How Can the 7 Last Plagues be Great and Marvelous?
They were singing the song of Moses, the servant of God, and the song of the Lamb: Great and marvellous are your works, O Lord God, the Almighty. Just and true are your ways, O King of the nations. Revelation.15:3.NLT
In relation to the problem and origin of evil God’s vindication is complete. The great controversy has run its course and God is revealed before the universe as being fair, righteous and just. In Revelation 4 and 5 the ascending crescendo of music had proclaimed the divinity of the lamb. Here, after God has “had his day in court” (Rom.3:4 NLT) the redeemed proclaim the vindication of His character.
The sound of singing breaks into this scene completely unexpected. Rivers of blood anticipate even further plagues (Revelation.14:19 -15:2). It would seem like a time to ban music and rejoicing. But sometimes the most powerful singing occurs when nobody plans on it.
Here’s an example: in his search for a new kind of sound, Sam Phillips had run nearly every singer in Memphis through his Sun Records studio; on that summer evening, the day after the Fourth of July 1954, the 19-year-old Elvis was merely the next in line.
Elvis knew only a few songs, and most of those he couldn’t play from start to finish. Somehow the backup group fumbled through Harbour Lights, which had been a 1950 hit song for Bing Crosby. Elvis sounded boring and mechanical. Phillips called for a break.
With the formalities suspended, Elvis picked up a guitar and began goofing around, playing an old blues song by Arthur (Big Boy) Crudup called ‘That’s All Right.’ Except that Elvis was not singing the blues. He sounded almost euphoric, and the rhythm was all wrong – far too chaotic, almost wild. Phillips knew immediately. He stuck his head out of the control room and told the threesome to pick a place to start and keep playing. Two nights later, ‘That’s All Right’ was played on Memphis radio. Phillips had his new sound and the era of rock and roll had begun.
If Elvis Presley had not been recorded in an informal session, no one might ever have heard about him. But music is most powerful when it reflects the depth of a person’s unique experience.
That’s the kind of song the redeemed will unexpectedly sing after the plagues, the spontaneous song of deep experience.
This chapter is based on Israel’s deliverance in the past from both Egypt and Babylon. It foretells spiritual Israel’s deliverance from the evils of the last days and the new song they will sing.
Revelation 15:1 had told us “God’s wrath is completed,” it should remind us of language we have heard before. At the cross, Jesus proclaimed, “It is finished!” (John 19:30). The angel in Revelation 10 announced, “there will be no more delay!” and Revelation 11:17, 18 is a psalm from 24 elders announcing the victorious commencement of the reign of Christ. In Revelation 15:2-4, John sees a parallel to the song of the 24 elders, this time those who are victorious over the beast and his image sing praise to God for His righteous acts through the song of Moses and the Lamb. Phrases in this song are drawn from Psalms 86:9, 98:2, 111:2,3, Deuteronomy 32:4, and Jeremiah 10:7. The references to Moses and the Lamb alludes to both the old and new covenants. It Highlights the deliverance of Israel through the Red Sea after the 10 plagues of Egypt (Exodus 15) and the deliverance of all humanity through the Lamb’s sacrifice on the cross. It is a celebration of liberation, salvation and God’s supreme justice.
Great and marvellous are your works, O Lord God, the Almighty. Just and true are your ways, O King of the nations.
Hallelujah!
amen