The word "throne" (thronos), representing the right to rule, is undoubtedly the key word in Revelation 4. It appears 14 times. Still central to the scene's activity, it appears five times in the next chapter. It almost disappears from view in chapter 6 (one time), but returns in 7:9-17 with an em- phasis comparable to its position in chapter 4 (seven times in only nine verses).
Thus, chapter 4 sets the stage for the heavenly activity in chapter 5, while 7:9-17 is an extension of chapters 4 and 5 in its renewed focus on the throne. The throne nearly drops from view in chapter 6 because that chapter is concerned with events on earth.18
The throne, therefore, is clearly central to the visionary description (Rev 4-5).19 It is the first thing John sees in heaven; after that, all activity is oriented to it,20 Although the word "throne" normally is linked with God in the book of Revelation, it can be associated with Satan and his cohorts as well.21 Thus, the centrality of the throne in this portion of Revelation
18 A strong literary tie, nevertheless, connects chap. A with chaps. 4 and 5 in that everything that takes place in chap. 6 is connected with the Lamb's opening of the sealed book and frequent references are made to the four living creatures.
19 Otto Schmilz, "thronos," in TDNT3 (Grand Rapids, 196*): 165.
20 Activity takes place "on the throne" (epiton thronon —4:2,4,9,10), "around [kuklothen andkuklo] the throne" (4:3,4,6), "out from [ek] the throne" (4:5), "in front of [enopion] the throne" (4:5, 6,10), and "in the midst [en mesO] of the throne" (4:6).
21 Rev 2:13; 13:2; 16:10. The word is also applied to the 24 elders (4:4 [twice] and 11:16) and to the martyrs (20:4). While the Greek of 20:4 is difficult, the thrones appear to be there for the use of the martyrs in a work of judgment (krinia). No such judgment task is given to the elders in
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highlights its concern with the controversy between God and Satan over the dominion of the universe.22 The opening verses of Revelation 5 portray a crisis point in the development of that controversy. The remainder of the chapter asserts that the death of Christ has guaranteed the outcome of that controversy, and that the exalted Christ now shares the throne of God.23
Sound of Singing
There is deliberate progression of thought in the five hymns of this introductory scene. Two hymns are addressed to the Father (4:8, 11). The next two are addressed to the Lamb (5:9-10, 11-12). The fifth and final hymn is addressed to both the Father and the Lamb (5:13).
That the equality of praise is the explicit highlight of this backdrop is evident from the ever- increasing volume of participants. The hymn of 4:8 is sung by the four living creatures alone. The hymn of 4:11 is sung by the 24 elders. The hymn of 5:9-10 is sung by both the living creatures and the elders. With the hymn of 5:11-12, scores of millions of angels join the heavenly choir. The fifth and final hymn (5:13) is sung by all creation. This ever-increasing participation indicates that it is heaven's greatest joy to exalt Jesus Christ even as His Father is exalted (cf. John 5:23).
The all-encompassing language of 5:13 suggests that this final hymn is proleptic (portrayed in advance): the entire universe in praise to God (cf. Phil 2:9-ll).24 Therefore, while the scene of chapter 5 highlights the enthronement of Christ at the beginning of the age, it also points forward to the universal rejoicing at the end.
Sanctuary Scene
No single element of Revelation 4 is drawn explicitly from the OT sanctuary; yet the cumulative effect of allusions reflects a strong reminiscence of that sanctuary and its services. We enumerate the evidence.
The word for "door" (thura, 4:1) appears over 200 times in the Greek OT (LXX), scores of which relate directly to the sanctuary.25 Trumpets (4:1) were used in wörship as well as battle (Num 10:8-10)).
chaps. 4 and 5; they do, however, engage in some sort of intercessory task (5:8).
22 J. Massyngberde Ford, Revelation, AB, 38 (Garden City, NY, 1975), 76. 23 Rev 3:21; cf. 5:6-14; 7:15,17; 22:1,3. Schmilz, 166-67.
24 Ford, 95.
25 Cf. Exod 29:4,10-11; Lev 1:3,5; 1 Kgs 6:31-32,34. As a reading of the listed passages shows, the word itself gives no information on which sanctuary door might be in view.
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that the throne (4:2) was intended to recall the ark of the covenant (cf. 11:19; Ps 99:1), but that cannot be assumed. It might correspond to the table of shewbread in the holy place,26 since the table is the only article of sanctuary furniture not mentioned explicitly in Revelation.
The three precious stones (4:3) are also found in the breastplate of the high priest (Exod 28:17- 21).27 The 24 elders remind us of the 24 courses of priests in the Temple (1 Chr 24:4-19). The seven lamps (lampades, 4:5) may recall the candlestick in the holy place, although a different Greek word is used.28 The sea of glass (4:6) makes use of the Greek word (thalassa) applied to the "molten sea" in Solomon's Temple (1 Kgs 7:23-24). The proximity of the four living creatures (4:6-8) to the throne in Ezekiel 1 and 10 remind us of the cherubim associated with the ark of the covenant (Exod 25:18-20; 1 Kgs 6:23-28). Cherubim were, however, visible also in the holy place (Exod 26:1,31 - 35). Jewish tradition also associates the lion, calf, man, and eagle with the four banners or standards around which Moses organized the Israelite encampment in the wilderness (cf. Num 2).
In chapter 5 many of these images arc repeated, with some additions. The slain Lamb (5:6), reminiscent of Isaiah 53:7, reminds us of the morning and evening sacrifices (Exod 29:38-42) or the
Passover Sacrifice (1 Cor 5:7). The blood of the Lamb (5:9) provides the means to purchase the people of the earth for God. They in turn serve God in analogy to the priests of the OT sanctuary (5:10). The 24 elders hold golden bowls of incense which are interpreted as the prayers of the saints (5:8). Both the incense and the prayers of the saints are associated with the continual morning and evening sacrifices of the sanctuary.29 No passage in Revelation contains a larger quantity or a wider variety of allusions to the sanctuary than this introductory sanctuary scene.
There were only two occasions in the Hebrew cultus when the entire sanctuary was involved: the Day of Atonement and the service of inauguration (cf. Exod 40). Inasmuch as Revelation 4-5 presents such a strong sanctuary scene, to which of these rites should it be linked? Since 3:21
26 C. Mervyn Maxwell, God Cares 2 (Boise, ID, 1985): 163-67. Maxwell designates the throne of 4:2, "the table-throne."
27 The connection with the high priest's breastplate is enhanced by the fact that the sardius was the first stone listed in the Hebrew of Exod 28 and the jasper the last. Thus all the tribes are represented in the stones of the oldest and the youngest sons of Jacob (Ford, 71, 85). In the Greek (LXX) of Exod 28:21, the breastplate is said to be "sealed" (sphragidön) with the names of the 12 tribes.
28 The Greek OT word for the candlestick is luchnia, the word used in Rev 1:12,13,20. 29 Cf. Ps 141:2; Exod 29:3843; 30:7-8; Luke 1:9-10.
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associates this scene with the cross and the enthronement of Christ, since the language of "temple" (naos) and "judgment" (cf. 11:18-19) is absent, and since the implicit structure of Revelation places the Day of Atonement in the latter half of the book,30 the best identification for the introductory sanctuary scene in chapters 4-5 is the service of inauguration.
Thus, we conclude that the scene is best understood as a portrayal of the inauguration of the entire heavenly sanctuary in A.D. 31. In 8:3-5 the author focuses more specifically on the daily services associated with the first apartment of the sanctuary. Later, in 11:19 the ark of the Second Apartment is clearly brought to view.
Old Testament Allusions
In an appendix to this chapter are a series of tables. Included in table 1 are OT passages John likely had in mind as he described the scene in Revelation 4, An examination of table 1 indicates repeated parallels to three great throne-visions of the OT: Isaiah 6; Ezekiel 1-10; and Daniel 7:9-14. In fact, only two major elements in the Revelation scene are not found in them, namely, the 24 elders and the creation hymn (4:4,11). The three OT visions are roughly equal in their importance to Revelation 4, with Ezekiel 1 holding a slight edge in influence.
There is also a relationship to two earlier throne-oriented passages of the OT; the vision of Micaiah (1 Kgs 22:19; 2 Chr 18:18) and God's appearance at Sinai (Exod 19:16-24). In addition, a number of elements present in this scene are not found in any of the OT "throne-visions."31 Therefore, although Ezekiel and Daniel are of major significance to Revelation 4, only about a third of the material in the chapter reflects them. Revelation 4 parallels a wide variety of sources in its description of the heavenly court.32
Chapter 5 builds on the scene in chapter 4. Therefore, most of the key OT throne passages contribute little or nothing new to the scene.33 Daniel
30 See preceding chap. 10, "Seals and Trumpets: Some Current Discussions."
31 These include the "things which must happen after these things"; the three stones of vs. 3; the 24 elders; the seven lamps; the phrase "Lord, God Almighty" (used in the Greek OT for the Hebrew "Lord, God of Hosts"); the phrase, "Him who lives forever"; and the approbation of God as the Creator of all things.
32 It is also possible that John was aware of 1 Enoch 14:8-25, a passage about 200 years older than Revelation that also is reminiscent of Ezekiel and Daniel. For the text of 1 Enoch in English see James Charlesworth, ed., Old Testament Pseudepigrapha 1 (Garden City, NY, 1983-1985): 13-89.
33 See table 2 for a list of direct allusions to the OT in Rev 5. A possible contribution from Ezefc 1-10 is the book written on the inside and on the back, which can be found in Ezek 2:9-10. Exodus 19contribulcs the concept of God's people as a kingdom of priests (Rev5:10). Isaiah 6 and 1 Kgi, 22 have no additional contribution at all.
7, however, provides the most prominent structural parallel For example, Daniel 7 depicts God on the throne, books open for judgment, the coming of the "son of man," the bestowal of dominion over the earth, the presence of the saints, as well as multiplied myriads of the heavenly host.
Revelation 5:9-14 seems to be structured on major movements in Daniel 7:13-27. First, the Son of man receives dominion (Dan 7:13-14; cf. Rev 5:6-9). Then peoples, nations, and men of every language are mentioned (Dan 7:14; cf. Rev 5:9). Then the peoples receive dominion (Dan 7:18, 22, 27a; cf. Rev 5:10); and finally, control over all things is returned to God (Dan 7:27b; cf. Rev 5:13- 14).
There are, however, significant differences between Daniel 7 and Revelation 5. Many intervening elements in Daniel are left out and many other elements are added in Revelation.34 In Daniel the books (plural) are open before the Son of man appears on the scene; in Revelation the book (singular) is never opened in the vision.
Although John is familiar with the Danielic term "Son of man" for Christ (Rev 1:13), he deliberately avoids using it here. Rather, he prefers using the titles Lamb, Lion of Judah, and Root of David instead. In actuality, in spite of some general similarities, less than a quarter of Revelation 5 is drawn from Daniel 7.
Most striking of all, however, is the fact that John studiously avoids the language of judgment in this throne scene. In the Greek language judgment is usually expressed by the nouns krisis and
krima, and the verb krino.35 As the references indicate, John is quite familiar with the language of
judgment but deliberately avoids using it in the first half of the book of Revelation. The seeming exception (6:10) is not a description of the judgment, but a call for that judgment to begin.
In contrast to the rest of the NT, where the language of judgment is sometimes applied to the cross (cf. John 12:31; Rom 8:3) and the preaching of the gospel,36 the language of judgment in Revelation is reserved for descriptions of end-time events (Rev 12-20).
We must resist the temptation, therefore, to assume that since Daniel 7 and Ezekiel 1-10 involve investigative judgments, Revelation 4-5 must
34 Significant elements of chap. 5 such as the Lion of Judah, the Root of David, the slain Lamb, the seven eyes, the ascending incense, the new song and the three-tiered universe (Rev 5:13) parallel other OT settings. One key concept, "worthy," may not be based on the OT at all.
35 Krisis, Rev 14:7; 16:7; 18:10; 19:2; krima, Rev 17:1; 18:20; 20:4; kino, Rev 6:10; 11:18; 16:5; 18:8,20; 19:2,11;20:12-13. 36 Cf. John 3:18-21; 5:22-25; 9:35-41.
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likewise be an investigative judgment scene. John, in fact, generally avoids those parts of Daniel and Ezekiel that involve judgment. Rather, he concentrates on those parts offering familiar language with which to describe the heavenly throne-room.
For example, Ezekiel's throne scene (Ezek 1,10) is repeatedly paralleled in Revelation 4. But judgment portions, like Ezekiel 9 (mark on forehead), come into play not in the introductory scene but in 7:1 -8, a clear end-time setting. The 24 elders are given an intercessory task (5:8), but not a judgmental one (like the martyrs of 20:4). The crisis of chapter 5 is resolved not by judgment, but by the death of the Lamb.
To speak thus is not to deny that the cross itself was an act of judgment (John 12:31-32; Rom 8:3). If John had wished to emphasize the judgment aspects of the cross, it would have been easy for him to do so. But John deliberately avoids using that kind of language.37 Therefore, as significant as the structural parallels to Daniel and Ezekiel are to this scene, they do not require us to suggest that any portion of the heavenly events in Revelation 4-5 portray the end-time, preadvent judgment.
This survey of OT backgrounds to the first introductory sanctuary scene in the book demonstrates the extent to which Revelation draws from elements in its literary background. It also demonstrates how the Holy Spirit packages these elements in creative ways, resulting in a fresh and original product. The interpreter must, therefore, avoid a random search of background sources for symbols that can be plugged in at will.
Symbols by their varied nature are fluid in meaning. Their particular significance must be determined by the immediate context, and not necessarily by their use in a previous context. Where the author's point is not plain from the immediate context, the interpreter may seek clues in the themes and context of background passages; but such "clues" should never be permitted to undo the meaning of texts which are reasonably clear in their own right.