Catholic Commentary
The Invading Army of the Day of the LORD (Part 1)
3A fire devours before them, and behind them, a flame burns. The land is as the garden of Eden before them, and behind them, a desolate wilderness. Yes, and no one has escaped them.4Their appearance is as the appearance of horses, and they run as horsemen.5Like the noise of chariots on the tops of the mountains, they leap, like the noise of a flame of fire that devours the stubble, like a strong people set in battle array.6At their presence the peoples are in anguish. All faces have grown pale.7They run like mighty men. They climb the wall like warriors. They each march in his line, and they don’t swerve off course.8One doesn’t jostle another. They each march in their own path. They burst through the defenses and don’t break ranks.9They rush on the city. They run on the wall. They climb up into the houses. They enter in at the windows like thieves.10The earth quakes before them. The heavens tremble. The sun and the moon are darkened, and the stars withdraw their shining.
Joel 2:3–10 depicts a catastrophic locust plague advancing like a divine military force, consuming all vegetation and terrifying the people through its overwhelming supernatural organization and unstoppable advance. The passage portrays this natural disaster as a theophanic judgment from God, where even cosmic elements respond, establishing the locust swarm as an instrument of divine punishment that no earthly defense can withstand.
No wall, no window, no place of refuge can stop what God sends—a terrifying truth that strips away false security and calls us to trust in the only unshakeable mercy.
Commentary
Joel 2:3 — "A fire devours before them, and behind them a flame burns" The army of the LORD advances in a double envelope of fire: what lies ahead is consumed, and what remains behind is reduced to ash. The image draws on the ancient Near Eastern motif of a divine warrior preceded by fire (cf. Ps 97:3), but it is also sharply concrete — the voracious mandibles of a locust swarm do, in fact, reduce verdant fields to scorched desolation with uncanny speed. The phrase "before them the land is like the Garden of Eden, and behind them a desolate wilderness" is among the most devastatingly poetic contrasts in Hebrew prophecy. Eden is the reference point for flourishing; its reversal signals not merely agricultural ruin but an anti-creation, an undoing of the goodness God established in the beginning.
Joel 2:4 — "Their appearance is as the appearance of horses" The locust was commonly compared to a horse in ancient literature; the Hebrew word arbeh (locust) may even share a root with rekev (chariot). The comparison here, however, is not merely zoological — it evokes the cavalry of conquering empires. The locusts are simultaneously an insect plague and a military host, both natural and supernatural. By conflating the two, Joel presents the event as irreducibly theological: whatever natural mechanism is at work, its ultimate author is God.
Joel 2:5 — "Like the noise of chariots on the tops of the mountains they leap" The sound of a locust swarm is genuinely terrifying — a crackling roar audible for miles. Joel intensifies this by placing the chariots on mountain tops, the traditional locus of divine manifestation (Sinai, Carmel, Zion). The army does not merely travel the valley roads; it commandeers the high places that belong to God, suggesting that this host moves with divine authorization and cannot be outflanked.
Joel 2:6 — "At their presence the peoples are in anguish; all faces are drained of colour" The Hebrew pa'rur (rendered "pale" or "drained of colour") is rare and vivid — faces blanched by terror. This is the universal human response to theophany in its wrathful mode: cf. Isaiah 13:8 where the same language attends the Day of the LORD against Babylon. The anguish is not only physiological but existential. When God acts in judgment, all merely human confidence evaporates.
Joel 2:7 — "They run like mighty men; like warriors they scale the wall" The locusts ascend walls as elite siege troops would, undeterred by fortifications. The military metaphor reaches its peak here. No human engineering — no wall, no gate, no trench — can arrest this army. This is a direct challenge to the human impulse to seek security in constructed defenses rather than in God's mercy (cf. Ps 127:1, "Unless the LORD guards the city, the watchman stays awake in vain").
Joel 2:8 — "They don't jostle one another; every one marches in his path" This verse emphasizes the supernatural discipline of the swarm. A natural locust horde can appear random and chaotic; Joel insists that this one is ordered with military precision. Each creature holds its appointed lane. The theological implication is striking: even the smallest creature in this army obeys the divine command perfectly — a pointed contrast to Israel, which has repeatedly broken rank from the covenant.
Joel 2:9 — "They rush on the city; they run on the wall. They climb up into the houses; they enter in at the windows like a thief" Penetration is now total. The city, the wall, the private home, even the window — nothing is sealed against this judgment. The image of entering "like a thief" anticipates New Testament language for the unexpected arrival of eschatological judgment (cf. Mt 24:43; Rev 3:3). There is no interior refuge from what God sends; the domestic sphere is not exempt from the Day of the LORD.
Joel 2:10 — "The earth quakes before them; the heavens tremble" The cosmic register is now fully activated. Earthquake and the darkening of sun, moon, and stars are standard features of theophany in the Hebrew prophetic tradition. The army has not merely ravaged a province; its advance shakes the foundations of created order. This cosmic scope prepares the reader for the broader eschatological vision that will climax in Joel 3 (Hebrew: Joel 4), where the nations assemble in the Valley of Jehoshaphat for final judgment.
Typological and Spiritual Senses The Fathers consistently read this passage on multiple levels. At the literal level, it describes a historical locust catastrophe that devastated Judah, probably in the ninth or eighth century B.C. At the typological level, it prefigures every subsequent moment in which God uses historical forces — empire, plague, war — to call his people to conversion. At the eschatological level, it points to the final Day of the LORD, which the New Testament identifies with the Parousia of Christ. St. Jerome, commenting on Joel, notes that the fourfold locust plague (Joel 1:4) was read by earlier interpreters as four successive world empires (Babylonian, Persian, Greek, Roman), while the army of chapter 2 anticipates the eschatological judgment that no earthly power can withstand.
Catholic Commentary
Catholic tradition brings three distinctive lenses to this passage.
1. Creation and Anti-Creation. The Catechism teaches that sin introduces disorder not only into the human soul but into the entire created order (CCC 400–401). Joel's image of Eden reversed — flourishing becoming wasteland — is a prophetic dramatization of this truth. The advancing army is not a random natural disaster but a revelation of what human unfaithfulness to the covenant does to the fabric of creation. St. Ambrose saw the locust plague as a figure for the corrosive effects of sin upon the soul: what was once a garden of virtue becomes a spiritual desert.
2. Divine Sovereignty and Instrumental Causality. Catholic theology distinguishes between God as the primary cause of all events and secondary or instrumental causes (cf. Summa Theologiae I, q.19, a.8). Joel's army illustrates this precisely: the locusts are real locusts, the historical invaders are real armies, yet both are simultaneously instruments of God's sovereign will. The Church Fathers (especially Origen and Theodore of Mopsuestia) used this passage to refute any dualistic reading of history — there is no realm of chaos outside God's governance.
3. Eschatological Judgment and the Parousia. The Second Vatican Council's constitution Dei Verbum affirms that the Old Testament foreshadows the fullness of revelation in Christ (DV 15–16). The cosmic imagery of Joel 2:10 — earthquake, darkened sun, trembling heavens — recurs verbatim in the Synoptic Apocalypse (Mt 24:29; Mk 13:24–25) and in the Book of Revelation. Catholic eschatology reads these texts not as terror literature but as a call to vigilance and conversion. The Catechism (CCC 1038–1041) insists that the Last Judgment is an act of divine love that vindicates justice — a truth that the terrible beauty of Joel's army, moving in perfect divine order, already adumbrates.
For Today
Joel's invading army invites the contemporary Catholic to examine what false walls of security he or she has erected. The passage's insistence that no fortification — city wall, private home, latched window — can keep out this army is a direct challenge to the modern Western instinct to manage risk, insulate oneself from vulnerability, and trust in human systems of protection (financial, political, medical) as though they were ultimate guarantors of safety.
The practical application is not fatalism but honest reordering of trust. The same Joel who describes this terrifying army immediately calls, in verse 12, for a wholehearted return to the LORD: "turn to me with all your heart, with fasting, weeping, and mourning." The Lenten disciplines of the Church — fasting, prayer, almsgiving — are the concrete, embodied response to exactly this kind of prophetic summons. A Catholic living through personal or social catastrophe (illness, economic collapse, political upheaval, moral disorientation) can receive Joel 2:3–10 not as a counsel of despair but as a clarifying grace: the things that seemed impregnable have been shown to be fragile, so that the one thing that cannot be shaken — the mercy of God — may be sought with undivided heart.
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