A Brief Outline of the Macrostructure of the Book of Revelation
September 6, 2003
Note: Due to the brief nature of this discussion, many supporting elements will not be fully developed. As a result, some questions may remain outstanding. Also, key parts of the discussion of the parallel nature of the seventh Seal, Trumpet, and Bowl are developed in chapters 4-6 ofI Want to be Left Behind. Readers may also wish to review When is the Harlot Judged.
A host of interpreters have proposed various organizations for the book of Revelation. Key among these ideas is an overarching chiasm. But when the arguments for each proposal are compared, the most prominent unifying theme is a complete lack of unity. This constant disagreement suggests strongly that the interpreters are searching in the wrong direction. After all, if a chiasm is truly present, it is there as a natural result of a Hebrew logical thought pattern and should therefore be relatively obvious. This should lead to relative consistency among interpreters.
A related issue is the fact that no interpreter has proposed a unifying literary thematic organization for the book. Certainly, many have noted covenant issues, or a controversy over worship, but none have used this information to provide a straightforward analysis of structure that helps us to understand the message of the book. Rather, we see scholarly papers and books that tell us how one element relates to another or to an Old Testament source. These never seem to progress to a full presentation of how the book relates to a message or source. This paper proposes to remedy that deficiency.
The Proposed Key:
The book of Revelation is widely admitted to owe its existence to Old Testament imagery. One author identifies over 800 Old Testament quotations, allusions, and echoes within its 404 verses. Thus, it is appropriate that we look to the Old Testament for our key.
Exodus 19:16 describes God’s voice as a trumpet sound. This introduces the scene at Sinai where he delivers the Law to Moses and the children of Israel. The Law is also identified as the covenant (Exod 24:4-7). Thus, we may note that this first appearance of the voice like a trumpet is the Covenant Delivered.
The next time the voice like a trumpet is heard is in Revelation 1:10. There it heralds the messages to the churches. Shea has shown that these messages are in formal covenant structure. Therefore, the messages may be regarded as the Covenant Described.
The third time the voice is noted is in Revelation 4:1, introducing the symbolic section of the book. I propose that this section is the Covenant Displayed. More of this shortly.
The final time the voice is heard is in 1 Thessalonians 4:16, at the second coming of Christ. This can be called Covenant Delight, since it leads to the blessings of the covenant for the saints.
How the Book Fits the Pattern:
I have already alluded to a twofold literary division in the book of Revelation. Most scholars readily admit that the messages to the churches are relatively straightforward, while the symbolic section from 4:1 to 22:11 is cryptic and difficult. Yet they try to combine them into a single literary pattern using various technical tools. In essence they admit the twofold division, then try to deny it. I believe that this twofold division is natural and essential to understanding the message of the book.
The Churches:
The first obvious section is 1:1-3:22 and 22:12-21. This is an epistle of rather ordinary structure. It begins with “grace and peace” in 1:4, using the standard epistolary greeting of every New Testament epistle. It ends with “grace” (22:21), using the form used by the majority of New Testament epistles in closing. Thus, we may readily admit that this section is an epistle.
Some of the epistle is unusual. It is introduced by a sanctuary scene. And it addresses multiple churches rather than one. I propose that, while there were unique features of each of the seven churches that are used in the letters, the actual intent is a single letter for all churches. The good and bad elements listed in the letters are common to almost all churches throughout the ages, and are certainly present today. Further, every message ends with “He who has an ear, let him hear,” implying a broad audience. The form of seven letters is a literary device intended to say that this is God’s perfect message to the church.
The form of the messages, as noted above, is that of a formal covenant. Shea has demonstrated that each message may be broken down into Preamble, Historical Prolog, Stipulations, Blessings and Cursings, and Witnesses. While there are some who dispute this, it seems natural, and fits the premise stated above. Such a formal structure naturally describes a covenant. Thus, the epistle is the Covenant Described.
The Symbolic Section: The First Step.
If one wished to tell the story of a covenant, there would be several steps. First, there must be a king who was worthy to make a covenant with the people. In technical language, this is the historical prolog, where the bona fides of the king are presented.
Revelation 4-5 is a coronation scene. Ranko Stefanovic has shown that in this scene the key issue is the worthiness of Christ to take the scroll and open it. This issue of worthiness is answered by the fact that “for Thou wast slain, and didst purchase for God with Thy blood men from every tribe and tongue and people and nation” (5:9). Unfortunately, though Stefanovic elegantly demonstrates that the scroll is Torah, he does not pursue the issue further.
We are left to answer why opening the Torah scroll requires worthiness. And this brings us back to the covenant theme. Merely opening a scroll does not require worthiness. But if the act of opening involves the imposition of the contents of the scroll, worthiness is very important. We have already seen that the key element in Torah is covenant. And a worthy king is required to make a covenant. Christ is worthy to open the scroll to make the covenant with man because he has purchased us with his blood on the cross. The cross stands as his bona fides. No one else has any bona fides to make a covenant. Therefore only Jesus is worthy.
The coronation scene of Revelation 4-5 is therefore the inauguration of the king who wants us with him. He is able to make a covenant of redemption with fallen man because he died for them on the cross.
The Second Step:
Next, we would hear of the things that the king did in order to entice the people to obey the covenant. In theological terms, this would be the call of grace, drawing people toward the covenant blessings.
This theme is developed in the Seals. In particular, we see “God’s Arrows” (cf. Deut 32:23-25) in the four horsemen. God uses these preliminary judgments to nudge his people back to him. Next there is the question, “Who can stand?” in 6:19, answered by the sealing of the saints.
The Third Step:
Next would come warnings of future curses for those who refuse the call of grace. The king wishes for all to cooperate with his covenant so that all can be blessed. But if some rebel, he must warn them that serious consequences await them. This theme is developed in the Trumpets. Beginning with the very idea of divine trumpets, the series is a warning of impending judgment. Each of the premonitory judgments is a blow against those who have refused to come to the king’s gracious call.
The Fourth Step:
Finally, the king has to show exactly what awaits those who refuse his grace. Terrible judgments will come. This theme is developed in the Bowls. There a series of specific calamities are thrown out against those who have rebelled.
The Fifth Step:
Finally, the king rescues his loyal subjects, and destroys the rebels. This is seen in all three series. The seventh Seal, Trumpet, and Bowl are all the Day of Atonement. This is the time when all saints are finally cleansed of sin and become able to enter the presence of God. Immediately after the Day of Atonement, intimately associated with it is the Day of the Lord. And all three “sevenths” are also the Day of the Lord.
7th Seal: 8:1–5 |
7th Trumpet: 11:19 |
7th Bowl: 16:17–21 |
Day of Atonement
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Day of Atonement
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Day of Atonement
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Day of the Lord
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Day of the Lord
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Day of the Lord
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The Day of Atonement and the Day of the Lord complete the story of the covenant in this age. This is confirmed when the literary structure of the three “sevens” is considered.
All three series consist of six items, an interlude, and a seventh item. The interlude is a recap of the series it is within, but from a slightly different perspective. The sealing of the saints gives us a picture of those who answer the call of grace (cf. 6:19). The strong angel (Rev 10) warns that the deadline for repentance cannot be changed. This interlude continues with the measuring of the church which witnesses under persecution that the wicked must repent (Rev 11). The interlude in the Bowls (the unclean spirits like frogs, 16:13-16) recalls the last plague of Egypt that Pharaoh’s magicians could duplicate. Their unrepentant spirit led to the seven last plagues being poured out on Egypt.
If we consider the entire sequence as a single series, then chapters 12-14 constitute an interlude. When this interlude is examined, it can be seen that chapter 12 is a recap of the Seals, 13 the Trumpets, and 14 the Bowls. (Space does not allow a full development of this here.) Within this interlude is another interlude, the three angels’ messages. And just as the first interlude recapitulated the series with which it was placed, this does as well.
The first angel’s message recaps the Seals. Note that the message of judgment is the gospel (14:6-7). The judgment is in this case exactly as Christ notes in the parable of the unjust judge (Luke 18:1-8). It will result in judgment in favor of the saints (Dan 7:22).
The second angel’s message (14:8) recaps the Trumpets. It notes the fall of Babylon, but does not specify the time of the fall. (Pipto is in the aorist tense.) Since “to fall” indicates the termination of a power in Revelation, this angel is warning of the ultimate judgmental end of apostasy, in keeping with the warning theme of the trumpets.
Finally, the third angel (14:9-11) tells details of the ultimate punishment of the apostate, exactly in parallel with the theme of the Bowls. Graphically we may note this structure as follows.
If we now return to the structure of the “sevens,” another pattern becomes clear. In the Seals and Trumpets, the seventh element is divided. It begins, then a “look-ahead” element is inserted. In the Seals, it is 8:2, where the Trumpet angels are given their trumpets. In the seventh Trumpet, it is the song of the elders (11:15b-18) where they announce the coming of wrath on the wicked (the Bowls). We may show this structure as follows:
Of particular note here is the absence of a "look-ahead" in the seventh Bowl. It is almost as if to say, “There is nothing more to say. The covenant story in this age is done.” Since the literary structure breaks at this point, we must look at the point to which we have come. As noted above, all three “sevens” end with the Day of Atonement and the Day of the Lord. Therefore, this section of the apocalypse concludes at the Parousia. It is the end of the age.
The Overarching Theme:
It would be possible to suggest that the story of covenant can end here. But it cannot. There is outstanding business to attend to. God has dealt with Satan’s accusations against us. We have been forever justified. But Satan has made accusations against God. He is unfair to be the only God (Ezek 28). He is a liar (Gen 3). He is corrupt (Job 1:9-10). He is arbitrary (Zech 3). These charges must be answered. It is necessary to justify God (Rom 3:4)!
The only way for the charges to be answered is for God to open the books to all for examination. All of Satan’s accusations will then be refuted. This is the business of the millennium (20:4). And the millennium is the era of chapters 17-20.
In the judgment of the harlot the millennium is identified in the period when the beast “is not” (17:8). Since the beast represents apostate governments, the only time that is “is not” is when there are no governments on the earth. And this is when Satan is chained in the abyss, the desolate earth (20:1-3, cf. Jer 4:23-26 LXX).
The Great White Throne (20:11-15) presents the formal scene of God’s great covenant lawsuit against the wicked. This is the most explicit of the scenes in the millennial era. But the rest of chapters 17-20 present the same scene. 17-18 are the judgment of the harlot, the personification of apostate religion. 19:11-21 presents the conquering king executing judgment on apostate government (Note: Beale has shown that there are numerous parallels between chaptes 19 and 20.). The Great White Throne is judgment on apostate people. They are all the same story, but with a slightly different focus. And within them is an interlude!
19:1-10 presents a recap of 17-20. The judgment of the harlot is God’s vengeance for the martyrdom of the saints (19:1-2, cf. 6:10-11). The praise to God (19:5-6) echoes the fact that there is no longer any other authority to pretend to deserve worship and allegiance. And the announcement of the marriage supper (19:7-9) reflects the absence of wicked people, allowing God to restore Eden and the eternal blessings to his covenant people.
The Denouement:
Little needs to be said about the New Jerusalem. In short, it is the story of the worthy king who has us with him. And this allows us to diagram the symbolic structure of the book.
A: Rev 4-5: The inauguration of the worthy king who wants us with him.
B: Rev 6-16: The threefold story of covenant redemption in this age. (Seals/Trumpets/Bowls)
B': Rev 17-20: The threefold story of covenant damnation in the millennial age. (Harlot/Kings/People)
A': Rev 21-22: The consummation of the worthy king who has us with him.
Surprisingly, it’s a chiasm! It’s just not a chiasm involving the entire book as most commentators have constructed. Instead, it is the simple, direct result of the story of covenant. That simplicity and directness strongly suggests that it is in fact a real feature of the book, rather than an attempt to find a feature that is not inherent in the narrative.
Summary:
The book of Revelation has two major literary segments. The first is the epistle. In it we see the Covenant Described. The second is the symbolic story of the covenant, presented in chronologic sequence. In this we see the Covenant Displayed.
The key to all this is the voice like a trumpet. God describes his voice in this manner only four places in scripture.
1. Exod 19:16 2. Rev 1:10 3. Rev 4:1 4. 1 Thes 4:16
When God calls Israel to assemble with the trumpet of his voice, it is always a covenantal occasion. Those who are willing to hear his voice in this age will be ready to hear it from the clouds as he comes to receive us. The book of Revelation is nothing more than God’s voice, presenting the covenant in new and glorious ways, calling us to come to his grace, warning of the failure to accept his grace, and punishing those who reject it. May we all hear the sound of the trumpet.