independentparticipialcausecontentconditionalphrase modifierdashed = verbless / suspended
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The third sign: seven angels, seven last plagues 15:1
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Καὶ εἶδον ἄλλο σημεῖον ἐν τῷ οὐρανῷ μέγα καὶ θαυμαστόν,independent — the third heaven-sign (after the woman 12:1 and the dragon 12:3) — μέγα καὶ θαυμαστόν anticipates the hymn's first words (v. 3)
ἀγγέλους ἑπτὰ ἔχοντας πληγὰς ἑπτὰ τὰς ἐσχάτας,phrase modifier — verbless apposition spelling out the sign — accusatives still governed by εἶδον; τὰς ἐσχάτας held to the end for weight
ὅτι ἐν αὐταῖς ἐτελέσθη ὁ θυμὸς τοῦ θεοῦ.cause — why 'last' — proleptic aorist ἐτελέσθη: the completion spoken as already done; echoed by τελεσθῶσιν at v. 8
The conquerors by the glassy sea: the song of Moses and of the Lamb 15:2–4
v. 2 — the sea of glass mingled with fire; the victors with the harps of God
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Καὶ εἶδον ὡς θάλασσαν ὑαλίνην μεμιγμένην πυρί,independent — the crystal sea of 4:6 now shot through with fire — ὡς hedges the vision; the Red Sea of the new exodus, lit with judgment
καὶ τοὺς νικῶντας ἐκ τοῦ θηρίου καὶ ἐκ τῆς εἰκόνος αὐτοῦ καὶ ἐκ τοῦ ἀριθμοῦ τοῦ ὀνόματος αὐτοῦindependent — second object of εἶδον — pregnant ἐκ (constructio praegnans): not 'conquering the beast' but victors come off out of his grasp, delivered from beast, image, and number (13:15–18)
ἑστῶτας ἐπὶ τὴν θάλασσαν τὴν ὑαλίνην,participial — perfect ἑστῶτας — stationed on the far shore like Israel after the crossing (Exod 14:30–15:1)
ἔχοντας κιθάρας τοῦ θεοῦ.participial — the harps of the heavenly liturgy (5:8; 14:2) — God-given instruments for the song about to rise
vv. 3–4 — the song of Moses and of the Lamb: great works, just ways, all nations shall come
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Καὶ ᾄδουσιν τὴν ᾠδὴν Μωϋσέως τοῦ δούλου τοῦ θεοῦ καὶ τὴν ᾠδὴν τοῦ ἀρνίουindependent — one song under a double title — the single λέγοντες introduces a single text: Exodus 15 sung as the Lamb's victory ode; Μωϋσῆς ὁ δοῦλος τοῦ θεοῦ, the Deuteronomic title (Deut 34:5)
λέγοντες·participial — λέγοντες carries the hymn
Μεγάλα καὶ θαυμαστὰ τὰ ἔργα σου,content — verbless acclaim — Ps 110[111]:2 with Deut 32:4; the sign's μέγα καὶ θαυμαστόν (v. 1) turned into praise
κύριε ὁ θεὸς ὁ παντοκράτωρ·phrase modifier — the address — vocative κύριε with nominative-for-vocative ὁ θεὸς ὁ παντοκράτωρ (as at 4:8; 11:17); παντοκράτωρ for צבאות
δίκαιαι καὶ ἀληθιναὶ αἱ ὁδοί σου,content — the parallel colon — Ps 144[145]:17 and Deut 32:4: his ways just and true even as the last plagues issue
ὁ βασιλεὺς τῶν ἐθνῶν.phrase modifier — nominative for vocative again — τῶν ἐθνῶν read with the bulk of the tradition (Jer 10:7); א* reads τῶν αἰώνων, 'King of the ages,' a few τῶν ἁγίων
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Τίς οὐ μὴ φοβηθῇ, κύριε,content — the Jeremiah question (Jer 10:7) — οὐ μή with aorist subjunctive: the strongest denial, cast as a question expecting 'no one'
καὶ δοξάσει τὸ ὄνομά σου;content — future δοξάσει yoked to οὐ μή's aorist subjunctive — Revelation's mixed idiom (cf. ὅταν + future, 4:9); Ps 85[86]:9's δοξάσουσιν τὸ ὄνομά σου
ὅτι μόνος ὅσιος,cause — first ground, verbless — μόνος ὅσιος (Deut 32:4 LXX; Ps 144[145]:17): the covenant-faithfulness word, God's alone
ὅτι πάντα τὰ ἔθνη ἥξουσιν καὶ προσκυνήσουσιν ἐνώπιόν σου,cause — second ground — Ps 85[86]:9: the pilgrimage of the nations to their King (v. 3), promised amid the plagues
ὅτι τὰ δικαιώματά σου ἐφανερώθησαν.cause — third ground, coordinate with the others — τὰ δικαιώματα, the just judgments now laid open (Ps 97[98]:2); divine passive ἐφανερώθησαν
The temple of the tent of witness opened 15:5–8
vv. 5–6 — the sanctuary opened; the seven angels come out
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Καὶ μετὰ ταῦτα εἶδον,independent — the vision formula turns the page — from the hymn back to the narrative of judgment
καὶ ἠνοίγη ὁ ναὸς τῆς σκηνῆς τοῦ μαρτυρίου ἐν τῷ οὐρανῷ,independent — divine passive ἠνοίγη (as at 11:19) — ἡ σκηνὴ τοῦ μαρτυρίου, the LXX's name for the wilderness tabernacle (Exod 40:34): the covenant witness behind the plagues
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καὶ ἐξῆλθον οἱ ἑπτὰ ἄγγελοι οἱ ἔχοντες τὰς ἑπτὰ πληγὰς ἐκ τοῦ ναοῦ,independent — the procession — the judgment issues from the sanctuary itself, not from outside it
ἐνδεδυμένοι λίνον καθαρὸν λαμπρὸνparticipial — priestly vesture (Lev 16:4) — λίνον with the printed text; A and C read λίθον, 'stone,' echoing Ezek 28:13's gem-clad figure
καὶ περιεζωσμένοι περὶ τὰ στήθη ζώνας χρυσᾶς.participial — the golden sash of the Son of Man (1:13; Dan 10:5) — the executors dressed like their Lord
vv. 7–8 — the bowls of wrath given; the smoke fills the temple
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καὶ ἓν ἐκ τῶν τεσσάρων ζῴων ἔδωκεν τοῖς ἑπτὰ ἀγγέλοις ἑπτὰ φιάλας χρυσᾶςindependent — the handover — the throne's own creatures (4:6) deliver the plagues; the golden bowls that once held prayers (5:8) now hold wrath
γεμούσας τοῦ θυμοῦ τοῦ θεοῦparticipial — genitive of content with γεμούσας — brim-full of the θυμός announced at v. 1
τοῦ ζῶντος εἰς τοὺς αἰῶνας τῶν αἰώνων.phrase modifier — the doxological tail — the Living One (4:9–10; Dan 12:7): the wrath is the living God's, not blind fate's
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καὶ ἐγεμίσθη ὁ ναὸς καπνοῦ ἐκ τῆς δόξης τοῦ θεοῦ καὶ ἐκ τῆς δυνάμεως αὐτοῦ,independent — the theophany cloud — Exod 40:34–35 and Isa 6:4 (with 1 Kgs 8:10–11): glory as impenetrable smoke; ἐγεμίσθη picks up γεμούσας (v. 7)
καὶ οὐδεὶς ἐδύνατο εἰσελθεῖν εἰς τὸν ναὸνindependent — the restriction — as Moses could not enter the filled tent (Exod 40:35): no intercession interrupts the last plagues
ἄχρι τελεσθῶσιν αἱ ἑπτὰ πληγαὶ τῶν ἑπτὰ ἀγγέλων.conditional — temporal close — ἄχρι + aorist subjunctive (without ἄν); τελεσθῶσιν answers v. 1's ἐτελέσθη, the inclusio that seals the chapter
Analysis. Revelation 15 is the shortest chapter of the book and the hinge into the bowls, and the layout shows its three panels plainly. Verse 1 is a single εἶδον sentence: the sign, its verbless apposition (the seven angels with the seven last plagues, accusatives as the vision's grammar), and the red ὅτι ground that explains 'last' — ἐν αὐταῖς ἐτελέσθη ὁ θυμὸς τοῦ θεοῦ, the aorist spoken proleptically, as if already done. Verses 2–4 are the second εἶδον: the fiery sea, then the victors — the pregnant ἐκ is kept and flagged (τοὺς νικῶντας ἐκ τοῦ θηρίου: not 'conquering the beast' but victors come off out of him, escapees of the conflict) — with their two participles hanging beneath, and then the hymn as a blue quoted column under λέγοντες. The double title καὶ τὴν ᾠδὴν Μωϋσέως... καὶ τὴν ᾠδὴν τοῦ ἀρνίου is read as one song under two names (a single λέγοντες introduces a single text), Exodus 15 sung as the Lamb's victory ode. The hymn itself is a psalm-catena: two verbless acclamation cola, each trailing a nominative-for-vocative address (κύριε ὁ θεὸς ὁ παντοκράτωρ; ὁ βασιλεὺς τῶν ἐθνῶν — reading ἐθνῶν with the bulk of the tradition against א*'s αἰώνων, per the data), then the Jeremiah question in Revelation's mixed idiom — οὐ μή with aorist subjunctive φοβηθῇ yoked to a plain future δοξάσει — grounded by three parallel ὅτι lines (kept coordinate, not nested), the middle one Ps 85[86]:9's pilgrimage of all nations. Verses 5–8 return to flush-left narrative parataxis: the sanctuary opened (divine passive ἠνοίγη), the seven angels processing out in λίνον (printed text followed; A and C read λίθον, 'stone,' echoing Ezek 28:13), the bowls handed over with the wrath-of-God genitive of content and its doxological tail τοῦ ζῶντος εἰς τοὺς αἰῶνας, and the Sinai-tabernacle smoke (Exod 40:34–35; Isa 6:4) that bars all entry — the ἄχρι τελεσθῶσιν close ringing v. 1's ἐτελέσθη as an inclusio around the whole chapter.