Framework:
construction of
Section 3A - woes, beasts and bowls
Overview
Background: this study introduces a new macrostructure for Revelation that illustrates a single chronologically-linear Creation to New Order story-line that is set in John’s understanding of the cosmos. The story itself steps back in relative time at 4:2, 12:1, 12:13 and 15:1 (see Towards … 4b), and this enables John to see again events that he has already witnessed because the relocations result in two interlinked dramas on earth. The first earth is a physical-spiritual dimension that begins after the Cross (the death, resurrection and ascension of Jesus Christ), from 6:2 (see Framework 1A.d) and the second earth follows the biblical meta-narrative that begins at Creation (from 12:1). What happens as time passes in each space (a time-line) highlights contemporaneous events that link the two dramas together (‘time-parallels’). Time-parallels are like text parallels, but with a chronological component.
The story so far: John saw the consequences of the shedding of the blood of the Lamb (the Cross) and six seals opening. There was silence in heaven for about half an hour when the seventh seal opened. The trumpets were prepared, a golden censer was thrown to earth and the seven trumpets started sounding (Frameworks 1 and 2). The censer may represent the beginning of the eschaton (‘last days’ or ‘end times’, see Framework 2C). After the story relocates at 11:19 (in this section) to 12:1 in Framework 1, John witnessed Creation in two ways: celebration in heaven’s throne-room (4:11) and Creation associated with satan’s influence on earth (12:5).
In this section (Figure 3), the two earth dramas continue (8:13-11:19 and 13:1-18) and John is on a vantage point in or near to Jerusalem (see 3B.c) when he sees the eschaton unfold. John saw the genesis of evil (12:1-18) and now satan’s two main beasts arise (13:1-18). The two versions of earth cover the same time period, but in different ways because each cosmic space has its own story, so there is no recapitulation/ repetition. When correlating the earthly time-lines, the proposed macrostructure indicates that the beasts arise when the fifth and sixth trumpets start sounding (time-parallels 2 and 3). There is some telescoping (a one-to-many correlation) because while everybody is ‘marked’ on the biblical earth (13:16-18), John interacts with the ‘mighty angel’ and he measures the temple, he sees the two witnesses, hears the seventh trumpet and sees the heavenly sanctuary open, on the physical-spiritual earth (10:1-11:19). After the story relocates at 14:20/ 15:1 (Framework 5), John sees another ‘sign’ in heaven (the seven plague angels), victorious martyrs rejoice and John sees the sanctuary open in heaven, again (15:1-5) (time-parallels 4-7); and the bowls empty onto earth (time-parallel 8).
Figure numbers in every section follow the Macrostructure Model, so they do not restart in each section. In each figure, the x axis is location and the y axis is relative time. Every section has a Construction (Framework 3A – how the model was deduced) and an Interpretation (thoughts on the implications of the model (Framework 3B). The beasts are considered in more detail in Framework 3C, and the unfolding eschaton in Framework 3D.
3A) Section construction
The time of waiting (Framework 2) is now over and the vision structure in this section continues as a chronologically linear progression of three connected series of events (on the physical-spiritual earth, biblical earth and in heaven’s throne-room). This pattern is the result of the story stepping back four times in relative time at: 4:2, 11:19/ 12:1, 12:13 and 14:20/ 15:1 (see Towards … 4b).
This part of the story follows the chronologically linear seal openings and trumpet blasts on the physical-spiritual earth (Framework 2, Figure 2) and there is no structural reason to suppose this linear pattern in this dimension changes in this section. The linear sequence is interrupted at the end of this section, when the narrative steps back in relative time for the second time of four times at 11:19/ 12:1 (to Framework 1; see Towards … 4b). After initiating war on the biblical earth, satan stood on the seashore (12:18; Framework 1, Figure 1) – perhaps waiting for his beasts to appear from the abyss and earth (13:1-15). His beasts appear now and there is no structural reason to suppose the linear pattern on this biblical earth changes between chapters 12 and 13 in this section. This indicates the beasts are symbolic of spiritual powers ‘behind’ or orchestrating earthly activities, as suggested in Framework 1 for satan’s role on the biblical earth; rather than them being symbolic characters on something like the physical-spiritual earth (see Framework 1B.d and the following Interpretation). Richard Bauckham describes chapters 12-14 as the ‘messianic war’ from the Incarnation (12:5) and beasts’ warfare, to the Parousia and Lamb’s triumph (12:1-14:20, Bauckham, 1993a: 94). This study proposes that 12:5 refers to Creation and the Messiah’s birth in the heavenly realms, not to the Incarnation, but the principle is the same despite our different interpretations of 12:5 (see Framework 1B.d).
In heaven’s throne-room, the waiting continues (6:9-11, fifth seal) but the silence of the seventh seal is over (8:1). When the trumpets sound, torments are hurled to/ impact earth (from 8:7, Framework 2). The torments of the first four trumpets are cosmic/ environmental events (Framework 2), but after the three ‘woes’ begin (8:13) and the beasts arise (13:1), below-the-earth is part of the story. Below-the-earth is represented by its boundary events when the creatures bringing the torments of the last trumpets appear on earth from the opening abyss (9:2-12) or opening earth at the Euphrates (9:13-21). There are no recorded events within below-the-earth (see Framework 3C.a). Heaven’s environs continue to exist after the heavenly war in which Michael defeats the dragon (12:12, Framework 1), because ‘another great sign’ (of the seven bowl angels) is seen in heaven at 15:1. The seven angels come out of the temple with the last plagues and they are given golden bowls full of the wrath of God by one of the four ‘living creatures’ (15:6-7). John sees the temple filled with the smoke from the glory and power of God (15:8) and a loud voice from the temple tells the angels to empty the bowls onto earth (16:1).
3A.a) Overcoming the paradoxes
There are four relocations in relative time within the story (at 4:2, 11:19/ 12:1, 12:13 and 14:20/ 15:1, see Towards … 4b) and two of these occur in this part of the story. At 11:19/ 12:1 the story moves from the physical-spiritual earth after the seventh trumpet sounds to heaven’s environs at the time of Creation (see Framework 1) and at 14:20/ 15:1 it moves from the biblical earth after the Lamb appears on Mt Zion (14:1-20) to heaven’s environs before the sanctuary opens.
From a listener’s point of view, it is tempting to interpret the bowls full of the wrath of God (15:7) as judgements from the wine-press of God’s wrath (14:19) because John witnesses the one following into the other. A linear progression between chapters 11 and 16 is part of the structure of the overall Creation to New Order story on the physical-spiritual earth (Figure 3) but the narrative indicates events recorded in chapters 12 to 15 occur elsewhere (see the Macrostructure Model). Without the steps back in relative time in this section, there are theological and temporal paradoxes. Theologically, 15:5 must occur before 14:1 because the seventh trumpet sounding (11:15) and the open sanctuary (11:19, 15:5) almost certainly precede the Lamb’s appearance on Mt Zion (14:1). Without the relocations in the story into the past, the seventh trumpet heralds the dragon (11:19/ 12:3-4) and the Lamb appears after the sanctuary opens for the second time (15:5). Structurally, it would be a temporal paradox if the emptying bowls (16:2-21) interrupt the progression of events on either earth before 14:1-20. To avoid the paradoxes, this study proposes the four relocations in the story and that the bowls follow the trumpets on the physical-spiritual earth and the open sanctuary is time-parallel 7 (see Figure 3 and Towards … 4b). Why the story–line may have stepped back in relative time at 14:20/ 15:1 is considered in the following Interpretation (3B.d).
3A.b) Time-parallels 2 - 8
There are seven time-parallels in this section (time-parallels 2-8) and from the time of the fifth trumpet (9:1) until the New Order begins every event has a counterpart in at least one other space. Activity increases in every space when satan’s beasts appear, represented by the increased number of time-parallels in the proposed macrostructure. Even the appearance of the Lamb on Mt Zion is part of the pattern (14:1-5, Framework 4), as the proposed macrostructure indicates he may appear while the fifth bowl is emptying (time-parallel 8, see Macrostructure Model Figure 4). Note: there is a variation of verb tenses in Revelation which may reflect the tension between the narrative literary form and content, and/or how John saw future events unfold (Collins, 1979: 126). Tenses are unreliable indicators for relative event timings and this is particularly noticeable when comparing verses in the time-parallels – especially around the fall of Babylon (time-parallel 10, Framework 4A.a).
Time-parallel 2 (9:1-12 and 13:1:10) is the first woe, heralded by the sound of the fifth trumpet on the physical-spiritual earth. When the abyss (perhaps in the sea) is opened (9:1), this probably facilitates the appearance of the beast from the abyss onto the biblical earth (13:1-10; so Collins, 1979: 72). On the physical-spiritual earth, horse-like, stinging locusts with crowned heads and human-like faces appear from the smoke (9:1-12) and they attack those who do not have the seal of God on their foreheads (sealed at 7:2-8). The torments are very real and victims long for death. Their leader, called ‘Destruction’ or ‘Destroyer’, is both the angel of the abyss and their king (9:11). The smoke from the abyss may be a parody of the smoke from the glory and power of God that filled the temple when it opened (15:8, time-parallel 8). This beast is allowed to make war on the faithful and it has power over all humanity for a short time because it has the authority of the dragon/ satan for only ‘forty-two months’ (13:5-7).
Time-parallel 3 (9:13-21 and 13:11-15) is the second woe, heralded by the sound of the sixth trumpet on the physical-spiritual earth (9:13-21), and its counterpart: the rising of the beast of the earth on the biblical earth (13:11-18). On the physical-spiritual earth, the four angels who bound the four winds at the four corners of the earth (7:1) are released at the Euphrates (9:14-15; assuming these are the same four angels). 200 million troops appear and kill a third of humanity by the plagues of fire, smoke and sulphur spewing from the mouths of their horse-like mounts (9:16-19). The rest of humanity continue to worship demons and idols and they do not repent of their evil ways (9:20-21). The spiritual dimension of the trauma may be indicated by the combustion welling up from within the horses, like the smoke which rose when the abyss opened (9:2). The release of the four angels perhaps facilitates the rising of the beast of the earth (13:11), who is a false prophet who works on behalf of the abyss beast (13:12-17, 19:20, see also 16:13, 20:10) on the biblical earth. The focus of the survivors’ idolatry is on the recently installed, speaking image of the abyss beast (13:14-15) and they see fire as a sign from heaven endorsing the authority of the earth beast (13:13); they worship demons and idols and they still refuse to repent of their evil works (9:20-21).
If, as proposed in this study, Revelation is a vision of different viewpoints of earthly and spiritual events, and their biblical allegories, from the time of Creation to the New Order, it follows that at any point in the story (i.e. at the same relative time) there will be consistency between the time-lines. Even outside the more obvious time-parallels, correlations between verses in different time-lines will be compatible (for example with time-parallels 4 and 5) or may be deduced (as with time-parallel 6).
Time-parallel 4 (10:1-11:2 and 13:16-18) is still part of the second woe, heralded by/ after the sound of the sixth trumpet on the physical-spiritual earth. John sees ‘another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head (… and) he held a little scroll open in his hand’ (10:1-2); this is the second time a rainbow is mentioned in Revelation (but this time the rainbow is not green, see Framework …1B.b). This angel heralds the sealed-up seven thunders (10:3) and he has authority from the Father (as his messenger), he resembles Christ (for example: Smalley, 2005: 257-258; Paul, 2018: 187) and he is overshadowed by the rainbow symbol of the Spirit (see Framework …1B.b). When satan/ dragon stands by the seashore, it is this angel’s stance he mimics (12:18). A voice from heaven says that the words of the thunders will be revealed in the future and the angel swears that ‘there will be no more delay’ when the seventh trumpet sounds and ‘the mystery of God will be fulfilled’ (10:4-7). John eats the little scroll and he is told to measure the temple (10:8-11:2). Meanwhile, everyone on the biblical earth is ‘marked’ with the number of the beast (666) on their right hand or forehead (13:16-18, time-parallels 4-8). The text does not define when the marking ends so it may continue while the bowls empty and/or there may be a pause in the unfolding of events while everyone is marked.
During time-parallel 5 (11:3-10 and 15:1), events are recorded from three perspectives in three spaces at the same relative time: the two witnesses are appointed and then killed on the physical-spiritual earth (11:3-10); and marking continues on the biblical earth (from 13:16, begun in time-parallel 4); and John sees the seven angels with the last plagues as ‘another portent’ (sign) in heaven’s environs (15:1). From John’s point of view, he is on earth when he sees the mighty angel and the two witnesses. During time-parallel 7, the cosmic story includes a step back in relative time at 11:19/ 12:1 (to Framework 1) and on his second pass through this time period, John sees the marking continue on the biblical earth (13:16-18). There is another step back in relative time in the story at 14:20/ 15:1 (Framework 4; see Towards … 4b) and John sees the heavenly sign of the seven plague angels.
The narrative path may sometimes follow the path of John’s eyes, rather than always reflecting his movement between the cosmic spaces. This is discussed in more detail in the following Interpretation (Framework 3B.c) as the narrative suggests John may be on a vantage point for some of his journey (so Paul, 2018: 187). Meanwhile, the marking continues on the biblical earth (from 13:16-18, time-parallel 4).
Time-parallel 6 (11:11-18 and 15:2-4) is based upon Bauckham’s observed text parallel that it is ‘remarkable’ that the meaning of 11:11-13 (the two witnesses are resurrected and they ascend, a tenth of the city collapses, 7000 people die, survivors praise God) ‘coincides exactly’ with that of 15:2-4 (the victorious martyrs rejoice), which confirms his interpretation of both passages, despite their different images (Bauckham, 1993a: 101). This time-parallel supports and extends Bauckham’s text parallel: the heavenly rejoicing (15:2-4) is also a counter-part to the warning of the imminent third woe, sound of the seventh trumpet on earth, and the heavenly proclamation of the kingdom of Christ and worship of God (11:14-18). This is John’s first pass through this time period and the emphasis in the text in chapter 11 is on the earth. 11:15-18 is the earthly observation of the loud voices heard in heaven which extol the kingdom of the world becoming the kingdom of the Messiah for ever (11:15) and the nations were angry and there will be imminent judgement (reward for the faithful and destruction ‘for those who destroy the earth’, 11:18). The earthly context is the resurrection and ascension of the two witnesses and survivors of the earthquake glorifying God. During John’s second pass through this period, the marking continues on the biblical earth (see time-parallel 4). The rejoicing seen during John’s third pass through this period (15:2-4) anticipates future worship by the nations (15:4b), and its context is the preparation of the bowls while the martyrs rejoice in heaven’s throne-room. Meanwhile, the marking continues on the biblical earth (from 13:16-18, time-parallel 4).
Time-parallel 7 (11:19 and 15:5) is the two descriptions of the open sanctuary in heaven (11:19, 15:5). The emphasis in the text in chapter 11 continues to be on the earth and when John sees the open sanctuary for the first time (11:19), it is accompanied by storms and an earthquake. During John’s second pass through this period, the marking continues on the biblical earth (see time-parallel 4). During John’s third pass through this period he looked and saw the open temple for the second time (15:5); no earthly phenomena are associated with this opening. Meanwhile, the marking continues on the biblical earth (from 13:16-18, time-parallel 4).
Time-parallel 8 (16:2-11 and 15:6-16:1) follows the great sign (15:1), the sound of the seventh trumpet (11:15) and the open heavenly sanctuary (11:19, 15:5). The seven angels come out of the temple with the last plagues and they are given golden bowls full of the wrath of God by ‘one of the four living creatures’ (15:6-7). John sees that the temple was filled with the smoke from the glory and power of God (15:8) and a loud voice from the temple tells the angels to empty the bowls onto earth (16:1). The first five bowls affect the ‘marked’ who worship the recently installed image of the abyss beast (13:14, 16:2) and the sea, the fresh water and the land (which is scorched) – but people refuse to repent and glorify God (16:9). Darkness covers the throne of the beast when the fifth bowl is emptied and people are still suffering the effects of the first four bowls – but still they refuse to repent (16:10-11). In the proposed macrostructure, the bowls are the third woe, which was imminent before the seventh trumpet sounded (11:14). Meanwhile, the marking continues on the biblical earth (from 13:16-18, time-parallel 4).
The structure of the third woe-seventh trumpet / bowls is linear on the physical-spiritual earth in the proposed macrostructure but the telescopic structural option (see Towards … 3b) is considered shortly (3A.b). Meanwhile, the marking continues on the biblical earth (13:16-18; time-parallels 4-8) and the proposed macrostructure indicates the Lamb may appear on that earth (as part of Bauckham’s ‘messianic war’, Bauckham, 1993a: 94) while the fifth bowl is emptying on the physical-spiritual earth.[1] For this reason, time-parallel 8 is split into two parts: 8a before the Lamb appears (Figure 3) and 8b after he appears (Figure 4), but the bowls are a single series of torments (the third woe).
[1] John is told that Christ will come at an unknown time ‘like a thief! Blessed is the one who stays awake’ (16:15a) so it is entirely possible, in the proposed macrostructure and in reality, that Christ will come after the bowls; in that case, time-parallels 1-9 and 12-18 are otherwise unchanged (see Framework 4A.d).
3A.c) Satan's two beasts arise
In the proposed model, satan has been on earth (biblical) from the beginning of earthly history (Framework 1) (Framework 1) [1] and he probably stands by the seashore throughout Framework 2 (from 12:18) until his beasts arise in this section (13:1-18, time-parallels 2 and 3, Figure 3). Below-the-earth, which is part of John’s model for the cosmos (5:3), is now part of the discussion as the probable source of the beasts and the other creatures. Only exits from below-the-earth are described in this section and there is no below-the-earth time-line. It is suggested in Framework …1B.b, that below-the-earth was created when the dragon/ satan and his angels were expelled to earth after the heavenly battle (12:9) – the angel called Destruction or Destroyer rises from the opening abyss (below-the-earth) with his armies when the fifth trumpet sounds (9:1-11, time-parallel 2).
As mentioned earlier (Framework 3A.a), there would be a temporal paradox if the beasts’ appearances (13:1-18) interrupt the time-line before 11:19 on the physical-spiritual earth. It would also create an anticipatory reference to the beasts rising in chapter 13 but already having killed the two witnesses in 11:7. If the beasts appear after 11:19 (i.e. the classic linear model), there is a theological paradox because the traditional heralds of the eschaton (the sounding of the seventh trumpet and opening of the heavenly sanctuary) herald the beasts’ appearances and not the Parousia. It is possible the beasts’ emerge/ return/ re-emerge from the abyss/ earth but there is no evidence in the text to that suggests this happens. Bauckham discounts the ‘anticipatory reference’ (Bauckham, 1993b: 20) but the proposed model explains it as the consequence of there being two parallel earthly dramas in the story, so it is neither anticipatory nor a temporal paradox.
This study proposes the beasts’ appearances (13:1-18) are part of the biblical earth time-line. They arise when the fifth and sixth trumpets sound on the physical-spiritual earth (time-parallels 2 and 3, Figure 3), which are before the two witnesses are killed (time-parallel 5) and before the seventh trumpet sounds and the heavenly sanctuary opens (time-parallels 6 and 7). The beasts and the orchestration of the murders are discussed in the following Interpretation. John gives further descriptions of the beasts in chapter 17 so the beasts’ roles are considered in detail in Framework 4.
[1] John’s relationship to history and the surrounding culture is ambiguous. ‘History’ is used in a modern sense here; how Jews in the first century A.D. understood history is uncertain but Halbwachs distinguished it from collective memory, which is how the first Christians outside Palestine would have remembered Jerusalem and the temple and its traditions (rituals etc.), Halbwachs, 1992: 222).
3A.d) The third woe
The bowls empty after the seventh trumpet blast begins and the heavenly sanctuary opens, so the bowls may be the third woe, referred to as coming very soon in 11:14 but not described in detail until 16:2-21. The structure for the seals, trumpets and bowls is linear in this model and they are experienced on the physical-spiritual earth.
Earlier in this section (Framework 3A.a), it is suggested that the open sanctuary (11:19, 15:5) must occur before 14:1 in the story-line because the seventh trumpet sounding (11:15) and the open sanctuary almost certainly precede the Lamb’s appearance on Mt Zion (14:1); but there would be a temporal paradox if the earthly events described in 15:1-16:21 (the bowls) interrupt the progression of events on the biblical earth before 14:1-20. Ramsey Michaels notes the connection between 11:19 and 15:5 from a literary perspective: ‘It is as if Revelation 15:5 takes up where 11:19 left off’ (Michaels, 1992: 63. Richard Bauckham has a similar observation, he suggests chapter 15 is the point where the narrative begun in chapter 12 ‘converges with’ the narrative begun in chapter 5, reaching a ‘provisional conclusion’ with the bowls (Bauckham, 1993a: 16) (see Figure 3).
Bauckham comments how the second sequence (bowls) is described in terms which relate to the dragon and his followers, unlike the terms used in the first sequence (to 11:19), but this study suggests this reflects surface literary features rather than the underlying structure of the vision. Bauckham interprets the structure as the bowls being a ‘fuller version of the seventh trumpet’ (Bauckham, 1993a: 16). This is a telescopic pattern because Bauckham suggests the bowls are in one dimension (with the dragon) and the seventh trumpet is in another. In the proposed macrostructure, the trumpet–third woe/ bowls structure is linear and there is no telescoping (see Figure 3). The time-parallels in this section illustrate how some surface, literary structures, such as those recognised by Michaels and, in part, by Bauckham reflect and emphasise the underlying structure identified in this study.[1] The proposed macrostructure explains the connections: these are contemporaneous events seen in different spaces and from different viewpoints. There are one-to-one correlations between events in time-parallels 2 to 8 in this section and each time-line ‘possesses its own content’ (Lambrecht, 1998: 205), so the structure is parallel rather than telescoping or recapitulation; this phrase is used about the seventh seal but I suggest it has a wider use for all the time-parallels (see Figure 3 and Towards … 3b).
Only the seventh trumpet/ bowls telescopic pattern of the classic structural literary patterns is a valid alternative option which can be deduced from both Revelation’s literary (for example Bauckham, 1993b: 9, 16) and spatio-temporal analyses (see Towards … 3b). It is an effective way to describe what is happening, simultaneously, in two or more locations. The telescoping event (the seventh trumpet blast) occurs on one earth and the telescoped event (the bowls) occur on a second earth. Following a telescopic model, the trumpets and bowls cannot be part of the same space. This has implications for when and where the Lamb appears on Mt Zion (14:1) (see the following Interpretation).
Bauckham suggests the telescoping event is the seventh trumpet blast, but the third woe is the better choice in this study. The bowl torments are plagues (15:1), and the woe is likely to have a longer duration than a trumpet blast. Biguzzi distinguishes between a ‘time-moment’ (initiation of the seals/ trumpets/ bowls) and ‘time-duration’ (the woes) (Biguzzi in Lambrecht, 1998: 206). The seventh blast and woe begin at almost the same time (11:14-15) but their endings are undefined in the text so they may not stop together. If the trumpet blasts are warnings of imminent judgement, the seventh trumpet probably stops sounding when the Lamb appears on Mt Zion (14:1) because his appearance on the biblical earth immediately follows the blast on the physical-spiritual earth (Macrostructure Model, Figures 3 and 4). All the bowls were prepared together (15:1-16:1) so the third woe probably continues until the seventh bowl empties (16:17-21, Macrostructure Model, Figure 4).
[1] This is consistent with Fiorenza’s use of structuralist terms to describe literary features of John’s prophetic-apostolic letter as ‘surface’ or ‘actantial’ patterns overlying deeper ‘architectonic’ structures, but her ‘conic spiral’ chiasm is not recognisable in the spatio-temporal analysis in this study (Fiorenza, 1998:170-177).
3A) Summary
The primary, chronologically-linear structural layer that is seen in every cosmic space from Creation onwards (see Framework 1B.c), continues in this section. Heaven directs events and the physical-spiritual time-line describes what happens (i.e. the torments of the trumpets and the bowls in this section) and the biblical time-line describes why events happen, as presented in the biblical narrative (i.e. the presence of satan and, from now onwards, beasts ‘behind’ or influencing earthly activities and wars).
Correlations (time-parallels 2-7) between the cosmic spaces are straightforward in this section. Time-parallel 8 (the bowls begin) accommodates two of the four steps back in relative time (11:19/ 12:1 and 14:20/ 15:1), but the time-lines in all the spaces are linear. Below-the-earth is represented by its boundary events from time-parallel 2 onwards, i.e. the abyss opens when the fifth trumpet sounds. This facilitates both the appearance of the angel of the abyss (‘Destroyer’, 9:11), with his scorpion-like locusts on the physical-spiritual earth, and satan’s ‘beast from the abyss’ on the biblical earth (9:1-12/ 13:1-10; time-parallel 2). This is the first ‘woe’. During the second woe, the four angels who bound the four winds at the four corners of the earth (7:1) are most likely those released at the River Euphrates, and an army of 200 million troops appears (9:14-20). Their release facilitates the appearance of satan’s ‘beast from the earth’ (9:13-21/ 13:11-15; time-parallel 3). Once satan’s beasts are present, everyone is forced to worship the image of the abyss beast and to receive a ‘mark’ that enables them to buy and sell (13:14-18). The worship and the marking continue for the rest of this section on the biblical earth.
During the time of the sixth trumpet on the physical-spiritual earth, the mighty angel with the little scroll comes down from heaven and the voices of seven ‘thunders’ roar (10:1-4). John is told not to record what the thunders say. The angel declares: ‘There will be no more delay, but in the days when the seventh angel is to blow his trumpet, the mystery of God will be fulfilled, as he announced to his servants the prophets’ (10:5-7). John eats the little scroll, he is told to prophesy again (10:8-11) and he measures the Temple (11:1-2). These events are part of time-parallel 4 (10:1-11:2/ 13:16-18).
‘Two witnesses’ are appointed by God and they have ‘authority to prophesy for one thousand two hundred and sixty days, wearing sackcloth’, (11:3-6) before they are killed in Jerusalem by the abyss beast (or perhaps his subordinate, the earth beast, 19:20), and people celebrate (11:7-10) (time-parallel 5). At point in the Creation-New Order story-line, the heavenly sign of the seven angels with the bowls full of the wrath of God is manifest (time-parallel 5), i.e. after the 14:20/ 15:1 re-location (see 3B.d in the following Interpretation). In heaven’s throne-room, the victorious martyrs rejoice (15:2-4) when the two witnesses are resurrected after three and a half days and they ascend to heaven (11:11–12) – but there is anguish on earth when an earthquake collapses a tenth of the city and 7000 people are killed, but survivors praise God (11:13); this is the second woe (11:14). When the seventh trumpet sounds, heaven rejoices (11:15-18) and this is the earthly observation of the 15:2-4 heavenly rejoicing (time-parallel 6). The heavenly sanctuary is seen to be open and earth experiences a great storm and an earthquake (11:19). The re-location in the story at 11:19/ 12:1 enables John to see why these things happen because 12:1-14:20 is the story of the Messiah, satan and humanity. The bowls are emptied onto earth (16:2-11; time-parallel 8); they are the third woe.
At this point in the vision, the proposed model indicates the story in Revelation is told as two dramas (from 4:1 and 12:1, Framework 1) that include two of the four steps back in relative time in the story: 11:19/ 12:1, 14:20/ 15:1 (see Towards … 4b). The story covers three spaces: the physical-spiritual earth, biblical earth and in heaven’s throne room. Events in heaven’s environs are recorded in Framework 1 (12:1-12) but there is a third ‘sign’ in heaven at 15:1 so the space continues to exist. Below-the-earth is represented by its boundary events from time-parallel 2 onwards (9:1-12/ 13:1-10).
Page updated 30 October 2024