That is, after witnessing the scenes of chs. 17 and 18 (see on ch. 18:1). Those of ch. 19 were presented to John immediately, without interruption. From v. 2 it is apparent that this song is sung after judgment has been executed upon the “great whore,” an event that takes place under the seventh plague (see on chs. 16:19; 17:1), and thus after the scene described in chs. 17:16, 17; 18:4-23. According to TM 432 the singing of this song of praise to God follows immediately upon the completion of the work of the seventh plague-bearing angel. If the events of chs. 18 to 20 are recorded in chronological order, as appears to be the case, the anthem of ch. 19:1-7 is sung in close connection with events at the second coming of Christ, whether at that very time or just before or after cannot be determined with certainty. The context may be understood as assigning the anthem to a point of time immediately prior to the actual appearance of Christ (cf. v. 11).

Textual evidence attests (cf. p. 10) the omission of this expression.

 See on Matt. 6:13; 28:18.

Textual evidence attests (cf. p. 10) the omission of this word.

 See on Matt. 6:13; Rom. 3:23.

 Literally, “the salvation.” In the Greek each of the virtues here ascribed to God is preceded by the definite article. This suggests the fullness, the sum total, of each attribute. The “salvation” of ch. 12:10 (see on comment there) is specifically salvation from “the accuser of our brethren”; here, it is salvation from mystical Babylon (see on ch. 16:17). The one refers to what was accomplished at the first advent, the other, to what is to be accomplished at the second.

 Gr. Allelouia, a transliteration of the Heb. halelu-Yah, “praise ye Yahweh” (see on Ps. 104:35), from halal, “to shine,” “to boast,” “to celebrate,” “to praise,” and Yah, a shortened form of Yahweh. Like another Heb. word “amen,” “hallelujah” has been adopted into the English language practically unchanged. The four occurrences of the word in Rev. 19 (vs. 1, 3, 4, 6) are the only instances of its use in the NT. Verses 1-7 constitute an antiphonal choral arrangement composed of two anthems and two responses:

 (1) In vs. 1-3 a great voice in heaven leads out with the theme of the song, ascribing honor and justice to God for having punished Babylon.

 (2) In v. 4 the “beasts” and the “elders” respond in affirmation.

 (3) In v. 5 a voice from the throne summons all loyal subjects throughout the universe to a joint recognition of the truth of the theme.

 (4) In vs. 6, 7 the entire universe unites in acclaiming the right of God to universal sovereignty.

 This paean of praise stands in striking contrast with the dirge of death in ch. 18:10-19. The motif of this antiphonal hymn of praise is similar to that Ps. 24:7-10, which is likewise composed of two anthems and two responses. This responsive chorus was first used during the triumphal procession marking the return of the ark to Jerusalem (PP 708), and centuries later at the resurrection (EW 187) and the ascension (DA 833; EW 190, 191).

 The inhabitants of heaven, and possibly also men redeemed from this earth (cf. ch. 18:20). It may be that the anthem of ch. 19:1-7 is sung in response to the call of ch. 18:20.

 See on ch. 11:15.