Rev 17:1-3 | Barnes | STEP | CHAPTER XVII ANALYSIS OF THE CHAPTER THIS chapter properly commences a more detailed description of the judgment inflicted on the formidable Antichristian power referred to in the last chapter, though under a new image. It contains an account of the sequel of the pouring out of the last vial, and the description, in various forms, continues to the close of chap. xix. The whole of this description (chap. xvii.-xix.) constitutes the last great catastrophe represented under the seventh vial, , at the close of which the great enemy of God and the church will be destroyed, and the church will be triumphant, . The image in this chapter is that of a harlot, or abandoned woman, on whom severe judgment is brought for her sins. The action is here delayed, and this chapter has much the appearance of an explanatory episode, designed to give a more clear and definite idea of the character of that formidable Antichristian power on which the judgment was to descend. The chapter, without any formal division, embraces the following points:-- (1.) Introduction, . One of the seven angels entrusted with the seven vials comes to John, saying that he would describe to him the judgment that was to come upon the great harlot with whom the kings of the earth had committed fornication, and who had made the dwellers upon the earth drunk by the wine of her fornication; that is, of that Antichristian power so often referred to in this book, which by its influence had deluded the nations, and brought their rulers under its control. (2.) A particular description of this Antichristian powers represented as an abandoned and attractive female, in the usual attire of an harlot, . She is seated on a scarlet-coloured beast, covered over with blasphemous names--a beast with seven heads and ten horns. She is arrayed in the usual gorgeous and alluring attire of an harlot, clothed in purple, decked with gold, and precious stones, and pearls, with a golden cup in her hand full of abomination and filthiness. She has on her forehead a name expressive of her character. She is represented as drunken with the blood of the saints, and is such as to attract attention (3.) An explanation of what is meant by this scarlet-clothed woman, and of the design of the representation, . This comprises several parts: (a) A promise of the angel that he would explain this, . (b) An enigmatical or symbolical representation of the design of the vision, . This description consists of an account of the beast on which the woman sat, ; of the seven heads of the beast, as representing seven mountains, ; of the succession of kings or dynasties represented, ; of the ten horns as representing ten kings or kingdoms giving their power and strength to the beast, ; and of the conflict or warfare of all these confederated or consolidated powers with the Lamb, and their discomfiture by him, . (c) A more literal statement of what is meant by this, . The waters on which the harlot sat represent a multitude of people subject to her control, . The ten horns, or the ten kingdoms, on the beast, would ultimately hate the harlot, and destroy her, as if they should eat her flesh, and consume her with fire, . This would be done because God would put it into their hearts to fulfil his purposes, alike in giving their kingdom to the beast, and then turning against it to destroy it, . The woman referred to is at last declared to be the great city which reigned over the kings of the earth, . For particularity and definiteness, this is one of the most remarkable chapters in the book, and there can be no doubt that it was the design in it to give such an explanation of what was referred to in these visions, that there could be no mistake in applying the description. "All that remains between this and the twentieth chapter," says Andrew Fuller, "would in modern publications be called notes of illustration. No new subject is introduced, but mere enlargement on what has already been announced."-- Works, vi. 205. Verse 1. And there came one of the seven angels which had the seven vials . . Reference is again made to these angels in the same manner in , where one of them says that he would show to John "the bride, the Lamb's wife." No particular one is specified. The general idea seems to be, that to those seven angels was entrusted the execution of the last things, or the winding up of affairs introductory to the reign of God, and that the communications respecting those last events were properly made through them. It is clearly quite immaterial by which of these it is done. The expression "which had the seven vials" would seem to imply that though they had emptied the vials in the manner stated in the previous chapter, they still retained them in their hands. And talked with me . Spake to me. The word talk would imply a more protracted conversation than occurred here. Come hither . Gr., δευρο--"here, hither." This is a word merely calling the attention, as we should say now " here ." It does not imply that John was to leave the place where he was. I will show thee . Partly by symbols, and partly by express statements: for this is the way in which, in fact, he showed him. The judgment . The condemnation and calamity that will come upon her. Of the great whore . It is not uncommon in the Scriptures to represent a city under the image of a woman--a pure and holy city under the image of a virgin or chaste female; a corrupt, idolatrous, and wicked city under the image of an abandoned or lewd woman. "How is the faithful city become an harlot." Compare Barnes on "Isa 1:8" . In it is expressly said that "this woman is that great city which reigneth over the kings of the earth"--that is, as I suppose, Papal Rome; and the design here is to represent it as resembling an abandoned female-- fit representative of an apostate, corrupt, unfaithful church. Compare Barnes on "Re 9:21" . That sitteth upon many waters . An image drawn either from Babylon, situated on the Euphrates, and encompassed by the many artificial rivers which had been made to irrigate the country, or Rome, situated on the Tiber. In , these waters are said to represent the peoples, multitudes, nations, and tongues over which the government symbolized by the woman ruled. . Waters are often used to symbolize nations.

Revelation of John 17:1-3

CHAPTER XVII ANALYSIS OF THE CHAPTER

THIS chapter properly commences a more detailed description of the judgment inflicted on the formidable Antichristian power referred to in the last chapter, though under a new image. It contains an account of the sequel of the pouring out of the last vial, and the description, in various forms, continues to the close of chap. xix. The whole of this description (chap. xvii.-xix.) constitutes the last great catastrophe represented under the seventh vial, Rev 16:17-21, at the close of which the great enemy of God and the church will be destroyed, and the church will be triumphant, Rev 19:17-21. The image in this chapter is that of a harlot, or abandoned woman, on whom severe judgment is brought for her sins. The action is here delayed, and this chapter has much the appearance of an explanatory episode, designed to give a more clear and definite idea of the character of that formidable Antichristian power on which the judgment was to descend. The chapter, without any formal division, embraces the following points:--

(1.) Introduction, Rev 17:1-3. One of the seven angels entrusted with the seven vials comes to John, saying that he would describe to him the judgment that was to come upon the great harlot with whom the kings of the earth had committed fornication, and who had made the dwellers upon the earth drunk by the wine of her fornication; that is, of that Antichristian power so often referred to in this book, which by its influence had deluded the nations, and brought their rulers under its control.

(2.) A particular description of this Antichristian powers represented as an abandoned and attractive female, in the usual attire of an harlot, Rev 17:3-6. She is seated on a scarlet-coloured beast, covered over with blasphemous names--a beast with seven heads and ten horns. She is arrayed in the usual gorgeous and alluring attire of an harlot, clothed in purple, decked with gold, and precious stones, and pearls, with a golden cup in her hand full of abomination and filthiness. She has on her forehead a name expressive of her character. She is represented as drunken with the blood of the saints, and is such as to attract attention

(3.) An explanation of what is meant by this scarlet-clothed woman, and of the design of the representation, Rev 17:7-18. This comprises several parts:

(a) A promise of the angel that he would explain this, Rev 17:7.

(b) An enigmatical or symbolical representation of the design of the vision, Rev 17:8-14. This description consists of an account of the beast on which the woman sat, Rev 17:8; of the seven heads of the beast, as representing seven mountains, Rev 17:9; of the succession of kings or dynasties represented, Rev 17:9-11; of the ten horns as representing ten kings or kingdoms giving their power and strength to the beast, Rev 17:12-13; and of the conflict or warfare of all these confederated or consolidated powers with the Lamb, and their discomfiture by him, Rev 7:14.

(c) A more literal statement of what is meant by this, Rev 17:15-18. The waters on which the harlot sat represent a multitude of people subject to her control, Rev 17:15. The ten horns, or the ten kingdoms, on the beast, would ultimately hate the harlot, and destroy her, as if they should eat her flesh, and consume her with fire, Rev 17:16. This would be done because God would put it into their hearts to fulfil his purposes, alike in giving their kingdom to the beast, and then turning against it to destroy it, Rev 17:17. The woman referred to is at last declared to be the great city which reigned over the kings of the earth, Rev 17:18. For particularity and definiteness, this is one of the most remarkable chapters in the book, and there can be no doubt that it was the design in it to give such an explanation of what was referred to in these visions, that there could be no mistake in applying the description. "All that remains between this and the twentieth chapter," says Andrew Fuller, "would in modern publications be called notes of illustration. No new subject is introduced, but mere enlargement on what has already been announced."-- Works, vi. 205.

Verse 1. And there came one of the seven angels which had the seven vials. Rev 15:1, 7. Reference is again made to these angels in the same manner in Rev 21:9, where one of them says that he would show to John "the bride, the Lamb's wife." No particular one is specified. The general idea seems to be, that to those seven angels was entrusted the execution of the last things, or the winding up of affairs introductory to the reign of God, and that the communications respecting those last events were properly made through them. It is clearly quite immaterial by which of these it is done. The expression "which had the seven vials" would seem to imply that though they had emptied the vials in the manner stated in the previous chapter, they still retained them in their hands.

And talked with me. Spake to me. The word talk would imply a more protracted conversation than occurred here.

Come hither. Gr., δευρο--"here, hither." This is a word merely calling the attention, as we should say now "here." It does not imply that John was to leave the place where he was.

I will show thee. Partly by symbols, and partly by express statements: for this is the way in which, in fact, he showed him.

The judgment. The condemnation and calamity that will come upon her.

Of the great whore. It is not uncommon in the Scriptures to represent a city under the image of a woman--a pure and holy city under the image of a virgin or chaste female; a corrupt, idolatrous, and wicked city under the image of an abandoned or lewd woman. Isa 1:21 "How is the faithful city become an harlot." Compare Barnes on "Isa 1:8". In Rev 16:18 it is expressly said that "this woman is that great city which reigneth over the kings of the earth"--that is, as I suppose, Papal Rome; and the design here is to represent it as resembling an abandoned female-- fit representative of an apostate, corrupt, unfaithful church. Compare Barnes on "Re 9:21". That sitteth upon many waters. An image drawn either from Babylon, situated on the Euphrates, and encompassed by the many artificial rivers which had been made to irrigate the country, or Rome, situated on the Tiber. In Rev 16:15, these waters are said to represent the peoples, multitudes, nations, and tongues over which the government symbolized by the woman ruled. Rev 16:15. Waters are often used to symbolize nations. Verse 2. With whom the kings of the earth have committed fornication. Spiritual adultery. The meaning is, that Papal Rome, unfaithful to God, and idolatrous and corrupt, had seduced the rulers of the earth, and led them into the same kind of unfaithfulness, idolatry, and corruption. Compare Jer 3:8-9, 5:7, 13:27, 23:14, Eze 16:32, 23:37, Hos 2:2 Hos 4:2. How true this is in history need not be stated. All the princes and kings of Europe in the dark ages and for many centuries were, and not a few of them are now, entirely under the influence of Papal Rome.

And the inhabitants of the earth have been made drunk with the wine of her fornication. The alluring cup which as an harlot she had to said extended them. See this image explained in Barnes on "Re 14:8". There it is that Babylon--referring to the same thing--had "made them drink of the wine of the wrath of her fornication;" that is, of the cup that led to wrath or punishment. Here it is said that the harlot had made them "drunk with the wine of her fornication;" that is, they had been, as it were, intoxicated by the alluring cup held out to them. What could better describe the influence of Rome on the people of the world, in making them, under these delusions, incapable of sober judgment, and in completely fascinating and controlling all their powers?

(c) "whom the kings of the earth" Rev 18:3 (a) "scarlet-coloured beast" Rev 12:3 (b) "having seven heads" Rev 13:1 Verse 3. So he carried me away in the spirit. In vision. He seemed to himself to be thus carried away; or the scene which he is about to describe was made to pass before him as if he were present.

Into the wilderness. Into a desert. Compare Barnes on "Re 12:6". Why this scene is laid in a wilderness or desert is not mentioned. Prof. Stuart supposes that it is because it is "appropriate to symbolize the future condition of the beast." So De Wette and Rosenmuller. The imagery is changed somewhat from the first appearance of the harlot in Rev 17:1. There she is represented as "sitting upon many waters." Now she is represented as "riding on a beast," and, of course, the imagery is adapted to that. Possibly there may have been no intentional significancy in this; but on the supposition, as the interpretation has led us to believe all along, that this refers to Papal Rome, may not the propriety of this be seen in the condition of Rome and the adjacent country, at the rise of the Papal power? That had its rise (Dan 7:25 seq.) after the decline of the Roman civil power, and properly in the time of Clovis, Pepin, or Charlemagne. Perhaps its first visible appearance as a power that was to influence the destiny of the world, was in the time of Gregory the Great, A. D. 590-605. On the supposition that the passage before us refers to the period when the Papal power became thus marked and defined, the state of Rome at this time, as described by Mr. Gibbon, would show with what propriety the term wilderness or desert might be then applied to it. The following extract from this author, in describing the state of Rome at the accession of Gregory the Great, has almost the appearance of being a designed commentary on this passage, or is, at any rate, such as a partial interpreter of this book would desire and expect to find. Speaking of that period, he says, (Decline and Fall, iii. 207-211:) "Rome had reached, about the close of the sixth century, the lowest period of her depression. By the removal of the seat of empire, and the successive loss of the province, the sources of private and public opulence were exhausted; the lofty tree under whose shade the nations of the earth had reposed was deprived of its leaves and branches, and the sapless trunk left to wither on the ground. The ministers of command and the messengers of victory no longer met on the Appian or Flaminian way; and the hostile approach of the Lombards was often felt and continually feared. The inhabitants of a potent and peaceful capital, who visit without an anxious thought the garden of the adjacent country, will faintly picture in their fancy the distress of the Romans; they shut or opened their gates with a trembling hand, beheld from the walls the flames of their houses, and heard the lamentations of their brethren who were coupled together like dogs, and dragged away into distant slavery beyond the sea and the mountains. Such incessant alarms must annihilate the pleasures, and interrupt the labours of rural life; and the Campagna of Rome was speedily reduced to the state of a dreary WILDERNESS, in which the land is barren, the waters are impure, and the air infectious. Curiosity and ambition no longer attracted the nations to the capital of the world; but if chance or necessity directed the steps of a wandering stranger, he contemplated with horror the vacancy and solitude of the city; and might be tempted to ask, where is the Senate, and where are the people?

In a season of excessive rains, the Tiber swelled above its banks, and rushed with irresistible violence into the valleys of the seven hills. A pestilential disease arose from the stagnation of the deluge, and so rapid was the contagion that fourscore persons expired in an hour in the midst of a solemn procession which implored the mercy of heaven. A society in which marriage is encouraged, and industry prevails, soon repairs the accidental losses of pestilence and war; but as the far greater part of the Romans was condemned to hopeless indigence and celibacy, the depopulation was constant and visible, and the gloomy enthusiasts might expect the approaching failure of the human race. Yet the number of citizens still exceeded the measure of subsistence; their precarious food was supplied from the harvests of Sicily and Egypt; and the frequent repetition of famine betrays the inattention of the emperor to a distant province.

The edifices of Rome were exposed to the same ruin and decay; the mouldering fabrics were easily overthrown by inundations, tempests, and earthquakes; and the monks who had occupied the most advantageous stations exulted in their base triumph over the ruins of antiquity.

"Like Thebes, or Babylon, or Carthage, the name of Rome might have been erased from the earth, if the city had not been animated by a vital principle which again restored her to honour and dominion. The power as well as the virtue of the apostles revived with living energy in the breasts of their successors; and the chair of St. Peter under the reign of Maurice, was occupied by the first and greatest of the name of Gregory. The sword of the enemy was suspended over Rome; it was averted by the mud eloquence and seasonable gifts of the Pontiff, who commanded the respect of heretics and barbarians." Compare Rev 13:3,12-15. On the supposition now that the inspired author of the Apocalypse had Rome in that state when the civil power, declined and the Papacy arose in his eye, what more expressive imagery could he have used to denote it than he has employed" On the supposition--if such a supposition could be made--that Mr. Gibbon meant to furnish a commentary on this passage, what more appropriate language could he have used? Does not this language look as if the author of the Apocalypse and the author of the "Decline and Fall" meant to play into each other's hands?

And in further confirmation of this, I may refer to the testimony of two Roman Catholic writers, giving the same view of Rome, and showing that, in their apprehension also, it was only by the reviving influence of the Papacy that Rome was saved from becoming a total waste. They are both of the middle ages. The first is Augustine Steuchus, who thus writes: "The empire having been overthrown, unless God had raised up the Pontificate, Rome, resuscitated and restored by none, would have become uninhabitable, and been a most foul habitation thenceforward of cattle. But in the Pontificate it revived as with a second birth; its empire in magnitude, not indeed equal to the old empire, but its form not very dissimilar: because all nations, from East and from West, venerate the Pope, not otherwise than they before obeyed the Emperors." The other is Flavio Blondas: "The princes of the world now adore and worship as Perpetual Dictator the successor not of Caesar but of the Fisherman Peter; that is, the Supreme Pontiff, the substitute of the aforesaid Emperor." See the original in Elliott, iii. 113.

And I saw a woman. Evidently the same which is referred to in Rev 17:1.

Sit upon a scarlet-coloured beast. That is, either the beast was itself naturally of this colour, or it was covered with trappings of this colour. The word scarlet properly denotes a bright red colour-- brighter than crimson, which is a red colour tinged with blue. Isa 1:18. The word here used--κοκκινον--occurs in the New Testament only in the following places: Mt 27:28, Heb 9:19 Rev 17:3-4, 18:12,16, in all which places it is rendered scarlet. Mt 27:28; Heb 9:19. The colour was obtained from a small insect which was found adhering to the, shoots of a species of oak in Spain and Western Asia. This was the usual colour in the robes of princes, military cloaks, etc. It is applicable in the description of Papal Rome, because this is a favourite colour there. Thus it is used in Rev 12:3, where the same power is represented under the image of a "red dragon." Rev 12:3. It is remarkable that nothing would better represent the favourite colour at Rome than this, or the actual appearance of the pope, the cardinals, and the priests in their robes, on some great festival occasion. Those who are familiar with the descriptions given of Papal Rome by travellers, and those who have passed much time in Rome, will see at once the propriety of this description, on the supposition that it was intended to refer to the Papacy. I caused this inquiry to be made of an intelligent gentleman who had passed much time in Rome--without his knowing my design--what would strike a stranger on visiting Rome, or what would be likely particularly to arrest his attention as remarkable there; and he unhesitatingly replied, "the scarlet colour." This is the colour of the dress of the cardinals--their hats, and cloaks, and stockings being always of this colour. It is the colour of the carriages of the cardinals, the entire body of the carriage being scarlet, and the trappings of the horses the same. On occasion of public festivals and processions, scarlet is suspended from the windows of the houses along which processions pass. The inner colour of the cloak of the pope is scarlet; his carriage is scarlet; the carpet on which he treads is scarlet. A large part of the dress of the body-guard of the pope is scarlet; and no one can take up a picture of Rome without seeing that this colour is predominant. I looked through a volume of engravings representing the principal officers and public persons of Rome. There were few in which the scarlet colour was not found as constituting some part of their apparel; in not a few the scarlet colour prevailed almost entirely. And in illustration of the same thought, I introduce here an extract from a foreign newspaper, copied into an American newspaper of Feb. 22, 1851, as an illustration of the fact that the scarlet colour is characteristic of Rome, and of the readiness with which it is referred to in that respect: "Curious Costumes.--The three new cardinals, the archbishops of Thoulouse, Rheims, and Besancon, were presented to the President of the French Republic by the Pope's Nuncio. They wore red caps, red stockings, black Roman coats lined and bound with red, and small cloaks." I conclude, therefore, that if it be admitted that it was intended to represent Papal Rome in the vision, the precise description would have been adopted which is found here.

Full of names of blasphemy. All covered over with blasphemous titles and names. What could more accurately describe Papal Rome than this? Compare for some of these names and titles, Barnes on "2Th 2:4"; 1Timm 4:1, seq. Rev 13:1, Rev 13:5.

Having seven heads and ten horns. Rev 13:1.

(1) "decked" "golded" (c) "fornication" Jer 51:7