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Revelation 6-16, Volume 52B
Word Biblical Commentary
By David E. Aune, Bruce M. Metzger, David A. Hubbard, Glenn W. Barker, John D. W. Watts, James W. Watts, Ralph P. Martin, Lynn Allan Losie ZONDERVAN
Copyright © 1998 Thomas Nelson, Inc.
All rights reserved.
ISBN: 978-0-310-52170-9
CHAPTER 1
The Lamb breaks the first six seals (6:1–17)
Form/Structure/Setting
I. Outline
3. The Lamb breaks the first six seals (6:1–17)
a. The first four seal visions (vv 1–8)
(1) The first seal
(a) Vision: The Lamb breaks the first seal (v 1a)
(b) Audition: one of the four cherubim summons the first cavalier (v 1a)
(c) Vision of the first cavalier (v 2)
[1] Description of the cavalier (v 2)
[a] Mounted on a white horse
[b] Wielding a bow
[2] Action of the cavalier (v 2b)
[a] He is given a crown
[b] He rides out to conquer
(2) The second seal (vv 3–4)
(a) The Lamb breaks the second seal (v 3a)
(b) Audition: the second cherub summons the second cavalier
(v 3b)
(c) Vision of the second cavalier (v 4)
[1] Description: mounted on a fiery red horse (v 4a)
[2] Action (v 4bc)
[a] The cavalier is given power
{1} Purpose: to remove peace from the earth
{2} Result: that people might slaughter each other
[b] The cavalier is given a large sword (v 4c)
(3) The third seal (vv 5–6)
(a) The Lamb breaks the third seal (v 5a)
(b) Audition: the third cherub dispatches the third cavalier
(v 5a)
(c) Vision of the third cavalier (v 5b–6)
[1] Description (v5bc)
[a] Mounted on a black horse
[b] Holding a balance scale
[2] A divine commission given to the cavalier (v 6 )
[a] Source of commission: a voice from the midst of
the four cherubim (v 6 a)
[b] Content of the commission (v 6 bc)
{1} A liter of wheat for a denarius
{2} Three liters of barley for one denarius
{3} Do not harm the oil and the wine
(4) The fourth seal (vv 7–8)
(a) The Lamb breaks the fourth seal (v 7a)
(b) Audition: the fourth cherub summons the fourth cavalier
(v 7b)
(c) Vision of the fourth cavalier and his companion (v 8)
[1] Description of the cavalier (v 8ab)
[a] Mounted on a pale-colored horse
[b] His name is Death
[c] Hades followed him
[2] Death and Hades given authority over one-fourth of
the earth (8c)
[a] To kill with the sword
[b] To kill with famine
[c] To kill with plague
[d] To kill with the wild animals of the earth
b. The fifth seal (vv 9–11)
(1) The Lamb breaks the fifth seal (v 9a)
(2) Vision of the souls of the martyrs (v 9b)
(a) Location: under the [heavenly] altar
(b) Cause of martyrdom (v 9c)
[1] Because of the word of God
[2] Because of the witness they bore
(3) The martyrs pray for vengeance (v 10)
(a) They cry out loudly (v 10a)
(b) Their collective prayer (v 10b)
[1] Invocation: O Master, holy and true
[2] Petition: How long till you avenge our deaths caused
by those who dwell on the earth?
(c) God's response (v 11)
[1] Each martyr given a white robe (v 11a)
[2] Exhortation to the martyrs: Rest (11bc)
[a] Awhile longer (v lib)
[b] Until the number of martyrs is complete (v 11c)
{1} Their fellow servants
{2} Their brothers who would be slain as they were
c. Vision of the sixth seal (vv 12–17)
(1) The Lamb breaks the sixth seal (v 12a)
(2) Cosmic upheavals (vv 12–14)
(a) A great earthquake occurs (v 12a)
(b) The sun disturbed (v 12b)
[1] The event: becomes dark
[2] The simile: as haircloth
(c) The moon disturbed (v 12c)
[1] The event: becomes red
[2] The simile: as blood
(g) Stars disturbed (v 13)
[1] The event: the stars of heaven fall to earth (v 13a)
[2] The simile: As a tree loses unripe figs when shaken
by a strong wind (v 13b)
(e) The destruction of heaven (v 14a)
[1] The event: heaven disappears from sight
[2] The simile: like a scroll rolled up
(f) Every mountain and island shaken from its place
(3) Human reactions (vv 15–17)
(a) Everyone affected (v 15a)
[1] Important people
[2] Generals
[3] The wealthy
[4] The powerful
[5] Every slave
[6] Every free person
(b) Everyone tries to hide (v 15b)
[1] In caves
[2] In the mountain rocks
(c) Their collective cry of despair (vv 16–17)
[1] Address (v 16a)
[a] To the mountains
[b] To the cliffs
[2] Entreaty (v 16bc)
[a] Fall on us (v 16b)
[b] Hide us (v 16bc)
{1} From the one who sits on the throne
{2} From the wrath of the Lamb (v 16c)
[3] Motivation (v 17)
[a] The day of his wrath has come (v 17a)
[b] Who is able to withstand [his wrath]? (v 17b)
II. Literary Analysis
Rev 6:1–17 is part of the larger formal structure that began with the two-part throne scene in 4:2b–ll; 5:1–14 and includes the breaking open of all seven seals (6:1–8:1). However, despite the fact that the seventh seal is broken open in 8:1, the results appear anticlimactic (the result is a half hour of silence in heaven), so that the act of breaking the seventh seal serves primarily as an introduction to the series of seven trumpet plagues that follows (8:2–11:18). Rev 7:1–17, which is placed between the breaking of the sixth and seventh seals and often designated as an "interlude," "intermission," or "intercalation" because of its apparently intrusive character, functions to separate the seventh seal from those that precede it.
A. The Four Cavaliers (6:1–8)
Within the literary framework of the breaking of the seven seals, the first four seals constitute a coherent literary unit. This is obvious in view of the stereotypical structure with variations that characterizes the brief narrative describing the breaking of the first four seals. Further, the cumulative effect of the four cavaliers on the inhabitants of the earth is described in v 8 b, even though those effects (death by the sword, famine, plague, and wild animals) appear to be the work of the fourth cavalier and his companion (Death and Hades). Rev 6:1–8 contains five occurrences of the author's typical audition word, [TEXT NOT REPRODUCIBLE IN ASCII], "I heard," in vv lb, 3b, 5a, 6 a, 7 and three occurrences of one of his typical vision phrases, [TEXT NOT REPRODUCIBLE IN ASCII], "I saw, and behold," in vv 2a, 5b, 8 a. Both of these stereotypical expressions do not serve to introduce either a new audition or vision; rather they function to call attention to a new or significant feature or action within a continuing vision narrative audition or vision (5:2, 6 ,11; 6:2, 5, 8 ,12; 7:2; 9:1; 16:13; 17:3, 6 ; cf. Acts 11:6; Dan 12:5; Ezek 37:8; 44:4; see Comment on 5:1). Despite the stereotypical structure of vv 1–8, variation is introduced in a number of ways. First, the phrase [TEXT NOT REPRODUCIBLE IN ASCII], [TEXT NOT REPRODUCIBLE IN ASCII], "I saw, and behold," is unexpectedly missing from v 4a, and in its place is the single verb [TEXT NOT REPRODUCIBLE IN ASCII], "he rode out." Second, only the first cavalier is said [TEXT NOT REPRODUCIBLE IN ASCII], "ride away," to execute his task (v 2b), whereas the text is silent about whether the following three cavaliers actually executed their tasks. Third, the aorist passive verb [TEXT NOT REPRODUCIBLE IN ASCII], "it was given," a circumlocution for divine activity or authorization, is used of the first, second, and fourth cavaliers (vv 2b, 4b, 4c, 8 c) but not of the third. Fourth, the pericope dealing with the third cavalier is further distinguished by the insertion of a divine commission (v 6 ), which can only be attributed to God himself since it originates from the midst of the four cherubim.
The four cavaliers described in Rev 6:1–8 are in part allusions to Zech 1:7–11; 6:1–8. The four chariots drawn by horses in Zech 6:1–8 are identified with the four winds (v 5), though nothing is said about the four directions. The four cavaliers of Zech 1:8 ride red, dappled gray, sorrel, and white horses, while the horses that draw the four chariots in Zech 6:1–3 are red, black, white, and dappled gray, and the four horses of Rev 6:1–8 are white, red, black, and pale (gray or yellowish green). Rev 9:7 alludes to the comparison of a plague of locusts with horses riding to battle. In this connection, according to S. R. Driver (Joel and Amos [Cambridge: Cambridge UP, 1934] 88 n. 1), the Arabs claim that there are four different kinds of locusts: yellow, white, red, and black. Feuillet (ZNW 57 [1966] 229–59) regards the first cavalier as an agent of divine judgment bearing a bow, while the next three cavaliers are "arrows," which inflict the specific judgments of war, famine, and pestilence; this explains why the summary of the plagues in v 8 alludes only to the last three cavaliers and not to the first. Malina (Revelation, 121–28) proposes an astrological interpretation of the four cavaliers, construing the horses as comets and the riders as constellations that control the year and have particular attributes: Leo (Regulus, the "ruler of the stars," associated with damage through wild animals), Virgo (the vine-tender's knife), Libra (scales), and Scorpio (Death and Hades). The colors of the horses, he believes, indicate the planet and the cardinal directions: white (Jupiter, east), red (Mars, south), pale white (Venus, west), and black (Mercury, north).
An interesting parallel is found in Dio Chrysostom Or. 36.42–53 (LCL tr.), who wants to validate the Stoic view of the conflagration of the cosmos by showing how it is compatible with a myth of the magi, who speak of the perfect charioteer Zeus, whose chariot is pulled by four heavenly horses: (1) The first is sacred to Zeus, a "winged creature, brilliant in colour with the brilliance of the purest flame." This horse once caused a fiery blast to scorch the earth. This first horse also deserved victory and a crown ([TEXT NOT REPRODUCIBLE IN ASCII] see Rev 6:2, where the rider of the first horse is given a crown [TEXT NOT REPRODUCIBLE IN ASCII] and rides out "conquering and to conquer [TEXT NOT REPRODUCIBLE IN ASCII]"). (2) The second is Hera's horse, which is a bit slower and is black. This horse once caused a flood on earth. (3) The third, still slower, is sacred to Poseidon and once caused a fountain to spring forth by pawing the earth with its hoof. (4) The fourth, named after Hestia, is firm and immovable. This entire scheme is clearly astrological (Boll, Offenbarung, 78–97; Betz, Lukian von Samosata, 97–98 n. 6).
B. Rev 6:9–11: The Martyrs' Cry for Vengeance
While the first four seals form a unit by the device of four successive cavaliers with mounts of different colors—each cavalier is summoned by one of the four cherubim, and each cavalier either brings or is commissioned to bring various destructive judgments upon the people of the earth (death by sword, famine, pestilence, and wild animals)—the fifth seal in vv 9–11 is set apart by its particular subject matter, the seer's vision of the souls of the martyrs under the heavenly altar. It seems somewhat out of place that the martyrs demand vengeance on the inhabitants of the earth when that appears to be precisely what has been dispensed by the four horsemen in vv 2–8. This section consists of three subunits: (1) The seer's attention is called to the souls of the martyrs under the altar (v 9). (2) The focus then turns to the martyrs, who appeal to God for vengeance on those who have killed them (v 10). (3) The divine response is twofold: (a) they are invested with a white robe (v 1 la), and (b) they are told to rest until the numerus martyrum, "number of martyrs," is complete.
The entire scene in vv 9–11 has close parallels in both form and content with 1 Enoch 47:4 and 4 Ezra 4:35–37. According to 1 Enoch 47:4 (tr. Black, 1 Enoch, 49),
And the hearts of the holy were filled with joy;
Because the number of righteous had been reached,
And the prayer of the righteous had been heard,
And the blood of the righteous ones had been avenged before the Lord of spirits.
Despite some difficulties with the text (Knibb, Enoch 2:133, note on 47.4), the reference is probably to the predetermined number of the elect (Black, 1 Enoch, 209–10). Here we find the juxtaposition of two motifs, the complete number of the righteous and the prayer for vengeance by righteous martyrs. Similarly, in 4 Ezra 4:35–37, we find a comparable sequence of motifs consisting of a brief question put by the righteous dead (beginning with the phrase "How long ...?" as in Rev 6:11; see Westermann, ZAW 66 [1954] 53) and the comforting answer by a supernatural being, which contains the motif of the numerus iustorum, i.e., the complete number of the righteous (RSV):
Did not the souls of the righteous in their chambers ask about these matters, saying, "How long are we to remain here? And when will come the harvest of our reward?" Andjeremiel the archangel answered them and said, "When the number of those like yourselves is completed; for he has weighed the age in the balance, and measured the times by measure, and numbered the times by number; and he will not move or arouse them until that measure is fulfilled."
This same passage is also quoted in an Amharic commentary on Revelation (R. W. Cowley, Apocalypse, 238).
C. Rev 6:12–17: The Day of Wrath
The breaking of the sixth seal introduces a brief narrative consisting of two subunits: (1) cosmic upheavals (vv 12–14) and (2) human reactions (vv 15–17). The description of the upheavals of the cosmos in vv 12–14 is a pastiche of traditional motifs arranged in a quasi-poetic manner (as the arrangement of the translation above in stichoi suggests). The first and last lines describe without the use of figurative language the great earthquake and the shaking of every mountain and island, while each of the four lines they frame makes use of a simile. All the inhabitants of the earth react to these cosmic disturbances with terror and try in vain to hide themselves from these events. The speech in 6:15–17 is a rhetorical device in which the reaction of everyone who has reason to fear the great day of wrath is expressed as a collective cry of despair. The speech itself is based on an allusion to Hos 10:8, where the unidentified speakers address the mountains with the entreaty "Cover us" and the hills with "Fall upon us." The continued existence of the cavps, rocks, and mountains indicates that cosmic destruction is not in view. It is striking that the significance of the cosmic upheavals is not made explicit until the very end of the pericope when the upheaval is given a theophanic interpretation as a prelude to the great day of wrath (v 17).
(Continues...)
Excerpted from Revelation 6-16, Volume 52B by David E. Aune, Bruce M. Metzger, David A. Hubbard, Glenn W. Barker, John D. W. Watts, James W. Watts, Ralph P. Martin, Lynn Allan Losie. Copyright © 1998 Thomas Nelson, Inc.. Excerpted by permission of ZONDERVAN.
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