Although the wTiter connects ch. 17 and 21'*- with one of the angels of the bowls, yet it must be evident that we are not to judge this section (12-22') as consisting of the seven howl? (develop- ing the seventh trumpet), and some introductory and concluding sections ; for the prelude and post- hide would in this case far overbalance the piece itself both in length and in interest and power. On tlie other hand, the theme of 12-22' being the fall of Rome, the present Satanic power, and with it the deliverance and blessedness of faithful Christians, it is clear that chs. 12. 13 and 17-22* form the solid framework of the structure. Ch. 19 bring! the beasts of ch. 13 to judgment ; ch. 20 brings the Satan of ch. 12 to an end ; 21-22' brings to actuality the anticipation of 11""". To set aside the passages put in the right-hand column in Holtzmann's scheme for the sake of carrying out the plan of developing the seventh of each serie« bj' a new series of seven, would sacrifice the most important parts of the section, in which order and movement are most evident. We must conclude that the writer, in the second half of his book, renounced that plan as not adequate for his ma terial, as ch. 10 may have been meant to suggest. The seven bowls, in fact, form the lea.'t origins.' and impressive part of this section, being de-
REVELATION, BOOK OF
REVELATION, BOOK OF 253
pendent on the seven trumpets and inferior to them in cirectiveness (see oelow). The seven bowls do not furnish the plan of this section. But we may fairly ask whether we are to give to the sevens quite sucli signilicanee in the earlier part of the book as is commonly done. If both the seventh seal and the seventh trumpet include all that follows in the book (as also the seventh bowl is simply more fully described in ehs. 17-19), then we should not divide by sevens, since this would cut oU' the announcement of the seventh from its development. The seventh sliould open, not end, a new section, and the separation of the seventh from the sixth by passages of vital importance (not mere interludes m character) seems to indicate this intention on the part of the writer. Clis. 7 and 10 seem most evidently to mark transitions.
Some such outline as this may therefore with reserve be suggested —
L Preliminarj' Judgments (4-9).
1. Visions of tile actors (4-6). —
a. God (4) ; 0. Christ (5) ; c Destroctiv* powere(d).
2. Promises of deliverance out of coming evils (7).
8. The jud;,Tiienta (one-third, without producwg re- I'eiitance, S. 9X n. Final jud|;uieiiu (10-2-2).
1. The prophet's new commission (10).
2. Vision of deliverance for true worshippen of God,
and esp. for martyrs (111'*). 8. Prelude, summarizing the action (lllMB),
4. Visions of the actors (12. 13 [14i-^V]). —
«. Satan (12) ; b. Roman empire and emperor- worship (13) ; [e. The Lamb and His followers (Hl-S)).
5. Promises and warnings (14 [or 146-20]). e. The judgi)ients(15-20).—
a. Upon the earth, leading up to the fall of the city, Eome (15. 10. 171-lS--" 1191-10?)); ft. Upon the demon-beasts of the Roman empire and religion and their followers(19Ji-2i); c. Upon Satan and all that belongs to him (20). T. The new world and city (211-8 21»-22»(9?)).«
Titles or Buper8cri|)tions quite frequently summarize the con- tents of following visions :— U-s sums up the whole book, §2 Is a title, and b^-San anticipation of the effect of the trumpets (&fi" ), and the bowls arc similarly introduced (16'- 2-1). iil5ia IS a summary t itle of cha. 12-22 ; 182- » summarizes IS-* '-^ ; 19'-10 iumn-arizes 1011--2221 ; 211-8 summarizes 218-22' (211- 2 = i>-2i, s-4
Yet though we find evidence of a general order in the book which the artistic structure of chs. l-.'5 prepares us to look for, ^ve must take account of various departures from any strict order, if we would understand the spirit of the writer. Tliough the interruption of tlie sevens by clis. 7 and 10-11'* is not due to a want of plan, yet here and in various anticipatory voices, visions, and comments (e.p.ll"-'« 14'" 15^-< I'J'-'" 12") we find evidences of the practical impulse to encourage and admonish, rather than artistic reflexion. In the failure to observe strict chronological sequence the book is in- deed only like Daniel and other apocalypses. There is here as in Daniel a progress towards greater concretencss and detail. In 6""" tlie final day of God's wrath seems already come. It is described again in 14"™. The fall of Home is announced in 14'as if accomplished ; more fully described in IG"'"'; still predicted in 17'" ; announced in 18", predicted still in 18*'"*. Again the letters seem to assume that though trials have been endured, martyrdom is almost wholly future (2") ; but in 5""" many souls of martyrs are seen, and 7""" implies a multi- tude, as 20''' also does.
((/) Jixperienrcn of the seer. — We have already met with evidence that the author used some ancient materials for their general thought, and not In a literal sense. Before passing to a more detailed stuilj' of his use of material, it is import- ant to ask whether ho gives a consistent picture of bis own experiences.