Analysis Of The Chapter
This chapter Revelation 17 properly commences a more detailed description of the judgment inflicted on the formidable anti-Christian 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 Revelation 19. The whole of this description Rev. 17–19 constitutes the last great catastrophe represented under the seventh vial Revelation 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, Revelation 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 anti-Christian power on which the judgment was to descend. The chapter, without any formal division, embraces the following points:
(1) Introduction, Revelation 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 anti-Christian 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 anti-Christian power represented as an abandoned and attractive female, in the usual attire of an harlot, Revelation 17:3-6. She is seated on a scarlet-colored 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 and excite wonder.
(3) An explanation of what is meant by this scarlet-clothed woman, and of the design of the representation, Revelation 17:7-18. This comprises several parts:
(a) A promise of the angel that he would explain this, Revelation 17:7.
(b) An enigmatical or symbolical representation of the design of the vision, Revelation 17:8-14. This description consists of an account of the beast on which the woman sat, Revelation 17:8; of the seven hcads of the beast, as representing seven mountains, Revelation 17:9; of the succession of kings or dynasties represented, Revelation 17:9-11; of the ten horns as representing ten kings or kingdoms giving their power and strength to the beast, Revelation 17:12-13; and of the conflict or warfare of all these confederated or consolidated powers with the Lamb, and their discomfiture by him, Revelation 17:14.
(c) A more literal statement of what is meant by this, Revelation 17:15-18. The waters on which the harlot sat represent a multitude of people subject to her control, Revelation 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, Revelation 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, Revelation 17:17. The woman referred to is at last declared to be the great city which reigned over the kings of the earth, Revelation 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, 6:205).