TROPHIMUS(T/)60iMos).—Trophimuawasa Chris- tian convert belonging to Ephesus (Ac 21-") and a companion of the apostle Paul on his third mis- sionary journey (20''). He is called along with Tychicus an Asian (Amavoi), and the two appear together as deputies of the Ephesian church, by which they were appointed to carry their contri- bution to the poorer brethren of Jerusalem. Both were with St. Paul in Macedonia and accompanied him to Asia, and thence preceded him to Troas, where they were joined by the delegates from the other churches — Sopater of Beroea, Aristarchus and Secundus from Thessalonica, Gaius of Derbe, and Timothy. After the Apostle's arrival at Troas the whole company seem to have journeyed to- gether to Jerusalem. We find from 2P'' that Tro- jihimus had been seen in the Apostle's company in Jerusalem, and the riot raised against the Apostle was made ostensibly on the ground that St. Paul had introduced Trophimus, a Gentile, into the Temple.
We have no means of knowing whether Trophi-
TRUMP, TRUMPET
TRUTH
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mus accompanied St. Paul to Rome after his appeal to Ciesar, but we linii him again in the Ajiostle's company after the lirst imprisonment. lie is men- tioned in 2 Ti 4-" as having been left at Miletus sick. In 2 Co S"-'' reference is made to two companions of the A])ostle who accompanied Titus from Lphesus to Corinth with the Second Epistle to tlie Corin- thians. It has been suggested that these two were the Kphesian friends of the Apostle, Tychicus and Tropliimus, who had previously been appointed to travel with him, carrying the oll'eriiigs of the Churches (2 Co S"). We have, however, far too scanty evidence to make any certain identilication (cf. J. H. Bernard, in EGT, '2 Corinthians,' 1UU3, p. 89). W. F. Boyd.
TRUMP, TRUMPET ((rdX«74, from ffaXirfi-fo/, ' to sound a trumpet '). — The word ajipears once in the Gospels, in the eschatological discourse of Jesus (Mt 24^'), where we learn tliat the elect are gathered by trumpet-call for the iinal judgment. There are tliree references to trumpet in the I'auline Epistles, one in Hebrews, and six in Revelation. <ra\iri(rr^s (classical Greek, (Ta\iriyKT/is) appears only in Rev 18".
'The sound of a trumpet' (He 12"') occurs in the description of the scene at Sinai, and is illustrative of the awe-inspiring character of the Jewish dis- pensation. The passage from which it is taken (vv. '*"-•') closes the main argument of the Ejiistle, and ' otters a striking picture of the characteristics of the two Covenants summed up in the words "terror "and "grace"' (cf. B. F. Westcott, The Epistle to the Hebreio^, London, 190.3, p. 411 f.). In 1 Co 14* St. Paul continues his illustration from music to criticize an unedifying speaking with tongues. 1 Co 15^- develops his eschatological doctrine. The verse is part of the climax of the Pauline argument which bases the future resurrec- tion on the resurrection of Christ. The trumpet blast seemed to his Jewish mind a fitting ac- eompaniuieut of an unparalleled .scene of Christian triumph. The reference in 1 Th 4'* is also eschato- logical. Once again the trumpet betokens majesty and command, and it may be that St. Paul had in his thought the Jewish tradition of archangelic music (cf. Jude *• ^* ; and B. Jowett, Epistles of St. Paul to the Thessalonians, Galatians, and Romans, 2 vols., London, 1855, i. 73-75).
The other references to trumi)et appear in Revela- tion. In two of these it is used as a figure of speech to define the voice of the angel (1'°), just as ' the sound of many waters' describes the speech of ' one like unto the Son of man' (v.i'). In Rev 8-- "■ ■' 9" we read of the seven angels who sounded their seven trumpets to the discomfiture of the earth. The imagery of the Apocalypse is in keeping with Jewish tradition, which saw in the trumpet-call the music appropriate to angels. H. B. Swete holds that the picture in Rev 8 has as its basis the scene of law-giving described in Ex 19""-, and he sees possible allusions to Jos 6" and to Jl 2' (cf. The Apocalypse of St. John", London, 1907, p. 107).
Thus the trumi)et, which was so closely con- nected with Jewish ceremony in war and religion, acquired definitely Christian associations in the Apostolic Age. In the AV, 'trump,' 'trumpet,' and 'cornet' (cf. S. R. Driver, Joel and Amos, Cambridge, 1897, p. 144) are the translations of the two Hebrew wind instruments, i^^a and n-issq. In early Hebrew history they were used for secular purposes, such as signalling the approach of an enemy (Hos 5', Am 3"), but in later clays their use became increasingly religious. Tliis is especially true of the latter. But, however tliey m,ay have been confused in earlier times (cf. UDIi iv. 81G), they were different instruments in use, shape, and material. The ij'ib' was made of horn, usually
that of a ram (Driver, op. cit., p. 144), and was blown at certain Jewish festivals. The 'Tlfit!, unlike the Roman tuba, was recognized as a priestly instru- ment. We read of it, for example, in Josej)hu8 [liJw. ix. 12). From Nu lO''" we learn that Moses made two trumpets of silver, which the priests sounded on occasions of assembly, pilgrimage, and festival. The mention of seven trumpets in 1 Ch 15-* and Neh 12" is interesting in view of Rev 8*. Jose]>hus (Ant. III. xii. G) gives a description of a trumpet, in which he mentions that it was about one yard long and a little wider than the Hule, that at its mouthpiece it was somewhat expanded, and that, like the war-trnuipet, its extremity was bell-slia]ied. This description is borne out by a coin struck ill the days of the Kmperor Hadrian. On the relief of the Arch of Titus there is a repre- sentation of two trumpets which apjjear similar to those of Egyptian origin, but are longer than tliose described by Josc|iluis [ib.). For these re- rcsentations coni]iaie J. Wellhausen, ' Psalms' in Haupt's I'B, p. 220. Akchiiiald Main.