II THE MAIN APOCALYPSE, Ch. 4:1-22:5
The Revelation Proper, which occupies the chief portion of the book, is a symbolic view of the great spiritual conflict of the ages, reviewing the whole course and outcome of the far-reaching struggle between the church and the world, with the multiple and diverse forces that are engaged in it, and setting forth the absolute decisiveness of the final issue. It consists of a series of seven visions which undertake to solve the apparent anomalies of God's present rule among men by affording recurrent glimpses of the working out of a great, comprehensive, underlying plan,—a providential and moral order in the world that is divine and sovereign, interpenetrated with a concurrent redemptive purpose that is gracious and elective,—which leads on through progressive stages of trial and warfare, of threatening and judgment, to the complete and final overthrow and punishment of all the wicked and to the full and glorious vindication and triumph of all the holy. The seven visions, when carefully examined, will be seen to be progressive in their revelation; for while they do not follow any line of temporal succession, they yet show a progress of thought and movement throughout. Beginning with the vision of God on the throne, a vision of sovereignty, they advance in manifest order through the vision of the seven seals, a vision of trial, and the vision of the seven trumpets, a vision of threatening, to the vision of conflict, a vision of warfare, which is central to all and furnishes a key to the general interpretation of the book. Then by a scale of descending climax they pass on to the vision of the seven vials, a vision of judgment, followed by the vision of victory, a vision of vindication, and this again by the vision of the New Jerusalem, a vision of triumph, which reveals the final goal of Christian hope in the immediate presence of God.[365] The purpose of the Apocalypse is thus disclosed to be interpretative of God's plan of the ages, an unfolding of the drama of destiny, in which, notwithstanding all apparent contradictions and present reverses, he is yet ever leading on to full and final victory in the end—through all the conflict he is winning, even against appearances, and will triumph at last,—a view full of encouragement for tried and disheartened Christians of the first and each succeeding century. Why God permitted [pg 113] this struggle to be begun and then let it continue throughout the centuries, why he ever allowed sin to find a place among his moral creatures, is a topic nowhere entered upon or discussed throughout the book. It is evidently recognized as belonging to the unrevealed mysteries of God which lie outside the sphere of the present Revelation. But that he overrules all the apparently inapt and sinful conditions of this world for the ultimate good of his kingdom, and that he will victoriously triumph at last, is the assuring witness of the whole series of visions. The Apocalyptic form, we find, becomes more marked and definite in this main portion of the book, and the difficulties of interpretation are correspondingly increased; for they are no longer chiefly those of grammatical exegesis and historical allusion, but rather the elucidation of a body of mysterious symbols. The purpose and limits of the present volume forbid the discussion of many of the exegetical difficulties, and serve to confine attention mainly to the meaning of the symbolism as the chief subject concerning which there is wide difference of opinion. Questions of grammatical, or grammatico-historical, exegesis will be found more fully considered in the various commentaries to which the reader is referred in the footnotes. The visions and episodes into which the main part of the book is properly divisible, are given separately in the following analysis, i. e. the seven seals, trumpets, and vials are each considered in order consecutively, and the episodes which intervene are taken up after each sevenfold vision is complete, in order that they may be better understood. This preserves the connection of the seven in the series, and emphasizes by itself the lesson of the episodes which are interjected into the natural order.
I The Vision of God on the Throne (A Vision of Sovereignty). Ch. 4:1-5:14
The opening vision of the seven chief visions in the Revelation is a Theophany, revealing the majesty of the divine glory and the might of the sovereign rule of God as the abiding source of the church's confidence in the midst of trial and distress, and as the unfailing ground of faith in the fulfilment of the revelation that follows. This vision of the fifth and sixth chapters is preparatory to those that deal with the present and future prospects of the church upon earth, and with this in view it sets forth [pg 114] the causal and higher relations upon which the history of the church depends, viz. God's sovereignty in creation and in redemption; for it is only in relation to these two great abiding facts of the divine activity that the passing events of time have their true meaning. We look first upon the stability of the eternal throne, and upon the person of the divine atoning Lamb, and then we are better prepared to understand the drama of history, and to view with equanimity the dread scenes of crisis and conflict which belong to the lot of the church upon earth. The scene described in the fourth and fifth chapters, of the eternal throne with those who are attendant upon it, and of the Lamb in the midst of it, constitutes a proem to the succeeding visions, and may be thought of as continuing throughout and forming the background for all that follows, in the light of which it must be viewed and its meaning interpreted. In the fifth chapter the action proper to the Revelation begins with the taking of the sealed book, though some regard the action as beginning with the sixth chapter in the opening of the seals. The present vision is introduced with the phrase “after these things” (v. 1), which does not indicate an interval of time but rather a succession of events, and always marks a break in the connection and a new phase of the revelation.
1 The Throne and the King, Ch. 4:1-3, 5a, and 6a
A door is opened in heaven that the seer may look in, and the trumpet voice of ch. 1:10 is heard again, saying, “Come up hither, and I will show thee the things which must come to pass hereafter”, the further announcement of a prophetic vision, the sign not only that eternal verities are to be revealed, but that earthly things are to be seen from the heavenly point of view. And we are told that straightway John “was in the Spirit”, i. e. he became conscious of an additional impulse of divine rapture, for he was already in the Spirit (ch. 1:10); and then the throne of God, the seat of the divine government, is seen in the eternal splendor of repose, the reflection of the divine sovereignty, surrounded by a rainbow of emerald green arching above it, the emblem of God's covenant mercy (Gen. 9:13), and sending forth lightnings, thunders, and voices, the tokens of divine power, majesty, and judgment. The divine Person is presented as enthroned, but is not named, and is described only by comparison, [pg 115] a touch of reverent reserve as consonant with religion as it is true to art. His appearance is glorious like jasper and sardius, the last and first of the precious stones on the breastplate of the highpriest, and part of the foundation stones of the heavenly city.[366] The pure jasper and the red sardius are the apparent symbols of purity and justice (cf. Ezek. 1:26, and 10:1; Dan. 7:9; Bk of Enoch 14:18f.). Before the throne, we are told, there is “as it were, a sea of glass[367] like unto crystal”, the symbol of the calm and fulness of life in God's completed kingdom in contrast with the stormy sea of earthly nations, the calm of the heavenly life in antithesis with the turmoil of the earthly. This seems to be the more natural interpretation of the passage, yet the symbolism of the sea in the Revelation has been interpreted with a good deal of freedom, and there is wide difference of opinion concerning its meaning. It is regarded by many as the symbol of purification the antitype of the laver before the tabernacle, while others find in it a type of the eternal fulness of joy in the presence of God. Some think the sea is placed before the throne as a symbol of the former trial and conflict of the earthly life through which the saints have passed to reach the presence of God, and that it has now become a perpetual memorial of victory, for the sea is glassy and quiet as the sign that the conflict is over.[368] Other late writers connect the sea with early Hebrew ideas of the waters before the firmament (Gen. 1:7), traces of which continue to appear in Apocalyptic literature, and hold that this conception underlies the symbolism of the molten sea in Solomon's temple and forms the basis of the present description.[369] With figures so flexible as these it is quite possible that different thoughts have been included, for the sea was closely interwoven with the early stage of Israel's history, and may have become a symbol covering a wide range of correlative ideas. But however we may interpret the meaning of the symbolism, the presence of the sea in the vision undoubtedly serves to enhance the [pg 116] majesty and splendor of the scene, and may have been introduced partly for that purpose, though the sea undoubtedly had a permanent place in Hebrew thought.