Revelation 21:1-22:5: An Apocalyptic Amoenus Locus?
ABSTRACT
It is possible that readers of Revelation might have approached the text of revelation, not via Judaism or the Jewish scriptures, but through the literary conventions of the Graeco-Roman world.it is suggested that the amoenus locus motif would have provided an introit for such readers to engage with the heavenly visions found in Revelation 21.
Introduction
The literary character of Revelation embraces may different types and genres. In this article, it is suggested that the literary motif of the amoenus locus, found predominantly, but not exclusively, in pastoral poetry provides a literary form which may be helpful in analyzing the visions of the heavenly Jerusalem given in Revelation
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Its dimensions are unreal: the dimensions, if taken literally, would be structurally unsound (21:16-17)[footnoteRef:87], and of little defensive value.[footnoteRef:88] It is manufactured from luxurious materials (21:18-21) which are far from conventional or realistic, as in the size of the pearls which make each gate (21:21).[footnoteRef:89] At this point, the amoenus locus motif resonates with the late first century CE. The Silvae effectively combines themes of technology, luxury and nature. A similar juxtaposition of elements is found within these descriptions: technology in the description of both wall and city structure (21:12, 16-17), luxury in the elements from which the city is constructed (18-21)[footnoteRef:90], and nature in light (21:23, 22:5), waters (21:6, 22:1-2a) and foliage (22:2). Luxury functions to portray a higher philosophical or theological value, not some materialism desirable only in itself: there is a difference in quantity and quality of the wealth of Babylon and the New Jerusalem.[footnoteRef:91] [87: Caird, The Revelation, 273-74.] [88: Witherington, Revelation, 269.On the other hand, Gundry, “The New Jerusalem”, 260 sees the architecture symbolising a safe people, but not a geographical city.] [89: Caird, The Revelation, 278-79.] [90: Whilst the possible significance of the twelve jewels remains disputed, they certainly indicate a phenomenal degree of …show more content…
In 21:3, a permanent relationship is promised with God. This is further developed by a motif of intimacy and relationship: son-ship through adoption (21:7),[footnoteRef:102] by the best of patrons.[footnoteRef:103] This intimacy is confirmed in two ways by 22:4. Firstly, believers are described as known to God by name, signifying that they are subject to his authority,[footnoteRef:104] fulfilling one of the promises set out in the Letters to the Seven Churches (2:17, 3:5,12). Secondly, the people of God see God face to face (22:4).[footnoteRef:105] Such an immediate experience of God again obviates the need for mediation or distance between the believer and God. [102: Aune, Revelation 17-22, 1129-30.] [103: Malina & Pilch, Social-Science, 246.] [104: Malina & Pilch, Social-Science, 56-57.] [105: Neil Gillman, Traces of God in Torah, History and Everyday Life (Woodstock: Jewish Lights Publishing, 2006),
Much of Revelation is the source of debate. Many passages are symbolic in nature, and the exact meaning of the symbols can be difficult to determine. Some passages can be interpreted in various ways. The identity of the Four Horsemen, the 144,000, and Babylon the Great in particular are points of contention. Nevertheless, proper hermeneutics and careful study can illuminate these difficult passages.
In order to effectively draw the similarities of the two themes, McMillan supports his interpretation of the theme by accurately characterizing Marmeladov and setting the scene for Marmeladov’s vision in Part I, Chapter 2 of Crime and Punishment. As a responsible critic, McMillan must present the details of this chapter and name the theme in order to compare it with the theme of “Revelation.” A list of adjectives and actions that characterize Marmeladov and a description of Marmeladov’s circumstances help the reader understand the theme apparent in his vision of “that day ‘when God will call forth the blessed to be with him in Paradise’” (McMillan 17). Marmeladov is identified as a low-life in an utterly destitute position who acknowledges his own degradation. McMillan includes the actual text about Marmeladov’s vision to support his interpretation of t...
We understand that back in time many people had visions given to them by God. The bible talks about many prophets who had dreams given to them by God. There has also been many false prophets who have told people false visions that were given to them by God. In this essay I will focus on my understanding of the Bible truth about dreams and visions and the contents of the vision portrayed in, “The Passion of the Holy Martyrs Perpetua and Felicitas”,
Fifth The Editors of The Encyclopædia Britannica, ed. " Allegory. " The Encyclopædia Britannica.
The Ishtar Gate to the city of Babylon stood as a testament to the aim of King Nebuchadnezzar II to rebuild the ancient city of Babylon as the most grandiose and magnificent of the ancient world’s cities. Citizens of the neo-babylonian empire were the first to bear witness to its grandeur and were likely the best equipped to appreciate the aesthetics contributing to its religious meaning. Given that it was a main entrance to the central capital of Babylon, the gate could have been seen by citizens of different social classes and levels of education, and in turn may have conveyed different meanings to different classes of citizens. In the eyes of a merchant or artisan, the brilliant blue faience bricks adorned with religiously symbolic animals
2 “Their Eyes Were Watching God Reader’s Guide - Introduction.” The Big Read. N.p., n.d. Web. 28 Mar. 2012. .
The structural and technical features of the story point towards a religious epiphany. The title of the story, as well as its eventual subject, that of cathedrals, points inevitably towards divinity. Upon first approaching the story, without reading the first word of the first paragraph, one is already forced into thinking about a religious image. In addition, four of the story’s eleven pages (that amounts to one third of the tale) surround the subject of cathedrals.
Revelation identifies itself as “both an “apocalypse”…and as prophecy”, making it distinctly different from the rest of the New Testament. “Jewish apocalyptic literature flourished in the centuries following the completion of the OT canon”, and it is scattered throughout the Old Testaments in books such as Daniel, Ezekiel, and Isaiah. Apocalyptic literature is full of “visions that dramatize the prophet’s admission to God’s heavenly council”, and convey their meaning primarily through symbolism. John brings a “balanced message of comfort, warning, and rebuke” in Revelation, testifying to the end of the world and the second coming of Jesus Christ. Apart from the OT literature, Revelation shows a distinct optimism toward the end of days, for “Christ’s death has already won the decisive victory over evil”, with the Kingdom of God already among believers. This book was written in “approximately A.D. 95 on the island of Patmos”, which is still standing to this day. It was written under the emperor Domitian, with Roman authorities exiling John “to the island of Patmos (off the coast of Asia)”. The events in Revelation are also “ordered
The novel Winesburg, Ohio by Sherwood Anderson has many themes that present themselves throughout the book. One such recurring theme is a search for truth. The characters in the book do not fully realize that they are searching for truth, but they do feel a vague, "indescribable thing" that pushes and prods their minds to actualize a higher plane of thought. This search for a higher plane by the characters of Winesburg nearly parallels another literary work of ancient Greek origin- Plato's "Allegory of the Cave," which is a portion of his famous writing "The Republic." I contend that the town of Winesburg is the equivalent of the Cave in Plato's writing.
No part of the Bible and its interpretation is more controversial than the book of Revelation. The book of Revelation is the last profound book in the New Testament. It conveys the significant purpose of Christianity by describing God’s plan for the world and his final judgment of the people by reinforcing the importance of faith and the concept of Christianity as a whole. This book was written by John in 95 or 96 AD. What is, what has been, and what is to come is the central focus of the content in Revelation.
Hirshman, M. G. (2006). A rivalry of genius: Jewish and Christian biblical interpretation in late antiquity. Albany: State University of New York Press.
"Open Book Newsletter No. 1: The Bible and Western Literature by Peter J. Leithart January, 1991." Biblical Horizons » No. 1: The Bible and Western Literature. N.p., n.d. Web. 27 Jan. 2014.
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.
In this paper, there will be a discussion about the canonization of the New Testament. Along with an investigation of who was involved in this process. The people and institution looked at will include the following: Marcion, Irenaeus, Origen, Synod of Hippo, and God.
Downing, Christopher. "How Can We Hope and Not Dream? Exodus as Metaphor: A Study of the Biblical Imagination." Journal of Religion 48 (1968): 35-53.