Babylon and New Jerusalem
Hollen Barmer

            While the Book of Revelation has multiple interpretations, a reading on the symbolic level gives insight into the many and varied tools John uses to reach his readers. In confident command of standard literary devices, John delivers his compelling message to believers to resist the things of the earth (those things that the authors of Unveiling Empire refer to as "empire"). One of the most important methods he uses is allegory. Common in gospel parables, allegory uses symbols to parallel actual people or events, often in story form, to reveal some deeper truth.

            Fallen Babylon and New Jerusalem are perhaps the most important images in Revelation. In Unveiling Empire, Wes Howard-Brook and Anthony Gwyther interpret John’s use of these images as instructions for a community in the midst of empire. The text supports this viewpoint, but it can be taken even further. On a more personal level, these images act as guides for individuals in communion with God. In this way, the transition from fallen Babylon to New Jerusalem in the Book of Revelation can function as an instructive allegory for the experience of the believer in the face of empire.

            The combination of Babylon’s grievous sins, its punishments, and various corresponding images makes a powerful indictment of the wicked city. Babylon has, in effect, "sold out" to empire ( Unveiling Empire 167). Images of materialism show the extent to which the so-called "Great City" has immersed itself in the things of the world. Personifying Babylon as a "great whore," John tells readers that she "was clothed in purple and scarlet, and adorned with gold and jewels and pearls" (Rev. 17:4). Over and over, John reminds readers of Babylon’s sins: indulgence in luxury and "fornication" with the things of empire.

            Predicting that this reliance on worldly goods and pleasures will result in the destruction of Babylon (like the millstone cast into the sea by the mighty angel in Rev. 18:21), John describes the aftermath of the fall of Babylon in terms of the material goods that the city once prized. Rev. 18:11-13 tells of the merchants who mourn because Babylon will no longer be able to buy their jewels, fabrics, oils, food, and livestock; this overwhelming cargo list speaks volumes about Babylon. Like an out-of-control machine of consumerism, the "Great City" once bought anything and everything its surroundings had to offer.

            Along the same lines, Babylon’s envisioned punishment brings about an overall feeling of absence. What was once the rich, powerful city is now a dark and sterile wasteland. There is no more light, and there are no more artists, musicians, or workers (Rev. 18:22-23). In other words, "John sees empire’s complete destruction" (Unveiling Empire 178).

            In stark contrast to his presentation of bloated, empire-seduced Babylon, John’s picture of New Jerusalem is infused with imagery of valuable jewels, fertility, and light. One of John’s first impressions of the New Jerusalem he envisions is that "It has the glory of God and a radiance like a very rare jewel, like jasper, clear as crystal" (Rev. 21:11). John also tells readers that the city is pure gold, with walls made of precious jewels (Rev. 21:18ff). This description makes the "luxury" of Babylon seem commonplace, for John emphasizes that New Jerusalem possesses rare and valuable gems. Furthermore, while the whore of Babylon was merely bedecked with gold, jewels, and pearls, New Jerusalem is solid gold with entire walls of jewels. Though jewel imagery was used to portray Babylon as a center of materialism, John turns this image around to show the purity and beauty of New Jerusalem.

            As the angel reveals different aspects of New Jerusalem to him, John sees a river and a tree, images that indicate life and growth. The river he sees is "the river of the water of life, bright as crystal, flowing from the throne of God and of the Lamb" (Rev. 22:1). Not only is this the river of the water of life, but it is also flowing, suggesting a motion that forbids stagnation. Likewise, he sees the tree of life complete with fruit for each month and leaves for healing (Rev. 22:2). Finally, John tells readers that the Lord God is the light of this Edenic New Jerusalem; therefore, neither lamps nor sunlight are necessary.

            These images of fertility and light are in direct opposition to the images of absence in Babylon. While Babylon is cursed with a loss of creativity and productivity, New Jerusalem is abuzz with life and motion. In fact, Babylon is cursed with darkness for lack of lamplight. New Jerusalem is suffused with light that is of the highest and purest order, not from the lamp or even the sun. The Lord God is its light.

            What bearing do all of these images have on the believer? As an instructional allegory, Babylon is simply what the believer should not be, embrace, or tolerate. Images of materialism and absence confirm this. Babylon became a "whore" to the things of the world, pursuing riches instead of a holy covenant with God. Thus, believers should strive for New Jerusalem where they can truly commune with the Lord God and the Lamb. This state can only be achieved when the things of empire are eschewed. John suggests that rare and precious jewels of purity, abundant life, and never-waning light await those who meet the challenge.

                        Howard-Brook and Gwyther seem to suggest that images of Babylon and New Jerusalem function to encourage believers to strive for an "Authentic community . . . where life can be celebrated, songs can be sung, and human relationships can flourish" (Unveiling Empire 191). While they more or less see Babylon as the forces of empire personified, New Jerusalem "is found wherever the human community rejects the lies and violence of the empire and places God at the center of its shared life" ( Unveiling Empire 158). When this vision of community is practiced in tandem with an individual approach, the result is a near-exact accomplishment of the intentions of apocalyptic.

            How does this allegory fit with the apocalyptic worldview? First, it embraces the element of apocalyptic that expects replacement of the present world with a new and better one. More importantly, however, the Babylon/New Jerusalem allegory (whether read as instructions for an individual or group of believers) is an admonition to readers to stand firm in the face of ever-encroaching empire. This is, on a smaller scale, John’s message in Revelation .

Works Cited

Howard-Brook, Wes and Anthony Gwyther. Unveiling Empire: Reading Revelation Then and Now. New York: Orbis, 1999.
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The New Oxford Annotated Bible. (NRSV) New York: Oxford UP, 1994.