildegard Elsberg
Earth axis grinds,
shutters of the netherworld rattle,
gates of Heaven creak in their hinges.
Approach fast, you lyre-bearers, with rhythmic step.
Air whispers at offenses with baited breath,
waters moan under their insult.
fire, the lions, roar revenge.
O, angelic voices, begin humming now,
from afar, break into sound.
Rocks crack open, stones split hissing,
grasses shake, flowers weep,
shrill birds shriek, foxes yelp.
O, empyrean melodies, draw near,
ring in, ring in, reach our ear,
break our soul's sound barrier.
Men sigh, women grieve, children whimper,
prisoners scream, the insane muffle their outcry,
the old wail, the lonely sob.
O, clanging choirs of angels,
pour your holy cataract of echoing silence
into our deaf listening,
rend our disused year with your high harmonies.
Song of the Angels III
Hildegard Elsberg
Sword-carrier of justice
wings frosted by cold air of divine detachment,
before your implacable presence
our passionate lifeblood is stayed,
our ardent pulse numbed with terror.
Celestial strider, rider in glory,
pouring out vials, wisdom filled;
parched fields of our comprehension ravaged gardens bereft,
their fruits of knowledge fallen, gnawed by the worm,
stretch wide beneath your dew.
You, planter of the heart-tree,
ruby on your holy forehead, perpetually plummeting
charity from your infinite perspectives,
by your fire melt, you, our floes,
grip, you, formidable, in piercing pity, those roots.
Angel of the great Turning,
meet at crossroads the voyager,
step in the way of a mountaineer, flung into spiraling descent,
who wring from themselves lonely return;
your glowing joy is their viaticum.
Majestic messenger from the land beyond the river,
you, of fierce mercy, by our hair,
from the bowels of our yearning, pull us across.
Blow, on your resounding trumpet
splendor of sunrise in a new land.
