Why is apocalyptic literature so strange?

Response

Apocalyptic literature represents a distinct form of prophecy, primarily utilizing symbols and imagery to foretell calamity and devastation. It often features peculiar descriptions and unconventional imagery, such as the fearsome, iron-toothed beast in Daniel 7, the long-haired locusts with human faces in Revelation 9, and the four-faced creatures in Ezekiel 1.

This genre encompasses depictions of the world’s end and typically portrays grand, catastrophic events. Within the Old Testament, books like Ezekiel, Daniel, and Zechariah incorporate elements of apocalyptic literature. Similarly, certain passages in the New Testament, such as 2 Thessalonians 2, Mark 13, and Matthew 24, also exhibit apocalyptic characteristics. Notably, the entire book of Revelation is apocalyptic; indeed, the Greek term “apocalypse” translates to “revelation.”

The peculiarities found in apocalyptic literature may arise from the challenge of elucidating events that were incomprehensible to the observer, or perhaps the visions of the writers were genuinely as extraordinary as depicted. Furthermore, the subject matter itself contributes to the unusual nature of apocalyptic literature. Given that “the end of the world” inherently involves extraordinary occurrences, particularly in works where a final judgment or justice is meted out. As divine intervention disrupts the natural order to facilitate this judgment, earthly events are portrayed as exceedingly abnormal.

Another factor contributing to the enigmatic quality of apocalyptic literature is the extensive use of symbolism. Both biblical and non-biblical apocalyptic texts heavily rely on symbols to convey their messages. Consequently, many events are depicted through metaphors rather than literal descriptions. For example, in the book of Revelation, John portrays a woman adorned with the sun, experiencing birth pangs, while a dragon lurks, poised to harm her child (Revelation 12:1-4). Elsewhere, John describes a beast from the sea with seven heads and ten horns «And I stood upon the sand of the sea, and saw a beast rise up out of the sea, having seven heads and ten horns, and upon his horns ten crowns, and upon his heads the name of blasphemy. », (Revelation 13:1). Readers of the genre would recognize these as symbols, not as literal creatures. The otherworldly descriptions serve as clues pointing toward some future person, thing, or event.

Another possible reason for the strange language in apocalyptic literature is the difficulty inherent in explaining the future. If, for instance, John actually saw things such as tanks, airplanes, nuclear weapons, or televisions, how would he explain them? What would he call an air-to-ground missile, using only his own vocabulary? Would he even know what they were or how to tell others about them? More than likely, John’s descriptions would be of what those things might look like to someone of his time, such as animals, stars, or spells.

More than likely, whatever visions an apocalyptic writer had were literal visions, faithfully recorded, but the visions themselves were conveyed metaphorically. That is, God chose to show the writers symbols rather than literal people or things. Perhaps John really did visualize a woman wearing the sun, and he really did see a dragon with multiple heads, since those were the symbols God wanted him to relate in Revelation.

Biblical apocalyptic literature is generically similar to other works of its type, but with some important differences. Most writing of this type is anonymous and vague about whom it addresses. This was often due to the purpose of apocalyptic writing: to send a subversive message from a fictional prophet of the past. But in the case of John, the writer explicitly identifies himself (Revelation 1:1-2) directs the message to specific people in (Revelation 1:9-10) and writes many centuries before the fulfillment occurred in (Revelation 22:8-10). The content of apocalyptic literature is indeed peculiar, but not more so than one would anticipate for that genre and subject matter.