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(
) , ,
. Less reserve is manifested in
Ezek. 1:26 , Dan. 7:9 ...
; cf. Enoch 46:1, 71:10. In the great Christian
Apocalypse there is no need for anthropomorphic descriptions of Deity; one like a Son
of Man is always at hand to whom they are naturally transferred (see 1:14, note); cf.
Andreas: ,
.
the Church idealized and therefore seen as already clad in white, crowned, and
enthroned in the Divine Presencea state yet future ( ), but already
potentially realised in the Resurrection and Ascension of the Head; cf. Eph. 2:6
.
5. .] The eye of the Seer returns to
the central Throne. What he sees there reminds him of the Lawgiving; cf. Exod. 19:16
, and Ezek. 1:13 . The
same imagery occurs again in 11:19, 16:18, and (with the order
), in 8:5. The thunderstorm is in Hebrew poetry a familiar symbol of the
Divine power and glory: cf. e.g. 1 Sam. 2:10, Ps. 18:9 ff., Job 37:4 f.
.] occur also in Ezekiels vision (l.c.
); but whereas Ezekiels torch-like lights flashed hither and thither
), these burn steadily before the Throne, and
they are seven in number, corresponding, as the Seer recognises, with the Seven Spirits
of God (1:4, 3:1). They are , not as in 1:12, where the reference is
different; the idea presented here is rather that of the
(c. 8:10), except that the torch-like star is seen falling across the sky, whereas these
torches blaze perpetually before the Throne of God.
6. .] In Exod. 24:10 the Elders see under
the Feet of God ,
, and this conception is reproduced in Ezekiel (1:22, 1:26). But
instead of the firmament, the Seer of the Apocalypse sees a glassy Sea before the
Throne. The idea of a celestial sea was current in Jewish circles, cf. Enoch 14:9, Secrets
of Enoch, ed. Charles, p. 4; Test. xii Patr., Levi 2, where a sea greater than any on earth
is seen suspended between the first heaven and the second: cf. Gen. 1:7
, Ps. 103. (104.) 3. The Apocalyptic sea is , a pavement
of glass resembling an expanse of water; comp. a legend in the Koran, Sur. 27, that the
Queen of Sheba mistook for water a glass pavement in Solomons palace. The Seer, still
looking through the door, sees between himself and the Throne a vast surface which
flashes back the light that falls upon it, like the Aegean when on summer days he looked
upon it from the heights of Patmos; cf. 15:2
. Though of glass, the sea was , not semi-opaque, like much
ancient glass, but clear as rock-crystal. may be ice, both here and in Ezek.
1:22, but the mineral is more probably intended in a context which mentions precious
stones; the metaphor occurs again in 22:1 ... . The
costliness of glass in ancient days enhances the splendour of the conception; cf. Job
28:17 LXX. . But the Sea of glass is not only a
striking and splendid feature in the scene; it suggests the vast distance which, even in
the case of one who stood at the door of heaven, intervened between himself and the
Throne of God.
... .] Cf. Enoch 40:2, Apoc. of Baruch
51:11 (ed. Charles). The exact position assigned to the is not easy to grasp.
is from Ezek. 1:5 ( ) , where
some cursives and versions of the LXX. add , but probably from
to Ezekiels ( (, who in Ezek. 9:3, 10:2 ff., 20 ff., are identified with the Cherubim.
The Cherubim are previously mentioned in Scripture in connexion with (1) the story of
the Fall (Gen. 3:24), (2) the Ark (Exod. 25:18 etc.), (3) the inner chamber (
) of
Solomens Temple (1 Kings 6:25 ff., etc.), (4) the Divine title He that sitteth upon the
Cherubim (Ps. 80:1, 99:1, Isa. 37:16). The Ark and the Oracle had but two
representations of cherubic figures; in Ezekiel they are four and yet one, and seem to
symbolize the power which in its worldwide and manifold operations upholds and
pervades while it transcends Creation. The Apocalyptist abandons the complexities of
Ezekiels imagery; the wheels and lightning-like movements of the disappear, and
so does their mysterious unity: the living creatures of the Apocalypse are four distinct
organisms. But in the main no doubt he presents the same idea; the represent
Creation and the Divine immanence in Nature. Cf. Andreas:
.
] Cf. Ezek. 1:18
, 10:12
. Again Ezekiels description is simplified, while the main thought is
preserved; the are full of eyes before and behind and (v. 8) around and within. The
symbolism sets forth the ceaseless vigilance of Nature, or rather of the immanent Power
which works under visible forms. , a somewhat rare word in Biblical Gk.
generally (LXX.8, Mt.2, Lc.1, Paul1), occurs seven times in the Apoc. (4:6, 4:8, 5:8, 15:7,
17:3 f., 21:9); on the construction, see Blass, Gr. p. 102.
7. .] Cf. Ezek. 1:10 (10:14)
... ... ... , where the
forms are the same, but the order differs. The four forms represent whatever is noblest,
strongest, wisest, and swiftest in animate Nature. Nature, including Man, is represented
before the Throne, taking its part in the fulfilment of the Divine Will, and the worship
of the Divine Majesty. On the early (Iren. 3. 11. 8) but unfortunate identification of the
with the , see St Marks2, p. 36 ff., and Zahn, Forschungen, 2. p.
257 ff. : see WM. p. 132.
8. ] Each one of them having severally six
wings. Ezekiel (1:6) gives each of the four wings; six is the number assigned to the
Seraphim in Isa. 6:2, a passage which the Apocalyptist, who does not identify his
with either the Cherubim or the Seraphim, has constantly in view. The wings, if our
interpretation is right, represent the velocities of Nature, as the eyes represented its
sleepless vigilance. For () see Mc. 14:19, note; and for , used as a
distributive adverb, WM. p. 496 f., Blass, Gr. p. 122. , not , here and in v. 7,
because the are invested with intelligence, as the sequel shews; cf. 5:6, 21:14, and
(
see 1:8, note. The Liturgies retain the Isaianic form (Brightman, pp. 18 f., 50,
132, etc.; cf. Clem. R., Cor. 34), which has also found its way into the Te Deum; but
they attribute the Ter Sanctus to Cherubim and Seraphim, as if meaning to blend
Isaiahs with Ezekiels vision, after the manner of the Apocalypse. (God
in His future self-manifestations) in the mouth of the suggests the of
Creation (Rom. 8:19 ff., Apoc. 21:1 ff.).
9. .] The difficult , which is probably
the true reading, is not without example, see WH.2 Notes, p. 178, WM. p. 388, Burton,
308; Viteau, tude, 1. pp. 125, 227 ff., and cf. Mc. 8:35, note. Translate: whensoever
the living creatures shall give (i.e. as often as they give) glory the Four and twenty
Elders shall fall etc. The two actions are coordinated as simultaneous. Nature and the
Church must ever unite in the praise of God; when one begins its anthem, it is the signal
for the other to fall upon its knees before the Throne. The Seer states this fact, of which
Vict. Victorinus
WH. Westcott and Hort, N.T. in Greek second edition (1896).
the vision made him cognisant, in the form of a law. This concurrence of the
and the in the worship of God was keenly realised by the Ancient Church; cf.
e.g. the Liturgy of St Mark (Brightman, p. 132), ,
, ,
. There is certainly not less cause for its recognition in an age
which like our own is replete with new revelations of the wonders of the physical
universe. Every fresh discovery of physical science should deepen the adoration of the
faithful.
(=
,
) is from the LXX. (Ps. 8:6, 28. (29.) 1, 95. (96.)7).
The phrase is coupled in the N.T. with (Rom. 2:7), (1 Pet. 1:7),
(Apoc. 4:11, 5:12). , a word which with its cognate verb is unknown
to the canonical books of the LXX., occurs in a theological sense Paul12, Apoc.2, and in
both the Apocalyptic passages is found in a doxology. While and have regard
to the Divine perfections, refers to the Divine gifts in creation and
redemption.
] The Living Creatures and the Elders offer
their tribute to the Living God; created life adores the Uncreated. On see 1:18;
here it is evidently a title of the Father ( ), though not to the
exclusion of the Son, Who is the Fathers , or of the Spirit, Who is
represented by the Seven Spirits before the Throne. With cf. Deut.
32:40, Dan. 4:31 (34), Apoc. 10:6, 15:7.
10. .] Hitherto the Elders have been
silent assessors; now they rise from their thrones (v. 4), fall upon their knees, and
prostrate themselves (, cf. 1 Regn. 25:23) on the floor of heaven, laying
their crowns of victory at the foot of the central Throne, in readiness to offer their
tribute of praise. The last act is suggestive either of the homage paid to an overlord, or
of the submission of a suppliant, seeking mercy from a conqueror. Cf. Plutarch, Lucull.,
p. 522 ; Cicero,
pro Sext. 27 hunc Cn. Pompeius, cum in suis castris supplicem abjectumque vidisset,
erexit, atque insigne regium, qued ille de sue capite abiecerat, reposuit; Tac. ann. 15:29
ad quam [sc. effigiem Neronis] progressus Tiridates sublatum capite diadems imagini
subiecit. In Jabbuk, 1 f. 55, Pharaoh and the Kings of the East are represented as taking
off their crowns in the presence of Moses and Aaron. The crowns of the Elders
however were not but , symbols of victory and eternal life, and in
their case the act is equivalent to an acknowledgment that their victory and their glory
were from God, and were theirs only of His grace. Cf. Andreas: , , ,
. Arethas:
;
11. , .] The addressed the Creator simply as
. The Elders recognise a relation to Him which the Creation as such
cannot claim. He is (1) the Lord, the ,, of revelation, and (2) their God (
, cf. 3:12 ). On the use of the nominatives , , for the
vocatives see Blass, Gr. p. 87. To the and which the ascribe to God the
Elders add , cf. 5:12, 7:12, 19:1, and the doxologies in Mt. 6:13, T.R., Didache
8. Glory, honour, and power are rightly ascribed to the Creator of the universe (
), which owes its existence to His will. is at first sight
perplexing; we expect , cf. Acts 17:28
. (Q), they were not, and out of that state of nonexistence were called into being by the act of creation, is an ingenious correction. But
the better supported also yields a good sense. It places the potential existence of
the universe before its creation. The Divine Will had made the universe a fact in the
scheme of things before the Divine Power gave material expression to the fact. Thus
looks back to the eternal past, to the genesis of Nature. Both are
ascribed to the Father; His Will was the cause ( ), as His Logos was
the Agent of Creation: cf. 1 Cor. 8:6 , ...
, .
Of this chapter as a whole it may be well said with Tertullian de coron. 15 si tales
imagines in visione, quales veritates in repraesentatione?