Tag: Revelation

Scriptural resonances in Revelation 21–22 (Easter 6C)

The section of Revelation provided by the lectionary for this coming Sunday (21:10, 22–22:5) is the final vision from a long sequences of visions, in which the writer, carried “in the spirit” to “a great, high mountain”, sees “the holy city Jerusalem, coming down out of heaven from God” (22:10).

The top of a mountain is significant in biblical narratives; we only need to remember Moses atop Mount Sinai, receiving the commandments from God (Exod 19:1–25) and viewing the promised land, which he would not himself enter (Deut 34:1–4); and Jesus on the mountain in Galilee, teaching his disciples (Matt 5:1–7:28), being transfigured in the presence of Moses and Elijah (Matt 17:1–8), and giving his last instructions to his followers before departing from them (Matt 18:16–20).

Visions in Scripture

There are many accounts of visions being seen by people on earth, as God reveals guidance to them; noteworthy are the visions of Abraham (Gen 18:1–16), Moses (Exod 3:1–6), Balaam and his donkey (Num 22:22–35), Joshua (Josh 5:13–15), Eli (1 Sam 3:2–18), and the visions of various prophets (Isa 6:1–13; Ezek 2:1–10; Ezek 40:1–44:31; Dan 7:1–14; Dan 8:1–14; Amos 7:1–9; Amos 8:1–14; Zech chapters 1–6).

In early chapters of the Gospels, visions experienced by key figures shape the course of the story—Zechariah (Luke 1:8–20), Mary (Luke 1:26–38), shepherds (Luke 2:8–14), and Joseph (Matt 1:19–21; 2:13; 2:19–20). Paul experienced “visions and revelations of the Lord” (2 Cor 12:1–7a); according Luke’s account of the journey he took towards Damascus, it was the visions to both Ananias and to Paul himself (Acts 9:10–12) that brought Paul into the community of believers, in a life-transforming moment.

However, the most notable vision is surely that experienced by Peter, in Joppa: “he saw the heaven opened and something like a large sheet coming down, being lowered to the ground by its four corners. In it were all kinds of four-footed creatures and reptiles and birds of the air. Then he heard a voice saying, ‘Get up, Peter; kill and eat.’” (Acts 10:11–13). This vision not only changes Peter’s understanding of things; it sets forth the rationale for the fundamental nature of the movement founded by Jesus, as an inclusive community of Jews and Gentiles.

Visions in Revelation 19–22

The vision that the author of Revelation sees is part of an extended sequence of visions which are introduced by the same phrase that is used in Acts: “then I saw heaven opened” (19:11; cf. Acts 10:11). God’s opening of the heavens is recognised by the psalmist (Ps 78:23) as the means by which manna was provided in the wilderness; and perhaps this resonance is picked up in the Gospel accounts of the baptism of Jesus in the Jordan, when Jesus “saw the heavens torn apart and the Spirit descending like a dove on him” (Mark 1:10 and parallels). God tears open the heavens to bless and to commission.

More pertinent, however, is the statement by Isaiah, in an oracle describing incredible devastation wrought in divine judgement over Israel, when “the earth shall be utterly laid waste and utterly despoiled … the earth dries up and withers, the world languishes and withers; the heavens languish together with the earth [for] the earth lies polluted under its inhabitants” (Isa 24:3–4). The prophet declares that “the windows of heaven are opened, and the foundations of the earth tremble; the earth is utterly broken, the earth is torn asunder, the earth is violently shaken” Isa 24:18–19). This is a fearsome rending apart of the heavens!

So, too, in Revelation, where the opening of the heavens (19:1) reveals a series of seven visions. There is a vision of an intense, violent battle (19:11–21), a vision of the binding of a dragon and “the first resurrection” (20:1–6), and two visions of judgement (20:7–10, 11–15); followed by a vision of “a new heaven and a new earth” (21:1–8), a vision of “the holy city Jerusalem, coming down out of heaven from God” (21:9–27), and then the final vision of “the river of the water of life, flowing … through the middle of the street of the city” (22:1–5).

Scriptural resonances in the visions of Revelation 19–22

In the initial vision of a cataclysmic battle, “the beast and the kings of the earth”, along with their armies, are confronted by a fiery, blood-soaked rider on a white horse, with “the armies of heaven” (19:11–16). The description of this particular figure, as is so often the case on this book, draws from biblical imagery (eyes like a flame of fire, sharp sword, rod of iron, treading the winepress). Indeed, each of the visions that follow are themselves thoroughly shaped by biblical language and imagery. As the author looks forward, he draws heavily on the traditions and stories of his own faith, as expressed in the scrolls of Hebrew Scriptures with which he is intimately familiar.

An angel steps forward to issue the call to battle—yet his call is an invitation to “the great supper of God” (19:17). The image of a supper had been utilised by the prophet Isaiah, who saw the final gathering of the nations in terms of a lavish feast (Isa 25:6–10; see also 55:1–5). This time, however, the supper is a feast for cannibals—turning the imagery upside-down, in a manner reminiscent of a grisly oracle uttered by Ezekiel (Ezek 39:17–20).

The beast and his false prophet are thrown alive into a lake of burning sulphur, evoking the punishment visited upon Sodom and Gomorrah (Gen 19:24–25; Deut 29:23; 3 Macc 2:5; Luke 17:28–30). The armies of the kings of the earth are slain by the sword, and Satan is cast into a locked pit for one thousand years (19:17–20:6). This recalls an oracle delivered by Isaiah, in which he declared that God, in judgement, would imprison “the host of heaven and the kings of the earth” (Isa 24:21–22).

But for a thousand years? The Psalmist says that “a thousand years in [God’s] sight are like yesterday when it is past, or like a watch in the night” (Ps 90:4), and a late New Testament book affirms that “with the Lord one day is like a thousand years, and a thousand years are like one day” (2 Pet 3:8); however, we should note that the period of one thousand years is nowhere associated with divine punishment elsewhere in biblical texts.

After the release of Satan, one further battle takes place, against “the nations … Gog and Magog” (20:8). The account in Revelation 20 is brief, but the distinctive names (Gog and Magog) evoke a reference to an older battle against invaders from the north, described by Ezekiel (Ezek 38:1–39:20). This decisive encounter effected the definitive punishment of God and paved the way for the promised restoration of Israel to the land (Ezek 39:21–29) and the vision of a restored temple (Ezek 40:1–46:24). The same pattern is followed in Revelation 20. After the battle against Gog and Magog, the devil is also cast into the lake of burning sulphur, all the dead are judged, and Death itself is destroyed (20:7–15).

This is followed by the establishment of a new heaven and a new earth, a place devoid of death, bathed in light, sustained by the water of life, a city dazzling with jewels and home to “the throne of God and of the Lamb” (21:1–22:5). The vision appears closely related to the final visions reported at the end of the book of Isaiah (Isa 65:17; 66:22–23).

The imagery used in these verses relates particularly to various sections of the book of Isaiah. The bride prepared for her husband (21:2) recalls the scene of Isa 61:10; the wiping away of tears (21:4) evokes the banishing of sorrow (Isa 35:10). The gift of water from the spring of life (21:6) is suggestive of the way that water functions as an image of life (Isa 35:6–7; 41:18), and the prominent place of the river of the water of life in the new Jerusalem (22:1–2) evokes Isaiah’s link between “the new thing” and “rivers in the desert” (Isa 43:18–21).

Likewise, the description of the spectacular beauty of the city and the careful itemizing of its measurements (21:10–21) imitates the section of Ezekiel where the Temple of his vision is carefully described and numerous measurements are provided (Ezek 40–42). What is noteworthy, of course, is the pointed declaration that “I saw no temple in the city” (21:22) and the insistence that the divine presence will provide more than enough light for the whole city (21:23– 25; 22:5).

Despite the author’s lengthy and intricate entwining with scriptural sources, in this final vision he points beyond the past, to a new form of the future. Yet still, he reaches back before the temple, to the times when the shining light signaled the divine presence (Exod 3:2; 13:21–22; Ps 78:14). In similar fashion, perhaps the prominence of the tree of life (22:2) is intended to supplant the many trees beside the river in Ezekiel’s vision (Ezek 47:12) and provide a reminder of the single tree in the creation story (Gen 2:9).

The closing scenes this provide assurance of God’s providential care of the people of Israel, and perhaps even of the whole earth. Indeed, the familiar patterns of this life, as we know it—night and day, light and dark, even life and death—will be transcended in this new order of reality. Written for a people in the midst of oppressive persecution, this glorious vision and triumphant conclusion provides assurance, reinforcing their faith with hope and certainty.

So it is no wonder, then, that the prayer of those who first heard these visions proclaimed to them, is simply: “Come” (22:17, 20). As we know, that coming was not, as was hoped for, “soon” (22:7, 12, 20). How we now apply these visionary words to our own times is the challenge that rests with us!

See https://johntsquires.com/2022/05/04/with-regard-to-revelation-and-rev-14/

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This blog draws on material in JOURNEYING WITH JOHN: an exploration of the Johannine writings, by Elizabeth Raine and John Squires (self-published 2014)

Images drawn from the past, looking to the future, as a message for the present (Revelation; Easter, Year C)

During the season of Easter this year, we are following a short sequence of readings from the book of Revelation. The first such reading (Rev 1:4–8) was last Sunday, setting out the writer and the audience, as well as the key focus of the book: “Jesus Christ, the faithful witness, the firstborn of the dead, and the ruler of the kings of the earth” (1:5).

The book begins with a striking opening phrase—in Greek, it reads apokalypsis Iesou Christou (1:1). The first word in this phrase can be translated in two ways, resulting in the two most common titles for the book—“Revelation” or “Apocalypse”.

The word revelation is related to a Latin word which means to disclose or make known; the word apocalypse is the Greek term which means to uncover or expose. This word sums up the distinctive nature of the book right at the start—this is an exposé of the highest degree!

The content of this exposé is declared to be “the word of God and the testimony of Jesus Christ” (1:2, 9). The book ends with a reminder that Jesus sent his angel to John with “this testimony for the churches” (22:16). All of this is being done in a context of some urgency: “the time is near” (1:3), for Jesus is coming soon (1:7; 22:7, 12, 20; see also 2:16; 3:11; 22:6).

The book was written to be read aloud (1:3; 22:18); it seems to invite the people listening to the story to envisage what is being described by using their own imaginations. This is already evident in the way that the dramatic tone builds in the opening sections of the work. First, in the section of the book set for last Sunday, there is a hymn in praise of Jesus, reminiscent of poetic sections in other New Testament books as well as in Hebrew Scripture (1:5–8).

Next comes a description of the author and the process of creating the book (1:9–11). This was apparently initiated by “a loud voice like a trumpet” (1:10) —a voice which belonged to a distinguished figure with an ominous presence (1:12–16), whose appearance caused the writer to “fall at his feet as though dead” (1:17). The scene is thoroughly biblical, in keeping with the pattern of portentous announcements in Hebrew Scripture as well as in the early chapters of some Gospels. This will be the first of a number of visions, in which startling creatures declare unnerving messages in vividly dramatic ways.

The Revelation of John was not the first book of this kind ever written; in fact, Jewish writers had been producing literature like this for some centuries, recounting visions of the heavenly realm and reporting teachings which have been passed on by ancient figures from the heavens. In the Hebrew Scriptures, there are sections of the prophetic works which have the same kind of tone, as prophets report the visions they have seen and the oracles they have heard from the Lord.

Indeed, within other parts of the New Testament, there are indications of similar interests and ways of viewing the world—a view that is often characterized as “apocalyptic”. The figure of John the Baptist can best be appreciated as an apocalyptic figure, declaring that the Messiah has come and the kingdom is at hand (Mark 1:7–8; Matt 3:2).

Jesus continued the apocalyptic message of John by announcing that the kingdom of God was near (Mark 1:15; Matt 4:17) or, indeed, present (Luke 17:20). Many of the parables of Jesus and not a few of his teachings reflect an apocalyptic view of reality (for instance, Mark 13:14–37; Matt 24:45–25:46, Luke 17:20–37).

The letters of Paul contain clear pointers to the way that Paul viewed the world through an apocalyptic lens, in which the return of Jesus would take place soon and the kingdom of God would be ushered in (1 Thess 4:13–5:11; 1 Cor 7:29– 31, 15:20–28; Rom 8:18–25). The view that “the last days” were to come was also held by other writers (Heb 1:2; James 5:3; 2 Tim 2 Pet 3:1–5; Jude 17–19).

The apocalyptic worldview had been developing in Israel for some centuries. From their origins, prophets had delivered oracles in the name of the Lord; over time, they also began to incorporate accounts of visions in their messages (Isa 6; Jer 24; Ezek 1, 2–3, 8–11, 37, 40–44; Dan 2:19; Joel 2:28–32; Amos 7–9; Obad 1; Hab 2; Zech 1–8).

In the later stages of the prophetic movement in Israel, this form of communication becomes dominant. The last half of two prophetic books (Daniel 7–12; Zech 9–14) contain interrelated sequences of visions in which contemporary events, and perhaps also future events, appear to be depicted in symbolic form.

This trend continues on in a number of books written through the second and first centuries BCE, many of which still survive today. In this period we find various works which use heavenly messengers to reveal insights about mysteries and provide predictions about the future.

Most widely-known are 1 Enoch, 4 Ezra, and 2 Baruch; in addition, a number of works in the Dead Sea Scrolls are apocalyptic in nature. All these works contain literary features typical of apocalyptic works, as well as certain theological elements relating to the end of the ages.

As we read the book of Revelation, we can identify certain literary features which are quite characteristic of apocalyptic literature. The authority of the author is a key concern (1:9–10; 22:8–9) and the declaration is made that what is now being revealed is a mysterious secret (1:20; 10:7; 17:5, 7). This revelation comes direct from God through his authorized messenger (1:1–2, 11– 20; 22:8–10).

The warning not to change the text (22:18–19) is characteristic of apocalyptic, as is the regular reminder of the author’s expectation that the present era is coming to an end (2:26; 21:1, 4) and his description of a vision of the beginning of a new era (1:1; 7:9–17; 11:19; 21:1–22:7; 22:12, 20). The role of angels and visions reflects typical apocalyptic features.

Also typical of apocalyptic are the many coded depictions which are conveyed in numbers: four (4:6–8; 5:6, 14; 6:1–8; 7:1–3, 11; 9:14; 14:3; 15:7; 19:4; 21:16); ten (2:10; 12:3, 18; 17:3, 12–16); twelve (12:1; 21:12–14, 21; 22:2); twenty-four (4:4, 10; 11:16; 19:4); 144,000 (7:4–8; 14:1–4); and the intriguing 666 (13:18).

Of course, the number seven, which recurs in numerous places throughout the book, is very significant: there are seven letters, 1:11; seven golden lampstands, 1:12, 20; seven stars, 1:16, 20; 2:1; seven angels, 1:20; 3:1; 15:7; seven spirits, 1:4; 3:1; seven seals, 5:1; seven horns and eyes, 5:6; seven trumpets, 8:2; seven thunders, 10:3–4; seven diadems, 12:3; seven plagues, 15:1, 6; seven golden bowls, 15:7; 16:1; and seven heads, 17:3, 9–10.

Finally, there is the crucial appearance of Babylon as a coded symbol of Rome (17:5, 18). This is a code used also in Jewish apocalyptic works.

The reader (or listener) of this work is invited into a world of unfettered imagination, with evocative imagery, enticing language, and disturbing rhetoric. The book appears to be describing the events that will take place in the immediate future; these chapters set the scene set for what will later be revealed as a colossal, cosmic battle between good and evil.

However, the style of the work is never straightforward and the message is never declared in direct propositional form. Many of the scenes contain words, images, and ideas which are already familiar from the Hebrew Scriptures— although they appear to be arranged in inventive new ways. Making sense of this book requires an act of creative imagination alongside a process of careful exploration, investigation, and interpretation.

The visions that are included in this spectacularly dramatic book evoke biblical language and imagery in various ways, as the author envisages the future by drawing from the scriptures of the past and reworking the images and ideas found within them as a message for the present.

“Worthy is the lamb that was slaughtered”: a paradoxical vision (Rev 5; Easter 3C)

Revelation: a complex and intricate world of heavenly beings and exotic creatures

When we come to the end of the New Testament, we find that the final book bears the name of the apostle John. We know it as the book of the Revelation of John. This book, however, is dramatically different from the Gospel that also bears John’s name. It has its own utterly distinctive character and style.

This book has some indications that it is to be understood as a letter. The opening section (1:1–20) includes an explicit identification of the author (1:4) and the location of his writing (1:9); a brief description of the situation of the recipients (1:9) along with a listing of the specific cities in which they lived (1:11); and a short blessing and doxology (1:4–5).

The book also contains the text of seven short letters, to the churches in these seven cities (2:1–3:22). The closing section (22:8–21) reiterates the role of the author (22:8) and concludes with a blessing formula (22:21). Each of these elements reflects traditional letter-writing style.

The author identifies himself as John (1:4, 9; 22:8) and notes that he was living on the island of Patmos (1:9); church tradition has equated him with John, the disciple of Jesus, as well as the author of the fourth Gospel and three letters. However, this book is strikingly different from the Gospel and the three letters.

Some have argued that the tone of the book might reflect the style of one of “the Sons of Thunder”, as the disciple John was labelled (Mark 3:17); but such a generalisation is not grounded in specific evidence.

Both the style of Greek employed and the way that biblical imagery is deployed sets this book apart from the Gospel which bears John’s name; whilst that book is steeped in biblical imagery and language, it is done in a more subtle and sophisticated manner.

The issues addressed in each of the letters which are attributed to John are internal church matters, quite different from the broader view of society which is in view in Revelation. These letters require separate consideration from the dramatic scenes which follow.

The recipients of the book, identified generically as “the seven churches that are in Asia” (1:4), are then named one by one, by city (1:11).  In the details of the seven letters which are addressed specifically to these seven churches (2:1–3:22), we might imagine that we will find insight into the specific situation in these churches, which is being addressed in this book.

Yet, a careful reading of these particular letters indicates that they are written and delivered in response to a dramatic vision of a distinguished figure with an ominous presence, who instructs the author to write the letters to the angels of the various churches (1:9–20).

Furthermore, the content of a number of these letters introduces additional elements which are striking and unusual—seven stars held in a man’s hand, seven spirits of God, seven golden lampstands, white robes and a white stone, immoral behaviours and strange teachings which exhibit Satanic influences.

As we read on, we discover that this turns out to be just a little “sampler” of the far more complex and intricate world of heavenly beings and exotic creatures, who populate a series of increasingly bizarre and disturbing visions throughout the rest of the book. The whole book is much more than a letter, or a series of letters.

The opening and closing chapters give a number of clues in this regard. The work is characterised as being words of prophecy (1:3; 22:10, 18–19). The prophecy which is presented in this book is summarised as what must soon take place (1:1; 22:6). Both at the beginning and at the end of the book, the author declares that he is looking forward in time, reporting events that will soon occur.

However, this is not simply John’s view of what is to happen; what he writes, he maintains, has first been made known to him by an angel (1:1; 22:6, 8). So, the visions reported in chapters 4–21 are encircled by strong assertions of their significance and import.

As the book ends (22:6–21), a series of statements and affirmations reinforce the importance of what has been revealed in these visions.

First, the author repeats the explicit claim that this was shown to him by an angel (22:8–9). The instruction he is given, to make this known (“do not seal up the words”, 22:10), ensures that the message will become public—the author must write letters and report visions to those who will listen.

Then the author intensifies the moment by reporting the direct words of Jesus: “It is I, Jesus, who sent my angel to you” (22:16); the message has a clear heavenly origin.

Next comes a dire warning not to tamper with the words as revealed by these means (22:18–19); the style is that of a solemn oath. The work closes with a prayer which looks to the way of Jesus in the future, “Come, Lord Jesus” (22:20), and a final formulaic benediction of grace (22:11, evoking the opening blessing of 1:4).

Ways of interpreting this book

The book of Revelation has probably become the most misunderstood book of the New Testament—because of the enigmatic nature, and the dramatic power, of these visionary sections. There are numerous theories seeking to ‘explain’ the meaning of the visions and to ‘prove’ the identity of the various figures who appear in these visions.

There are many approaches that have been taken to explain the vivid imagery which depicts the future judgement of humanity, which has led to this also being one of the most misused books of the New Testament. It has been interpreted by groups of fervent believers throughout the centuries as evidence that the end of the world was at hand.

How, then, do we seek to “understand” this book? When ever we turn to scripture, are we looking for clear doctrinal statements? In which case, this book could be mined as a source for teachings about “the last days”.

Or do we hope to encounter stories which help us to understand what has transpired in history? In which case, we will look for evidence that pins down the content of this book and grounds it in real-life events.

Both approaches require us to develop an extensive system of interpretation for reading this book. This is not a simple or straightforward task.

An alternative (and often employed) way of reading this book is to consider that it is prophecy which provides a set of predictions about the future. Sometimes this is seen to relate to the times immediately in the future of the writer, in the late 1st century. Other interpreters claim that the book is pointing forward in time, to events that will take place beyond the time of the reader, in our own times (that is, the 21st century). 

Some people will want to read the book simply as literature in its own right; as a work of art, it has the power to generate ideas and responses without necessarily tying these down to what is “true” or “accurate”. Ideological critics might wish to engage in dialogue with the book in relation to the violence which runs throughout the visions. 

Some readers have considered this book to be an expression of patriarchal power, caught up in the masculine enterprise of solving disputes through coercion and violence. Others have undertaken a search for an alternative vision of peacemaking in the midst of human warfare, as the lamb who was slaughtered is the one who ultimately triumphs.

How do you come to this book? What is the lens, the perspective, that you employ, to read this dramatic and different book?

Whatever the way is that we seek to approach our reading of this book, it will influence the kind of understanding that results. Because the work does not lay down one simple narrative line; because it is so rich and intricate in its symbolism; because it places layer upon layer, image upon image, it will produce multiple readings with multiple appreciations. Such is the complex nature of interpreting biblical texts.