Chapter 22 (5)

The vials or bowls in the vision, which are apparently the same as the basons used in the temple service for receiving the sacrificial blood and the wine of the drink‐offering, are made the symbolic receptacles of the judicial wrath of God against sin, called “the wine of the fierceness of his wrath” in verse nineteen, which is evidently conceived of as stored up through long periods to be suddenly and violently poured out. The golden bowls seem to indicate broad shallow vessels quite unlike our modern vials, probably of a deep saucer‐like shape so that their contents could be poured out at once and suddenly.(499) The name “vials” has, however, been retained in these notes, notwithstanding the change to “bowls” in the Revised Version, because of its associations and wide use in commentaries. The translation of φιάλας as “bowls” is doubtless more accurate, but the term used is relatively indifferent if the proper meaning be attached to it. They are not vials in the modern sense, but in the original sense of the word φιάλη in the Greek, which is the source of our English word “vial”, but which meant a shallow cup or bowl. The pouring out of the vials or bowls is the symbol of the execution of divine wrath upon the world. The vague description given in the vision of the nature of the inflictions which finally fall upon men as the result of the pouring out of the vials, forbids our attempting any very definite interpretation of them beyond the most general one that the world of nature and of men is made to abound with terrors which distress the evil. In this interpretation we can be absolutely confident, and the general effect seems to be the chief matter of importance. The abiding impression of the judgments of the vials, despite their obscurity, is one of deep and pervasive solemnity.

(1.) The Command to Pour Out the Vials, Ch. 16:1

Preceding the opening of the series a great voice is heard out of the temple, i. e. from the inner shrine of the temple in heaven, apparently from God himself, though possibly from one of the Angels of the Presence, saying to the seven angels, “Go ye and pour out the seven bowls [or vials] of the wrath of God into the earth”; and in obedience to this command each angel empties his vial into, or upon, an appointed object. The first three vials are poured _into_ the objects named, while the last four are poured _upon_ them, as indicated by the prepositions είς and ἐπὶ; but, so far as can be seen, no special purpose is served by this use.

1 The Pouring Out of the First Vial, Ch. 16:2

The first angel poured out his vial into the earth; and it became a noisome and grievous sore upon the men that had the mark of the Beast: the symbol of wrath poured out on the earth, and thus upon the men who are of it and belong to it, producing suffering that is bitter and intense. The form of the judgment is doubtless purposely indefinite, but the object on which it falls is made plain: the men who have attached themselves to the company of the Beast bear their punishment to the full, and it is poured out upon them by divine authority.

2 The Pouring Out of the Second Vial, Ch. 16:3

The second angel poured out his vial into the sea; and it became blood as of a dead man, i. e. clotted and putrefying, and it caused every living thing in the sea to die—a form of judgment that was very repulsive to the Jewish mind: the symbol of wrath poured out on the sea, one part of the fourfold division of creation noted under the trumpets, and thus upon men who are made to suffer by this means for their evil doing. As under the trumpets the first four vials are poured out upon the earth, the sea, the rivers and fountains, and the sun, a figurative form indicating their world‐wide character—they affect the whole created world.

3 The Pouring Out of the Third Vial, Ch. 16:4‐7

The third angel poured out his bowl into the rivers and the fountains of the waters; and they became blood: the symbol of wrath poured out on the sources of water supply for the people, thereby punishing men retributively for the righteous blood which they had shed, and calling forth voices of approval from heaven, viz. from the angel of the waters,(500) and from the altar, i. e. from the place where the martyrs rest (ch. 6:9). Retribution is declared to be the judicial result of divine wrath for sin; those who poured out the blood of saints and of prophets are given blood to drink as their just desert—a fearful punishment to the Eastern mind.

4 The Pouring Out of the Fourth Vial, Ch. 16:8‐9

The fourth angel poured out his vial upon the sun; and it was given unto it to scorch men with fire: the symbol of wrath poured out on the heavenly bodies, especially upon the sun the source of light and heat, that they may become the agent of punishment to men. And men blasphemed the name of God, who is recognized as having power over these plagues; and they repented not to give him glory, exhibiting the aspect of punishment which embitters and does not lead to repentance. It is a curious coincidence that the parts of creation which are made the subjects of judgment under the fourth vial and the fourth trumpet are described in Genesis as having been created on the fourth day.

5 The Pouring Out of the Fifth Vial, Ch. 16:10‐11

The fifth angel poured out his vial upon the throne of the Beast; and his kingdom was darkened; and men gnawed their tongues for pain, and blasphemed the God of heaven, and they repented not of their works: the symbol of wrath poured out on the throne of the Beast as the representative of Satan’s power in the world, thus afflicting the worshippers of the Beast and his image. Under the fifth vial it will be seen that the plagues pass from the physical to the spiritual sphere of action, just as they did in the seals and trumpets; and they are found to be cumulative rather than successive, while, as under the preceding vial, they do not lead to repentance but to wrath and punishment. Also, throughout the vials, it is not the third part only that is affected, as under the trumpets, but the punishment falls upon the whole created world, showing the universal character of the judgments.

6 The Pouring Out of the Sixth Vial, Ch. 16:12

The sixth angel poured out his vial upon the great river, the Euphrates; and the water thereof was dried up,(501) that the way might be made ready for the kings that come from the sunrising: the symbol of wrath poured out on the Euphrates, the center and seat of heathenism, or on the world‐ forces of evil, thereby opening the way for the influx of the Kings of the East to march to their ruin. The Kings of the East evidently belong to the “kings of the whole world” (v. 14), and are instruments of the Dragon and of the Beast who go up to war, not against Babylon, but against believers.(502) The Euphrates was the center and stronghold of heathenism to the Jewish mind, and behind that lay the indefinite world‐power which is here represented by the Kings of the East; upon these the angel poured out the vial of the retributive wrath of God.

[At this point the Episode Vb, given in verses thirteen to sixteen, occurs in the order of the vision,—a paragraph which though of limited extent has yet a clear relation to the course of the vials as an intervening vision of warning to the redeemed, and preparing the way for the approaching end.]

7 The Pouring Out of the Seventh Vial, Ch. 16:17‐21

The seventh angel poured out his vial upon the air; and there came forth a great voice out of the temple, from the throne, saying, “It is done:(503) and there were lightnings, and voices, and thunders; and there was a great earthquake, such as was not since there were men upon the earth”: the symbol of wrath poured out on the air as the familiar abode of evil spirits,(504) and also of the coming of the End, which is depicted by the fall of cities, especially of Babylon the great city, the type of the godless world, which is divided asunder into three parts, a symbol of completeness,—also three a symbol of the divine, perhaps implying God hath wrought it,—and is given to drink of the cup of the wine of the fierceness of God’s wrath; by the destruction of islands and mountains, and by a plague of great hail, exceeding great, every stone of which was about the weight of a talent, i. e. from 108 to 130 pounds; “and men blasphemed God because of the plague of the hail”.(505) The End itself is unrecorded; but with the infliction of the seven vials it is declared that “the wrath of God is spent”.(506) The whole course of the vials is toward the End, which though not described, yet stands out in singular prominence as the inevitable result of the ruin wrought by sin; and here, as in the vision of the trumpets, the millennial period is not brought into view as a preceding stage. The transition to the scene of victory in the seventeenth chapter is after this immediately made by one of the vial‐angels (ch. 17:1).

If we now recall the path of the seven vials, we can see how in their course they rapidly and intensively press on to the end of the ages and to the final ruin of the world, and also how they aptly prefigure the progressive punitive inflictions of God for sin. They are both world‐wide in their character and relentless in their execution. They fall upon the land, and upon the sea, upon the rivers and fountains of waters, and upon the sun the source of light,—the figurative representatives of the created universe. Then, like the judgments of the seals and of the trumpets, they pass from the natural world to the sphere of the spiritual, and are seen to fall upon the far‐reaching kingdom of the Beast, i. e. upon the world‐ powers operating under Satan’s direction in open hostility to the church; afterward they fall upon the Euphrates, the old center of heathenism and seat of spiritual darkness in the far East, the typical center of the world‐forces of evil; and finally under the seventh vial they lead to the end of the world, the conclusion of the centuries, and the day of complete recompense for sin. The distinction between the kingdom of the Beast, i. e. the world‐powers of all time, and the forces represented by the Euphrates, the center and seat of heathenism, is not so clearly drawn under the fifth and sixth vials, as that between Satan with his host, and the world‐forces of heathenism, under the fifth and sixth trumpets. But the kingdom of the Beast, here, as elsewhere, evidently represents the world‐kingdoms in their organized form (or if taken in a narrower sense the then kingdom of Rome that foreshadowed them all), which forces are spiritually opposed to the kingdom of God; whereas the Euphrates, the center and seat of spiritual darkness in the historic past, apparently represents heathenism in the great East, which is here regarded as a far‐ reaching spiritual force operating against Christianity—the judgments under these vials falling upon the world‐force operating in the sphere of the spiritual, and upon the world‐religions opposing Christianity. And no one surely can read the record of the vials without being impressed with the unerring certainty and absolute terror of the final punishment for sin; so that even if the vision of the vials did point primarily, as most preterists insist, to the destruction of Rome and its temporal power, it surely points yet more decisively to the great era of judgment upon the powers of evil that culminates in the closing period of human history. The vision depicts God punishing the evil in a progressive course to the very end, and this end is only effectively reached in the day of final judgment.

Vb The Episode of the Frog‐like Spirits (A Vision of Warning). Ch. 16:13‐16

This passage, it will be seen, is a minor digression between the sixth and seventh vials, corresponding to the episodes in the vision of the seals and of the trumpets, though not like them a vision of comfort, but a vision of danger to the church from the combined forces of evil in the world, yet not without anticipation of the glorious outcome which is given in the nineteenth chapter (v. 19‐21), for these forces, we are told, are gathered together unto “the war of the great day of God, the Almighty” (v. 14), the outcome of which in the Revelation is never at any time in doubt.

1 The Unclean Spirits of Evil, Ch. 16:13‐14, and 16

At this point three unclean spirits, as it were frogs,(507)—three, the symbol of the spiritual, used in this case exceptionally of the spirits of demons,—come out of the mouths of the Dragon, the Beast, and the False Prophet (or Second Beast), representing the malign influences by which these powers of evil incite the kings of the earth to the great world‐ conflict against Christianity, described here under the figure of a battle of the war of the great day of God, the Almighty, taking place at Har‐ Magedon, i. e. either the fortified city, or the mountain of Megiddo, by the edge of the plain of Esdraelon, the great historic battle‐ground of Jewish history (cf. Joel 3:2f; also _Bk. of Enoch_ 56.5‐8),(508) probably referred to because of the notable victory attained there over the kings of Canaan (Jg. 5:19). In this culminating scene of conflict we have what may be regarded as a symbolic view of the entire struggle between sin and holiness which is ever going on in the world the ages through, but more particularly of its triumphant ending in the last age when the Dragon and the kings of the earth shall be completely and finally overthrown;(509) but beyond this partial interpretation we cannot safely go in any trustworthy exposition of this truly impressive figure. The symbol of battle and victory, it depicts the conflict of the centuries, and points to the assured triumph that awaits the people of God in the end of the world, while it incites men to persistent faith and hope; but like many other prophetic predictions, its explicit interpretation can only be definitely given after the events themselves have been openly fulfilled.

2 John’s Word of Warning, Ch. 16:15

In the midst of the episode a word of warning is given by John to the reader, as from Christ himself, declaring the importance of watching in the presence of such trial, and announcing a blessing upon him that watcheth and keepeth his garments. Then with the closing words of the episode in the sixteenth verse, the vision recurs to the seventh vial which is at once poured out.

VI The Vision of Victory (A Vision of Vindication). Ch. 17:1‐20:15

The vision of victory is a revelation of complete and enduring triumph in the final issue of the conflict between sin and righteousness, showing the doom of Christ’s enemies, the vindication of the righteous, and the consummation of the ages. The vision consists of three parts, viz. (1) the mystic Babylon and her fall, (2) the triumph of the redeemed, and (3) the last things, which are seven in number, implying a sevenfold completeness. This triple division of the contents of the section before us, into a description of Babylon’s fall, redemption’s triumph, and the things of the end, is one that is clearly indicated in the thought of the text, whatever plan of division we may adopt, and as these all belong to the final victory in its completeness, they may well be presumed to constitute parts of one vision. Opinions differ, however, concerning the correct division of this part of the book almost as much as they do in regard to the interpretation. The division adopted here, though not coinciding in all its parts with any single authority, is one of the simplest and most natural, and it is believed will commend itself to the reader.(510) In entering upon this section it will be noted that the transition from the vision of vials to the vision of victory is made in the first verse of the seventeenth chapter by one of the seven vial‐angels, who offers to show John the judgment of the great Harlot, or of Babylon, i. e. the complete and final judgment of the seventh vial wrought out, thus leading by a natural connection of thought to a fuller view of one phase of the judgment of the world, and through this on to victory and to the End.

A The Mystic Babylon and Her Fall, Ch. 17:1‐18:24

In these two chapters there is given an impressive portrayal of the sinful world as she lures men to evil, under the symbol of Babylon, or the Harlot, and of the final punishment inflicted upon her; it is, in fact, an elaboration of the judgment of the seventh vial, foreshadowing the downfall of the most insidious, seductive, and persistent form of the world’s opposition to Christ and his kingdom, viz. corrupt society. This passage forms a subclimax of rare beauty and power, and one that is of prime importance in the interpretation of the book, for it contains one of the chief ideas of the Revelation, and necessarily affects our conception of the prophecy throughout. That pagan Rome in its social debasement and spiritual degradation was in the foreground of John’s thought can scarcely be doubted;(511) but in the light of prophetic vision it formed an ideal groundwork for the larger thought of the godless world, the world from the standpoint of its material and social forces adverse to God and his kingdom, the perpetual Rome. Some interpreters limit the meaning of Babylon to the coeval city of Rome, or to the nation that centered in the city, pagan Rome, others refer it to the Roman church, papal Rome, and still others to Jerusalem, the Jewish Rome, while a common interpretation makes it the apostate church in a fallen age, a prophetic Rome. But the figure is more correctly interpreted as the ideal and universal world‐ city, a symbol designed to include every city or community that exalts itself against the dominion of Christ, the perpetual Rome, the ever‐ recurring Babylon whose spirit never dies, the city being regarded as the highest expression of the world’s social and communal life.(512)

With the portrayal of Babylon is completed the cycle of great world‐forces that we find depicted in the Revelation as arrayed against our Lord and his Christ. The entire opposition of the present evil world to Christ and his kingdom is presented in these visions under four separate and distinct symbols,—four the earth‐number—viz. (1) the Dragon or Satan, the World‐ Lord, the prime antagonist and representative leader of the spiritual forces of evil, who incites the world to resist the rule of Christ, the world taking its cue and color from Satan, the arch‐enemy of all good; (2) the First Beast, the World‐Power, the national and political forces of the world in their organized form opposing and persecuting Christ and the church, the world acting through the elements of civic and social order, of law and government, making them the agents of persecution; (3) the Second Beast, the World‐Religion, the national and racial false religious forces of the world, with their moral and intellectual thraldom over the minds of men, contending against Christianity and the kingdom, the world acting through the elements of the natural and ethnic religions, and of superstition and priestcraft their innate cogeners, permeating them with deceit and making them the agents of delusion and oppression; and (4) the Harlot Babylon, the World‐City, society in its commercial, impure, and godless life resisting the progress of the kingdom, the world acting through the elements of the social, sexual, and commercial relations of men, making them the agents of sin. This fourfold form of world‐opposition to Christ and the church is a fundamental conception of the Apocalypse, and lies at the core of any correct interpretation of the book.(513) For, notwithstanding their close relation, to identify Babylon with the first Beast, or the second, or both, as is often done, is to confuse ideas that are essentially distinct, and measurably to miss the proper significance of the lesson contained. And if we fail to perceive the proper meaning of any part of this fourfold symbolism, we lose in some measure at least the complete and general effect of the whole sublime creation of the Apocalyptic vision.

1 The Harlot and the Interpretation, Ch. 17:1‐18

The vision of the Harlot is a figurative and profoundly significant view of the world’s sin as unfaithfulness to God, described under the analogue of unfaithfulness to the marriage relation, according to the familiar method of Hebrew thought. The world is presented as a spiritual harlot, one that has proved untrue to her Lord and that merits condign punishment.

(1) The Judgment of the Harlot Announced, Ch. 17:1‐2

One of the seven angels having the seven vials, calls John in order to show him the judgment about to be inflicted upon the great Harlot. The agency of a vial‐angel in revealing this vision, indicates a connection between the vial‐judgments and the fall of Babylon; and, as stated above, it is an elaboration of those judgments, especially that of the seventh vial.

(2) The View of the Harlot, Ch. 17:3‐6

The angel carries John in the Spirit away into a wilderness where he sees in the vision an impure Woman arrayed in purple, the royal color, and in scarlet, the sign of bloodshed, while she is decked with gold and jewels, the tokens of her wealth, and has in her hand a golden cup, full of the abominations of her fornications; and she is seated on a scarlet‐colored Beast that is covered with names full of blasphemy, i. e. she rests upon and is allied with the world‐power, for the scarlet Beast is the same as the Beast from the sea in chapter thirteen (v. 1‐10); and upon her forehead her name is written,(514) “MYSTERY, BABYLON THE GREAT, THE MOTHER OF THE HARLOTS AND OF THE ABOMINATIONS OF THE EARTH”, and she is “drunken with the blood of the saints, and with the blood of the martyrs of Jesus”.

(3) The Interpretation Given, Ch. 17:7‐18

The angel declares the mystery of the Woman of Sin to John’s waiting ears. The Harlot whose home is in the wilderness, i. e. in this world (perhaps so called from the thought of the wilderness as the place of temptation of Israel, of Elijah, and of Christ, and as the haunt of demons where the scapegoat was sent forth to Azazel), is definitely identified with Babylon (v. 5 and 18), the great World‐City, the dwelling‐place and representative of corrupt society tempting men to evil. The great Harlot is the ideal personification of the great city. There is in fact a double symbolism; the great Harlot symbolizes the great city, as the great city symbolizes the great world, for the Harlot, the city, and the world are one and the same in the wider thought of the Revelation. She is the combined incarnation of commercialism, lust, and irreligion,(515) the unbelieving world and not the apostate church, humanity untrue to God, the social life of men adverse to the kingdom.(516) The Harlot is the manifest impersonation of lust and sexual impurity, a form of the world’s sin that has always been the source of ruin to a multitude of souls—her traffic, we are told, is in the “souls of men” (ch. 18:13). She represents the world tempting men through the sexual appetite, though the figure does not stop with that, as the story of the fall of her wealth and the punishment of her irreligious life clearly shows. All the social side of life that tends to sin is represented by this impressive figure before which the Apocalyptist “wondered with a great wonder” (v. 6).

The interpretation of the Harlot Babylon as the Roman Catholic Church, a method so prevalent in the period that succeeded the Reformation, is happily in its decadence, for it has no justification in the text. But to find in this figure a symbol and portent of apostasy prevailing in the church universal that shall increase as the centuries go on,(517) is equally unfortunate and imparts a tone of pessimism to the entire prophecy which cannot be too strongly deprecated. No sign of apostasy is anywhere given in the account of Babylon’s fall, for there is no indication that the Harlot was ever holy. Her sin is worldliness, impurity, idolatry, and persecution of the saints. For an apostate church the fitting symbol for that age would have been not Babylon but Samaria, the city of the faithless Israel. And we may be confidently assured that Babylon represents here what it always stood for to the Hebrew mind, the typical world‐city, the hereditary enemy of the church from without and not from within, whose harlotry is the sign of her unfaithfulness to God and truth. For even though a majority of Protestant interpreters until within a late period have made Babylon the apostate church, following the traditional opinion, it is nevertheless a mistaken view, since it is based upon the Old Testament use of harlotry as a figure of apostasy and idolatry in Israel, a figure assumed to be identical throughout, ignoring the manifest difference in its present use in connection with a heathen city. The modern view that Babylon is Rome in John’s day is nearer correct, but is too narrow in its application. Babylon is the abiding Rome with its worldly life striving to supplant the Christ, the world‐city in all ages and times.

The Scarlet Beast on which the Woman is seated, the color of the Dragon (ch. 12:3) and the sign of the blood which it has shed, is referred to as the one that “was, and is not; and is about to come up out of the abyss” (v. 8), a description showing it to be the same as the First Beast which received the deadly wound that was healed (ch. 13:3), i. e. the world‐ power, and apparently designed to place it in marked antithesis with the divine designation, “who is and who was and who is to come,” in the first chapter of the book (v. 4 and 8). The enigmatical phrase “was, and is not; and is about to come up out of the abyss, and to go into perdition”, may also refer to a lull in the persecution by the world‐power, subsequently to be renewed and leading to its final destruction as a power, though its wider reference is perhaps to the persistence and reappearance of the world‐power after any one of its forms has been overthrown, together with the certainty of its final ruin. Most preterists interpret the Beast that “was, and is not; and is about to come”, as a reference to Nero whose return was generally expected (a superstitious phantasy of a _Nero redivivus_), by a change of figure, the emperor previously referred to as the fifth head of the Beast becoming the Beast itself—a questionable interpretation, apparently wrought out by a keen fancy to fit the words of the prophecy, but lacking efficient support in the text. The Beast in the vision carries the Harlot, i. e. the world‐city rests upon and is upheld by the world‐power, an unhallowed union in striking contrast with that of the Lamb and the Bride. This symbolism indicates the near relation existing between the world‐city and the world‐power exemplified in history, the world in its social and irreligious form allying itself with and relying upon the persecuting world‐power.

It should be noted here that the symbolism used in the chapter before us is shown to be very wide in its application. The seven heads of the Beast have first of all their proper symbolic meaning of full or universal dominion, i. e. dominion over this present evil world; but they are further interpreted to have other and different significance. We are told in verse nine that they are “seven mountains”, evidently in the primary meaning those of the city of Rome, which was seated on seven hills; but symbolizing besides this all mountains and hills which are the seat of world‐cities, in accordance with the common apocalyptic usage of seven (cf. _II Esdr._ 2.19; and _Bk of Enoch_ 18.6). The seven heads are also in a sense identified with the “many waters” on which the Woman sitteth (v. 15), which we are told, are “peoples, and multitudes, and nations, and tongues”, the many dwellers in world‐cities—for she spreads her power over all mountains and all waters.(518) They are also “seven kings” (v. 10), the king representing the throne and all it stands for, i. e. seven kingdoms, a complete number, the totality of kind, all the kingdoms of the world throughout history, though probably, like the seven churches, conceived of as individual kingdoms which are taken as representative of all.(519) Perhaps in John’s thought they were Egypt, Assyria, Babylonia, Persia, and Greece, the five known to him that were already fallen and Rome, the one then existing—the nations connected with Israel’s past. The past was history, but the future was seen only in outline, and John groups it all under one great world‐power, completing the number seven, which was yet to appear. This last “must continue a little while”, i. e. during the remaining time of the world’s existence, the usual sense of “a little while” in the Revelation, a period short in comparison with eternity. The Beast is also “an eighth”, we are told, i. e. when it is regarded apart from the seven heads,(520) for the world‐power may be conceived of as in itself a unit, comprising all its different manifestations, and yet separate from them and giving rise to them. The remark is, however, parenthetic and incidental, and ought not to be regarded as creating any special difficulty, for no reference is anywhere else made to an eighth, and it is probably introduced here simply because eight is the symbol of culmination (see App’x E). We are further told that the Beast is “of the seven” (v. 11), i. e. he is formed—Gr. ἐκ—“out of seven”, or in other words the Beast _is_ the seven kingdoms regarded as a unit, the world‐ power as it exists in all ages.(521) Also the ten horns (v. 12) which symbolize complete earthly power, ten symbolizing completeness and usually applying to the earthly, are representative of various subdivisions of the world‐power, minor kingdoms with their kings, which are added to the seven heads as an additional symbol of world‐wide empire. These are evidently thought of as yet to rise after John’s day, for they are denominated “kings, who have received no kingdom as yet, but they receive authority as kings with the Beast for one hour”, i. e. each one for an hour, or for a time that is relatively short,(522) an indefinite period, the ten kingdoms reaching in this case, apparently, to the end of the world—not definitely ten kingdoms or kings any more than one hour is a definite time limit, but rather ten, the number of completeness of all the parts, representing all kings and kingdoms yet to rise throughout succeeding time. “It seems probable,” as has been well said, “that John foresees that the hostile world‐power will not be always preëminently wielded by one nation as in his time; but will be divided into many parts, here represented by the number ten which is a complete number and not necessarily implying only ten in all. This indeed exactly describes what has really been the case since St. John’s time, and what, humanly speaking, seems likely to continue to the end of the world.”(523) It may, also, be pointed out that the ruin of the world‐city described by John has been the fate of every such city known to history. Thus the ten horns would seem to be identical with the seventh king or kingdom which is apparently the last, the world‐ power divided into many parts and continuing to the end of time. These divisions of the world‐power, though originally hostile to Christ (v. 14), shall yet under divine direction eventually destroy the world‐city in all lands and make her desolate (v. 16 and 17), i. e. the corrupt society, centered in cities, which opposes Christ and his kingdom. “And the Lamb shall overcome them; for he is Lord of lords and King of kings”, i. e. while God is seen to work through the multiple world‐power, the ten horns or kingdoms, and eventually to destroy the Harlot, corrupt society in the world, he yet finally overcomes the kingdoms of this world that war against him, and makes them his own; he triumphs on the earth in the fulness of time, for the kingdoms of the world, we are told, shall “become the kingdom of our Lord, and of his Christ: and he shall reign forever and ever” (ch. 11:15). “And they _also shall overcome_ that are with him, called and chosen and faithful” (v. 14)—the promise of success for the believing. In the preterist‐historical view the overthrow of the great city, or the Harlot, by the ten subordinate rulers or kings, the ten horns, is commonly interpreted as a reference to the current expectation that Eastern nations, especially the Parthians, were likely to march against the city of Rome and overthrow it, an application of the prophecy quite possible in the minds of the generation which first received it, but not reaching its deeper and essential meaning, and failing of any actual realization. At this point it may be not inapt to remark that the wide latitude with which the symbolism of the seven heads is interpreted by the angel in this chapter, is a valuable guide to the general method of the Apocalypse, and should put us on our guard against limiting the significance of the symbols strictly to a single thought, where more than one may properly be intended. At the same time this does not give us the liberty of unlimited freedom, but prevents our being too positive in many cases as to the exact limits of the symbolism.

Other interpretations make the Beast the Roman Empire, and the seven heads seven different forms of Roman government known to history, or seven individual kings, and the ten horns the various parts, subdivisions, or subordinate rulers of the Empire. The current interpretation of the preterist school accepts unqualifiedly the seven heads as seven kings of the Roman Empire and identifies Nero with the fifth head or king who is now “fallen”, i. e. is now dead, but is about to be restored again, according to a wide‐spread expectation of that time, and to become the eighth head or king. This view, though supported by many eminent authorities, especially those of the later critical school, involves serious difficulties. It is dependent upon the earlier date of the Apocalypse, or at least this portion of it, i. e. just after the death of Nero, the only time fitting such a prophecy—a matter by no means assured; and the prophecy, if it had this meaning, was falsified by subsequent events within a generation, a contingency which would necessarily have discredited the book before the church, and would make its acceptance as a genuine prophetic writing extremely difficult, if not impossible, to account for. These considerations serve to nullify the surety and positiveness with which this interpretation is generally urged by its advocates, and late writers indicate a healthful reaction against the view.(524)

Another similar view makes the emperors who are intended by the heads of the Beast to be (1) Augustus, (2) Tiberius, (3) Caligula, (4) Claudius, (5) Nero (now “fallen”, or dead—Galba, Otho, and Vitellius who succeeded Nero for short periods being omitted as pretenders), (6) Vespasian (the one who now “is”, i. e. now is on the throne), (7) Titus (who “must continue a little while”, i. e. have a short reign), and (8) Domitian (a second Nero—“an eighth” who “is of the seven”). This interpretation, though quite possible from one point of view, necessarily limits the vision to a narrow horizon; and while, like the former view, it tends to bring the teaching of the book into closer harmony with Jewish Apocalyptic, yet it obscures to some extent at least the wider and universal teaching which seems to the average Christian mind to belong essentially to the prophetic insight. It should be remembered, too, that the seven heads and ten horns belong originally to the Dragon or Satan, as symbols of his world‐wide power, and are here transferred to the Beast as Satan’s representative; and therefore it is more likely that they have a universal reference than that they apply to a single empire, for Satan’s sphere of influence is confessedly world‐wide (cf. ch. 13:1, note). Besides it is fruitless to attempt to interpret with any positiveness the heads and horns as individual nations and kings, as the diverse results have shown, each interpreter having his own application, and no one interpretation being generally accepted.(525) But even if we cannot be so positive as to the primary meaning, we should not allow the larger and more important meaning to escape us, the meaning for us and for all time. This is the fundamental principle of interpretation according to the symbolical school, which should be kept in mind throughout; and it is remarkable how often the general meaning is plain when the original reference, as in this case, is obscure. For even if John had primarily in mind certain phases of the Roman Empire, we must not lose sight of his idealization of the symbolism. The numbers seven and ten are not to be interpreted literally but symbolically as elsewhere throughout the book. Whatever kings and kingdoms are in the first instance intended, they are introduced as the type of all kings and kingdoms of this world throughout all time, in accordance with the prevalent use of numbers in the Apocalypse; so that in any case the chief thought established is essentially the same, viz. that the anti‐christian world‐power attains its fulness and completeness under the numbers seven and ten, and then wanes and is eventually destroyed. If we interpret of Rome, then the ruin of the one empire with its rulers and parts foreshadows that of every other earth‐power that opposes the rule of Christ among men, and the overthrow of the one city with its social and civic forces allied with evil, prefigures that of the entire anti‐christian social and civic power throughout the world.

2 The Fall of the City Proclaimed, Ch. 18:1‐24

The mystery of the Harlot and of the Beast having been revealed, another angel now declares the doom which awaits them. The downfall of the city and the destruction of her wealth is set forth as the type of the overthrow of corrupt society with all pertaining to it, in order that the fulness of Christ’s kingdom may be ushered in among men. In the vision of the prophet the ruin is viewed as already complete; attention is centered so fully upon the result attained that the method by which it is accomplished is left quite out of view. But the closing verses of the preceding chapter serve to indicate the source of her destruction, viz. in the ten horns, or subdivisions of the world‐kingdom, which rise against the Harlot and overthrow her (ch. 17:16‐17),—the historic fate of world‐ empires and world‐cities in revolution and ruin. It is here worthy of note how clearly we find in this chapter reverberating echoes from Isaiah’s Doom of Babylon and of Tyre (Isa. ch. 13:23, 47), and from Jeremiah’s Doom of Babylon (Jer. chs. 50 and 51), as well as from Ezekiel’s Doom of Tyre (Ezek. chs. 26‐28).(526) Though the fall of the heathen city of Rome was doubtless foremost in John’s mind, let us not forget that it only formed the basis of the wider thought of the ultimate fate and fall of the great godless world which it so clearly foreshadowed, the foresight of which was a part of the prophetic vision.(527)

(1) The Announcement of Her Overthrow, Ch. 18:1‐3

An angel—called here “another angel” in distinction from the one designated as “one of the seven angels” in chapter seventeen (v. 1)—is seen coming down out of heaven, having great authority, and crying with a mighty voice, “Fallen! fallen is Babylon the great!” and recounting the story of her crimes as the abundant cause of her ruin.

(2) The Warning to God’s People, Ch. 18:4‐8

Yet another voice from heaven bids the people of God come out of her before the final retribution, that they be not made partakers of her sins and receive not of her plagues, for her sins have reached even unto heaven; and urges the executors of her judgment to reward her double, i. e. to exact full legal retribution for her sins (Ex. 22:4‐7). And she shall be utterly destroyed, shall be “burned with fire; for strong is the Lord God who judged her”.

(3) The Lament of the Kings of the Earth over Her Doom, Ch. 18:9‐10

The rulers of the world‐powers who have shared in her sin are seen standing afar off for fear of her torment, witnessing her fall; and their cry is heard, “Woe, woe, the great city, Babylon, the strong city! for in one hour [i. e. in a short time or suddenly] is thy judgment come”,—mourning over her ruin which is sudden and complete.

(4) The Lament of the Merchants, Ch. 18:11‐17a

The merchants of the earth also weep and mourn over her, for no man buyeth their merchandise or cargo any more. The articles of merchandise enumerated are many, indicating her wealth, and seem to be arranged in a progressive order of importance, and to fall naturally into six classes, (Babylon’s number, the symbol of evil—ch. 13:18), which may be divided as follows, viz. (1) those of personal adornment; (2) of furniture; (3) of sensual gratification; (4) of food; (5) of animate forms; and (6) of souls (i. e. persons) of men.(528) All have perished; and the merchants cry aloud, “Woe, woe, the great city! ... for in one hour so great riches is made desolate.”

(5) The Lament of the Seamen, Ch. 18. 17b‐19

All those who gained their living by the sea, ship‐masters, mariners, and every one that saileth any whither, stood afar off and cried, “What _city_ is like the great city?” And they cast dust upon their heads, weeping and mourning, the sign of their deep though worldly sorrow, saying, “Woe, woe, the great city, wherein all that had their ships in the sea were made rich by reason of her costliness! for in one hour is she made desolate.” In this triple mourning of the kings of the earth, of the merchants, and of the seamen, is shown the wide relations of Babylon, too wide in fact for any single city. The darkly shadowed terms of poetic description used throughout the chapter, set forth the completeness of her destruction, and are an echo from the Fall of Tyre in Ezekiel’s prophecy (chs. 26‐28).

(6) A Call to Heaven and to the Church to Rejoice, Ch. 18:20

By a voice, evidently from above, the holy are bidden to rejoice, i. e. heaven with its inhabitants, and the saints or the church, and her two highest orders of ministers in the past, the apostles and the prophets, are called upon to rejoice because God hath judged Babylon with the judgment which is her due for her treatment of the saints. This invitation to the “saints, the apostles, and the prophets”, to rejoice over the judgment of Babylon, which to that age doubtless meant Rome, is regarded by some as a possible allusion to the martyrdom of the Apostles Peter and Paul who met death under Nero.(529)

(7) The Symbol of Her Irretrievable Ruin, Ch. 18:21‐24

A strong or mighty angel, taking up a stone like a great millstone, casts it into the sea as the sign of her total extinction, and rehearses the fate of the city in the ominous words of ancient prophecy, which are here enlarged and made more terrible (cf. Jer. 51:61‐64). The symbolism used throughout this chapter, it will be noted, is largely drawn from the Old Testament prophecies concerning the ancient cities of Babylon and Tyre. “And in her was found the blood of prophets and of saints, and of all that have been slain upon the earth.” Thus in terms that are as wide as the earth and as far‐reaching as history, is set forth the sin of the godless and unbelieving world in all ages, which concludes the pronouncement of the judgment upon Babylon; and the judgment seems to belong properly in seven parts as a sign of its completeness.

B The Triumph of the Redeemed, Ch. 19:1‐10

A hymn of praise (the Hallelujah Chorus), such as follows each crisis in the Apocalypse, and forms a relief to the sombreness of the visions, is sung in heaven by a great voice of a great multitude as the sequel to the fall of the city and the lament of the world—the seventh and last great chorus in the Revelation (see App’x C): and then the marriage supper of the Lamb is announced for the delight of the redeemed in heaven. The final triumph, it will be seen, is here viewed as a whole, without distinction of parts such as are found in the succeeding section which treats of the last things.

1 The Choral Song of Hallelujahs, Ch. 19:1‐8

In response to the heavenly summons to rejoice (ch. 18:20), a thrice repeated note of victory, the Hebrew “Hallelujah”, Praise ye Jehovah! is heard in heaven; first from the voice of a great multitude, who say a second time, “Hallelujah”, and then from the four and twenty elders, the representatives of the redeemed church, together with the four living creatures, the representatives of all created life, who reply, “Amen; Hallelujah.” After this again, in response to a message from the throne (v. 5), another “Hallelujah” is heard from the voice of another multitude (v. 6‐8), as the sound of many waters, the voice of those who are praising God in full and joyful chorus because he has avenged the blood of his servants, and who are now rejoicing with exceeding gladness (v. 7) because “the marriage of the Lamb is come”, i. e. the complete and final union of Christ with the redeemed church, for his wife, the church, hath made herself ready. The word “Hallelujah” occurs four times in this passage, and is not found elsewhere in the New Testament: it should be noted, too, that it is used here, as it is chiefly used in the Old Testament,(530) in connection with the punishment of the wicked. The first voice in this chorus of hallelujahs (v. 1f) is apparently that of the great multitude of the angelic host in heaven, which is responded to by the four and twenty elders, and the four living creatures; while the second voice (v. 6f) is that of the multitude of the universal church who have been redeemed by the blood of the Lamb. The description of the pure array of the Bride (v. 8), which is the symbol of her righteousness and is in such marked contrast with the clothing of the Harlot, may be an explanation added by the Apostle, as indicated in the text of the Revelation given in the preceding part of this book by including the verse in a parenthesis, though it was apparently regarded by the American Revisers as part of the words of the redeemed church.

2 The Blessedness of the Marriage Supper, Ch. 19:9

John is directed by the angel to record a blessing upon those who are bidden to the marriage supper, i. e. who are invited to share in the nearer fellowship of the redeemed with Christ, and to partake of the rich and abundant spiritual food that awaits them in the new relations of the heavenly life—a further symbol of the spiritual union of the church with Christ added to that of the bride and the marriage, setting forth the joys of the heavenly life under the familiar figure of a marriage feast, the great social event of the East, and the popular type of the highest enjoyment, as well as the public acknowledgement of the consummation of the union. The marriage of the Lamb is put in vivid contrast with the fornication of the Harlot, in the usual method of the Apocalypse.

3 Worship Refused by the Angel, Ch. 19:10

The Apostle is so overwhelmed by the impression of the vision that he falls at the feet of the angel to worship him—probably the interpreting angel of the opening verse of the book, though some think identical with the vial‐angel of chapter seventeen; but the worship is refused,(531) because, as the angel declares, he is only a fellow‐servant with John, and shares in “the testimony of Jesus” which “is the spirit of prophecy”. This significant phrase is characteristic of the Revelation,(532) and we find in it a key to the general interpretation, a principle to be applied throughout, viz. that the mysteries of the Old Dispensation find their only proper solution and fulfilment in the clearer teaching of the New. “The testimony of Jesus” is the witness for the truth borne _by_ Christ in the world, which gathers up into one and gives expression to the essential and animating thought of all prophecy. Others interpret the passage as applying to the witness borne _for_ Christ and the truth by his disciples in the world; and it is possible that both meanings are included, for if broadly interpreted they both merge into one.(533)

C The Last Things, Ch. 19:11‐20:15

A new phase of the vision of victory now opens, which presents the final culmination and crisis of judgment and redemption, a rapid preview of the closing events of human history, a forecast of the triumph and completion of the gospel age. These events form a series of climaxes that are progressive and catastrophic, and usher in the final consummation of God’s world‐plan of the ages, a feature that is prominent in all apocalyptic writings.

It is important for us to note afresh at this point, what should be apparent to our minds in the study of the book throughout, viz. that the element of climax, which enters so largely into the thought of the Revelation, belongs essentially to the mood and temper of Apocalyptic; and we should avoid emphasizing too much that which pertains chiefly to literary form and spiritual mood, as though it were intended to set forth the intimate nature of the divine method. Upon careful reflection it must become more and more apparent that the emphasis here laid upon the climactic side of the divine way of working, was only intended to be in proportion to the apparent hopelessness of the historical outlook without such manifest and repeated divine interpositions for human help, and was not intended to indicate that the chief effects to be wrought out will be accomplished by other than the method displayed in history, viz. by long periods of quiet progress and patient waiting, broken now and then by short and decisive periods of crisis. The apocalyptic writers followed the general mode of conception prevalent in the Old Testament, according to which “the final condition of men and the world is regarded less as the perfect issue of a gradual ethical advancement ... than as the result of an interposition or chain of interpositions on the part of God”,(534) which is only one side of the truth—a view growing out of their idea of God as the immediate author of all movements in nature and history, and fitting in well with the increased emphasis laid upon climax in Apocalyptic. There is also a distinct foreshortening of the future which is very evident throughout this section, and this is a well known and characteristic feature of all prophecy. The extreme brevity with which are described and grouped together so many great events of the far future that so deeply affect the Christian hope, serves to indicate that the chief aim of the Revelation does not consist in fully manifesting these events which lie hidden in the hand of God, but in preparing the church for what precedes them, both of trial and of conflict. “Like a flash of lightning in the darkness the vision lights up the whole line of God’s purposes to the end”; but how much of the actual form and manner of the events it was the divine purpose to disclose through this ideal and scenic presentation must continue to be, pending the manifestation of the events themselves, to some extent at least, a matter of diverse opinion.

1 The End of the Holy War, Ch. 19:11‐21