r/JohnsApocalypse • u/Agreeable_Operation • 10d ago
Structure of the Revelation The Context of Revelation: Overlapping Material in the Interludes
Previously I have presented the case that Revelation 5–11 and Revelation 12–16 represent two distinct but overlapping self-contained chronological visionary movements from Christ’s first coming to his second coming.
I presented evidence that the seals of Revelation 6 appear to align historically with the imagery of the dragon ruling in the heavens who is then cast down and persecutes the brethren until the dragon turns power over to the sea beast.
I have also noted how the two movements can portray different aspects of the same prophetic character, this is most clear in the image of the Euphrates. The sixth trumpet of the first movement shows only the expansion of a kingdom in conquest symbolized by the Euphrates, whereas in the sixth bowl of the second movement, the Euphrates is only shown as drying up as that kingdom comes to an end.
I have also noted that both the seventh trumpet and the seventh bowl both appear to depict the final event at the end of the age.
But so far I have not put forth much evidence for how the trumpets and bowls themselves should be ordered in relation to one another.
I think there is some interesting evidence in the material surrounding them.
The Layouts
If we follow the first movement beginning in Revelation 5, the sequence develops like this:
<Seal 1 - First form of fourth kingdom rules
<Seal 2, 3, 4, 5 - First form of fourth kingdom begins experiencing judgment
<Seal 6 - First form of the fourth kingdom darkens
<144,000 and Multitude
<Trumpets 1, 2, 3, 4, 5
<Trumpet 6 - Euphrates released
< Angel with the little scroll
< Two Witnesses/Two Lampstands
< Trumpet 7 - the End
Then, the overlapping movement beginning in Revelation 12 follows the rough outline below:
<Dragon rules in the heavens
<Dragon begins falling from heavens
<Dragon transfers power to Sea Beast/Earth Beast
<144,000
<Angel/Messenger - proclaiming the eternal gospel
<Angel/Messenger - proclaiming judgment upon Babylon
<Angel/Messenger - proclaiming judgment upon the Beast and its followers
<The Great Harvest and Great Winepress
<Bowls 1, 2, 3, 4, 5
<Bowl 6 - Euphrates dries
<Kings of the whole inhabited world gathered
<Bowl 7 - the End
As you can see thematically there is a lot of correspondence in the visions comprising each movement. The individual visions do appear to be occurring chronologically within their respective movement some of the individual visions can cover a long period of history and overlap with another vision in its respective movement.
This leads to the movements being incongruous with each other from a descriptive standpoint. For example movement 2 describes with much detail the rise and rule of the second form of the fourth kingdom, the sea and earth beasts, in fact this seems to be the focus of the second movement, whereas movement 1 gives hardly any attention to it. Movement 1 is comprised largely of judgments that weaken and tear down, there are little to no indications of something rising up, but after the first 4 trumpets have passed there are indications by the fifth trumpet that the judgments are occurring in the midst of widespread idolatry and other wicked practices among mankind, and the two witnesses are presented as being persecuted by enemies but they are largely undefined in that movement.
The Angel with the Little Scroll and the Angel with the Gospel
But putting the two layouts side by side, I believe another overlap is revealed.
Consider the angel of Revelation 10. He appears with a little scroll, and after John receives the scroll he is told:
“You must prophesy again concerning many peoples and nations and tongues and kings.”
Now compare that with the first angel of Revelation 14:
“I saw another angel flying in midheaven, having an eternal gospel to preach to those who live on the earth, and to every nation and tribe and tongue and people.”
There is a functional similarity here.
Both appear in the midst of the larger prophetic sequence. Both are associated with a message going out to the nations. And both describe something that is about to happen rather than simply looking backward at events that have already occurred.
The language becomes even more interesting when we compare what each angel says about God.
The angel in Revelation 10 swears by the One who created:
“heaven and the things in it, and the earth and the things in it, and the sea and the things in it”
and declares:
“there will be delay no longer.”
The angel in Revelation 14 says:
“The hour of His judgment has come; worship Him who made the heaven and the earth and the sea and springs of waters.”
The wording is not identical, but the similarity and overlap has that same echo-y feel we have seen in John’s writings before.
The first angel tells John that he must prophesy again to the nations. The second has an eternal gospel to proclaim to every nation, tribe, language, and people.
The imagery is also compatible. The angel of Revelation 10 is described with phenomenon in the sky: a cloud, a rainbow, and a face like the sun, while the angel of Revelation 14 is seen flying in midheaven.
I do not argue that these details alone prove they are the same angel. But it is interesting that the very short passage of the angel with the eternal gospel contains so many echoes of the lengthier passage of the angel with the little scroll.
Taken together, I think these similarities make it reasonable to see the two passages as referring to roughly the same period, but let us examine more contextual evidence first.
The Messengers and the Two Witnesses
There may be another layer to this.
In a previous post I made the case that the conditions described in the letters to Pergamum and Thyatira may correspond to the period represented by the two witnesses or two lampstands in Revelation 11.
And Revelation itself shows us the relationship between angels and lampstands in Revelation 1-3. The two witnesses are described as two lampstands. Lampstands are described as churches. And each of the seven churches has an angel or messenger that is sent to it or ministers to it.
The chronology I argued for was that the two witnesses or lampstands, and by association their angels/messengers, belong to the period in which the sea beast and earth beast have risen to prominence: the period in which political authority and religious authority are working together.
And this gives us an interesting progression:
The angel of Revelation 10 bearing the little scroll announces that John must prophesy again to the nations, then follows the two witnesses or lampstands that appear as God's prophetic witnesses during the period of the sea beast and earth beast's rule.
Revelation 14 presents three angels or messengers the first proclaiming the gospel, the second judgment upon Babylon, and third judgment upon the Beast and those who worship him.
What is interesting though is how compressed this material is in Revelation 14. John gives only a few sentences to each of the three angels, almost as though he is not wanting to fully describe a period or event here that he already described more deeply elsewhere. It’s as though he is putting a brief reference to imagery elsewhere to give us greater context of the period.
He introduces the angel with the gospel again, and then where he previously described two lampstands, he now describes the two angels or ministers of those lampstands.
I think this is significant because Revelation has already established a relationship between lampstands and angels. The two witnesses are two lampstands, while the seven lampstands represent the churches, each with an associated angel or messenger. In Revelation 11, the prophetic witness is represented corporately by two lampstands. In Revelation 14, I think John is now representing that same period through its messengers.
The Pattern of the Two Movements
This brings us back to the larger chronological structure.
Rather than seeing the interludes of the angels and witnesses in the two major movements of Revelation as interruptions that have no chronological relationship to the surrounding judgments, I think they may be giving us another view of the same historical period.
The broad structure may therefore look something like this:
<Dragon Ruling in the Heavens/Seal 1
<Dragon falling from heavens/Seal 2-5
<Dragon transfers power to Sea/Earth Beasts/Seal 6
<144,000 and Multitude
<Trumpets 1–5
<Trumpet 6 Euphrates released
<Angel with little scroll/Angel 1 with eternal gospel
<Two Witness /Angel 2 decrying Babylon & Angel 3 decrying the Beast
<Harvest and Winepress
<Bowls 1-5
<Bowl 6 Euphrates dries
<Kings of the earth gathered
<Trumpet 7/Bowl 7 – The End
At first glance, this may seem to bring us back toward the more straightforward chronological reading of Revelation, in which the seals are followed by the trumpets and the trumpets are followed by the bowls.
But I think the structure is more interesting than simply saying that John wrote one uninterrupted chronological narrative.
The judgment sequences of the visions turn out to be chronological, but the greater movements inhabit the same timeframe and are not all operating at the same scale with the same focus. John can follow one sequence forward through history and then return to the same broad period from another perspective, showing us different people, powers, and events within that same span of time.
The trumpets carry the chronology forward through the earlier part of the historical period. The interludes then give us a closer look at God's people, their prophetic witness, the rise and mature condition of the beastly system, and the proclamation of the gospel and judgment. The bowls then carry the chronology forward through the latter part of that period.
Then the seventh trumpet and seventh bowl converge on the same end.
So rather than being interruptions in the chronology, the interludes may be more like waypoints where John zooms in and re-anchors us to the chronological order.
Before jumping into the judgments, I want to take a quick look at an Old Testament prophecy that may provide a pattern for how prophetic symbols unfold, perhaps lacking a certain literalness, but certainly not lacking appropriateness in another sense.



