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Second Edition…8 Divisions Laid Out In 16 Chapters
Chapter One introduces the subject. There are patterns in the text of the Bible. Patterns in any genre are art and must be evaluated as art. The patterns in Revelation and other books of the Bible are useful for evaluating which variant readings belong in the Bible, and which do not. The variant readings are variations in the text between the King James Version and modern translations. The patterns are corollaries to divine inspiration.
Chapters Two through Nine revisit data from the first edition, cataloguing the categories of basic patterns in the Bible: sets of 4, 3, 7, 2, 5, 6, 10, and 12, respectively. These chapters contain more than 700 examples as evidence from the Bible, and are arranged in easy-to-follow charts to prove the author’s assertion that there are ancient patterns in the Biblical text.
Chapter Ten moves to a new level of patterns only briefly alluded to in the first edition. The author reiterates the way in which the word and is used as a matrix to hold the patterns together in Revelation and other books of the Bible. There are more than 1,000 verses listed in this chapter to illustrate and prove the existence of macro-patterns in Scripture. These patterns span entire books of the Bible, particularly Revelation and Daniel. With the aid of a computer, Cascione traces the repetition of key words in elaborate patterns through 9 Greek texts, offering incontrovertible evidence that we possess the original writings of the Apostles. All of the data points to a single Author.
Chapter Eleven discusses the Old Testament as the origin of macro-patterns appearing in Revelation and the New Testament. All research points to Moses as the most unique and mystic writer of the ancient world. Cascione’s theory about patterns in the Old Testament is corroborated by the brilliant young Israeli author, Eyal Rav-Noy, in his book Who Really Wrote the Bible? Working independently, Rav-Noy and Cascione both find similar patterns in Genesis. Cascione begins with Revelation and works his way back to Genesis, while Rav-Noy begins in Genesis. Cascione explains how patterns in Revelation are also found in Daniel, and he proves the astonishing accuracy of Codex Leningradensis.
Chapter Twelve chronicles the history of divine inspiration in the Bible. Cascione reviews a rogues’ gallery of higher critics (Barth, Bonhoeffer, Brunner, Bultmann, Harnack, Niebuhr, Sanday, Tillich, and more) who reject divine inspiration, and who have convinced the world that the Bible is not the Word of God. He then reviews confessors of divine inspiration, including Baier, Calov, Calvin, Kantzer, Luther, Montgomery, Pieper, Preus, Quenstedt, Walvoord, Young, and others. He quotes Eyal Rav-Noy as the most effective Jewish author to debunk the JEPD theory, which claims that Moses did not write Genesis. He addresses numerous theories on divine inspiration vs. human inspiration, divine style vs. human style, inspired text vs. inspired church, inspired reader vs. reader inspired by the text, and allegorical vs. literal interpretation. He then offers his own possible solution to the 17th-century Catholic challenge to Protestant and Lutheran theologians to demonstrate the external formal principle of Scripture, namely, visible evidence in the text that God wrote the Bible.
Chapters Thirteen and Fourteen identify Pythagoras’ influence on Biblical number interpretation found in nearly all Calvinist, Catholic, and Lutheran commentaries on Revelation and Daniel. Cascione explains how Eusebius canonized Philo, whose Neopythagoreanism has skewed 2,000 years of Biblical interpretation, and led to Calvin’s and Luther’s refusal to write commentaries about Revelation. He quotes the literary and mathematical brilliance of Vincent and Grace Hopper, who explain the mysteries and confusion of medieval number symbolism, Gnosticism, allegory, and the contradiction between Pythagorean and Neopythagorean number theory. Cascione demonstrates that the Bible is not influenced by any pagan number theory, and that Mosaic number theory is consistent from Genesis to Revelation.
Chapter Fifteen presents the author’s theories on hermeneutics (rules of Bible interpretation), and defines a new field of study, which he terms Aesthetic Hermeneutics. He compares and contrasts Reformation hermeneutics with pattern analysis, narrative with apocalyptic literature, and symmetric with asymmetric patterns, and theorizes that the presence of a divine style points to the Bible being the only divine artifact of God’s presence on earth. He advocates a new understanding of the unity of Scripture, offering evidence that there is unity of meaning between the text, symbols, numbers, and patterns. Many numbers listed in the text are also found in the textual patterns. He explains how it is possible to arrive at the best manuscript reading though pattern analysis.
Chapter Sixteen details the implications of viewing Revelation as homologoumena (unquestioned divine authorship), and then addresses the cardinal doctrines of the Church, including Baptism, Justification, the Lord’s Supper, the Two Natures of Christ, Church and Ministry, and divine Election. The author addresses Luther’s problem with Revelation; Bultmann’s rejection of divine inspiration; textual evidence in Revelation for forensic Justification (ignored by theologians since the Reformation); and the bankruptcy of millennialism. Cascione’s goal is to present the text as miracle.
Revelation Text: The author publishes his own translation of the Book of Revelation, typeset in aesthetic format according to the patterns in the text. He collates 9 Greek texts in an attempt to reconstruct the original autograph of Revelation based on patterns in the text. He finds that approximately 75% of the readings in the King James Version and Luther’s Bible that were rejected by Westcott and Hort, UBS, and Nestle’s Greek New Testament, are, in fact, the correct readings, based on pattern analysis, and that many contemporary translations of the Bible will need to be revised if they plan to follow patterns in the text.
Last Updated: October 24, 2015