Catholic Commentary
The Theophanic Storm Cloud from the North
4I looked, and behold, a stormy wind came out of the north: a great cloud, with flashing lightning, and a brightness around it, and out of the middle of it as it were glowing metal, out of the middle of the fire.
Ezekiel 1:4 describes the opening vision of Ezekiel's prophetic call, in which a divine storm arrives from the north bearing a great cloud, lightning, radiance, and glowing metal within the fire. This theophany uses traditional Sinai imagery to assure the exiled community that God's presence and covenant remain intact even in Babylon, with each layer of fire and light pointing toward the divine glory itself.
God does not confine himself to temples or peaceful moments—he breaks into exile as a storm, proving that the worst places are often where his light burns brightest.
The Typological and Spiritual Senses The Church Fathers read theophanies not merely as historical events but as anticipations of the mysteries of Christ. The fire and cloud over the Tabernacle and Temple have now, in Ezekiel's vision, been stripped of their geographical fixity. God is no longer bound to Jerusalem — he can manifest in Babylon, in exile, among the displaced. For the Christian reader, this foreshadows the radical freedom of divine Presence that reaches its culmination in the Incarnation, where God pitches his tent not in a building but in human flesh (Jn 1:14). The hashmal — the luminous core within the fire — may be read typologically as an image of the Logos: the Word burning at the center of all revelation, the eternal light that gives meaning to every outer manifestation of divine glory.
Catholic tradition brings a distinctive interpretive richness to this verse through its insistence on the four senses of Scripture and its deep engagement with the mystical theology of divine encounter.
Gregory the Great and the Mystical Ascent Pope St. Gregory the Great, in his monumental Homiliae in Hiezechihelem (Homilies on Ezekiel), dedicates extended reflection to this opening vision, reading it as a template for the soul's ascent toward God. For Gregory, the storm cloud is the first movement of contemplation: the soul is "struck" by a sudden awareness of divine majesty that disorients its ordinary categories. The fire is purification; the hashmal is the ultimate object of contemplative longing — the divine brightness that can only be glimpsed, never grasped. Gregory's reading shaped Western mysticism for centuries.
The Catechism on Divine Transcendence and Condescension The CCC (§§ 42–43) teaches that God infinitely surpasses all creatures and that all human language about God must use analogy. Ezekiel's cascade of approximations — "as it were," "like" — is precisely this analogical mode. The prophet does not claim to see God directly; he sees likenesses, reflections, thresholds. This is consistent with the Church's apophatic tradition (what God is not) held in creative tension with the cataphatic (what God is like).
The Holy Spirit and Ruach The opening ruach se'arah connects directly to the Church's Pneumatology. St. Basil the Great in De Spiritu Sancto traces the activity of the Spirit throughout Old Testament theophanies, and the Catechism (§703) affirms that the Spirit was active in all the preparatory stages of salvation history. The storm-spirit of Ezekiel 1:4 is thus a pre-Pentecost signature of the Spirit who will arrive at Jerusalem as wind and fire (Acts 2:2–3).
Origen and Spiritual Exegesis Origen, commenting on prophetic visions, warned against purely literal readings of such passages while equally warning against abandoning the letter. The hashmal, for Origen, symbolizes the hidden wisdom of God accessible only through prayerful, ecclesially guided reading — a principle enshrined in the Second Vatican Council's Dei Verbum (§12), which calls readers to attend to "the living tradition of the whole Church" when interpreting Scripture.
Ezekiel received this vision while living in what felt like God's absence — exiled, cut off from the Temple, far from everything that had mediated the sacred to him. Yet it was precisely there that the heavens opened.
For contemporary Catholics, this is a pointed word. Many today experience a kind of spiritual exile: the disorientation of secularism, the closure or emptying of churches, the loss of communal religious culture, the interior aridity of a faith that once felt vivid. Ezekiel 1:4 says that God is not confined to the places or structures we have associated with him. The storm breaks out in Babylon.
Practically, this passage invites the Catholic reader to resist the assumption that God can only be encountered in moments of felt consolation or institutional stability. The theophany begins with a violent wind and an overwhelming storm — not comfort, but awakening. St. John of the Cross called this disorienting divine approach the "Dark Night," a stripping away before illumination. When life feels more like a storm from the north than a peaceful sanctuary, the believer is invited to look harder at the center of the cloud — where the hashmal burns — rather than fleeing from the fire altogether.
Commentary
The Literal Sense: Anatomy of the Vision
Ezekiel receives his call-vision in 593 BC, "by the river Chebar" in Babylon (1:1–3), among the exiled community of Judah. He is a priest-turned-prophet, displaced from the Temple, stripped of his liturgical vocation — and it is here, in the most unlikely of places, that the heavens open. Verse 4 is the first image to break through: the entire vision begins not with a face or a figure, but with a storm.
"A stormy wind came out of the north" The Hebrew ruach se'arah — literally "a wind/spirit of storm" — carries enormous freight. Ruach is the same word used in Genesis 1:2 for the Spirit hovering over the primordial waters. That it arrives from the north (tsaphon) is not incidental: in ancient Near Eastern cosmology, the north was the traditional seat of the divine assembly (cf. Ps 48:2, Is 14:13). The north is the direction from which cosmic sovereignty descends. But in Ezekiel's immediate context, it is also the direction from which Babylon — the instrument of God's judgment on Judah — had come (Jer 1:14). The storm thus carries a double register: it is simultaneously a sign of divine majesty and a theological commentary on the very exile Ezekiel is living through. God did not abandon his people in their catastrophe; he is arriving in it.
"A great cloud, with flashing lightning" The Hebrew 'anan gadol and 'esh mitlaqqaḥat (literally "fire catching itself" or "fire folding into itself") invoke the classic Sinai tradition. The cloud and fire were Israel's companions in the wilderness (Ex 13:21–22), and the same combination dominated the Sinai theophany (Ex 19:16–18). Ezekiel is being drawn into a tradition of encounter: this is the same God, this is a continuation of the covenant story, even in exile. The "flashing" of the fire — the word suggests the fire is self-perpetuating, churning within itself — conveys a dynamism that no static image could capture.
"A brightness around it" The nogah — radiance or brightness — surrounding the cloud creates a corona effect. The divine presence is not simply fire; it is fire that overflows itself with luminosity. This brightness forms a halo, a boundary layer between the storm-fire and the created world, suggesting that the divine glory is both utterly present and utterly beyond direct approach. This is the logic of the holy: God is near, but nearness to God is itself overwhelming.
"As it were glowing metal, out of the middle of the fire" The climactic phrase is one of the most debated words in the Hebrew Bible. Ancient translators rendered it variously: the LXX uses (electrum, an alloy of gold and silver); the Vulgate uses . Modern translations offer "gleaming metal," "amber," or simply transliterate it. What is certain is that describes something at the heart of the fire — a concentrated, molten luminosity more intense than the flames surrounding it. It is the fire within the fire. This innermost core will later be associated with the figure on the throne (1:27), suggesting that even here, in verse 4, the structural architecture of the vision is beginning: each layer of the theophany peels back toward something more radiant and more beyond comprehension than the last.