different ways, both explicitly and implicitly, and in different points of the argument “to achieve different purposes and effects.”22 Often, the vision (what is seen) is combined with the report (what is heard) “so that the revealing mystery is placed in the context of interpretive word or interpretive word is made visual or enhanced by vision . . . [they] serve a higher purpose . . . for where we find vision-reports, we inevitably find argumentation, either explicit or implicit.”23 In fact, Humphrey notes that “where propositional language (‘word’) dominates, the text tends to be more directly polemical, less ‘open’ in possibilities of interpretation; over against such texts stand more allusive passages in which images dominate, though these are given some direction or interpretation by attached or embellished propositions.”24
Humphrey also shows convincingly that polyvalence prevails in the Apocalypse. Rather than a logical presentation of a case (judicial, deliberative, or epideictic argumentation), there is a combination of argumentation and “evocative symbolism” which deepens and complicates the rhetoric. Hence, the visions “compel” rather than “force” the closure of the argument.25
When considering these eight audio/visual passages throughout Revelation, several questions emerge: what is the best way to uncover the argumentation embedded in the visions? Are the visions themselves part of that argumentation as Humphrey suggests? Are sights or sounds more important? Does the author appear to be using them in different ways? Does it make a difference to the argument if sight or sound dominates the passage? Finally, how should this affect the readers’ understanding?
This study proposes that indeed there is discernable argumentation in the vision-reports in the Apocalypse. As noted earlier, we have identified two significant patterns of sight and sound which enable the argumentation to emerge. It appears that the domination by sight or sound does make a difference, and that an analysis of this pattern, in particular the eight passages where the vision follows the word, does enhance the understanding of the message and intention of the author. In fact, the argument embedded in the visions develops as it progresses through the book, beginning with the vision of Jesus in ch. 1, through the other passages (5:5–6, 9:1–12, 13–19, 11:15–18, 16:1–7, 19:1–21:8) and concludes with the final passage in 21:9–22:5. In each passage, the vision functions along with the “word” to convey the point about the nature of God’s reign and the role judgment plays in it. In fact, the message develops as it progresses through the text until the final passage virtually explodes with almost a complete visionary chapter.
Analysis of the Eight Pertinent Passages
As mentioned above, it is clear that the author of the Apocalypse is intentionally distinguishing between “seeing/hearing” and “hearing/seeing.” When seeing is the primary analogue, the hearing analogue adds to and deepens the information (e.g., the worship scenes of ch. 4 and the seals in ch. 6). In contrast, when hearing is the primary analogue, both scenarios are reinterpreted to convey a new prophetic perspective. The next question that emerges is, what is the new perspective added by the “seeing” analogue? A consideration of each of the passages suggests that the visions provide a prophetic context to what is heard. Argumentation is embedded within each of the visions to emphasize the main points. Further, each passage builds upon each other to create this prophetic scenario. Pattern 2b (hear/see/hear/comment) heightens this prophetic component by means of an additional comment.
Passage 1. Revelation 1:10–16: The Glorified Christ
John hears a loud voice, like a trumpet (the primary analogue); he then sees the vision of Jesus (the adjunctive analogue). He is commissioned by God to transmit the message of the Apocalypse. In fact, John so closely connects the identity of the speaker and the message that he “turns to see the voice,” which gives him the prophetic authority to proceed.26 Aune27 notes that this idea of seeing words echoes rabbinic literature and connotes a revelatory character. We also see a reflection of Old Testament prophets who sometimes refer to “seeing” words (e.g., Isa 2:1; 13:1; Jer 23:18). With this in mind, we can conclude that what is seen enhances the nature of what is heard. The vision provides the rationale for the credibility of the voice and the message in v. 11. The vision of who Jesus is establishes the reason that the message of the voice should be taken into account. Even more than that, by setting the hearing into a prophetic scenario, the vision gives a new perspective which establishes the authoritative source of the prophetic message of the entire Apocalypse.
Passage 2. Revelation 5:5–6: The lion/Lamb
John hears the lion introduced, but sees the Lamb as though sacrificed. Most scholars agree that these verses indicate the strong influence of the imagery of the Lamb upon the lion. As we have argued elsewhere, here the understanding of the Lamb is also impacted by the lion.28 Together, they create a synergy which enhances our understanding of the message of the Apocalypse.29 Humphrey insightfully explains this, “In terms of argumentation, John’s visionary logic is convoluted yet powerful: Rejoice because of your seeming failure; rejoice because of death, for death implies life. The Lamb is a lion, the fugitive is a queen, and the dragon is already judged as he rampages.”30
The credibility of this synergy is established on the basis of the redemptive work of the Lamb — the hymn embedded in the vision provides an interaction between the vision and the rhetoric, the sight and sound so that, “The imagery and rhetoric of the Apocalypse move in two directions at once . . . the boundaries are soft, and so the question of identity [between the lion and the Lamb] is ever present.”31
Passages 3 & 4. Revelation 9: 1–12; 13–21: Two of the Three Woes
In Rev 9, there are 2 separate “hearing/seeing” analogues. John hears the 5th and 6th trumpets corresponding to two of the three “woes.” It is noteworthy that the 1st through 4th trumpets include the motif as “seeing/hearing” whereas the motif in the three woes is “hearing/seeing.” In each of the woes, the trumpet is heard and then the prophetic vision unfolds.
In 9:1–4, the vision that follows the 5th trumpet is of the fallen star, the bottomless pit, and the plague of locusts. These locusts particularly reflect the revelation of God’s judgment in Joel; the vision provides the rationale for God’s prophetic judgment.
In 9:4–12, John hears the admonition to the locusts not to harm “any grass, plant, or tree” and to torture only those who do not have the seal of God. This is the first reference to protection by the seal,32 and recalls the readers to Rev 7 where the angels are commanded to hold back the winds until the 144,000 are sealed by God. Both instances highlight the plan of God to protect the righteous while devastating the wicked.33 Again, in vv. 4–12, the vision places what is “heard” within the prophetic revelation of the final judgments of God.
In 9:13–19, John hears the 6th trumpet, hears the voice from the altar, sees the consequence of the trumpet blast, and hears the number of the troops and then the vision reveals not only the nature of the troops as horses and riders but their function as vehicles of the final judgment. Once again, the vision sets “hearing” into the perspective of the prophetic scenario of God’s final judgments. The prophetic component is heightened further by the author’s
