The fourth seal. — And when He opened the fourth seal, I heard the voice of the fourth living being, saying, Come. And I saw, and behold, a horse, pallid (or, livid), and he that sat upon him his name was Death, and Hades was following with him; and there was given to them power over the fourth part of the earth to kill with sword, and with famine, and with death, and by the wild beasts of the earth. The colour pallid, or livid, is that deadly greenish hue, which is the unmistakable token of the approach of death. The rider is Death — not a particular form of death, but Death himself. Attending him, ready to gather up the slain, is Hades. The fourth seal is the darkest and most terrible. Single forms of death (war and famine) were revealed in the earlier seals; now the great King of Terrors himself appears, and in his hand are gathered all forms of death — war, famine, pestilence (for the second time the word “death” is used: it must be taken in a subordinate sense, as a particular form of death, such as plague, or pestilence; we may compare the use of the word “death” thus applied to some special disease, in the case of The Death, or Black Death), and wild beasts. These forms of death correspond with God’s four sore judgments — the sword, and famine, and pestilence, and the noisome beasts of Ezekiel 14:21. The seal, therefore, gathers up into one all the awfulness of the past seals. It is the central seal, and it is the darkest. It is the midnight of sorrows, where all seems given up to the sovereignty of death. The middle things of life are often dark. Midway between the wicket-gate and golden city Bunyan placed his valley of the shadow of death, following the hint of the Psalmist, who placed it midway between the pasture and the house of the Lord (Psalms 23). Dante, perhaps working from the same hint, found his obscure wood and wanderings midway along the road of life: —
“In the midway of this our mortal life
I found me in a gloomy wood, astray.”
The darkest periods of the Church’s history were those we call the Middle Ages. By this, however, it is not meant that there is any chronological signification in the seal. The vision deepens in its central scene, like the horror of darkness in the dream of Abraham. The history of the Church has not unfrequently presented a sort of parallel. The age which follows the ages of barren dogmatism and of spiritual starvation is often an age of sham spiritual life. The pale horse of death is the parody of the white horse of victory: the form of godliness remains, the power is gone.