TheReadMenace
24th October 2005, 07:06
Here's an interesting thing I found about the book of Revelation (and any other piece of apocolyptic literature you may care to use). I can't remember where the link was, so I apologise :(
*Disclaimer*
I'm not a Christian.
This last genre is only found in the Book of Revelation in the New Testament extending to cover the majority of the contents of a document. Within the synoptic gospels a section typically labeled the Little Apocalypse is found in Mark 13 with parallels in Matthew 24 and Luke 21. These three passages contain similar literary forms to most of the book of Revelation. The nature of this material is to 'uncover' (the literal meaning of the biblical term ajpokavliyi" [apokalypsis]) the supernatural working of God in overcoming the forces of evil on a cosmic level. "Apocalyptic revelations are of two kinds: (1) symbolic visions (e.g., Daniel 7-11; Revelation) and (2) otherworldly journeys (parts of 1 Enoch; 2 Enoch; 3 Baruch). In both kinds, there is a heavenly mediator (usually an angel, but sometimes Christ in the Christian apocalypses) who explains what the visionary sees. The otherworldly journeys have a stronger interest in cosmological matters than the visions do. All the apocalypses in the Bible and Apocrypha include symbolic visions. The symbolism is colorful. Gentile nations and institutions are represented as wild beasts, sometimes of composite make-up; for example, a leopard, with feet like a bear's, and a mouth like a lion's mouth (Rev. 13.2). There is also sometimes an interest in numerology, whether in terms of cryptic reference to a person (as the number of the beast; 666, in Rev 13.18) or the duration of persecutions (a time, times, and half a time = three-and-a-half years) in Daniel (7.2-5) and Revelation (12.14)" (NOSB, 362NT). Additionally, this genre makes use of dualism and eschatology, e.g., this present evil age and the age of the Messiah yet to come. Thus, a major theme is concerning God's action in the future to bring about the ultimate triumph of righteousness over evil. A frequently used literary device is that of secret books that are to contain the visions of the person privileged to "see" all the events that are going to take place. He is to write down his visions, but the books are to be hidden until the end-time when they will be disclosed to the wise who can understand them.
This genre emerged in Jewish writings at least 250 years before the Christian era. Portions of the OT prophets contain apocalyptic sections; for example, Daniel 7-12; Isaiah 24-27; Ezekiel 38-39; Joel 2; Zechariah 9-14. In the OT Apocrypha and Pseudepigrapha the apocalyptic books include 2 Esdras 3-14, 1 Enoch, 2 Enoch, Jubilees, and the Apocalypses of Abraham, of Baruch, and of Elijah. In later Christian writings, apocalypses include those attributed to Peter and Paul, as well as the Shepherd of Hermas.
The book of Revelation contains genre elements other than apocalypse; namely, the letter genre dominates chapters two and three. Also, how are the various apocalyptic segments woven together? As the NOSB3 (page 421) well summarizes: "Although the structure of the book of Revelation is widely debated among scholars, there is general agreement that it involves a series of parallel, interconnected, and yet ever progressions sections. It begins with a prologue (1.1-3), an epistolary salutation (1.4-8) and an inaugural vision (1.9-20), which are followed by messages to each of the seven churches (2.1-3.22). Next (4.1-5.14) we find a vision of God enthroned and of Jesus depicted as a Lamb, who receives the seven sealed scrolls from the hand of God. a series of sevenfold visions commences at 6.1, beginning with the opening of each of the seven seals (6.1-8.5), followed by the sounding of each of seven trumpets (8.6-11.19). The sounding of the seventh trumpet is followed by the vision of the woman, the child, and the dragon (12.1-17), the vision of the two beasts (13.1-18), and a threefold vision of the victory and vindication of the faithful (14.1-20). These are followed by a final sevenfold series, the outpouring of the bowls of divine wrath (16.1-21), 17.1-18.24 presents the vision of the fall of Babylon, followed by the great doxology of 19.1-10 that also looks forward to the eschatological victory (19.11-21), the defeat of Satan (20.1-10), the last judgment (20.11-15), and the vision of the new Jerusalem (21.1-22.5). The book closes with an epilogue (22.6-21)."
When the passage is identified as apocalyptic genre, several implications become important: (1) How could this passage have given encouragement and comfort to its initial readers within this cosmic framework? This genre typically arose during times of persecution and intense hardship, and was intended to provide reassurance of God's help and support of those who remained faithful to him during their struggles. Any interpretative stance that ignores the basics of historical methodology is suspect from the outset! (2) What late first century situation particularly for Christians is the passage addressing? This is the starting point for correct understanding of the details of the passage. (3) The symbolism that characterizes the graphic word pictures and images of apocalyptic writing must be addressed cautiously and carefully. Literalism here is not only a mistake, but reveals the ignorance of the Bible student dramatically. The honest Bible student will first attempt to find similar images in the apocalyptic literature that precedes the book of Revelation as the first clue to identification. The first century Christian readers drew upon their background understanding in order to interpret these images; the modern reader must attempt to do the same in so far as is possible. (4) How have these images in the passage been interpreted down through the centuries of Christian interpretative history? Awareness of the range of interpretative conclusions will help avoid repeating many of the mistakes others have previously made. Here the Bible student must make wise choices about the use of secondary sources. Within the past decade scholarly interest in the apocalyptic genre has produced a significant number of excellent commentaries on the book of Revelation, which have been liberated from the older enslavement to a presupposed eschatological assumption about the second coming of Jesus.
Andrew
*Disclaimer*
I'm not a Christian.
This last genre is only found in the Book of Revelation in the New Testament extending to cover the majority of the contents of a document. Within the synoptic gospels a section typically labeled the Little Apocalypse is found in Mark 13 with parallels in Matthew 24 and Luke 21. These three passages contain similar literary forms to most of the book of Revelation. The nature of this material is to 'uncover' (the literal meaning of the biblical term ajpokavliyi" [apokalypsis]) the supernatural working of God in overcoming the forces of evil on a cosmic level. "Apocalyptic revelations are of two kinds: (1) symbolic visions (e.g., Daniel 7-11; Revelation) and (2) otherworldly journeys (parts of 1 Enoch; 2 Enoch; 3 Baruch). In both kinds, there is a heavenly mediator (usually an angel, but sometimes Christ in the Christian apocalypses) who explains what the visionary sees. The otherworldly journeys have a stronger interest in cosmological matters than the visions do. All the apocalypses in the Bible and Apocrypha include symbolic visions. The symbolism is colorful. Gentile nations and institutions are represented as wild beasts, sometimes of composite make-up; for example, a leopard, with feet like a bear's, and a mouth like a lion's mouth (Rev. 13.2). There is also sometimes an interest in numerology, whether in terms of cryptic reference to a person (as the number of the beast; 666, in Rev 13.18) or the duration of persecutions (a time, times, and half a time = three-and-a-half years) in Daniel (7.2-5) and Revelation (12.14)" (NOSB, 362NT). Additionally, this genre makes use of dualism and eschatology, e.g., this present evil age and the age of the Messiah yet to come. Thus, a major theme is concerning God's action in the future to bring about the ultimate triumph of righteousness over evil. A frequently used literary device is that of secret books that are to contain the visions of the person privileged to "see" all the events that are going to take place. He is to write down his visions, but the books are to be hidden until the end-time when they will be disclosed to the wise who can understand them.
This genre emerged in Jewish writings at least 250 years before the Christian era. Portions of the OT prophets contain apocalyptic sections; for example, Daniel 7-12; Isaiah 24-27; Ezekiel 38-39; Joel 2; Zechariah 9-14. In the OT Apocrypha and Pseudepigrapha the apocalyptic books include 2 Esdras 3-14, 1 Enoch, 2 Enoch, Jubilees, and the Apocalypses of Abraham, of Baruch, and of Elijah. In later Christian writings, apocalypses include those attributed to Peter and Paul, as well as the Shepherd of Hermas.
The book of Revelation contains genre elements other than apocalypse; namely, the letter genre dominates chapters two and three. Also, how are the various apocalyptic segments woven together? As the NOSB3 (page 421) well summarizes: "Although the structure of the book of Revelation is widely debated among scholars, there is general agreement that it involves a series of parallel, interconnected, and yet ever progressions sections. It begins with a prologue (1.1-3), an epistolary salutation (1.4-8) and an inaugural vision (1.9-20), which are followed by messages to each of the seven churches (2.1-3.22). Next (4.1-5.14) we find a vision of God enthroned and of Jesus depicted as a Lamb, who receives the seven sealed scrolls from the hand of God. a series of sevenfold visions commences at 6.1, beginning with the opening of each of the seven seals (6.1-8.5), followed by the sounding of each of seven trumpets (8.6-11.19). The sounding of the seventh trumpet is followed by the vision of the woman, the child, and the dragon (12.1-17), the vision of the two beasts (13.1-18), and a threefold vision of the victory and vindication of the faithful (14.1-20). These are followed by a final sevenfold series, the outpouring of the bowls of divine wrath (16.1-21), 17.1-18.24 presents the vision of the fall of Babylon, followed by the great doxology of 19.1-10 that also looks forward to the eschatological victory (19.11-21), the defeat of Satan (20.1-10), the last judgment (20.11-15), and the vision of the new Jerusalem (21.1-22.5). The book closes with an epilogue (22.6-21)."
When the passage is identified as apocalyptic genre, several implications become important: (1) How could this passage have given encouragement and comfort to its initial readers within this cosmic framework? This genre typically arose during times of persecution and intense hardship, and was intended to provide reassurance of God's help and support of those who remained faithful to him during their struggles. Any interpretative stance that ignores the basics of historical methodology is suspect from the outset! (2) What late first century situation particularly for Christians is the passage addressing? This is the starting point for correct understanding of the details of the passage. (3) The symbolism that characterizes the graphic word pictures and images of apocalyptic writing must be addressed cautiously and carefully. Literalism here is not only a mistake, but reveals the ignorance of the Bible student dramatically. The honest Bible student will first attempt to find similar images in the apocalyptic literature that precedes the book of Revelation as the first clue to identification. The first century Christian readers drew upon their background understanding in order to interpret these images; the modern reader must attempt to do the same in so far as is possible. (4) How have these images in the passage been interpreted down through the centuries of Christian interpretative history? Awareness of the range of interpretative conclusions will help avoid repeating many of the mistakes others have previously made. Here the Bible student must make wise choices about the use of secondary sources. Within the past decade scholarly interest in the apocalyptic genre has produced a significant number of excellent commentaries on the book of Revelation, which have been liberated from the older enslavement to a presupposed eschatological assumption about the second coming of Jesus.
Andrew