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.
VI. The Summons of the bride (Rev 22,17)
Within the final section of Rev (Rev 22,6-21) a last reminiscence of the wedding metaphor occurs, in which the bride together with the Spirit summon Jesus to come (v. 17). This summons remains embedded in a final chapter that as a whole, creates the impression of lively moving dialogue59. The units of speech of different people and groups of people (vv. 10–16.20a: Christ, v. 17: Spirit, bride, the hearer, vv. 18-19: author, v. 20b: church etc.) here are situated next to each other often without connection. In this way the concrete addressees come into view and are addressed in the style of prayer dialogues60 in their community serving God.
Rev 22,17 continues from the speech of Christ in vv. 10-16 without transition or introduction. In addition to honoring himself (see 13.16: I am [e)gw/ ei)mi] Alpha – Omega, the first – the last etc.) the speech of Christ also proclaims statements of judgement (v. 12) and salvation (v. 14) that indicate the separation of the godless from the pious. In v. 14 those who wash their clothes are praised as holy. In v. 17 the speech act changes from indicative exhortation to an imperative challenge carried out by three speakers. While the first two parts of the verse are constructed almost in parallel and end with the same imperative (e!rxou), the form in v. 17c seems to be opened up by the expression containing two figures and the change of character (imp. 3. sg.). The parallel tradition suggests that an independent logion was integrated here whose basic component is also passed on in John 7,37-3861 and which may stem from the tradition of Isa 55,162.
1. The image and its donor field
Focussing on the object of our examination, it is above all the statement in Rev 22,17 that a bride summons her bridegroom to come that is interesting. As the donor field of this metaphor we can look at