element running through it. It is like the relating

of a Drama.

It is a narrative of scenes and acts

which passed before the eye of the Seer.

THE PERSONS OF THE DRAMA.

In this communication of the Eternal Father to his people there are three persons through whom it comes, Jesus Christ, the Angel, S. John. Readers and hearers are of course assumed.

I. Christ appears as the Lamb in the midst of the Throne; the Rider sitting on the White Horse ; the Boy, the Seed of the Woman, the predestined Shepherd of the Nations; the Lamb on Sion; the Reaper of the earth; as mounted again on his White Horse at the head of the heavenly armies ; as the Judge; as occupying one Throne with God. 2. The enemies of Christ are:

First, the Destroyer.

This Destroyer evokes other agents from earth and sea; the Wild Beast, his False Prophet, the Figure made on earth, animated by the False Prophet and worshipped. Each of these breathes out another Tempting Power. Then comes the Woman and the Scarlet Wild Beast. As Christ is presented, not

completely, but as completely as each subordinate vision requires, so in order to present as complete an idea as possible of his enemies they also are brought before us under very diverse and thoroughly characteristic aspects. They, too, can only enter a Divine Drama in the form of Beings. Such representations of foes are the two Riders who ride across the heavens in the wake of the Conqueror and the Destroyer.

3. The organic Priesthood is represented as vested in Angels, just as the oversight of the Churches is so represented in the Angels of the Seven introductory Letters. The Priesthood of the whole is found in those Blessed ones who have part in the First Resurrection.

The organic human Priesthood may become corrupt. It is thus the Dispenser or Steward of God becomes a power adverse to his Master and Author. He is the Third Rider (6: 5, 6).

4. There is a Fourth Figure,-the last Enemy which will be destroyed,—Death.

universal.

The impersonation of Death as a living enemy is Such impersonation is necessary to bring principles up to the possibilities of representation on their own true level. Thus Eschylus has Violence and Might rivetting the limbs of Prometheus, and Euripides has Death in dialogue with Apollo.

5. The process of the conversion of man to God is not described. It is the assumed fact of the whole book. To the last the People of God are living on in the midst of the Great World City. It is not till the immediate approach of its overthrow an Exodus is proclaimed.

The thought of the Four Principles dramatized in the book is consistent through the whole of it.

The White-horsed crowned Christ (6:2) is thefinal Conqueror (19:11). The Red-horsed Destroyer, and the False Steward of the Black-horse who depraves religion (6:3-6) are analyzed in the developed action into the Red Dragon, the Wild Beast of the Sea, the False Prophet or Wild Beast of the Land (19:19; 20:10; 13:11), and the Scarlet Queen with her Wild Beast who perhaps is the Dragon reappearing (17:3). The Destroyer and all his destroying and corrupting agents are shown first under the image of the Red and Black Riders. They are conquered and perish (19:19,20; 20:10). The Death and Hades of the Pale Horse (6:7,8) restore their victims (20:13) and perish also (20:14).

THE ANGEL-GUIDE AND S. JOHN.

This Angel takes his part in the several scenes according to the purpose of his Master and when his part is done he twice comes to the side of S. John and takes him with him to show him the Two Cities. Up to this time he has his eye on him and directs him by word. When he comes to him he

each time says: "Here, I will show you."

The Angel has his commission to guide and to exhibit, S. John has his to note and write down the Revelation. He is represented as having the book in which he is to write with him throughout the

scenes.

THE SCENE.

The external world in which, for us, spiritual facts become known is not altered. But real beings and real regions, to us commonly invisible, become visible, and besides certain things are added, that is, certain material forms are exhibited which stand for physical and spiritual and political abstractions. For, in an Apocalypse, abstractions may wear forms of cities, persons, monsters.

The vast and immeasurable stage here brought out plainly to our view has nothing to do with playwright or artist. The universal soul of man recognizes it and that is enough. All is unmeasured alike in space and time.

The scene is shifted at three different points. The Island of Patmos is first brought to view, then earth and heaven as they are seen and understood by an ordinary looker on, then a fresh Heaven and a fresh earth.

The Scene of the first three chapters is Patmos.

The Seer next passes through the sky by a door to the place of the mystic living Throne and the Throned-One.

At the bidding of the voice he writes, he goes down to a sea-beach, and then is set to measure the earthly Temple.

He is taken to a Wilderness to see the WorldQueen. He is again near the Throne. Again he is taken by the angel to a Mountain in a new earth to see the descent of the New City, the Lamb's Bride.

THE CHORIC SONGS.

Seven Choric Songs divide the Scenes at the points of crisis. They emphasize the point attained, commenting on what is past. In two instances (11:15; 12:10) they disclose the outline of the next immediate action. The last has two parts, passing from the pean of Victory to the Bridal Song. In this they are like some of the mysterious Choruses of Greek Tragedy. Read in series they