The Final Plagues, 1-8

Koester, Beale and others think that vv1-4 are transitional, linking the previous vision with the next one.  If so, the two visions should be taken together:

‘By interlocking major sections, the author shows that they are to be taken together as parts of the same story of God’s victory over evil.’ (Koester)

For Phillips, the trajectory of the book of Revelation is established by Dan 2:44 –

‘The God of heaven will raise up an everlasting kingdom that will not be destroyed and a kingdom that will not be left to another people. It will break in pieces and bring about the demise of all these kingdoms. But it will stand forever.’

Phillips suggests the following sequence regarding the seals, trumpets and bowls:

‘First, the seven seals show Christ as judging in order to restrain the world’s violence on the church, allowing his people to pass safely through this world into heaven. Second, the seven trumpet judgments serve to warn the nations of final judgment and offer them the opportunity for repentance. Third, the seven bowls pour out final judgment to destroy those wicked powers that refuse to repent.’

Walvoord regards the events associated with the seals, trumpets and bowls as chronologically sequenced as follows:

‘The seventh seal includes all of the seven trumpets (Rev 8:1–9:21; 11:15–19). The seven bowls of divine judgment are included in the seventh trumpet. The order of events forms a dramatic crescendo, the seventh seal being all-inclusive of the end-time events including the seven trumpets, and the seventh trumpet including the events described in the seven bowls. Christ then returns immediately after the seventh bowl.’

With many commentators, I think that the seals, trumpets and bowls recapitulate the same events, although with some progressive intensification.

15:1 Then I saw another great and astounding sign in heaven: seven angels who have seven final plagues (they are final because in them God’s anger is completed).

Wilcock argues that, notwithstanding the mention here of the seven plagues, the next major scene begins, not at this point, but at v5.  Such a pre-mention, he remarks, also occurs elsewhere in Revelation.

Another…sign in heaven – Wording similar to Rev 12:1,3, where an actual celestial scene seems to be recalled.  This raises the possibility that a further spectacle in the night sky (Aune: ‘perhaps a constellation’) is reported here.

Seven final plagues – ‘Final’ in either of two ways:

(a) Some, including Beale think that they are ‘final’ in the sense that they are the last of the series, following the seals (Rev 4:1-8:5) and the trumpets (Rev 8:6-11:18).

(b) Others, including Osborne, think that the seals, trumpets and bowls are sequential, rather than parallel, and that the bowls represent the last judgments of history.

For Mounce, they:

‘complete the warnings of God to an impenitent world. All that remains is final judgment itself.’

God’s anger is completed – the word used ‘is once again thumos or “fury” where one might have expected to find orgē, the settled disposition of God against evil.’ (Patterson)

There is indeed, as Morris remarks, ‘an air of finality’ about these plagues.  They are terrible, but time-limited and never-to-be-repeated.

Ladd, however, thinks that these plagues do not constitute the final word on God’s wrath:

‘The beast, the false prophet, and all who persist in wickedness are yet to be cast into the lake of fire in the final manifestation of God’s wrath against sin. These words must be taken in their particular eschatological context: the outpouring of God’s wrath in the time of the great tribulation is the attempt to make the worshipers of the beast bow before the sovereignty of God.’

Wilcock comments that this passage might refer to God’s victory which was achieved through the life, death, resurrection and ascension of Christ.  However, he thinks it more probable that it refers to the final victory over evil, which lies beyond Christ’s glorious return.

Aune summarises NT teaching on God’s wrath:

‘In the NT the wrath or anger of God is primarily used in an eschatological sense of the final judgment of God (Luke 3:7 = Matt 3:7; Rom 1:18; 2:5, 8; 3:5; 5:9; Col 3:6; Eph 5:6), which can be escaped through faith in Christ (John 3:36; Rom 5:9; 1 Thess 1:10; 5:9).’

Wall comments on the consistency  of God’s response to evil:

‘Since God has responded to evil in a consistent manner throughout salvation’s history, the reader of Revelation assumes that the eschatological revelation of divine wrath will be similar to God’s past response to Egypt’s oppression of Israel, to Rome’s oppression of the earliest church, and to every Babylon’s oppression of each generation of God’s people.’

15:2 Then I saw something like a sea of glass mixed with fire, and those who had conquered the beast and his image and the number of his name. They were standing by the sea of glass, holding harps given to them by God. 15:3 They sang the song of Moses the servant of God and the song of the Lamb:

Kistemaker notes:

‘Every time John speaks about God’s judgment on the unbelieving world, he has a segment on the victorious saints. For instance, after the six seals in chapter 6, he pictures the saints in chapter 7. Following the seven trumpets (chapters 10–11), he portrays God’s protective care of the persecuted church (chapter 12). And the portrayal of the multitude of saints with the Lamb on Mount Zion (Rev 14:1–5) is juxtaposed with God’s awesome judgments on his enemies Rev (14:6–11). The harvest of the believers precedes that of the unbelievers (Rev 14:15–20).’

The alternation between wrath and praise in this chapter suggests that the wrath is

‘nothing other than the dark reverse side of [God’s] saving activity and belongs inseparably together with it.’ (Roloff)

A sea of glass  – recalling Rev 4:6 – ‘In front of the throne was something like a sea of glass, like crystal.’  Those who are standing there are, accordingly, close to the presence of God.

A ‘sea of glass’ is a sea without turbulance.  It may suggest the calm repose of God’s people in the face of, or after, a time of fear and anxiety.

The sea is mixed with fire.  Mounce thinks that the mention of fire is:

‘nothing more than a descriptive detail intended to heighten the splendor of the scene.’

Others, however, understand ‘fire’ to be suggestive of judgement (of God’s enemies):

‘The phrase “mingled with fire,”…is probably included here to symbolize impending judgment. Though this is, of course, a heavenly reality, the corresponding cosmic counterpart is the lake of fire (Rev 19:20; 20:10, 14[2x], 15; 21:8), which is the place of eternal punishment for unbelievers.’ (Aune)

An alternative, mentioned by Ladd, is that the fire represents:

‘the bloody persecution through which the victors had passed.’

Kiddle notes an allusion to the exodus: the sea which has been safely traversed by the martyrs is about to submerge their enemies.

Koester this Exodus-like deliverance is cosmic, signalling not the crossing of an earthly sea but crossing from earth to heaven.

For Beale, this sea is

‘the heavenly counterpart to the Red Sea.’

Beale notes that ‘the sea’ in Revelation connotes ‘cosmic evil’; but this has now been ‘calmed by divine sovereignty’.

Ian Paul agrees, adding that this picture:

‘recalls not just God’s deliverance of his people through the sea but also his fiery judgment on Egypt, as well as his presence as a pillar of fire.’

Those who had conquered the beast – According to Rev 12:11, the conquered, ‘by the blood of the Lamb
and by the word of their testimony.’

Who are these people? They are those:

‘who are seen throughout Revelation as having won out over the idolatrous beasts through their faithful testimony to Christ, even to the extent of martyrdom (e.g., Rev 2:7, 11, 26; 12:11; 21:7; cf. 3:21; 5:5). They are the 144,000, the elect of God (Rev 7:4; 14:1), the completed company of martyrs (Rev 6:11), those who did not have “the number of his name”.’ (EBC)

‘The Beast has conquered them in martyrdom but in that same martyrdom they had conquered the Beast, for he had been utterly unable to make them deny Christ. This is their victory: loyalty to Christ in tribulation.’ (Ladd, quoted by Keener)

As Osborne comments, the motif of ‘conquering’ is prominent in Revelation (Rev 2:7, 11, 17, 26; 3:5, 12, 21; 5:5; 6:2; 11:7; 12:11; 13:7; 17:14; 21:7).  The saints conquer over the world, the flesh and the devil:

‘Even as the beast “conquers” the saints by killing them (Rev 11:7; 13:7), he is being “conquered by” the saints (Rev 12:11) and the Lamb (Rev 17:14). Their death is their final victory! As a result, the saints will rejoice in their victory (Rev 15:2–4) and inherit the new heavens and new earth (Rev 21:7).’

Mounce relates their victory to the language of the letters to the churches:

‘They are the overcomers to whom the seven letters hold out promise of eating of the tree of life (2:7), protection from the second death (2:11), hidden manna (2:17), authority over the nations (2:26), white garments (3:5), the honor of becoming a pillar in the temple of God (3:12), and the privilege of sitting with Christ on his throne (3:21). Little wonder that they break out in song!’

This group certainly includes martyrs.  But,

‘although the beast had power to slay them, in reality they have conquered him by remaining true to Jesus; his real purpose was frustrated.’ (Ladd)

As Wall states:

‘Membership in the eschatological community does not require martyrdom, only fidelity.’

Their victory meant:

‘engaging challenges ranging from overt hostility, to more subtle pressures to accommodate Greco-Roman worship, to the economic prosperity that produces complacency (Rev 2–3).’ (Koester)

The beast’s victory over them (Rev 11:7) had been short-lived.

As to the nature of their victory, according to Rev 12:11 –

‘They overcame him
by the blood of the Lamb
and by the word of their testimony,
and they did not love their lives so much that they were afraid to die.’

God’s vindication of his persecuted saints is a leading theme in this chapter.

This is victory indeed:

‘The real victory is not to live in safety, to evade trouble, cautiously and prudently to preserve life; the real victory is to face the worst that evil can do, and if need be to be faithful unto death.’ (Barclay)

Ian Paul notes that the present tense is used in the original – ‘those conquering’ – recalling the ‘victor sayings’ at the end of each of the seven letters in chapters 2 and 3.

Ian Paul comments on the nature of their victory:

‘The ones who truly conquer are those who are not cowed into conformity by the apparent power of the beast, but remain true by their non-violent resistance to the lamb who was slain.’

Duvall elaborates:

‘They have conquered, or overcome (nikaō, see Rev 2:1–7; 12:11; 17:14), everything the dragon has thrown at them: the beast, its image, and the number of its name (Rev 13:1–2, 14, 17–18). They have persevered through the challenges spelled out in the messages to the seven churches, chiefly the pressure to engage in immorality and idolatry in order to preserve their reputation, income, or life. Through it all, they have remained faithful to Jesus and his revealed will.’

Their victory is despite the efforts of Satan and his allies (Rev 11:7; 12:9; 13:7, 14; 18:23):

‘The faithful have conquered the beast by refusing to worship its image or receive its mark (Rev 15:2b). At the beginning of the book, promises were made to those who conquer, summoning readers to active engagement against the forces that threaten faith (Rev 2:7, 11, 17, 26; 3:5, 12, 21). At the end of the book, the conquerors have a place in the New Jerusalem (Rev 21:7).’ (Koester)

Barnes offers a typical historicist view:

‘The persons referred to here, I suppose, are those who in the long dominion of the Papal power, and amidst all its arts and corruptions—its threats and persecutions—had remained steadfast in the truth, and who might thus be said to have gained a victory—for such victories of piety, virtue, and truth, amidst the corrupting influences of sin and error, and the intimidations of power, are the most important that are gained in this world.’

They were standing by the sea of glass – Ian Paul: perhaps ‘on’ (epi) it.  Either way, it:

‘conjures up the image of the people of Israel, led by Moses, about to cross the Red Sea having left Egypt.’

Ladd sees a link with Rev 4:6, concluding that:

‘These conquerors of the beast are standing before the throne of God, in his very presence. The beast had supposed that in slaying them he had conquered them; but their death meant only that they moved from earth into the presence of God. Theirs was the final victory.’

As to the timing of this scene:

‘It is not certain whether this looks to the future to see the entire vast body of God’s people at the end of the age or whether it envisions those who have passed from earth to heaven during the trials of this age.’ (Phillips)

Mulholland (Cornerstone) laments:

‘The church today is all too often characterized by its accommodations to the values, perspectives, worldview, and lifestyle of its fallen Babylon world than by its faithful and vital witness to a mode of being in which cleansing, healing, liberation, transformation, and true human wholeness are found. The church more often swims in the sea mingled with fire than dances upon it in exuberant life with God.’

Boring:

‘As Israel once stood on the banks of the Red Sea and celebrated God’s liberating act of the exodus, the church will stand on the shore of the heavenly sea and sing the song of Moses and the Lamb.’

Harps given to them by God – lit. ‘harps of God’: either they are given by God, or they are used for (the worship of) God.  Expresses the idea that ‘the victors enjoy their triumph only because of what God has done for them’ (Morris).

This picture has been distorted in the public imagination to suggest that the redeemed are harp-playing angels (sitting on clouds!).

Phillips thinks that this vision of the saints playing harps undermines the notion that the use of musical instruments in worship belongs only to the OT.  But, although I accept the conclusion (that musical instruments are admissible in the parise and worship of the Christian church) I do not agree that this is a reasonable inference from the present text, richly symbolic as it is.

The song of Moses the servant of God and the song of the Lamb – Not two different songs (pace Walvoord), but one song with two titles.

Duvall agrees that it is:

‘one song rather than two, since the Lamb’s song fulfills Moses’s song inasmuch as the final, eschatological exodus fulfills the original deliverance from Egypt.’

The song of Moses – Echoing the celebration of God’s deliverance of his people in Ex 15:1–21 and Deut 32.

The exodus motif will be prominent in the description of the plagues.

The song recorded in Ex 15 was, in the ancient synagogues:

‘sung in the afternoon service of each Sabbath to celebrate God’s sovereign rule over the universe, of which the redemption from Egypt reminded the Jew.’ (EBC)

Moses is described as the servant of God.  Koester notes:

‘Socially, servants were of low status (Rev 6:15), but to be God’s servant was honorable. The title is used for John, the prophets, and all Christians (Rev 1:1; 2:20; 7:3; 10:7).’

The reference to Moses, and the fact that these judgements are described as ‘plagues’ conjures up images of the Exodus.  See Ex 15:1-18, which begins:

‘Then Moses and the Israelites sang this song to the LORD. They said, “I will sing to the LORD, for he has triumphed gloriously.”‘

As Wilcock remarks:

‘Through the centuries that signal deliverance is recalled by the annual death of the passover lamb; and in the fullness of time, following the death of a greater Lamb, the real Israel is rescued and the real Egypt destroyed.’

Chapters 15 and 16 represent John’s most extensive use of the Exodus motif.  As Patterson writes:

‘Although the Old Testament abounds with analogies and pictures of redemption to come ultimately in Christ, no historical incident, metaphor, or illustration is more poignant than that of the exodus. Hopeless bondage gives way to miraculous deliverance followed by a journey terminating in the land of promise.’

Boring summarises:

‘“Egypt” is Rome; “Pharaoh” is the Caesar; the eschatological woes are plagues (16:2 sores || Exod. 9:10–11; 16:3–4 sea and rivers become blood || Exod. 7:17–21; 16:10 darkness || Exod. 10:22; 16:12 drying up the waters || Exod. 14:21–22; 16:13 frogs || Exod. 8:3; 16:18, 21 thunder, fire, hail || Exod. 9:24); the flood of troubles through which the church must pass is the Red Sea; the triumph song is the song of Moses (and the Lamb). Even the smoke of Sinai (15:8) and the tabernacle containing the law of God’s justice appears (15:5; RSV’s “temple” is literally “tent” or “sanctuary” throughout this scene). As the Red Sea (Exod. 14:21) and the Jordan (Josh. 4:23) were “dried up” as part of God’s liberating activity of the exodus, here the Euphrates is dried up to facilitate the final events (16:12).’

Duvall notes:

‘The exodus was the greatest saving act of God in the Old Testament as he rescued his people from slavery in Egypt, judged their enemies, consecrated them as his own people, and led them to the promised land. So powerful was Israel’s experience of redemption through the exodus that it became the primary pattern for how God would offer final and ultimate salvation.

Jesus becomes the Passover Lamb of God (Rev 5:9–10) as his cross/resurrection parallels the exodus event itself.

Just as God poured out plagues of judgment on Pharaoh and his army, so he is faithful to judge the enemies of his people and vindicate their suffering.

His liberated followers, now united by the Holy Spirit, are being formed into a kingdom of priests dedicated to serving God (Rev 1:6; 5:10; Ex 19:5–6).

While they are protected spiritually in the wilderness, their journey is not without trials and tribulations (Rev 12:6–17).

They anticipate their arrival in the new heaven and new earth, where God will dwell among them (Rev 21:1–7).

Having been safely delivered to this new promised land, they will sing a new song celebrating God’s faithfulness, covenant love, and sovereign majesty.’

(Re-formatted)

The song, though different in wording from Ex 15, share a number of themes with it, including:

‘God’s judgment on his enemies and deliverance of his people, his incomparable superiority, the nations fearing him, people coming to the place of worship, and his everlasting reign.’ (Koester)

Note esp. the refrain of the Song of Moses:

Ex 15:2 The LORD is my strength and my song,
and he has become my salvation.

The mention of Moses, and the rich Exodus imagery, reminds us, says Morris, of the harmony between Moses and Christ, between the law and the gospel:

‘Paul can speak of the law as bringing us to Christ (Gal 3:24), and it is co-operation of this kind that is in mind here.’

Phillips agrees, adding that:

‘This vision provides yet another proof of the identification of the Christian church with Old Testament Israel, showing the fundamental error of those who regard Israel and the church as having different identities.’

More speculatively:

‘By juxtaposing the “Divine Warrior” victory hymn of Exodus 15 with the song of the Lamb, John may be underscoring that God’s people conquer nonviolently, through the Lamb’s death rather than by divine acts of aggression.’ (Fortress Commentary)

They sing the song of the Lamb – Whereas the song of Moses is, presumably, a song sung by Moses, this second title is, no doubt, a song sung about the Lamb.

Aune, following Charles, thinks that this second title might be an editorial interpolation.  He notes that:

‘there are several passages in Revelation in which “Lamb” has been added: (1) “and before the Lamb” (Rev 7:9), (2) “and to the Lamb” (Rev 7:10), (3) “and the Lamb”(Rev 14:4), (4) “and before the Lamb” (Rev 14:10), (5) “and the Lamb (Rev 21:22), (6) “and the lamp of it the Lamb” (Rev 21:23), (7) “and the Lamb” (Rev 22:1), (8) “and of the Lamb” (Rev 22:3).’

Be that as it may, the combination of the two song titles is a happy one, for:

‘the redemption through [Christ’s] blood is another exodus which releases us from the slavery of sin and leads us to the promised land of the kingdom of God.’ (Ian Paul)

As Osborne notes:

‘The emphasis on the Lamb highlights Jesus’ paschal sacrifice of his blood for the redemption of the nations.’

The first song is anticipatory of the second:

‘The deliverance under Moses anticipated and pointed forward to the greater redemption accomplished by the Lamb. Hence, the song of Moses and the song of the Lamb are genetically related, since the promises made to Moses are finally and ultimately fulfilled in the salvation accomplished by the Lamb. Likewise, the exodus from Egypt points forward to the redemption, the exodus from sin, accomplished by Jesus Christ.’ (ESV Expository Commentary)

Therefore, the celebration is less to do with the destruction of God’s enemies, more to do with redemption:

‘Earlier visions established a paradoxical pattern of fulfillment by announcing that the promise of the messianic Lion was fulfilled in the Lamb, who ransoms people from every nation to serve in God’s kingdom (5:5–10). They also showed that the hope for the salvation of Israel’s tribes would be realized in a multitude from every nation, who are redeemed by the blood of the Lamb (7:4–17). Now the conquerors sing to God as Israel, but instead of celebrating the destruction of their adversaries, as at the exodus, the singers tell of the nations being brought to worship the Lord.’ (Koester)

Wiersbe, while espousing a futurist interpretation of Revelation, rightly notes that:

‘This scene would give great assurance and endurance to suffering saints in any age of the church. It is possible to be victorious over the world system! One does not have to yield to the “mark of the beast.” Through the blood of the Lamb, we have deliverance. Our Lord’s work on the cross is a “spiritual exodus” accomplished by His blood. (note Luke 9:31, where the word “decease” is exodus in the Greek.)’

“Great and astounding are your deeds,
Lord God, the All-Powerful!
Just and true are your ways,
King over the nations!
15:4 Who will not fear you, O Lord,
and glorify your name, because you alone are holy?
All nations will come and worship before you
for your righteous acts have been revealed.”

Osborne notes that:

‘For us the idea of judgment is at best a somber and sorrowful thought, but the perspective of Revelation is quite different. In the visionary world of this book, it signifies the justice of God and the vindication of the saints.’

This is a hymn of praise sung at a time of great tribulation:

‘In this time of great tribulation when the beast seemed to have unlimited power to enforce his demonic purpose upon men and persecute the saints—in the darkest hour of human history when it truly seemed that Satan was the god of this age (2 Cor 4:4), the martyrs sing a hymn of praise to God, recognizing that he is the true and living God. They exalt the name of God because, contrary to outward appearances, he is indeed the King of all the ages, including the time of martyrdom. This song is one of the most moving expressions of faith in the entire biblical literature.’ (Ladd)

Boring notes that whereas the (original) song of Moses was sung after the victory, the present hymn is offered in anticipation of a final victory, already won in principle:

‘Christian worship anticipates the eschatological victory and celebrates it in the present. Christian worship, especially its eucharistic dimension, points “backward” to the past and understands the present in its light (the “new exodus”), points “forward” to the future victory and celebrates its reality in the present, and points “upward” to the transcendent reality of God’s world, participating in the worship of the heavenly sanctuary that unites past, future, and present.’

Barton shows how each line is derived from a passage in the Psalms or prophets:

Great and marvelous are your deeds (Exodus 15:11; Psalms 86:10; 139:14)
Lord God Almighty (Amos 4:13)
Just and true are your ways (Deuteronomy 32:4)
Who will not fear you, and bring glory to your name (Jeremiah 10:7; Psalm 86:9)
You alone are holy (Psalm 99:9)
All nations will come and worship before you (Psalm 86:9; Malachi 1:11; Revelation 14:6–7)
Your righteous acts have been revealed (Psalm 98:2)

Moreover, as Morris observes, this is the one song in Revelation in which parallelism – so characteristic of Hebrew poetry – is apparent.

Great and astounding are your deeds – Recollecting Psa 11:2f.

Koester (End of All Things) observes that:

‘Remarkably, the faithful do not sing about their own deliverance but celebrate God’s position as King of the nations. Instead of focusing on the destruction of Israel’s enemies, as does the song of Moses in Exodus 15, the song in Revelation 15 focuses on the conversion of the peoples of the world.’

In context, these are especially God’s deeds of judgment and deliverance.

Morris remarks:

‘The inhabitants of the earth have marvelled at the beast and his wonders. But what are truly great and marvellous are not such trifles, but the works of God.’

Just and true are your ways – An echo of Deut 32:4.

‘Truth’ is not merely believed or stated, but acted upon.  See Jn 3:21; 1 Jn 1:6.

This acclamation:

’emphasizes that God’s sovereign acts are not demonstrations of raw power but moral expressions of His just character.’ (Beale)

This works out, writes Beale, in the administration of redemption through Christ, which:

‘has brought to supreme expression how He demonstrates His justice. Those trusting in Christ have the penalty of their sin paid for by His blood (so Rev 1:5–6; 5:9; 7:14; 12:11), but those rejecting the divine provision will bear their own penalty for sin (cf. Rom. 3:19–20).’

King over the nations – or, ‘of the ages’, or ‘of the age’.

According to Ian Paul, this verse more accurately reads:

Who will not fear you, O Lord,…
for you alone are holy?
for all nations will come and worship before you (but Beale and Koester read this differently, preferring ‘so that…’)
for your righteous acts have been revealed.”

In other words, the gathering of the nations to the Lord is a reason for, rather than an effect of, worship:

‘God’s wonderful deeds and righteous acts are revealed in the coming to him of all tribes, languages, tongues and people.’

Who will not fear you…? – All should regard God with awe and reverence (Rev 11:13, 18).

‘Fear him, ye saints, and you will then having nothing else to fear’.

This attitude, writes Phillips, was seen amongst the early Christians:

‘An example is given in Acts 12, when Herod Agrippa began persecuting the believers in deadly earnest. Herod had put the apostle James to death by the sword and had arrested Peter with the intent of taking his life as well. So how did the church respond? Did the believers seek to rise up politically or militarily against Herod? Did they seek to compromise with Herod, urging Peter to mold his doctrine to accommodate the Jewish king’s demands? Did they adopt worldly styles of living, worship, and teaching, as so many evangelical churches are doing today? The answer is that they held a prayer meeting, turning their faces to God and expecting him to do great and amazing deeds. At the house of Mary, the mother of John Mark, “many were gathered together and were praying” (Acts 12:12).’

All nations – or ‘all Gentiles’ (the word is the same) – will come and worship before you – Alongside God’s judgment of nations is his gracious offer of redemption.  As Osborne comments:

‘When one realizes the double theme of the judgment and worship of the nations, the motif of mission in the Apocalypse comes to mind. The nations will experience the wrath of God, but at the same time some will indeed “fear and glorify” (note these two aspects from the “eternal gospel” of Rev. 14:6–7 here as well) God, referring to conversion (see also 11:13). ‘

Beale, along with some others, understands this to be unwilling subjection.  Osborne thinks that for some it will be forced homage, while for others it will be unforced.  But it seems better to recognise that the language here speaks of glad and willing worship.  This is in the spirit of Isa 2:2–4; 66:23; Jer 16:19; and Zech 8:22.  So Koester:

‘Since hope for the conversion of the nations stands in tension with warnings about God’s judgment, some interpreters suggest that the nations do not so much worship as come into unwilling subjection to divine rule… Yet glorifying God is an act of worship, and the nations do bring glory to New Jerusalem, where they find healing at the tree of life (21:24–22:2).’

Bauckham (Theology) notes an significant contrast between the original ‘song of Moses’ and the present hymn:

‘John has interpreted the song of Moses in line with the most universalistic strain in Old Testament hope: the expectation that all the nations will come to acknowledge the God of Israel and worship him.  The significance of this version of the song of Moses is considerable. The effect is to shift the emphasis in the sig- nificance of the new exodus, from an event by which God delivers his people by judging their enemies to an event which brings the nations to acknowledge the true God.’

However, this ‘wideness in God’s mercy’ must be placed alongside the judgments recorded in ch16:-

‘They are total judgments, not even limited like the ineffective warning judgments of the seal- openings and the trumpets, certainly quite unlike the salvific judgment of 11:13. Therefore their effect is that people curse God (16:9, 11, 21). This is not only an advance on the mere failure to repent which is noticed after the sixth trumpet (9:20-1; cf. 16:9). It is the precise opposite of fearing God, giving him glory and worshipping him (11:13; 14:7; 15:4; cf. 16:9). It is true that none of the seven plagues is said to have killed anyone, but this is because the final doom of the unrepentant who curse God comes at the battle of Armaged- don, at which the kings of the whole world gather with their armies (16:12-16), in alliance with the beast, to oppose Christ (17:12-14), who finally comes as king of kings to destroy them (19:19-21). The grim picture of slaughter in 19:18-19 uses strikingly universalistic language: ‘the flesh of all, both free and slave, both small and great’ (19:19; cf. 6:15; 13:16). This is no image of the nations coming to worship God, but of the destruction of those who refuse to worship him.’

While Revelation does not, then, espouse universalism, it does, along with the rest of Scripture, teach that:

‘God’s new exodus community will come from many nations, over which God will be king (15:3). People from every tribe, language, people, and nation will “come and worship” the Lord (15:4; Ps. 86:9), thus fulfilling the initial promise to Abraham (Gen. 12:3), the hope of the prophets (Dan. 7:14; Zech. 2:11), and the Great Commission of Jesus himself (Matt. 28:18–20).’ (Duvall)

Ladd elaborates:

‘Taken out of context these words could be interpreted to mean a universal salvation of all nations. There are also statements in Paul’s correspondence which, taken out of context, sound like universal salvation. It is God’s purpose “to unite all things in him” (Eph 1:10). “Every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father” (Phil 2:11). “And through him to reconcile to himself all things, whether on earth or in heaven” (Col 1:20). However, such statements must be understood in their total biblical intent. The Bible constantly looks forward to a day when God will reign on the earth, surrounded only by those who find their joy in worshiping him. “All the nations thou hast made shall come and bow down before thee, O Lord, and shall glorify thy name” (Ps 86:9). “And many people shall say, ‘Come, let us go up to the mountain of the Lord, to the house of the God of Jacob.’ … He shall judge between the nations” (Isa 2:4; cf. 66:23). “For from the rising of the sun to its setting thy name is great among the nations” (Mal 1:11). This is the goal of the book of Revelation: the establishment of a city where all the nations shall find healing (Rev 22:2). This does not mean universal salvation; it does mean that the Kingdom of God will witness a fellowship of people drawn from all the nations who gladly give themselves in worship and devotion to God.’

What are we, today, doing to reflect this goal of a multicultural community?

Righteous acts – or ‘judgments’, referring to ‘the judicial sentences of God in relation to the nations either in the way of mercy or condemnation’ (Charles).

Ladd notes that this song does not speak of either the sufferings or the achievements of the martyrs: they are fully focussed on the glorious sovereignty of God.  Moreover, there is no mention of personal revenge: this is left in the safe hands of God.

This song celebrates the justice of God.  But why is this good news?  Tom Wright invites us to imagine a village that is visited by a circuit judge once every few months.  Over time, the injustices mount up:

A builder is cheated by a customer, who refuses to admit his fault.

A widow has her small purse stolen, and since she has nobody to plead for her she can do nothing.

A family is evicted from their home by a landlord who thinks he can get more rent from someone else.

And a fraudster with his eye on the main chance has accused a work colleague of cheating him, and though nothing has been done about it the other colleagues seem inclined to believe the charge.

And so on.

Nobody can do anything about it until the judge comes.  When he does come, he will hear each case properly and fairly:

‘And then he will decide. Judgment will be done. Chaos will be averted and order will be restored. The cheats will be put in their place, the thief punished and made to restore the purse. The grasping landlord will have to give way, and the false accuser will suffer the punishment he hoped to inflict. And the village as a whole will heave a sigh of relief. Justice has been done. The world has returned into balance. A grateful community will thank the judge from the bottom of its collective heart.’

Now magnify the concerns of that village up to the global level.  The wicked empire and its henchmen are causing more and more misery and ruin:

‘So the cry goes up to God, as it did to the God of Israel when the Egyptians were making their lives more and more miserable. And God’s action on behalf of Israel is therefore a great act of liberating, healing, sigh-of-relief judgment. Things are put right at last.’

Koester (End of All Things) notes that this song of triumph is sung before the account of the seven plagues.  God’s people, hard-ressed though they may be, are already ‘on the vict’ry side’.

15:5 After these things I looked, and the temple (the tent of the testimony) was opened in heaven, 15:6 and the seven angels who had the seven plagues came out of the temple, dressed in clean bright linen, wearing wide golden belts around their chests. 15:7 Then one of the four living creatures gave the seven angels seven golden bowls filled with the wrath of God who lives forever and ever, 15:8 and the temple was filled with smoke from God’s glory and from his power. Thus no one could enter the temple until the seven plagues from the seven angels were completed.

As Koester (End) notes:

‘Revelation’s scenes of celebration and warning encircle each other like links on a chain.  The festive vision of the saints singing praises to God and the Lamb (15:2–4), which concluded the previous cycle of visions, is bracketed by the specter of seven angels preparing to bring seven final plagues upon the earth.’

After these things I looked – John is recording, not what happened next, but what he saw next.

The temple (the tent of the testimony) – This latter description (aka ‘the tent of witness’) reflects the LXX translation of ‘the tent of meeting’ (e.g. in Ex 27:21).

This recalls the tabernacle, with its tablets of stone containing the Ten Commandments inthe ark of the covenant (Exod. 16:34; 25:16, 21). In this way:

‘The judgments to come are linked to God’s faithfulness to keep his covenant, including the deliv- erance of his people from their enemies.’ (Duvall)

Koester remarks that the earthly counterpart of this heavenly temple:

‘In Revelation the earthly counterpart to the heavenly temple is the worshiping community, depicted as a temple under siege (Rev 11:1–2). The heavenly temple theme shows God’s solidarity with the earthly community in two ways. First, the heavenly temple is the place from which plagues are unleashed against the forces of evil (Rev 11:18–19; 15:5–16:21). Second, the faithful are promised a place in God’s temple, where they will be pillars and will serve him (Rev 3:12; 7:15).’

The temple was opened in heaven – This action

‘connects it with earth, not only allowing the angels to come from it with the judgments of God, but also allowing the saints to enter it and make it their dwelling-place.’ (Ian Paul)

The seven angels…came out of the temple – They come from the very presence of God.  The bowls of wrath have divine sanction.

It follows that judgment is God’s prerogative, not ours.  As Gorman comments:

‘According to Revelation and the biblical witness generally, the judgment of the world, like salvation, is the responsibility and privilege of God and the Lamb alone; it is one of their “reserved powers,” so to speak. During this life, it is not the mission of humans, whether inside or outside the church. The role of human beings in history—at least those who are part of the people of God—is to announce this judgment prophetically, but not in any sense to execute it.’

The angels were wearing wide golden belts (or sashes).

Morris remarks that the appearance of the angels speaks of their purity.  The wrath is not capricious; it is ‘a pure concern for the right’.

One of the four living creatures gave the seven angels seven golden bowls filled with the wrath of God – These living creatures come from close to the throne of God.

Duvall:

‘The living creatures are an exalted order of angels who surround God’s throne (Rev 4:6; 5:6, 8, 11; 7:11; 14:3), lead in heavenly worship (Rev 4:8–9; 5:8, 14; 7:11; 14:3; 19:4), and play a role in executing judgment (Rev 6:1–7; 15:7).’

Their mention here confirms that the plagues come ‘with the fullest divine sanction’ (Morris).

Seven golden bowls – Beasley-Murray (NBC) thinks that we should think of these as ‘cups’ (as in the expression, ‘cup of God’s wrath’).

Morris thinks that these ‘cups’ may represent the prayers of the saints (Rev 5:8).  If so, then this signifies that:

‘the prayers of God’s people, which seem so insignificant, are important. They may initiate great divine judgments. They have their part in bringing about the final state of affairs.’

So also Ladd:

‘There may be a deliberate allusion to the bowls containing the incense of prayer. The prayers of the saints have their role in bringing upon the world the final expression of God’s justice and wrath.’

And Osborne:

‘They are given the “golden bowls” or saucers that were used to bear incense in the Holy Place, linking the outpouring of judgment with the prayers of the saints that were in “golden bowls” in Rev 5:8. It is clear that these final plagues are God’s response to the prayers of vengeance in Rev 6:10 (cf. also Rev 8:3–5).’

Ian Paul agrees that:

‘this final expression of God’s wrath is in some way connected with the prayers of God’s people for justice.’

Duvall also sees here:

‘a strong connection between God’s justice and the prayers of his people (also Rev 8:3–5).’

Mounce, also looking back to Rev 5:8, agres that:

‘Since the mention of the golden bowls in Revelation is limited to these two contexts, John may be calling our attention to the relationship between prayer and divine retribution.’

Boring develops the same thought:

‘As the troubled church on earth prays “Thy kingdom come” and “Come, Lord Jesus!” (Rev 22:20; cf. Rev 22:17 and Mt 6:10; 1 Cor 16:22), its prayers are effective in the heavenly world and help to inaugurate the eschatological events of the establishment of God’s kingdom.’

Perhaps we should think of the seven trumpets as divine warnings, whereas these seven cups symbolise God’s wrath as final (not , perhaps, in the sense of signalling the end of the age, but of there being no respite and no redress).  Beasley-Murray thinks of the cups giving a fuller revelation of the trumpets, but possibly that they represent a more intense (and therefore final) judgement.

The wrath of God who lives forever and ever – in contrast to lifeless idols (Koester).

Ladd:

‘The emphasis upon the eternity of God—the one who lives for ever and ever—is a reminder that, although evil may seem to dominate affairs in human history, God is the eternal one whose purposes cannot be frustrated, even by satanic and demonic evil.’

V1 has referred to the ‘completion’ of God’s anger.  So we may have here a reflection of the thought that God’s anger lasts ‘only for a moment, but his favour lasts a lifetime’ (Psa 30:5).

Wilcock reflects that:

‘Though our life may end with its bang or its whimper, [God’s] life continues unaffected. The bomb goes up, the smoke clears, the dust dies down—he is still there. Or alternatively, the busy world is hushed, the fever of life is over, and our work is done, and we look forward to peace at the last—but he is still there to be reckoned with.’

The temple was filled with smoke – Ian Paul: the scene described in this verse underscores the importance and significance of the plagues.

The smoke signifies God’s wrath and unapproachability.  It:

‘serves to warn people that no one will be allowed to enter the holy place until the seven last plagues have been poured out. No one can approach God until his wrath is complete. The time for repentance is over. The patience and long-suffering of God have been exhausted. The doors of access to the presence of God are closed and judgment has begun.’ (Mounce, What Are We Waiting For?)

Koester (End) notes:

‘By casting up an impenetrable veil of smoke, God ensures that the angels who are to pour out the plagues upon the earth will not be able to turn back until their grim task is completed.’

No one could enter the temple until the seven plagues from the seven angels were completed – Recalling the dedication of the tabernacle and Solomonic temples, where a cloud of glory prevented the priests from ministering there, Ex 40:34–35; 1 Kgs 8:10–11; 2 Chron 5:13–14; 7:1–2.

Commenting on this chapter as a whole, Mounce remarks:

‘These preparatory words create an atmosphere of awesome solemnity. John’s readers are about to experience a terrifying portrayal of the final outpouring of God’s wrath. The seriousness of the situation calls for words of assurance that God’s ways are just.’