This chapter, Revelation 1, contains a general introduction to the whole book, and comprises the following parts:
I. The announcement that the object of the book is to record a revelation which the Lord Jesus Christ had made of important events which were shortly to occur, and which were signified by an angel to the author, John, Revelation 1:1-3. A blessing is pronounced on him who should read and understand the book, and special attention is directed to it because the time was at hand when the predicted events would occur.
II. Salutation to the seven churches of Asia, Revelation 1:4-8. To those churches, it would seem from this, the book was originally dedicated or addressed, and two of the chapters Rev. 2–3 refer exclusively to them. Among them evidently the author had resided Revelation 1:9, and the whole book was doubtless sent to them, and committed to their keeping. In this salutation, the author wishes for them grace, mercy, and peace from “him which is, and which was, and which is to come” - the original fountain of all light and truth - referring to the Father; “from the seven Spirits which are before the throne” - referring to the Holy Spirit (see the note on Revelation 1:4), by whom all grace is communicated to people; and from the Lord Jesus Christ, by whom the revelation is imparted. As it is his revelation, as it is designed especially to glorify him, and as it predicts the final triumph of his religion, the author appends to this reference to him a special ascription of praise, Revelation 1:5-8. He refers to the great work which he had done for his people in redeeming them, and making them kings and priests to God; he assures those to whom he wrote that he would come in glory to the world again, and that all eyes would see him; and he represents the Redeemer himself as applying to his own person a title - “Alpha and Omega,” “the beginning and the ending” - which indicates his exalted nature, and his supreme authority.
III. The commission of the writer, or his authority for thus addressing the churches of Asia, Revelation 1:9-20. His authority to do this is derived from the fact that the Lord Jesus had appeared to him personally in his exile, and had directed him to reveal what he saw in vision, and to send it to those churches. The statement of this commission is made as impressive as it well could be:
(a) The writer was an exile - banished to a lonely island on account of the common faith, Revelation 1:9.
(b) On the day of Christian rest - the day set apart to the memory of the Saviour, and which he sacredly observed in his solitude as holy time - when in the spirit of calm contemplation on the truths appropriate to this day, he suddenly heard the voice of his Redeemer, like a trumpet, commanding him to record what he saw, and to send it to the seven churches of Asia, Revelation 1:10-11.
(c) Then follows Revelation 1:12-18 a magnificent description of the appearance of the Saviour, as he appeared in his glory. He is seen standing in the midst of seven golden candlesticks, clothed in a long white robe, girded with a girdle of gold, his hair white, his eyes like a flame of fire, his feet like brass, and his voice like the roaring of mighty waters. In his hand are seven stars, and from his mouth goes a sharp sword, and his countenance is like the sun in the full splendor of its shining. John falls at his feet as if he were dead; and the Saviour lays his right hand upon him, and animates him with the assurance that though he had himself been dead he is now alive, and would forever live, and that he has the keys of hell and death.
(d) Then follows the commission itself, Revelation 1:19-20. He was to make a record of the things which he saw. He was especially to unfold the meaning of the seven stars which he saw in the right hand of the Saviour, and of the seven golden candlesticks, as referring to the seven churches of Asia Minor; and was then to describe the series of visions which pertained to the future history and destiny of the church at large.
In the scene represented in this chapter, there is some imagery which would be suggested by the arrangements in the temple at Jerusalem, and it has been supposed (Elliott, i., 72, 73) that the vision was laid there, and that Christ is represented as walking among the seven lamps “habited as the ancient high priest.” But the vision is not such an one as would have been presented in I the holy place in the temple. In that place there was but one lampstand, with seven sconces; here, there were seven separate lampstands; there were there no “stars,” and the vestments of the Jewish high priest were not those in which the Saviour is represented as appearing. He had no mitre, no ephod, no breastplate, and no censer. The object was not to represent Christ as a priest, or as superseding the Jewish high priest, but to represent him with costume appropriate to the Son of God - as having been raised from the dead, and received to the glory of heaven.
His vestments are neither those of a prophet, a king, nor a priest; not with such garments as the ancient prophets wore, nor with crown and scepter such as monarchs bear, nor yet with the usual habiliments of a priest. He appears as the Son of God, irrespective of the offices that he bears, and comes as the glorified Head of the Church to declare his will in regard to the seven churches of Asia, and to disclose the future for the guidance and comfort of his church at large. The scene appears to be laid at Patmos, and the apostle in the vision of the Saviour does not appear to have regarded himself as transferred to any other place. The view which is to be kept before the mind in the description of “the things that are” Rev. 2–3, is that of seven burning lamps, and the Son of God standing among them. Thus, amidst these lamps, representing the churches, he dictates to the apostle what he shall write to the churches; thus, with seven stars in his hand, representing the angels of the churches, he dictates what shall be said to them. Is it unnatural to suppose that the position of those lamps might have been arranged in the vision in a manner resembling the geographical position of the churches themselves? If so, the scene would be more significant, and more sublime.