72 pages 2-hour read

Bible (New Testament): English Standard Version

Nonfiction | Scripture | Adult | Published in 1611

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RevelationChapter Summaries & Analyses

Revelation Summary

Revelation is the sole representative of a book-length work of apocalyptic literature in the New Testament, though a few other passages also deal with apocalyptic content (such as Matthew 24-25 and 2 Thessalonians 2). Revelation attributes itself to John, who mentions his own name three times in the opening chapter, along with a description of his current context on the island of Patmos (in the Aegean Sea). According to early Christian traditions, John the disciple had been arrested during a wave of persecution in the 90s CE, and after being tortured, was sent as a prisoner to a penal colony on Patmos. Some critical scholars doubt this attribution, however, noting that the Greek used in Revelation varies widely from the rest of the Johannine literature.


The Book of Revelation is addressed to seven churches in Asia Minor clustered on the mainland near Patmos. John recounts how he was on Patmos when he was suddenly confronted with a vision of the glorified Jesus: “[…] one like a son of man, clothed with a long robe and with a golden sash around his chest” (Rev 1:13). Jesus commands him to write down a series of short letters to the seven churches (Rev 2-3), each of which affirms or corrects certain aspects of the church’s life and encourages the Christians to overcome their trials by holding steadfastly to their faith. After the letters to the churches, John is invited up to view a scene of the heavenly throne room, where angelic beings and glorified elders are engaged in the perpetual worship of God: “Holy, holy, holy, is the Lord God Almighty, who was and is and is to come!” (Rev 4:8). A scroll is revealed, symbolizing the plan of God through the ages, and John sees a lamb (the “Lamb of God,” representing Jesus; see John 1:29) take the scroll and receive the worship of the gathered multitude of angels. The Lamb begins to open the seals on the scroll, and with each seal a new phase of God’s judgment breaks upon the earth, starting with the famous image of the four horsemen of the apocalypse: conquest, war, famine, and death. The other seals reveal the persecution of Christians, a massive natural disaster, and then silence leading to the introduction of a new series of portents, the seven trumpets. As each trumpet is sounded, further acts of judgment unfold on the earth, most of them natural disasters and periods of demonic oppression.


A series of other symbolic visions pass before John’s view at this point, including portrayals of Christians’ witness amid persecution and the rise of multiple figures who stand in opposition to the church. Most prominent among these are a dragon (representing Satan), a beast from the sea (representing an antichrist figure), and a beast from the earth (representing the antichrist’s spokesperson). Amid all the symbols of desolation and persecution, however, Revelation clearly intends to present a message of hope to its Christian audience, showing how all these events remain subject to God’s authority and how none of them shake or imperil his heavenly kingdom. A series of seven bowls of wrath are then presented to John’s view, and further judgments on the earth follow, leading to a final judgment on the city called “Babylon,” which here represents the kingdoms of the world set up in opposition to God (and may have been a coded indication of Rome). Babylon’s fall is followed by the appearance of Jesus as a great conqueror, coming down from the heavens to win a final victory over his opponents. One thousand years of peace and prosperity follow, during which Christians reign over the world, and at the end of the 1,000 years, Satan is finally condemned. The scene then shows the final judgment before the throne of God and a portrayal of eternal life as a union of heaven with a restored earth. This final vision borrows imagery both from the Old Testament temple traditions and the Garden of Eden; it presents the end of history as the summit of joy and the ending of pain: “[God] will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning, nor crying, nor pain anymore, for the former things have passed away” (Rev 21:4).

Revelation Analysis

Revelation is a symbolically complex book to interpret, and Christian tradition has regarded it in a variety of ways. The genre of literature it represents, apocalyptic, is one that no longer appears in contemporary literature. Because most interpreters are not familiar with the genre, its study is all the more difficult. As a genre, apocalyptic literature flourished in Second Temple Judaism and early Christianity, appearing in numerous documents in the final centuries of the first millennium BCE and the early part of the first millennium CE. It was marked by a rich use of symbolism, accounts of visions and of transports to heaven, often accompanied by angelic guides. In most cases, the visions had to do with the biblical period of the “last day,” referring to the messianic age, the day of judgment, or eternity in heaven and hell. However, since the genre’s style is so symbolic in nature, the exact interpretation of the symbols presents a significant challenge. As such, there are multiple ways of understanding the Book of Revelation within Christian tradition.


The first major mode of interpretation sees the symbolism of Revelation as applying to the entire church age, from Jesus’s resurrection to the future day of judgment. This accords with much of the rest of the New Testament, which indicates that Christians in the first century believed themselves to be living in “the last day” (Acts 2:17; Heb 1:2). This interpretation certainly includes future events, such as the second coming of Christ, but it does not apply all of Revelation’s symbols to the future alone. Rather, it is taken as a portrayal of the suffering of the church throughout this age, leading up to the end, much as John’s prologue to the book appears to suggest (Rev 1:1; 1:9). Christians who hold this view of Revelation tend to be called amillennialists, which means that they understand the 1,000-year period mentioned in Revelation 20 to be a symbolic portrayal of the church age rather than a future era.


A second major mode of interpretation sees the symbolism of Revelation applying largely or exclusively to future events (Rev 4:1). In this interpretation, all the events that follow from John’s vision of the heavenly worship around the throne of God relate a single timeline of future events. Revelation is thus considered almost entirely as a book of prophecy. Christians who hold to this interpretation tend to apply the symbols of Revelation in a much more specific manner, relating to the exact details of the rise of the antichrist and a period of tribulation before the final judgment. Such Christians tend to fall in the camp of premillennialists, who hold that the 1,000-year period mentioned in Revelation is a literal portrayal of a future age of blessing to be experienced on Earth between Jesus’s second coming and the day of judgment.


A third mode of interpretation, held by a minority of scholars and not often by the church at large, is known as preterism. This interpretation sees Revelation as being concerned almost entirely with the events of the first century CE. In such an interpretation, the devastations portrayed would likely have to do with the fall of Jerusalem in 70 CE and the persecution of Christians under the emperors Nero and Domitian, with Nero apparently being cast in the antichrist role.


Revelation makes frequent use of the theme of The Good News of God’s Saving Action in History, portraying the real story of history not as an epic of nations and empires but as the narrative of what God is doing to bring salvation to his people. Revelation agrees with the rest of the New Testament in its insistence that Christianity is not reducible to a list of abstract doctrines but is rooted in the idea that God has entered human history and is directing it toward a fulfillment of God’s own design. Revelation also employs several of the major symbols of the New Testament, especially the symbology of the lamb—which in Revelation 5 and onward becomes the standard portrayal of Jesus—and of the temple, which is one of the predominant images used to describe the union of heaven and earth in Revelation 21 and 22.

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