Ruben Zimmermann, «Nuptial Imagery in the Revelation of John», Vol. 84 (2003) 153-183
In this article is argued that the nuptial imagery of the Book of Revelation is not limited to chapters 19 and 21 but rather runs throughout the book. While the imagery is certainly most pronounced in the final part of the book, it also appears in the letters to the churches (bridal wreath in Rev 2,10; 3,11), in the scene depicting the 144,000 as virgins (Rev 14,4-5), and is encountered again in Rev 18,23 (silencing of the voice of bridegroom and bride) and Rev 22,17 (summons of the bride) at the end of the book. Thus the wedding metaphors can be seen as one of the structural patterns of Revelation as a whole directly in contrast to the metaphors of fornication.
kings have fornicated (18,3). Based on the, for Judaic ears, inseparable connection of wedding, marriage and reproduction, one is reminded by the wedding formula in Rev 18,23 of the self-celebration of the harlot who expressly emphasizes that she is not a widow (18,7). Similar to the traditional presentation, i.e. in Isa 47,8-9, this self-confidence is now exposed and turned against itself. Here Rev 18,23 goes one step further. Babylon will not only be a childless widow, she will, moreover, not even be permitted to marry according to Rev 18,21-24. When the voice of the bridegroom and bride falls silent there will be no more weddings. This is true first of all for the inhabitants of the city but, as is suggested by the metaphoric interaction, also has implications for the personified city herself. Babylon is of all things not a bride but a harlot.
The image of the silencing of the bridegroom and bride forces the well-known schema of contrast inasmuch as, with the fall of the harlot, no joyful wedding noise will more be heard (Rev 18,23: fwnh_ ... ou) mh_ a)kousqh|=) until the wedding of the lamb is announced (Rev 19,6-8) with a powerful voice (Rev 19,6: h!kousa w(j fwnh/n, compare vv. 1.5) and with praise. While in Babylon the voices of the bridal pair fall silent, Jerusalem becomes the location of the wedding of the lamb. The celestial city herself will even be a bride (Rev 21,2.9).
IV. The wedding of the Lamb (Rev 19,6-9)
Within the final vision, Rev 19,1-10 marks the turning point from harlot to bride. The celestial glorification of a great throng is retrospectively concerned with the completed judgement of the harlot Babylon (vv. 1-4), which was already suggested in Rev 18,20 while the earthly hymn extols in anticipation the wedding of the Lamb (vv. 5-8). The woman named in v. 7 and assigned into the possession of the lamb can be interpreted as the "bride". This is made possible by the ambiguous lexeme gunh/ and confirmed by the detailed description of her jewelry and robes of fine "byssuss linen" that follows it 29. V. 8c creates a break in the hymnically poetic style and acts instead more like a commentative explanation. The previously named bu/ssinoj is now identified with the righteous deeds of the saints. V. 9 introduces, in the form of a Beatitude, the element of the wedding supper and guests, which is unique to Rev.