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1100 / 1113 · Revelation 9 · The Later Letters & Revelation · c. AD 95 (traditional); some date it to the late 60s

Locusts from the Abyss

Debated

Farmers in Rajasthan and Gujarat who lived through the desert-locust swarms of 2019–20 describe the same things: the noise before you see them, the sky going brown, a field of green gone by evening, and the helplessness of beating on steel plates against a cloud. A locust plague is not a storm that passes; it is an army that eats. John's first hearers knew this dread from Joel and from Exodus. In Revelation 9 he takes that old nightmare and makes it stranger — locusts with human faces, lions' teeth and scorpion stings, led by a king whose name means Destruction.

Where it sits in the story: Act 6 — new creation — is coming, but Revelation shows it arriving through judgment on a world that has resisted God. The trumpets of chapters 8–9 echo the plagues on Egypt: as God once broke Pharaoh's grip to free his people, so these warnings shake the powers of the world. Chapter 9 brings the fifth and sixth trumpets, the first two of three announced 'woes', and ends on the grim note that the warnings have not produced repentance.

What this chapter is doing: To show judgment as limited warning rather than blind rage — the locusts may torment but not kill, and may not touch those sealed by God — and to expose how deeply human hearts can hold on to their idols even under the blows.

Why it is read here: Revelation is read last and is usually dated to about AD 95, under the emperor Domitian, following early church tradition (Irenaeus). A significant minority date it to the late 60s, before Jerusalem fell.
The walk-through
  • 9:1–6 — At the fifth trumpet a fallen star is given the key to the abyss. Smoke pours out and with it locusts, commanded to spare the grass and to harm only those without God's seal, and only for five months. The pain is so great that people long for death and cannot find it.
  • 9:7–12 — John describes the swarm like a war-horse army: crowns, human faces, women's hair, iron breastplates, wings roaring like chariots. Their king is the angel of the abyss, called Abaddon in Hebrew and Apollyon in Greek — both meaning Destroyer. The first woe is past.
  • 9:13–19 — At the sixth trumpet a voice from the golden altar releases four angels bound at the Euphrates, held ready for an exact hour. A cavalry numbering two hundred million rides out, horses with lion heads breathing fire, smoke and sulfur, and a third of humanity is killed.
  • 9:20–21 — The survivors do not turn from worshipping demons and lifeless idols of gold, silver, stone and wood, nor from their murders, sorceries, sexual immorality and thefts. The chapter closes on refusal, not on a ruined world.
What it showsThe imagery draws openly on Joel 1–2 (the locust army) and the Exodus plagues; the Euphrates was the Roman Empire's eastern frontier, beyond which lay the feared Parthian horse-archers, which gives the sixth trumpet a recognisable first-century edge.
Where the evidence stopsPreterist readers link the cavalry to fear of Parthia, futurists expect literal future events, and idealists read recurring patterns of judgment; the text does not settle it. Attempts to match the locusts or the 200 million to modern armies, weapons or nations are speculation.

Key verse: Revelation 9:20  ·  So what: The unsettling honesty here is not the monsters but the last two verses. Suffering does not automatically soften people; it can harden them. Revelation refuses the idea that enough pain will force anyone to love God. It also sets limits on the horror: the sealed are protected and the torment has a term. Readers facing real disasters can take both seriously — the reality of evil and the boundary God sets on it.

← Silence, Then the TrumpetsYou have just read the seventh seal's silence and the first four trumpets striking land, sea, rivers and sky (Revelation 8). Next, a mighty angel with a little open scroll interrupts the sequence before the seventh trumpet (Revelation 10).The Sweet and Bitter Scroll →
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