About Revelation

Revelation unveils the ultimate victory of Christ over evil, the final judgment, and the glorious future awaiting believers in the new heaven and new earth.

Author: John the ApostleWritten: c. AD 95Reading time: ~3 minVerses: 27
Return of ChristJudgmentVictoryWorshipNew CreationPerseverance

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King James Version

Revelation 21

27 verses with commentary

The New Heaven and New Earth

And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea.

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And I saw a new heaven and a new earth (καινὸν οὐρανὸν καὶ γῆν καινήν)—John uses kainos (new in quality, fresh) not neos (new in time), indicating not mere replacement but transformation and renewal. This fulfills Isaiah 65:17's prophecy: 'I create new heavens and a new earth.' Peter likewise describes heavens and earth renewed by fire (2 Peter 3:10-13).

For the first heaven and the first earth were passed away (ὁ πρῶτος οὐρανὸς καὶ ἡ πρώτη γῆ ἀπῆλθαν)—The verb apēlthan (departed, passed away) indicates not annihilation but transformation. The creation cursed by sin (Genesis 3:17-19, Romans 8:20-22) gives way to restored glory, the 'regeneration' Jesus promised (Matthew 19:28).

And there was no more sea (καὶ ἡ θάλασσα οὐκ ἔστιν ἔτι)—In Hebrew cosmology, the sea symbolized chaos, danger, and separation (the primordial deep of Genesis 1:2). In Revelation, the sea yields the dead (20:13) and births the beast (13:1). Its absence signifies complete order, safety, and unhindered access to God—no barrier between the nations and the Lamb's throne.

And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband.

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And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. The vision opens with the holy city (τὴν πόλιν τὴν ἁγίαν, tēn polin tēn hagian), emphasizing not a renovated earthly Jerusalem but an entirely new creation. The phrase coming down from God out of heaven (καταβαίνουσαν ἐκ τοῦ οὐρανοῦ ἀπὸ τοῦ θεοῦ, katabainousan ek tou ouranou apo tou theou) shows divine origin—this city is God's gift, not human achievement.

The bride imagery (ἡτοιμασμένην ὡς νύμφην κεκοσμημένην, hētoimasmenēn hōs nymphēn kekosmēmenēn—'prepared as a bride adorned') fulfills Old Testament marriage metaphors (Isaiah 54:5, 62:5; Ezekiel 16:8-14) and Paul's teaching that the church is Christ's bride (Ephesians 5:25-27). The perfect passive participles 'prepared' and 'adorned' indicate God's complete and finished work—the church's holiness comes from Christ's sanctifying work, not her own efforts. This is the consummation of redemptive history: God dwelling with His glorified people in perfect covenant union.

And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God.

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Behold, the tabernacle of God is with men, and he will dwell with them (ἡ σκηνὴ τοῦ θεοῦ μετὰ τῶν ἀνθρώπων)—the Greek skēnē (tabernacle) evokes the wilderness Tabernacle where God's glory dwelt (Exodus 40:34-35). This is the ultimate fulfillment of Immanuel—"God with us" (Matthew 1:23). The verb skēnoō (to dwell/tabernacle) recalls John 1:14: "The Word became flesh and dwelt [tabernacled] among us."

They shall be his people, and God himself shall be with them—this is the consummation of the covenant formula repeated throughout Scripture (Leviticus 26:12; Jeremiah 31:33; Ezekiel 37:27; 2 Corinthians 6:16). What began in Eden, was interrupted by sin, promised to Abraham, pictured in the Tabernacle, violated by Israel, and inaugurated through Christ's incarnation now reaches its eternal perfection. The phrase "God himself" (αὐτὸς ὁ θεὸς) emphasizes the unmediated presence—no temple, no veil, no priesthood needed (Revelation 21:22).

This verse is the theological climax of redemptive history: God dwelling directly with His redeemed people in perfect covenant relationship forever. Every previous "dwelling"—Eden, Tabernacle, Temple, Incarnation—was a shadow of this reality.

And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.

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And God shall wipe away all tears from their eyes (καὶ ἐξαλείψει ὁ θεὸς πᾶν δάκρυον)—The verb exaleipsei means to "wipe out, erase completely," the same word used for blotting out sin (Acts 3:19, Col 2:14). God Himself performs this most tender act, echoing Isaiah 25:8. This is not mere comfort but complete obliteration of sorrow's cause.

There shall be no more death, neither sorrow, nor crying, neither...any more pain—A fourfold negation dismantling the curse of Genesis 3. Thanatos (death), penthos (mourning/grief), krauge (crying out in distress), and ponos (pain/toil) are permanently abolished. The repeated ouketi ("no more, no longer") emphasizes finality. What Adam's sin introduced, the Second Adam's victory eradicates forever.

For the former things are passed away (ὅτι τὰ πρῶτα ἀπῆλθαν)—Perfect tense: they "have gone away and remain gone." This is the eternal state, not the millennial kingdom. Paul's "old things passed away, all things become new" (2 Cor 5:17) finds ultimate fulfillment here. The new creation eclipses the first creation as fully as resurrection bodies surpass mortal flesh.

And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful.

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"Behold, I make all things new" (ἰδοὺ καινὰ ποιῶ πάντα, idou kaina poiō panta)—The One on the throne declares total cosmic renewal. The Greek kainos means qualitatively new, not merely recent (neos), pointing to unprecedented newness. This echoes Isaiah 43:19 and 65:17 but exceeds it: not repair but re-creation. Significantly, God speaks in present tense—"I make" (poiō)—showing the certainty of future reality spoken as accomplished fact.

"Write: for these words are true and faithful" (Γράψον, ὅτι οὗτοι οἱ λόγοι πιστοὶ καὶ ἀληθινοί εἰσιν)—The command to write (grapson) appears seven times in Revelation, marking crucial revelations. The dual affirmation pistoi kai alēthinoi (faithful and true) uses Christ's own title from 19:11, authenticating these words as God's own character-backed promises. This isn't wishful thinking but divine decree from the One who cannot lie (Titus 1:2).

And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely.

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And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

He that overcometh shall inherit all things; and I will be his God, and he shall be my son. all things: or, these things

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He that overcometh shall inherit all things; and I will be his God, and he shall be my son.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.

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But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimst... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

The New Jerusalem

And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb's wife.

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And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb's wife.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God,

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And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God,... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal;

View commentary
Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal;... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel:

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And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel:... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

On the east three gates; on the north three gates; on the south three gates; and on the west three gates.

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On the east three gates; on the north three gates; on the south three gates; and on the west three gates.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb.

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And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof.

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The measuring rod of gold indicates the precision and value of New Jerusalem's dimensions. Measuring symbolizes God's ownership and sovereignty—He defines the city's extent and inhabitants. Gold represents purity and divine glory. The angel's measurement demonstrates that the new creation has definite, ordained form according to God's design. Reformed theology sees this as God's meticulous preparation of eternal dwelling for the elect. Unlike earthly cities with random growth, this city reflects perfect divine planning. Every measurement reveals intentional design.

And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed , twelve thousand furlongs. The length and the breadth and the height of it are equal.

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The city's cubic shape (length, breadth, height equal at 12,000 furlongs/stadia) echoes the Holy of Holies' cubic form (1 Kings 6:20), but magnified to contain the entire redeemed community. The number 12,000 (12 × 1,000) symbolizes completeness—12 tribes, 12 apostles, multiplied by 1,000 (fullness). Reformed theology sees the cube as representing perfect holiness—the entire city is now God's dwelling, not confined to a temple's inner sanctum. The enormous dimensions (about 1,400 miles) emphasize abundant space for all the redeemed. God's dwelling with humanity is now unrestricted and comprehensive.

And he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel.

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The wall's measurement (144 cubits, about 216 feet) uses another multiple of 12 (12 × 12), symbolizing perfection and completion. The 'measure of a man, that is, of the angel' clarifies that though an angel measures, the standard is human-understandable. Reformed theology sees the wall representing security—the city needs no defensive fortification since enemies are absent, yet God's protection is complete. The specific measurement demonstrates that every detail of the new creation is ordained and perfect. Nothing is random or approximate.

And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass.

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Jasper wall construction represents clarity and brilliance. Jasper (see 4:3) resembles God's appearance—clear as crystal, allowing divine glory to shine through unhindered. The city being pure gold, transparent as glass, combines maximum value with complete transparency. This unprecedented description defies earthly physics, indicating transformed reality where matter itself reflects divine glory. Reformed theology sees this as creation freed from corruption's curse (Romans 8:21), displaying God's glory without obstruction. The transparency suggests nothing hidden—perfect holiness allows complete openness.

And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald;

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The twelve foundation stones adorned with precious stones recalls the high priest's breastplate (Exodus 28:17-20) representing Israel's twelve tribes. Here they represent the twelve apostles (v. 14), showing the church's foundation is apostolic teaching. Each stone's unique color and beauty demonstrates diversity within unity. Reformed theology emphasizes Scripture's foundation for the church—apostolic witness recorded in New Testament. The precious stones represent the incalculable value of this foundation. The foundations' visibility (unlike earthly buildings) shows the church's basis is openly displayed.

The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst.

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The continuation of foundation stones' description emphasizes comprehensive beauty and variety. The specific stones (sardonyx, sardius, chrysolite, beryl, topaz, chrysoprase, jacinth, amethyst) showcase different colors and properties, demonstrating that the foundation's beauty is multifaceted. Each stone's uniqueness within the unified foundation illustrates unity in diversity. Reformed theology sees this as the church's catholicity—diverse members united on one foundation. The precious nature of all twelve emphasizes that apostolic witness is uniformly valuable, not ranking some higher than others.

And the twelve gates were twelve pearls; every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass.

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Twelve gates of single pearls represent access points to the city, corresponding to twelve tribes (v. 12). Pearls form through irritation producing beauty—apt symbol for the church formed through suffering producing glory. The street being pure transparent gold emphasizes that even common areas share the city's glory. Reformed theology sees open gates (v. 25) as demonstrating unrestricted access to God's presence for all the redeemed. The single pearl per gate (each massive enough to form a gate) exceeds earthly possibility, indicating supernatural provision.

The River of Life

And I saw no temple therein : for the Lord God Almighty and the Lamb are the temple of it.

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And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof.

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And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it.

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And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And the gates of it shall not be shut at all by day: for there shall be no night there.

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And the gates of it shall not be shut at all by day: for there shall be no night there.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

And they shall bring the glory and honour of the nations into it.

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Nations bringing their glory and honor into the city indicates that redeemed cultural achievements are preserved and sanctified in the new creation. Reformed theology affirms that redemption restores and perfects creation rather than annihilating it. The nations' contributions show that diverse peoples each bring unique gifts to glorify God. This fulfills prophetic visions (Isaiah 60:5, 11) of nations streaming to Zion. The absence of night (v. 25) means continuous worship and activity—no need for rest from labor since work is now perfectly fulfilling.

And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb's book of life.

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And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb's book of life.... This verse from Revelation's vision of new heaven, new earth, new jerusalem - eternal state, god dwelling with his people employs apocalyptic imagery rich with Old Testament allusions and symbolic meaning. The Greek text uses vivid apocalyptic language characteristic of Jewish prophetic literature, drawing heavily from Daniel, Ezekiel, Isaiah, and Zechariah.

The symbolism must be interpreted within its first-century context while recognizing timeless spiritual realities. The imagery would resonate powerfully with persecuted believers facing Roman imperial cult worship, providing hope that despite present suffering, Christ reigns sovereign and will consummate His kingdom. The apocalyptic genre uses symbolic numbers (seven, twelve, 144,000), colors, beasts, and cosmic imagery to convey theological truth rather than photographic descriptions.

Christologically, Revelation consistently exalts Jesus as the victorious Lamb, the faithful witness, the King of kings and Lord of lords. Every vision ultimately points to Christ's supremacy, His finished redemptive work, and His certain return to judge the living and dead and establish the new creation.

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