work.1 When discussing the literary character and structure of Revelation, it is important to remember that the document was apparently written to be heard while it was being read aloud (1:3). Part of the genius of the work is that the clues as to its structure seem to communicate at a couple of different levels. On the one hand, some of the literary devices are apparent on one’s first exposure to the document; on the other hand, many of these dimensions emerge slowly as the book is repeatedly read