The Cradle, the Cross, and the Crown (191 page)

^*
Collins,
Combat Myth,
15—16; F. Tavo, “The Structure of the Apocalypse. Re-examining a Perennial Problem,”
NovT
47 (2005): 47-68; K. A. Strand, “Chiastic Structure and Some Motifs in the Book of Revelation,”
AUSS
16 (1978): 401-8; E. S. Fiorenza,
Book of Revelation,
172; Lee, “A Call to Martyrdom: Function as Method and Message in Revelation,”
NovT
40 (1998): 164—94; Walvoord,
Revelation of Jesus Christ,
47—49; R. L. Thomas,
Revelation 1-7: An Exegetical Commentary
(Chicago: Moody, 1992), 113—16; Aune,
Revelation 1—5, c—cv;
Smalley,
Revelation to John,
19—21; D. L. Barr,
Tales of the End: A Narrative Commentary on the Book of Revelation
(Santa Rosa: Polebridge, 1998), 13—16; J. Lambrecht, “A Structuration of Revelation 4,1—22, 5,” in
L'Apocalypse johannique et l'Apocalyptique dans le Nouveau Testament,
ed. J. Lambrecht (Leuven: University Press, 1980), 77-104.

The Four Visions (Overview)
Attempts at explaining Revelation's macrostructure are legion, and commentators universally note the diversity of proposals.
¹⁶⁹
Although no formal consensus has emerged, scholars have successfully identified numerous structural features. Revelation has a clearly delineated prologue (1:1—8) and an epilogue (22:6—21). John divided the book into four visions marked by the phrase “in the Spirit” (1:10; 4:2; 17:3; 21:10). Although some scholars arrange the structure as a sevenfold series of sevens, there are only four instances of a clearly enumerated series of sevens (2:1—3:22; 6:1—8:1; 8:2-11:19; 15:1-16:21). John included materials that appear to interrupt or link aspects of the narrative, which have been labeled interludes, intercalations,
¹⁷⁰
interlocking,
¹⁷¹
or interweaving.
¹⁷²
Another commonly acknowledged structural feature is the intended contrast between the harlot city of Babylon (chaps. 17—18) and the bride city of the new Jerusalem (chaps. 21—22). These broad areas of agreement suggest that certain features of Revelation's macrostructure receive wide acceptance.

As mentioned, Revelation consists of four separate interrelated visions introduced by the phrase “in the Spirit”
(en pneumati),
all of which occur within a single day (1:10).
¹⁷³
M. Tenney noted how “[e]ach occurrence of this phrase locates the seer in a different place.”
¹⁷⁴
The phrase indicates a shift of setting from Patmos (1:9) to the heavenly throne room (4:1-2) into a desert (17:3) and finally to a great high mountain (21:10). Moreover, the phrase “I will show you”
(deixō soi)
occurs three times (4:1; 17:1; 21:9) in close proximity to
enpneumati
(4:2; 17:3; 21:10), suggesting that these two phrases are used in conjunction with each other to signal major structural transitions.
¹⁷⁵
Interestingly, 4:1—2 also contains one of the three occurrences of the phrase “what must take place”
(ha dei genesthai;
1:1; 4:1; 22:6), which stresses the future prophetic nature of 4:1—22:6.
¹⁷⁶

The four major visions of Revelation constitute the major literary divisions: (1) 1:10—3:22 envisions the glorified Christ who investigates his churches; (2) 4:1—16:21 portrays the divine court proceedings and the trial of the nations; (3) 17:1—21:8 describes the sentencing and destruction of Babylon; and (4) 21:9—22:4 presents the vindication and reward of believers in the new heaven and new earth.

Minor visionary transitions within these four visions are often signaled by verbal phrases pertaining to seeing and hearing. The phrase “and I saw”
(kai eidon)
acts as a marker within a vision, signaling a transition and demonstrating a progression within the narrative but not necessarily introducing a new vision episode since the location of the seer does not change.
¹⁷⁷
The effect of this narration would be like listening to someone excitedly share what he or she saw while sitting in a theater watching a play or a movie, creating a flow similar to “I saw this and then I saw that, oh, and then I saw and heard such and such.”

Another obvious structuring device is a series of sevens specifically enumerated as such. Schemes vary from six,
¹⁷⁸
to seven,
¹⁷⁹
and even eight septets.
¹⁸⁰
Although John demonstrates a proclivity for explicitly arranging his material into groups of sevens, only three
¹⁸¹
or four
septets
¹⁸²
are explicitly numbered. The number seven carries significant symbolic weight indicating perfection or completion. Aside from the explicitly numbered septets, however, an effort at identifying additional unnumbered series of sevens seems contrived.
¹⁸³

The Relationship Between the Seals, Trumpets, and Bowls
The relationship between the seals, trumpets, and bowls has long plagued interpreters. There are three primary theories: chronological succession,
¹⁸⁴
recapitulation,
¹⁸⁵
and telescopic progression.
¹⁸⁶
Chronological succession argues that the series of septets occur in strict chronological order without any overlap. The strength of this view is its simplicity, but it fails to account for any overlap between the septets. Recapitulation argues that each septet represents an intensification and closer look at the same material. In other words, the trumpets cover the same occurrences as the seals, and the bowls signify the same period as the seals and trumpets. While recapitulation allows for an intensification of severity with each successive septet and offers a viable explanation for the apparent overlap, it does not adequately account for the dissimilarities between each series of septets.

Telescopic progression (also known as “dove-tailing”) maintains that the seventh seal contains the seven trumpets and the seventh trumpet comprises the seven bowls. It attempts to demonstrate the interconnectedness and overlap between the series of septets but also to account for the progression evident in each new septet. A progressive telescopic theory appears to offer the most satisfying explanation for the literary relationship between the septets. But caution against too strict an application of these theories is warranted since Revelation exhibits both repetition and progression in the unfolding series of judgments revealed in the septets culminating in the consummation of God's judgment and the establishment of his kingdom on earth.
¹⁸⁷

John incorporated several interludes interspersed throughout the seals, trumpets, and bowls. The first two emerge between the breaking of the sixth and seventh seals (7:1—17) and between the blowing of the sixth and seventh trumpets (10:1—11:14). These interludes appear in the narrative for theological reasons. They are bound to the preceding sections and provide answers for questions that the audience might be asking. The sixth
seal (6:12—16) unleashes devastating catastrophes causing the earth's inhabitants to flee into caves praying to die. In their terror they cry out concerning the wrath of God and the lamb asking, “Who can stand?” The succeeding narrative (7:1—17) answers this question by depicting the protective sealing and salvation of God's people who are standing before the throne.
¹⁸⁸

A similar pattern occurs when the fifth and sixth trumpets unleash horrible and devastating plagues upon the earths inhabitants. Their response is a failure to repent from their sins.
¹⁸⁹
The succeeding narrative (10:1—11:14)
¹⁹⁰
not only provides justification for the plagues but also depicts the people of God in their role as prophetic witnesses before the nations.
¹⁹¹
These interludes enable the hearers to identify their role within the narrative first as protected and then as prophetic witnesses.
¹⁹²
Thus the purpose of the interludes is to challenge the churches to remain faithful and endure opposition because God was protecting and using them as witnesses.

The third interlude differs from the first two in that it occurs at the end of the seventh trumpet and precedes the introduction of the seven bowls. Chapter 12 represents a dramatic shift in the flow of John's vision narrative introduced by the phrase “a great sign [
sēmeion
] appeared in heaven” (12:1), followed by “another sign [
sēmeion
] appeared in heaven” (12:3), and again with “I saw another great and marvelous sign [
sēmeion
] in heaven” (15:1, author's translation).
¹⁹³
These are the only three occurrences of a
sēmeion
that appear in heaven. The other four occurrences are all false miraculous signs performed on earth on behalf of the “beast” (13:13,14; 16:14; 19:20).
¹⁹⁴
The regular sense of
sēmeion
in the NT is that of a supernatural sign or miracle that is either authentic or not.
¹⁹⁵
As in John's Gospel,
sēmeion
in Revelation most likely points to something more significant than just the sign or miracle itself.
¹⁹⁶
Thus this third interlude, the “signs” narrative, occurs prior to the final outpouring of God's punitive judgments.

As with other interludes, the signs narrative focuses on the role of the people of God concomitant with the series of judgments.
¹⁹⁷
The first interlude illustrates the protection and ultimate salvation of believers (7:1—17). The second interlude pictures the role of believers as God's final prophetic witnesses (10:1-11:14). This third interlude (12:1-15:4)
portrays believers as engaged in a holy war against Satan.
¹⁹⁸
Although the precise microstructure of this interlude proves elusive,
¹⁹⁹
the narrative falls into three natural divisions: (1) holy war in heaven (chap. 12), (2) holy war on earth (chap. 13), and (3) vindication of believers followed by the judgment of the wicked (chap. 14). Amid the scenes of this cosmic spiritual warfare, John made the purpose of this interlude explicit by interjecting calls for encouragement (12:10—12), patient endurance (13:9—10), and the ultimate vindication of believers (14:6—13). Revelation 12:1—15:4 also provides the basis and justification for the severity and finality of the judgments rendered on the inhabitants of the earth.

The Final Two Visions
The last two visions (17:1—21:8; 21:9—22:5) starkly contrast the prostitute city of Babylon the Great with the holy bride city of the new Jerusalem.
²⁰⁰
In the third vision (17:1—21:8), John sees a prostitute named Babylon (17:15), who represents Rome (17:9) and rules over the nations as well as the kings of the earth (17:15,18). The rest of the vision depicts all the events associated with her judgment including her trial, sentencing, and lament (18:1-24); the return of Christ (19:1-21); his millennial reign (20:1-10); and the resurrection followed by the final judgment (20:11—15).

The fourth vision (21:9—22:5)
²⁰¹
portrays the beauty and brilliance of the bride city of the new Jerusalem coming down to earth from heaven. This vision falls into two sections that describe the Holy City as an eternal holy of holies (21:9—27) and as a new Eden (22:1—5).
²⁰²
Thus these two final visions serve to contrast the fate of those who worship the beast with the glory awaiting the followers of the Lamb.
²⁰³
When viewed together, these two visions form the climax of the prophecy by providing the culmination of everything anticipated in John's vision.
²⁰⁴

OUTLINE

1. PROLOGUE (1:1-8)
   
2. VISION ONE (ON PATMOS): THE GLORIFIED CHRIST WHO INVESTIGATES HIS CHURCHES (1:9-3:22)
   
   1. The Inaugural Vision of Jesus Christ (1:9-20)
      
   2. The Messages to the Seven Churches of Asia Minor (2:1-3:22)
      
3. VISION TWO (IN HEAVEN): THE DIVINE COURT PROCEEDINGS AND THE TRIAL OF THE NATIONS (4:1-16:21)
   
   1. Transition from Patmos to Heaven (4:1-2)
      
   2. Worship Around the Throne (4:3-11)
      
   3. The Divine Courtroom (5:1-14)
      
   4. Preliminary Investigative Judgments (6:1-17)
      
      1. Breaking the Seven Seals (6:1-14)
         
      2. Transition: “Who Can Stand?” (6:15-17)
         
   5. First Interlude: The Protective Sealing of God's People (7:1-17)
      
   6. Eschatological Investigative Judgments (8:1—9:21)
      
      1. Sounding the Seven Trumpets (8:1-9:19)
         
      2. Transition: The Impenitence of Humanity (9:20-21)
         
   7. Second Interlude: God's People as Prophetic Witnesses (10:1-11:19)
      
      1. Angel with the Little Scroll (10:1-7)
         
      2. John's Prophetic Commission (10:8-11)
         
      3. The Protective Measuring of the Temple (11:1-2)
         
      4. The Two Witnesses (11:3-13)
         
      5. The Seventh Trumpet (11:14-18)
         
      6. Transition: Heavenly Temple Opened (11:19)
         
   8. Third Interlude: The Signs Narrative/God's People in Holy War (12:1-15:8)
      
      1. First Sign (12:1-2): The Heavenly Woman (Israel Personified)
         
      2. Second Sign (12:3): The Red Dragon (Satan Identified)
         
      3. Holy War with Satan in Historical Perspective (12:4-6)
         
      4. Holy War with Satan in Heaven (12:7-12)
         
      5. Holy War with Satan Against Believers on Earth (12:13-13:18)
         
         1. The Woman Persecuted (12:13-18)
            
         2. The Beast from the Sea: Political War Against Believers (13:1-10)
            
         3. The Beast from the Earth: Religious War Against Believers (13:11-18)
            
      6. The Lamb with the 144,000: The Triumph of Believers (14:1-5)
         
      7. Three Angels Announcing Judgment (14:6-13)
         
      8. Harvest of Grain: Harvesting the Believers for Reward (14:14-16)
         
      9. Harvest of Grapes: Harvesting the Sinners for Wrath (14:17-18)
         
      10. Third Sign: The Victory of Believers (15:1-4)
          
      11. Transition: Heavenly Temple Opened (15:5-8)
          
   9. Final Investigative Judgments: The Seven Bowls (16:1-21)
      
4. VISION THREE (IN THE DESERT): THE DESTRUCTION OF BABYLON AND THE RETURN OF CHRIST (17:1-21:8)
   
   1. Transition: “Come, I Will Show You the Judgment of the Notorious Prostitute” (17:1-2)
      
   2. The Prostitute City Babylon Described (17:3-6)
      
   3. The Prostitute City Babylon as Rome (17:7-18)
      
   4. The Trial and Sentencing of Babylon (18:1-24)
      
   5. Heavenly Celebration of Babylon's Destruction (19:1-10)
      
   6. The Divine Warrior and Final Tribunal (19:11-20:15)
      
   7. The Renewal of Creation and the Arrival of the New Jerusalem (21:1-8)
      
5. VISION FOUR (ON A MOUNTAIN): BELIEVERS’ REWARD AND THE RENEWAL OF CREATION (21:9-22:5)
   
   1. Transition: “Come, I Will Show You the Bride” (21:9-10)
      
   2. The Description of the New Jerusalem Descending from Heaven (21:11-27)
      
   3. The Paradise of God: The Renewal of Creation (22:1-5)
      
6. EPILOGUE (22:6-21)