Tag Archives: Babylon

Fallen is Babylon the Great

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“A mighty angel lifted up a stone like a great millstone and hurled it into the sea, saying, “Thus will Babylon, the great city, be hurled down with violence, never to be seen again” (Apoc. 18:21). Images of the angel and the millstone from the Val-Dieu Apocalypse (left; from Normandy during the 1320’s and is part of a group of four manuscripts from northern France that were modelled artistically on a now-lost 13th century English manuscript) and the Las Huelgas Apocalypse (right; the Las Huelgas Apocalypse is the largest and latest [1220] of a five-hundred-year series of medieval illuminated commentaries on the Apocalypse by the monk Beatus of Liébana. The series is considered Spain’s most important contribution to medieval manuscript illumination).

“Fallen, fallen is Babylon the great! She has become a dwelling for demons, a haunt for every unclean spirit, a haunt for every unclean and loathsome bird. For all the nations of the world have drunk the wine of her fornication…. ” (Apoc. 18:2)

The whore of Babylon is overthrown and the seer of the Apocalypse sings a series of dirges over the fallen city–both Babylon and Rome, capitals of the fallen world’s opposition to the Kingdom of God. The ruins have become the home of vile and loathsome monsters–some natural, some unnatural–as kings and sailors and merchants and those who grew wealthy from the imperial exploitation of the world mourn their losses.

It is easy–perhaps, too easy–to see the fall of Babylon-Rome as the condemnation of all economic systems that depend on the exploitation of the natural world or the labor of others. Certainly the “mark of the beast” and the refusal to let those who will not worship the Beast to participate in the economic life of society reinforces this interpretation. The Apocalypse seer insists–in many ways throughout the text–that Christians must segregate themselves from the larger society; he does not see how the Church and the fallen world can co-exist or cooperate in any way. He only sees persecution and conflict between the two, much as Augustine describes the “two cities” struggling against each other throughout human history in his classic City of God.

Another way to read the fall of Babylon is to see the city’s destruction as the overthrow of all false teaching, which is at the root of all exploitative systems. It is the misunderstanding of God’s relationship with the world, the human race and our misunderstanding of our relationship with each other that gives rise to all subsequent exploitation.

The fall of Babylon the great is the overthrow of Arius, Nestorius, and all the heresies that the Church has struggled against in the past and will continue to struggle against until the End of Days.

The Whore of Babylon

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Two depictions of the whore of Babylon: left, in the Beatus Apocalypse (an 11th century Romanesque illuminated manuscript); right, a 1532 hand-colored woodcut by Hans Burgkmair in Luther’s translation of the New Testament.

I saw a woman mounted on a scarlet beast…. the woman was clothed in purple and scarlet and bedecked with gold and precious stones and pearls. In her hand she held a gold cup full of all obscenities and the filth of her fornication…. I saw the woman was drunk with the blood of God’s people and with the blood of the martyrs of Jesus. (Apoc. 17:3-4, 6)

This woman, the famous “Scarlet Woman” and the “Whore of Babylon,” is the antithesis of the woman clothed with the sun in Apocalypse 12. The woman clothed with the sun gives birth to Christ in her children; the Scarlet Woman is drunk with the blood of those children, now martyred. The woman clothed with the sun is attacked by the dragon, the Antichrist; now the dragon, the Antichrist, escorts the Scarlet Woman in her apparent hour of triumph. The woman clothed with the sun is a mother who remains forever a virgin; the Scarlet Woman is the mother of all abominations and prostitutions imaginable. If the woman clothed with the sun is Sophia, the Divine Wisdom (Proverbs 8-9, Baruch 3-4, Wisdom 6-8), then the Scarlet Woman is the “loose woman” whose house is the gateway to Hell (Proverbs 7, 9).

The icons of Novgorod used scarlet as the background of divine light, out of which the saints stepped to greet the faithful. It is also the color of the Hellmouth, the great beast who devours the damned in icons of the Last Judgement. Scarlet is the presence of God who can be accepted or rejected but never escaped.

The Scarlet Woman is at the moment of decision, capable of giving herself over completely to the destruction of beauty and light or of turning aside from that path of destruction. She can remain the Whore of Babylon or become the Virgin Mother of the faithful, the “holy city, the new Jerusalem, coming down out of heaven from God, prepared as a bride for her husband” (Apoc. 21:2).

(For a fuller discussion of the woman clothed with the sun and the whore of Babylon, see my chapter “Clothed in Scarlet, Clothed with the Sun: Thoughts on the Women of Apocalypse 12 and 17” in Earth’s Abominations: Philosophical Studies of Evil available here.)

A New Song

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The seventh angel of the Apocalypse (illumination approx. 1180)

And they sang a new song, saying: “You are worthy to take the scroll and to open its seals, because you were slain, and with your blood you purchased for God persons from every tribe and language and people and nation.” (Apocalypse 5:9)

The angels lead the singing of the “new song” around the Throne of God. Several times, the “new song” is mentioned in the Apocalypse, together with many other “new” things — a new name, a new heaven and a new earth, the New Jerusalem. These “new” things are not simply more recent than what they replace but are different in quality as well. The “newness” is a description of their character and purity as well as their permanence. They will not be replaced or supplanted, much like the “new covenant-testament” established by Christ at the Last Supper.

The psalms frequently mention a “new song” as well — Psalms 33, 40, 96, 98, 144, 149. Again, the “new song” is an eschatological hymn, a song to be sung at the End of Days when God’s people are vindicated and God’s final triumph is celebrated. But what is the “old song” that the new one is being contrasted with? The “old song” — maybe, the “first song” is a better way to describe it–is the Song of Miriam and Moses that God’s people sang on the shore of the Red Sea after escaping from Egypt. This song that celebrates the Exodus is also a celebration of God’s victory and the vindication of his people; it is a dress rehearsal for the victory God will win over his cosmic enemies at the End of Days.

During the Middle Ages, it was common for rabbis to identify the “old-first song” as the song sung when King Solomon dedicated the Temple in Jerusalem and the “new song” being that which was sung when the Temple was rebuilt and rededicated after the people returned from exile in Babylon. This can also be understood as a hymn sung to celebrate God’s deliverance of his people from their enemies and his re-establishment of them in the Promised Land.