Revelation. Gordon D. Fee

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СКАЧАТЬ of Hal Lindsay’s The Late Great Planet Earth. Two students took me up on this alternative, both of whom independently came to the conclusion that the task was altogether impossible, since there is not a single exegetical moment in Lindsay’s entire book. John himself would surely have found Lindsay’s book as “apocalyptic” as most modern readers do John’s.

      The purpose of the present book is therefore singular: to offer one New Testament scholar’s exegetical reading of the text, with very little concern for anything except to help people hear it for the word of God that it is. And therefore none of the so-called alternative ways of understanding the book will hereafter be mentioned in this book. At the same time, I would be deceiving the reader if I did not admit that I am equally concerned that the exegesis leads to theological understanding. That is, what does it mean for God and his Christ to be the one and only sovereign(s) in a universe in which others compete for sovereignty and worship; and what does it mean for contemporary people of God to be a countercultural alternative in such a world, just as John himself was, and was encouraging his readers to be? Furthermore, with theology there must be worship, because whatever else is true about this marvelous Revelation, John recognizes that truly Christian theology should lead to doxology. That is, descriptions of God that do not lead to the worship of God might be intellectually useful, but they are unrelated to biblical reality; and biblical reality is what John wants his readers to see and hear. In a form of divine sovereignty that often accompanies biblical prophecy, John wrote what turned out to be the final book in the Christian canon; and thus it serves fittingly as the climax to both the New Testament and to the entire biblical story—which begins in Eden and concludes with a restored Eden.

      Finally, I should note that the biblical text used throughout is the (yet to be published) 2011 edition of the NIV, which has been used by permission of the Committee on Bible Translation who are responsible for the translation (to which I have access before publication as a member of the translation committee) and of the Zondervan Corporation who will publish it.

      Gordon D. Fee

      October 2009

      Introduction

      The purpose of this introduction is twofold: to introduce the reader both to the Book of Revelation and to this commentary on the book. We begin with the former. At issue is the fourfold question of what, why, who, and when.

      The Revelation: What Is It?

      Readers of the New Testament experience something of a shock when they come to the book of Revelation—at least once they get past the first five chapters, which are quite manageable. Even the two scenes in heaven in chapters 4 and 5—which may be a bit different, to be sure—are still manageable. At chapter 6, however, with its four colored horses, souls under the altar, and great earthquake, everything changes. At this point most contemporary readers have a sense of being thrown into a strange new world, and those who from a sense of duty keep on reading to the end find themselves in a constant struggle to stay with it. It is not difficult to understand horses or beasts as such, but colored horses and beasts with seven heads and ten horns do stretch the imagination—especially so for those who draw mental pictures as they read.

      So the first task for any reader of a book is to understand (or at least anticipate) the kind of literary genre of the writing; and that is where in this case everything tends to break down. People understand what letters are, and how they function, and so have access to the New Testament Epistles. For the most part they are also able to recognize the style and poetry of the Old Testament Prophets—although with a degree of difficulty at times, to be sure. Thus the images themselves for the most part lie within the worldview of the reader, and that because the images are expressions of reality. But with Jewish apocalyptic writings (Daniel 7–11 and much of Ezekiel) all of that changes, since many of the images are intentionally bizarre and thus their meaning is uncertain.

      What one must understand before reading John’s Revelation is that he has purposely set out to write something that has not been done before, something that he sets up his readers to understand at the very beginning. Thus in 1:1 he identifies what he is about to write as an apocalypse, translated “revelation” in the NIV, which in 1:3 he refers to as a prophecy. But in the next two verses he begins again with all the formal aspects of an ancient letter. So the reader is given these three different pieces of information at the outset. What is unique about John’s Apocalypse is the fine blending of each of these three kinds of literature—apocalypse, prophecy, letter—into a single whole piece.

      We begin, then, with the Revelation as an apocalypse, a word used to describe a kind of literature that flourished first among Jews and then Christians for roughly the four-hundred-year period between 200 BCE and 200 CE, although its roots lie much earlier. The taproot of apocalyptic was deeply embedded in the Old Testament Prophets, which means that whatever else, these writers, including John, were concerned about judgment and salvation. But the prophets, in contrast to the apocalyptists, were not primarily writers. Rather, they were first of all spokespersons for Yahweh, who only later set their spoken words to writing. The apocalypses, on the other hand, are carefully structured and worked out literary works from the start. Part of the reason for this is that apocalyptic was born during the time of powerful world empires, which was often a time of persecution for the Jewish community. These writers, therefore, were engaged in a kind of subversive literature, prophesying cataclysmic judgments on their persecutors—God’s own enemies—who at the time of writing appeared so powerful that there was no hope for their collapse except by divine intervention. Thus these writers no longer looked for God to bring about their redemption within history; rather, they pictured God as bringing a cataclysmic end to history, which also ushered in a redemptive conclusion for God’s people.

      The substance of apocalyptic included several recognizable literary devices. First, regarding their form, the apocalyptists were recording visions and dreams. Whether or not there were actual experiences of dreams simply cannot be known. Second, their language, especially their imagery, was deliberately cryptic and symbolic. Thus, for example, the apocalyptist “sees” a woman clothed with the sun; and whereas one understands both a “woman” and the “sun,” the combination is not an expression of any known reality. Similarly, the apocalyptist sees a beast having seven heads and ten horns; and while we understand what a “beast” might be, and what “heads” and “horns” are, human beings have no experience of them in this combination. Third, the apocalypses tend to be formally stylized, which often includes the symbolic use of numbers. Time and events are divided into neat numerical packages, as in John’s Apocalypse, where the three major sections (chs. 6–7, 8–11, 15–16) are all sets of 4-2-1, with a twofold interlude between the last two (sixth and seventh) in each case.

      While John is true to the genre in each of these first three characteristics, he differs radically from them in the final two—and that because he is not just an apocalyptic writer, he is himself a Christian prophet who is speaking directly to his own generation. Thus, in contrast to other apocalypses, all of which come to us under pseudonymous names, John identifies himself from the outset—and does so as a fellow traveler and fellow sufferer with those to whom he writes. Because of his abandonment of pseudonymity, he also abandons the fifth feature of all prior apocalypses, namely, the command to “seal up” what he has written for it to be read at a “later time.” This is a literary device the earlier apocalyptists employed so as to give their own document a sense of “hoary age,” so that what they were writing to their contemporaries appeared to come to them from centuries past. By way of contrast John is explicitly told not to “seal it up” (22:10), precisely because John understands what he has written to be “the words of the prophecy of this scroll” (22:18).

      John, therefore, is not simply anticipating the End, as were his Jewish predecessors and contemporaries; rather, he knows the End to have begun with Jesus, through his death, resurrection, and ascension. Absolutely crucial to all of this is his understanding of the Spirit as having come to be with God’s people until the End, and СКАЧАТЬ