The Cradle, the Cross, and the Crown (190 page)

Table 20.1: Thematic Parallels Between the Olivet
Discourse and the Seals in the Book of Revelation

For this reason it is not surprising that apocalyptic portions are found in various places of the NT. The Olivet Discourse (Matthew 24-25; Mark 13; Luke 21:5-32), also known as “the little apocalypse,” comprises Jesus’ apocalyptic expectations in the Synoptic Gospels. Apocalyptic language and images appear scattered throughout the NT letters. The book of Hebrews exhibits an apocalyptic worldview contrasting the temporary earthly institutions with eternal heavenly realities, and 2 Peter 3 expresses eschatological expectations in terms of apocalyptic imagery (i.e., the earth and all the elements consumed by fire).

The book of Revelation constitutes one of the most unique books of the Bible not only because it represents the pinnacle of inspired revelation but also because it is the only apocalyptic book in the NT. Revelation exhibits elements consistent with the genres of apocalyptic, prophecy, and letter.
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Some have maintained that the first word of the book, “revelation”
(apokalupsis),
suggests an immediate genre classification, especially given the use of apocalyptic language and imagery throughout Revelation. But a more accurate genre designation occurs in passages where John identified the book as a “prophecy”
(prophēteia;
see 1:3; 22:7,10,18—19; cf. 11:16; 19:10). This close association between apocalypse and prophecy is natural because the apocalyptic genre stems from and remained under the rubric of OT prophecy.
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Apocalyptic writings derived from prophetic oracles, and therefore the lines of demarcation separating these genres, are somewhat fluid. What is more, Revelation is addressed to specific congregations and thus also has certain epistolary features.

Hence Revelation constitutes a mixed genre. The book falls into the overall genre of prophecy, but it corresponds to apocalyptic writings in many respects. G. E. Ladd correctly argued for the designation of “prophetic-apocalyptic.”
¹⁵⁹
Fiorenza also contended that the dichotomy between apocalyptic and prophecy cannot be sustained with regard to Revelation since the book blends both elements.
¹⁶⁰
The best overall assessment regarding the genre of Revelation is that the book constitutes “a prophecy cast in an apocalyptic mold [which is] written down in a letter form.”
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Literary Plan

Like the turning of a kaleidoscope, scenes morph before the reader's eyes with a myriad of symbols, colors, numbers, and heavenly beings, leaving many mystified and confused regarding the literary plan of the book of Revelation.
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The rapid shifts in scenery with various intercalations (i.e. insertions or interpolations), recapitulations, and asides have prompted some interpreters to conclude that the book consists of a patchwork of visions composed in various settings over extended periods of time.
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But these source and compositional critics have failed to recognize that in its present form Revelation represents a literary unity.
¹⁶⁴

The book of Revelation represents an intricately woven literary masterpiece intended to convey a unified message. A number of critical scholars have strongly argued for the unity of the book. Fiorenza rightly stated that “the total configuration
(Gestalt)
and composition of a work cannot be derived from its sources or traditions but only from the formal expression and theological intention of the author.”
¹⁶⁵
Likewise, Barr maintained that most critical studies have sought to divide the book, but “John's concern was to bind it together.”
¹⁶⁶
Bauckham's seminal essay on the structure of Revelation convincingly demonstrates the assiduous and intricate nature of its composition and literary unity.
¹⁶⁷
What is more, narrative critical approaches not only presuppose this unity, but they also help to demonstrate how Revelation presents a unified literary composition.
¹⁶⁸
As such, Revelation tells a story complete with characters, settings, plot, and climax.

Table 20.2: Major Structural Proposals for Revelation
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