Apocalyptic

It may seem odd to suggest that the book entitled Apocalupsis does not belong to the genre of literature commonly referred to as apocalyptic. Nonetheless that is my suggestion here. The term employed in the title of the book denotes a revelation or disclosure.¹ While this particular revealing or disclosing describes a broad swathe of eschatological events, it is not its own literary genre.

Apocalyptic as a genre is described as “characteristically pseudonymous; it takes narrative form, employs esoteric language, expresses a pessimistic view of the present, and treats the final events as imminent.”² Henry Barclay Swete (Cambridge), even while arguing that Revelation is apocalyptic literature, admits that the book differs from that genre, in that the book of Revelation (1) is not pseudepigraphic, (2) engages a specific audience (seven churches), (3) has a significant church focus, rather than a purely Israel nation-centered focus, and (4) includes notes of insight and foresight that are more indicative of inspiration than is found in earlier extra-biblical apocalyptic literature.³

Read the series.

Read the series.

Some Major Characteristics of Apocalyptic (with Responses)

Take up any book on the subject and you will be told that the many features of apocalyptic literature can scarcely if ever be found in one single work. Indeed, a piece of apocalyptic can be absent many of the list of characteristics. Still, it is worth trying to get at the criteria. Brent Sandy has provided a list of eleven characteristics (twelve if one includes pseudonymity) of the genre:¹ I have added some comments to temper them a bit.

Read the series.

Going Far Beyond the Bible

All of the major advocates of apocalyptic gather data, albeit not exclusively, from outside of the Bible. Brent Sandy demonstrates his procedure of going beyond Scripture when he says, “In order to understand the language of apocalyptic, we must review the period of world history relevant to Daniel 8 and then examine Daniel’s language.”¹ He is not alone. Notice what is entailed in this statement about the genre:

Read the series.

This is a draft chapter from the forthcoming book The Words of the Covenant.

Author’s note: This article reproduces and modifies some of the chapter on “Covenant and Apocalyptic” in the book I am writing. It is therefore not meant to be a full exploration of the subject.

If you have been keeping abreast of evangelical treatments of the books of Daniel, Ezekiel, and Zechariah, or the Olivet Discourse or Book of Revelation you will have run into the term “Apocalyptic literature.” It’s the favorite go-to for anyone who wants to stop the mouths of the prophets while sounding scholarly.

It may seem odd to suggest that the book entitled Apocalupsis in Greek does not belong to the genre of literature commonly referred to as apocalyptic; nonetheless that is my suggestion here. The term employed in the title of the book denotes a revelation or disclosure.¹ While this particular revealing or disclosing describes a broad swathe of eschatological events, it is not its own literary genre.

Apocalyptic as a genre is described as “characteristically pseudonymous; it takes narrative form, employs esoteric language, expresses a pessimistic view of the present, and treats the final events as imminent.”² Henry Barclay Swete (Cambridge), even while arguing that Revelation is apocalyptic literature, admits that the book differs from that genre in that the book of Revelation (1) is not pseudepigraphic, (2) it engages a specific audience (seven churches), (3) has a significant church focus, rather than a purely Israel nation-centered focus, and (4) includes notes of insight and foresight that are more indicative of inspiration than is found in earlier extra-biblical apocalyptic literature.³