William Miller was given great light upon the seven churches, the seven seals and the seven trumpets in the book of Revelation. He placed those prophetic symbols within the framework of the two desolating powers of paganism followed by papalism. He did not see every prophetic characteristic of those symbols, but what he did see established the foundational understanding of the internal history and external history of God’s church from the time of apostles until the end of the world. The internal history was represented by the churches, and the churches’ external history was represented by the seals. He saw that the trumpets were symbols of God’s judgment upon Rome, that typified God’s judgment upon Rome at the end of the world, though he did not see that Rome at the end of the world was made up of a threefold union.
Вилијам Милер добил голема светлина за седумте цркви, седумте печати и седумте труби во книгата Откровение. Тој ги поставил тие пророчки симболи во рамката на двете пустошечки сили: паганството, по кое следел папизмот. Тој не ја согледал секоја пророчка особеност на тие симболи, но она што го видел го воспоставило темелното разбирање на внатрешната историја и надворешната историја на Божјата црква од времето на апостолите па сè до крајот на светот. Внатрешната историја била претставена со црквите, а надворешната историја на црквите била претставена со печатите. Тој увидел дека трубите биле симболи на Божјиот суд врз Рим, што претставувал праобраз на Божјиот суд врз Рим на крајот на светот, иако не увидел дека Рим на крајот на светот бил составен од троен сојуз.
The book written by Uriah Smith titled Daniel and Revelation, contains some erroneous ideas, but it was identified by Sister White as, “God’s helping hand.” She identified that it should be circulated along with The Great Controversy, Patriarchs and Prophets, and The Desire of Ages. Her strong endorsement did not mean that the book was on the same inspired level as her books, but that the book contained “grand instruction,” and had been responsible for “bringing many precious souls to a knowledge of the truth.”
Uriah Smith-ի գրած *Daniel and Revelation* գիրքը պարունակում է որոշ սխալ գաղափարներ, սակայն Քույր Ուայթի կողմից այն բնութագրվեց որպես «Աստծո օգնող ձեռք»։ Նա նշեց, որ այն պետք է տարածվի *The Great Controversy*, *Patriarchs and Prophets* և *The Desire of Ages* գրքերի հետ միասին։ Նրա այս վճռական հավանությունը չէր նշանակում, թե այդ գիրքը ներշնչվածության նույն մակարդակի վրա էր, ինչ իր գրքերը, այլ որ այն պարունակում էր «վեհ ուսուցում» և պատասխանատու էր եղել «շատ թանկագին հոգիների ճշմարտության գիտությանը բերելու» համար։
The book employs Millerite prophetic logic, accompanied with concepts of prophecy that were unseen before October 22, 1844. We will refer to passages in the book as we set forth the triple application of the three Woes.
Li libro usa e logica prophetic Millerite, insieme con conceptos de prophetia que non esset viste ante octobre 22, 1844. Nos referera a passagees in li libro durante que nos expone li triplic application del tres Vae.
Miller stated that the “seven trumpets are a history of seven peculiar and heavy judgments sent upon the earth, or Roman kingdom.” The first four trumpets represent the judgments that were brought upon pagan Rome, and the fifth and sixth trumpets were God’s judgments that were brought upon papal Rome, but Miller would not have recognized that the seventh trumpet represented God’s judgment upon Modern Rome. Speaking of the seven seals and seven trumpets of Revelation, Uriah Smith wrote:
Miller ti ni “nagbamaysa a pakasaritaan dagiti pito a trumpeta iti pito a naisangsangayan ken nadagsen a panangukom a naipatulod iti rabaw ti daga, wenno iti pagarian ti Roma.” Dagiti umuna nga uppat a trumpeta itangtangdayan da dagiti panangukom a naiyeg iti pagan a Roma, ket dagiti maikalima ken maikaenem a trumpeta ket dagitoy ti panangukom ti Dios a naiyeg iti papal a Roma; ngem saan a nailasat ni Miller a mailasinna a ti maikapito a trumpeta itangtangdayna ti panangukom ti Dios iti Moderno a Roma. Maipapan kadagiti pito a sello ken pito a trumpeta iti Apocalipsis, insurat ni Uriah Smith:
“Having taken the book, the Lamb proceeds at once to open the seals; and the attention of the apostle is called to the scenes that transpire under each seal. The number seven has already been noticed as denoting in the Scriptures completeness and perfection. The seven seals therefore embrace the whole of a certain class of events, reaching down perhaps to the time of Constantine, and the seven trumpets another series from that time farther on, cannot be correct. The trumpets denote a series of events which transpire contemporaneously with the events of the seals, but of an entirely different character. A trumpet is a symbol of war; hence the trumpets denote great political commotions to take place among the nations during the gospel age. The seals denote events of a religious character, and contain the history of the church from the opening of the Christian era to the coming of Christ.” Uriah Smith, Daniel and Revelation, 431.
«Пас аз он ки барра китобро гирифт, дарҳол ба кушодани мӯҳрҳо оғоз мекунад; ва диққати расул ба манзараҳое ҷалб мегардад, ки зери ҳар мӯҳр ба амал меоянд. Қаблан аллакай қайд шудааст, ки адади ҳафт дар Навиштаҳо ба пуррагӣ ва камол далолат мекунад. Бинобар ин, ҳафт мӯҳр тамоми маҷмӯи як табақаи муайяни воқеаҳоро дар бар мегиранд, ки шояд то замони Константин тӯл мекашанд, ва ҳафт карнай силсилаи дигареро аз он замон ба баъд; ин дуруст буда наметавонад. Карнайҳо як силсилаи воқеаҳоро нишон медиҳанд, ки ҳамзамон бо воқеаҳои мӯҳрҳо, вале бо табиате тамоман дигар, ба амал меоянд. Карнай рамзи ҷанг аст; аз ин рӯ, карнайҳо ошӯбҳои бузурги сиёсиро нишон медиҳанд, ки бояд дар миёни миллатҳо дар давраи Инҷил рӯй диҳанд. Мӯҳрҳо бошад, воқеаҳои дорои хусусияти динӣ را ифода мекунанд ва таърихи калисоро аз оғози давраи масеҳӣ то омадани Масеҳ дар бар доранд.» Uriah Smith, Daniel and Revelation, 431.
A trumpet is a symbol of war and political commotion. Speaking of verse two of chapter eight of Revelation Smith states:
Boru, harp bilen syýasy tolgunşyklaryň nyşanydyr. Wahiý kitabyň sekizinji babyndaky ikinji aýat barada söz açyp, Smith şeýle diýýär:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
“‘AYAT 2. Maka aku melihat ketujuh malaikat yang berdiri di hadapan Allah; dan kepada mereka diberikan tujuh sangkakala.’”
“This verse introduces a new and distinct series of events. In the seals we have had the history of the church during what is called the gospel dispensation. In the seven trumpets, now introduced, we have the principal political and warlike events which were to transpire during the same time.” Uriah Smith, Daniel and Revelation, 476.
“Ji aaya kuteekutu kukupa irikú ñiî na mîgambo mîngî igongona. Kîrîa twakorwo nacio thîinî wa mihuri nî ũhoro wa kanitha ihinda rîrîa rîtagwo mũgabo wa Injili. Na thîinî wa mbeteti mũgwanja, iria ciambirĩrirwo haha, nî twona mîgambo mînene ya kîpolitiki na ya njamba iria ciagĩrĩirwo gũkĩra ihinda rîu-rĩa-rĩo.” Uriah Smith, Daniel and Revelation, 476.
The seventh seal is opened in the first six verses of Revelation chapter eight, and in the backdrop of the opening of the seventh seal, seven angels with seven trumpets are prepared to blow.
ᱨᱮᱵᱮᱞᱮᱥᱚᱱ ᱟᱹᱴ ᱟᱫᱷᱮᱭ ᱨᱮ ᱯᱟᱦᱤᱞ ᱴᱩᱨᱩᱭ ᱯᱟᱫ ᱨᱮ ᱥᱟᱛᱟᱢ ᱥᱤᱞ ᱡᱷᱤᱡ ᱮᱱᱟ᱾ ᱟᱨ ᱥᱟᱛᱟᱢ ᱥᱤᱞ ᱡᱷᱤᱡ ᱨᱮᱭᱟᱜ ᱯᱟᱪᱷᱟᱹ ᱯᱚᱴᱚᱵᱷᱩᱢᱤ ᱨᱮ, ᱥᱟᱛ ᱫᱩᱛ ᱥᱟᱛ ᱛᱩᱨᱤ ᱥᱟᱶ ᱩᱱᱠᱩ ᱚᱛᱟᱭ ᱠᱟᱛᱮ ᱯᱷᱩᱸᱜ ᱞᱟᱹᱜᱤᱫ ᱥᱟᱡᱟᱣ ᱮᱱᱟ᱾
And when he had opened the seventh seal, there was silence in heaven about the space of half an hour. And I saw the seven angels which stood before God; and to them were given seven trumpets. And another angel came and stood at the altar, having a golden censer; and there was given unto him much incense, that he should offer it with the prayers of all saints upon the golden altar which was before the throne. And the smoke of the incense, which came with the prayers of the saints, ascended up before God out of the angel’s hand. And the angel took the censer, and filled it with fire of the altar, and cast it into the earth: and there were voices, and thunderings, and lightnings, and an earthquake. And the seven angels which had the seven trumpets prepared themselves to sound. Revelation 8:1–6.
Nĩ rĩrĩa aingũrũire mũhuri wa mũgwanja, gũkĩgĩa na ũhoro wa kwĩhũma kũu igũrũ ta mũgwanja wa nusu ya saa. Nĩ ndonire araika arĩa mũgwanja marĩ mbere ya Ngai; nao makĩheeo mbarũri mũgwanja. Na mũraika ũngĩ agĩoka, agĩthiĩ agĩikara kũu kĩrĩa gĩa irathimo, arĩ na gĩkombe gĩa ndahabu gĩa gũtuĩra ubani; nayo agĩheeo ubani mũingĩ, nĩguo aũheanĩre hamwe na mahooya ma atumia othe arĩa atheru igũrũ rĩa kĩrĩa gĩa irathimo gĩa ndahabu kĩrĩa kĩarĩ mbere ya gĩtĩ kĩa ũthamaki. Nayo ndogo ya ubani, ĩrĩa yambatĩte hamwe na mahooya ma arĩa atheru, ĩgĩkinya igũrũ mbere ya Ngai yumĩte guoko-inĩ kwa mũraika. Nake mũraika akĩoya gĩkombe kĩu, akĩkĩiyũria mwaki wa kĩrĩa kĩa irathimo, agĩgĩikio thĩ: nakuo gũkĩgĩa na miarirĩre, na ngurumo, na mĩrabatĩ, na gũthingithia kwa thĩ. Nao araika arĩa mũgwanja arĩa maarĩ na mbarũri mũgwanja makĩheana thayũ nĩguo mĩrĩgĩre. Kũguũrũrio 8:1–6.
There is a prophetic anomaly that we have been identifying in previous articles, but which we have not yet specifically addressed its particular prophetic phenomenon. That anomaly is that symbols that represent a sequence of waymarks in prophetic history, are all brought together in the conclusion of the history they represent. We have shown that the four generations of Laodicean Adventism that is represented by the four abominations of Ezekiel chapter eight marked specific waymarks, but that each of them, as a test, repeat in the history of the sealing of the one hundred and forty-four thousand. This anomaly is also found in the seven trumpets, for though they represent specific judgments upon pagan, papal and modern Rome, they all come together again when the executive judgment upon modern Rome begins at the soon-coming Sunday law.
May maysa naingilin a pambihirang bagay sa hula na kinikilala natin sa mga naglabas a artikulo, datapwat hindi pa natin tuwirang natutukoy ang natatangi nito a penomenong makapaghula. Yaong pambihirang bagay ay ito: ang mga sagisag na kumakatawan sa isang sunod-sunod a mga muhon sa kasaysayang makapaghula ay pawang pinagsasama-sama sa katapusan ng kasaysayang kanilang kinakatawan. Naipakita natin na ang apat a salinlahi ng Adventismong Laodiceano na inilarawan ng apat a karumal-dumal sa Ezekiel kapitulo otso ay nagtanda ng tiyak a mga muhon, ngunit ang bawat isa sa mga ito, bilang isang pagsubok, ay umuulit sa kasaysayan ng pagtatatak sa isang daan at apatnapu’t apat na libo. Ang pambihirang bagay na ito ay masusumpungan din sa pitong trumpeta, sapagkat bagaman ang mga ito’y kumakatawan sa tiyak a mga hatol laban sa paganong Roma, papal na Roma, at makabagong Roma, ang lahat ng ito ay muling nagsasama-sama kapag ang hatol na tagapagpatupad laban sa makabagong Roma ay nagsisimula sa nalalapit na batas ukol sa Linggo.
The seven trumpets have specific dates when they were fulfilled in the past, but Sister White also places the seven angels with seven trumpets in Revelation chapter eight, in the history of the soon coming Sunday law.
सात करङ्गहरूका विगतमा पूरा भएका निश्चित मितिहरू छन्, तर सिस्टर ह्वाइटले प्रकाशको पुस्तक अध्याय आठका सात करङ्ग भएका सात स्वर्गदूतहरूलाई चाँडै आउने आइतबारको व्यवस्थाको इतिहासमा पनि स्थापित गर्नुहुन्छ।
“‘And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held: and they cried with a loud voice, saying, How long, O Lord, Holy and true, doest Thou not judge and avenge our blood on them that dwell on the earth? And white robes were given unto every one of them [They were pronounced pure and holy]; and it was said unto them, that they should rest yet for a little season, until their fellowservants also and their brethren, that should be killed as they were, should be fulfilled’ [Revelation 6:9–11]. Here were scenes presented to John that were not in reality but that which would be in a period of time in the future.
«Վասնզի երբ բացաւ հինգերորդ կնիքը, տեսայ սեղանի ներքոյ այնոց հոգիները, որք սպանուեցին Աստուծոյ խօսքին համար եւ այն վկայութեան համար, զոր ունէին. եւ մեծ ձայնով աղաղակեցին՝ ասելով. Մինչեւ ե՞րբ, ո՛վ Տէր, Սուրբ եւ Ճշմարիտ, չես դատում եւ մեր արիւնը չես վրէժխնդրում երկրի վրայ բնակողներից։ Եւ սպիտակ պատմուճաններ տրուեցին նրանցից իւրաքանչիւրին [Նրանք հռչակուեցին մաքուր եւ սուրբ], եւ նրանց ասուեց, թէ դեռ մի փոքր ժամանակ հանգստանան, մինչեւ որ լրացուեն նաեւ իրենց ծառայակիցներն ու եղբայրները, որոնք պիտի սպանուէին ինչպէս իրենք» [Յայտնութիւն 6:9–11]։ Այստեղ Յովհաննէսին ներկայացուեցին տեսարաններ, որոնք իրականութիւն չէին այն ժամանակ, այլ այն, ինչ պիտի լինէր ապագայի մի ժամանակաշրջանում։
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
“Apocalipsis 8:1–4 citado.” Manuscript Releases, volumen 20, 197.
In the previous passage Sister White applies the dialogue and fulfillment of the fifth seal to the period when the seven angels are about to sound in chapter eight, but she also places the same representation at the history of the two voices of Revelation chapter eighteen.
Àma le ɔlɔ́mvóló mɛ́n meyí, Nló Míŋgá White ɔ́sɛ́ nlam a dialogo na bítɔ́ng bɔ́tólo ya nkúká ya tan na ntáng me sámbé áñgélɔ̀ sámbé bɛ́ kóó bɛ́ sɔ́ndɔ̀ na ekapítá ya mwám, nde éye atɔ́mbɔ́la mpe nkúgá íwɔ́n ímɔ́dí na masɔ́lɔ́ ma bitímbí bíbalé bya Emoniseli ekapítá ya dzóm na mwâm.
“When the fifth seal was opened, John the Revelator in vision saw beneath the altar the company that were slain for the Word of God and the testimony of Jesus Christ. After this came the scenes described in the eighteenth of Revelation, when those who are faithful and true are called out from Babylon. [Revelation 18:1–5, quoted.]” Manuscript Releases, volume 20, 14.
“Gukingiye ikimenyetso cya gatanu, Yohana Umuhishuri yabonye mu iyerekwa munsi y’igicaniro umutwe w’abishwe bazira Ijambo ry’Imana n’ubuhamya bwa Yesu Kristo. Nyuma y’ibyo haza ibyabaye bivugwa mu gice cya cumi n’umunani cy’Ibyahishuwe, ubwo abizerwa kandi b’ukuri bahamagarwa gusohoka i Babuloni. [Ibyahishuwe 18:1–5, byavuzwe.]” Manuscript Releases, volume 20, 14.
The seven trumpets represent God’s judgment in the history of pagan, papal and Modern Rome, but they are also represented in the history of September 11, 2001, and the second voice of the soon-coming Sunday law. After addressing the first six verses of Revelation chapter eight, Uriah Smith begins to present the first four trumpets’ historical fulfillments.
Las siete trompetas representan el juicio de Dios en la historia de la Roma pagana, papal y moderna, pero también están representadas en la historia del 11 de septiembre de 2001 y en la segunda voz de la ley dominical de pronta promulgación. Después de abordar los primeros seis versículos de Apocalipsis capítulo ocho, Uriah Smith comienza a presentar los cumplimientos históricos de las primeras cuatro trompetas.
“The subject of the seven trumpets is here resumed, and occupies the remainder of this chapter and all of chapter 9. The seven angels prepare themselves to sound. Their sounding comes in as a complement to the prophecy of Daniel 2 and 7, commencing with the breaking up of the old Roman empire into its ten divisions, of which, in the first four trumpets, we have a description.” Uriah Smith, Daniel and Revelation, 477.
«Тӧхһӧн бүрээннэр» диэн темата манна хат ытыктанар, уонна бу сураах хаалбыт сүбэтин уонна 9-с тараах барытын биллэрэр. Тӧхһӧн аҥаардар бүрээтэһэргэ бэлэмнэнэллэр. Олорор бүрээтэһэллэрэ Даниил 2 уонна 7 бырапаһыытыгар толору уонна сөп түбэһэр быһыытынан киирэр; бу кини эрэ ыраахтаах Рим империята уон бөлөхкө бытархайыытынан саҕаланар, ол бөлөхтөрүнэн бастакы түөрт бүрээтэргэ биһиги сүрүн суруйуута баар. Uriah Smith, Daniel and Revelation, 477.
Smith identifies that the first four trumpets were God’s judgments upon pagan Rome. He quotes verse seven that identifies the prophetic characteristics of the first trumpet, and then identifies its historical fulfillment.
Smith kaqonqoshin, nayrïri pusi trompetanakajj Diosan juiciopänwa pagano Romanak contra. Jupajj versículo siete qotuwayi, ukaw nayrïr trompetan profético uñachtʼäwinakap uñtʼayi; ukatsti ukhamarakiw sarnaqäwipan phoqasitäwip uñtʼayi.
“The first sore and heavy judgment which fell on Western Rome in its downward course, was the war with the Goths under Alaric, who opened the way for later inroads. The death of Theodosius, the Roman emperor, occurred in January, 395, and before the end of the winter the Goths under Alaric were in arms against the empire.
“Хорьн йитл я хүнд шүүлт, диин Ром маарьн уналтын замд дээр туссан, бол сүүлчийн довтолгоодын замийг нээсэн Аларик удирдлагатай готуудтай хийсэн дайн байв. Ромын эзэн хаан Теодосий нас барсан нь 395 оны нэгдүгээр сард тохиосон бөгөөд өвөл дуусахаас өмнө Аларик удирдсан готууд эзэнт гүрний эсрэг зэвсэглэн босов.
“The first invasion under Alaric ravaged Thrace, Macedonia, Attica, and the Peloponnesus, but did not reach the city of Rome. On his second invasion, however, the Gothic chieftain crossed the Alps and the Apennines and appeared before the walls of the ‘eternal city,’ which soon fell a prey to the fury of the barbarians.
«باچی ئامۆنداری یەکەم لە ژێر سەرکردایەتی ئالاریک، تراس، ماکیدۆنیا، ئاتیکا و پێلۆپۆنێسۆسی وێران کرد، بەڵام بۆ شارەکەی ڕۆما نەگەیشت. لە باچی دووەمی خۆیدا، بەڵام، سەرۆکی گۆتییەکان لە ئەڵپ و ئەپەناین تێپەڕی و لەبەردەم دیوارەکانی «شارە هەمیشەییەکە» دەرکەوت، کە زوو بوو بووە قوربانی تووڕەیی بەرەبەرییەکان.»
“The blast of the first trumpet has its location about the close of the fourth century and onward, and refers to these desolating invasions of the Roman empire under the Goths.” Uriah Smith, Daniel and Revelation, 478.
«ضربُ البوقِ الأوّلِ يقعُ زمنُهُ عندَ خِتامِ القرنِ الرابعِ وما بعدَه، ويشيرُ إلى هذه الغزواتِ المُخرِّبةِ للإمبراطوريّةِ الرومانيّةِ على يدِ القوط.» أوريا سميث، دانيال والرؤيا، 478.
Smith identifies Alaric as the symbol of God’s judgment upon pagan Rome represented by the first trumpet. Each of the trumpets have a historical figure that represents the trumpet, Alaric represents the arrival of the first trumpet from the end of the fourth century. Miller could not have seen that this trumpet was brought upon Rome because of Sunday enforcement, for Miller was a Sunday keeper. Smith missed this fact also, but Smith did recognize that the first enforced Sunday law was instituted by Constantine in the year 321. The prophetic rule of thumb associated with Sunday enforcement is always the same, for God never changes, and that rule is that “national apostasy is followed by national ruin”. Alaric represents the beginning of national ruin which began in the very period that Constantine passed the first Sunday law.
Smith 𐑲𐑛𐑧𐑯𐑑𐑦𐑓𐑲𐑟 Alaric 𐑨𐑟 𐑞 𐑕𐑦𐑥𐑚𐑩𐑤 𐑝 𐑜𐑪𐑛’𐑟 𐑡𐑳𐑡𐑥𐑩𐑯𐑑 𐑩𐑐𐑪𐑯 pagan Rome, 𐑨𐑟 𐑮𐑧𐑐𐑮𐑩𐑟𐑧𐑯𐑑𐑩𐑛 𐑚𐑲 𐑞 𐑓𐑻𐑕𐑑 trumpet. 𐑰𐑗 𐑝 𐑞 trumpets 𐑣𐑨𐑝 𐑩 𐑣𐑦𐑕𐑑𐑪𐑮𐑦𐑒𐑩𐑤 𐑓𐑦𐑜𐑘𐑼 𐑞𐑨𐑑 𐑮𐑧𐑐𐑮𐑩𐑟𐑧𐑯𐑑𐑕 𐑞 trumpet; Alaric 𐑮𐑧𐑐𐑮𐑩𐑟𐑧𐑯𐑑𐑕 𐑞 𐑩𐑮𐑲𐑝𐑩𐑤 𐑝 𐑞 𐑓𐑻𐑕𐑑 trumpet 𐑓𐑮𐑪𐑥 𐑞 𐑧𐑯𐑛 𐑝 𐑞 𐑓𐑹𐑔 𐑕𐑧𐑯𐑗𐑼𐑦. Miller 𐑒𐑫𐑛 𐑯𐑪𐑑 𐑣𐑨𐑝 𐑕𐑰𐑯 𐑞𐑨𐑑 𐑞𐑦𐑕 trumpet 𐑢𐑪𐑟 𐑚𐑮𐑷𐑑 𐑩𐑐𐑪𐑯 Rome 𐑚𐑦𐑒𐑪𐑟 𐑝 Sunday enforcement, 𐑓𐑹 Miller 𐑢𐑪𐑟 𐑩 Sunday keeper. Smith 𐑥𐑦𐑕𐑑 𐑞𐑦𐑕 𐑓𐑨𐑒𐑑 𐑷𐑤𐑕𐑴, 𐑚𐑳𐑑 Smith 𐑛𐑦𐑛 𐑮𐑧𐑒𐑩𐑜𐑯𐑲𐑟 𐑞𐑨𐑑 𐑞 𐑓𐑻𐑕𐑑 enforced Sunday law 𐑢𐑪𐑟 𐑦𐑯𐑕𐑑𐑦𐑑𐑿𐑑𐑩𐑛 𐑚𐑲 Constantine 𐑦𐑯 𐑞 𐑘𐑽 321. 𐑞 prophetic rule of thumb 𐑩𐑕𐑴𐑖𐑦𐑱𐑑𐑩𐑛 𐑢𐑦𐑞 Sunday enforcement 𐑦𐑟 𐑷𐑤𐑢𐑱𐑟 𐑞 𐑕𐑱𐑥, 𐑓𐑹 God 𐑯𐑧𐑝𐑼 𐑗𐑱𐑯𐑡𐑩𐑟, 𐑯 𐑞𐑨𐑑 rule 𐑦𐑟 𐑞𐑨𐑑 “national apostasy 𐑦𐑟 𐑓𐑪𐑤𐑴𐑛 𐑚𐑲 national ruin”. Alaric 𐑮𐑧𐑐𐑮𐑩𐑟𐑧𐑯𐑑𐑕 𐑞 𐑚𐑩𐑜𐑦𐑯𐑦𐑙 𐑝 national ruin, 𐑢𐑦𐑗 𐑚𐑩𐑜𐑨𐑯 𐑦𐑯 𐑞 𐑝𐑧𐑮𐑦 period 𐑞𐑨𐑑 Constantine 𐑐𐑭𐑕𐑑 𐑞 𐑓𐑻𐑕𐑑 Sunday law.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Smith jallqtaq sartaskiwa, pusïr t’aqankir jiskt’asa, payasti pä qallta trompetar uñt’ayi, ukatsti qhiparusti amuyt’äwip sarantayi:
“The Roman empire, after Constantine, was divided into three parts; and hence the frequent remark, ‘a third part of men,’ etc., in allusion to the third part of the empire which was under the scourge. This division of the Roman kingdom was made at the death of Constantine, among his three sons, Constantius, Constantine II, and Constans. Constantius possessed the East, and fixed his residence at Constantinople, the metropolis of the empire. Constantine the Second held Britain, Gaul, and Spain. Constans held Illyricum, Africa, and Italy. (See Sabine’s Ecclesiastical History, p. 155.) Of this well-known historical fact, Elliott, as quoted by Albert Barnes, in his notes on Rev.12:4, says: ‘Twice, at least, before the Roman empire became divided permanently into the two parts, the Eastern and the Western, there was a tripartite division of the empire. The first occurred in A.D. 311, when it was divided between Constantine, Licinius, and Maximin; the other, A.D. 337, on the death of Constantine, Constans and Constantius.’” Uriah Smith, Daniel and Revelation, 480.
“Империя Рима, после Константина, была разделена на три части; отсюда и частое выражение: «третья часть людей» и т. п., как указание на третью часть империи, находившуюся под бичом. Это разделение Римского царства произошло по смерти Константина между тремя его сыновьями: Констанцием, Константином II и Константом. Констанций владел Востоком и утвердил свою резиденцию в Константинополе, столице империи. Константин Второй держал Британию, Галлию и Испанию. Констант владел Иллириком, Африкой и Италией. (См. Sabine’s Ecclesiastical History, p. 155.) Об этом хорошо известном историческом факте Эллиотт, как его цитирует Альберт Барнс в своих примечаниях к Rev.12:4, говорит: «По меньшей мере дважды, прежде чем Римская империя окончательно разделилась на две части, Восточную и Западную, имело место тройственное разделение империи. Первое произошло в 311 г. по Р. Х., когда она была разделена между Константином, Лицинием и Максимином; другое — в 337 г. по Р. Х., по смерти Константина, между Константом и Констанцием». — Uriah Smith, Daniel and Revelation, 480.
The historical phenomenon of Rome being divided into three parts, and also two parts that is referenced by the historians which Smith cites, are the elements of Rome that identify the threefold union of Modern Rome, that makes up a structure that is divided into two, representing the combination of church and state. When Smith continues he then identifies the historical figure associated with the second trumpet.
پەدیدەی مێژوویی دابەشبوونی ڕۆما بۆ سێ بەش، هەروەها بۆ دوو بەش کە مێژوونووسان—ئەوانەی سمیت ئاماژەیان پێ دەکات—باسی دەکەن، ئەو توخمەکانی ڕۆمان کە یەکێتیی سێلایەنەی ڕۆمای نوێ دەناسێنن؛ ئەوەی پێکهاتەیەک دروست دەکات کە بۆ دوو بەش دابەش بووە و تێکەڵبوونی کلیسا و دەوڵەت نیشان دەدات. کاتێک سمیت بەردەوام دەبێت، پاشان ئەو کەسایەتییە مێژووییە دیاری دەکات کە پەیوەستە بە شەپۆلی دووەم.
“The history illustrative of the sounding of the second trumpet evidently relates to the invasion and conquest of Africa, and afterward of Italy, by the terrible Genseric. His conquests were for the most part NAVAL; and his triumphs were “as it were a great mountain burning with fire, cast into the sea.” What figure would better, or even so well, illustrate the collision of navies, and the general havoc of war on the maritime coasts? In explaining this trumpet, we are to look for some events which will have a particular bearing on the commercial world. The symbol used naturally leads us to look for agitation and commotion. Nothing but a fierce maritime warfare would fulfil the prediction. If the sounding of the first four trumpets relates to four remarkable events which contributed to the downfall of the Roman empire, and the first trumpet refers to the ravages of the Goths under Alaric, in this we naturally look for the next succeeding act of invasion which shook the Roman power and conduced to its fall. The next great invasion was that of “the terrible Genseric,” at the head of the Vandals. His career occurred during the years A.D. 428–468. This great Vandal chief had his headquarters in Africa. . ..
«Պատմութիւնը, որ պատկերաւորապէս ներկայացնում է երկրորդ փողի հնչումը, յայտնի կերպով վերաբերում է սարսափելի Գենսերիկի կողմից Աֆրիկայի, ապա՝ Իտալիայի ներխուժմանն ու նուաճմանը։ Նրա նուաճումները մեծ մասամբ ԾՈՎԱՅԻՆ էին, եւ նրա յաղթանակները եղել են «իբրեւ մի մեծ լեռ, որ կրակով այրուած՝ ծովն էր գցուած»։ Ի՞նչ պատկեր կարող էր աւելի լաւ, կամ նոյնքան լաւ, ներկայացնել նաւատորմերի բախումը եւ պատերազմի համատարած աւերածութիւնը ծովեզերեայ ափերին։ Այս փողը բացատրելով՝ մենք պէտք է փնտռենք այնպիսի դէպքեր, որոնք առանձնայատուկ առնչութիւն պիտի ունենան առեւտրական աշխարհի հետ։ Գործածուած խորհրդանիշը բնականաբար մեզ մղում է ակնկալելու խռովութիւն եւ ալեկոծութիւն։ Ոչինչ, բացի կատաղի ծովամարտից, չէր կարող կատարել մարգարէութիւնը։ Եթէ առաջին չորս փողերի հնչումը վերաբերում է չորս նշանաւոր դէպքերի, որոնք նպաստեցին Հռոմէական կայսրութեան անկմանը, եւ առաջին փողը վերաբերում է Ալարիկի առաջնորդութեամբ գոթերի աւերածութիւններին, ապա այստեղ մենք բնականաբար փնտռում ենք ներխուժման յաջորդ յաջորդական գործողութիւնը, որ սասանեց հռոմէական իշխանութիւնը եւ նպաստեց նրա անկմանը։ Յաջորդ մեծ ներխուժումը «սարսափելի Գենսերիկինն» էր՝ վանդալների գլուխ կանգնած։ Նրա գործունէութիւնը տեղի ունեցաւ մ.թ. 428–468 թուականների ընթացքում։ Այս մեծ վանդալ առաջնորդն իր գլխաւոր կայանը ունէր Աֆրիկայում....»
“Concerning the important part which this bold corsair acted in the downfall of Rome, Mr. Gibbon uses this significant language: ‘Genseric, a name which, in the destruction of the Roman empire, has deserved an equal rank with the names of Alaric and Attila.’” Uriah Smith, Daniel and Revelation, 481, 484.
“Roma yaka urmqan qipamta kay atipaq corsariqa imayna hatun rurayta rurasqanmantam, Señor Gibbon kay allin rimaywan nirqan: ‘Genseric, sutinmi, Roma imperiota tukuchiypi, Alaricwan Attilawan sutinkunapa kaq hina kikillan patapi churanapaq chaskisqa kasqa.’” Uriah Smith, Daniel and Revelation, 481, 484.
Smith, while quoting the historian Gibbon, who pointed out the historical symbols of the first three trumpets, identified that Genseric was the second trumpet and then said that Genseric, “deserved equal rank with Alaric and Attila.” Alaric is the first trumpet, Genseric the second and Attila the Hun was the third trumpet, which is addressed in verse ten. Smith pointed out that the second trumpet, represented by Genseric, represented the history of “428-468.” Then Smith quotes verse ten which identifies the third trumpet, and continues his narrative:
Смит, цитируя историка Гиббона, указавшего на исторические символы первых трёх труб, определил, что Гензерих был второй трубой, и затем сказал, что Гензерих «заслуживал равного места с Аларихом и Аттилой». Аларих — первая труба, Гензерих — вторая, а Аттила Гунн был третьей трубой, о которой говорится в десятом стихе. Смит указал, что вторая труба, представленная Гензерихом, отражала историю «428–468». Затем Смит цитирует десятый стих, который указывает на третью трубу, и продолжает своё повествование:
“In the interpretation and application of this passage, we are brought to the third important event which resulted in the subversion of the Roman empire. And in finding a historical fulfilment of this third trumpet, we shall be indebted to the Notes of Dr. Albert Barnes for a few extracts. In explaining this scripture, it is necessary, as this commentator says, ‘That there should be some chieftain or warrior who might be compared to a blazing meteor; whose course would be singularly brilliant; who would appear suddenly LIKE a blazing star, and then disappear like a star whose light was quenched in the waters.’— Notes on Revelation 8.
“Paasage kagsusurat tan katumanan naanan, maabot kita sa ikatolong mahinungdanong hitabo nga miresulta sa pagkapukan han Imperyo Romano. Ngan ha pagpangita hin historikal nga katumanan hini nga ikatolo nga trumpeta, may utang kita ha mga Nota ni Dr. Albert Barnes para ha pira nga sipi. Ha pagpasabot hini nga kasuratan, kinahanglan, sugad han siring hini nga komentarista, ‘Nga may-ada unta hin usa nga pangulo o girriro nga maipapariho ha naglalaga nga bulalakaw; nga an iya pag-agi magigin talagsahon an kasilaw; nga masiplat hiya hin tigda sugad hin naglalaga nga bitoon, ngan katapos mawawara sugad hin bitoon nga napalong an kapawa dida ha katubigan.’— Notes on Revelation 8.
“It is here premised that this trumpet has allusion to the desolating wars and furious invasions of Attila against the Roman power, which he carried on at the head of his hordes of Huns. . ..
«Adajo damarun muna cewa wannan ƙaho yana nuni da yaƙe-yaƙen hallaka da kuma munanan mamayewar Attila a kan ikon Romawa, waɗanda ya gudanar yana jagorantar tarin rundunoninsa na Huns....»
“‘And the Name of the Star is Called Wormwood [denoting the bitter consequences].’ These words—which are more intimately connected with the preceding verse, as even the punctuation in our version denotes—recall us for a moment to the character of Attila, to the misery of which he was the author or the instrument, and to the terror that was inspired by his name.
“‘کۉک یۇلتۇزنىڭ ئاتى ئاچچىق يىغىنچاق [ئاچچىق ئاقىۋەتلەرنى بىلدۈرىدۇ] دەپ ئاتىلىدۇ.’ بۇ سۉزلەر — ھەتتا بىزنىڭ نەشرىمىزدىكى تىنىش بەلگىلىرىمۇ كۆرسەتكەندەك، ئالدىنقى ئايەت بىلەن تېخىمۇ يېقىن باغلانغان بولۇپ — بىزنى بىر دەمدىلا ئاتتىلانىڭ خاراكتېرىگە، ئۇ سەۋەبچى ياكى ۋاسىتە بولغان مۇسىبەتكە، ۋە ئۇنىڭ نامى قوزغىغان ۋەھىمىگە قايتا ئەسلەتيدۇ.
“‘Total extirpation and erasure,’ are terms which best denote the calamities he inflicted.’ He styled himself, ‘The Scourge of God.’” Uriah Smith, Daniel and Revelation, 484, 487.
«“استیصالِ کامل و محو و نابودی” اصطلاحاتی هستند که به بهترین وجه بلایایی را که او وارد ساخت، بیان میکنند.» او خود را «تازیانۀ خدا» مینامید.» یوریا اسمیت، Daniel and Revelation، 484، 487.
The history of the third trumpet, represented by Attila the Hun, was the year 441, unto his death in the year 453. Smith then quotes verse twelve, which presents the fourth trumpet and describes the barbarian monarch Odoacer, where the threefold symbolism of Western Rome is represented by the sun, the moon and the stars. He identifies the three symbols as symbols of the “sun, moon, and stars—for they are undoubtedly here used as symbols—evidently denote the great luminaries of the Roman government,—its emperors, senators, and consuls. Bishop Newton remarks that the last emperor of Western Rome was Romulus, who in derision was called Augustulus, or the “diminutive Augustus.” Western Rome fell A.D. 476. Still, however, though the Roman sun was extinguished, its subordinate luminaries shone faintly while the senate and consuls continued. But after many civil reverses and changes of political fortune, at length, A.D. 566, the whole form of the ancient government was subverted, and Rome itself was reduced form being the empress of the world to a poor dukedom tributary to the Exarch of Ravenna.” Uriah Smith, Daniel and Revelation, 487.
ތިންވަނަ ތުނބުރީގެ ތާރީޚު، ހުންނުގެ އައްޓީލާއާ ނިޝާންކުރެވޭ އެ ތާރީޚު، 441 ވަނަ އަހަރުން ފެށިގެން 453 ވަނަ އަހަރު އޭނާގެ މަރާންދެން ދެމިގެން ދިޔައެވެ. ދެން ސްމިތު ބާރަވަނަ އާޔަތް ނަގައި ގެން ބުނެއެވެ؛ އެއީ ހަތަރުވަނަ ތުނބުރި ހުށަހަޅައި، ބަރބަރިޔާ ރާޖާ އޮޑޯއޭސަރު ބަޔާންކުރެއެވެ؛ އެއީ މަޣްރިބީ ރޫމުގެ ތިންގުނަ ނިޝާންކުރުން އިރު، ހަނދު، އަދި ތަރިތަކުން މެދުވެގެން ދައްކާތަނެވެ. އޭނާ މި ތިން ނިޝާން ދެނެގަނެއެވެ އެއީ “އިރު، ހަނދު، އަދި ތަރިތައް—ސައްޙަތަކާއެކު މިތާ އެބަ ބޭނުންކުރެވެނީ ނިޝާންތަކެއް ގޮތުގައެވެ—ފެންނަ ގޮތުން ރޫމު ސަރުކާރުގެ ބޮޑެތި އަލިފާންތަކަށް ދެންނެވެ؛ އެއީ އެގެ އިމްޕެރަތޫރުން، ސެނެޓަރުން، އަދި ކޮންސަލުން ނަށެވެ. ބިޝަޕް ނިޔުޓަން ޚިޔާލުކުރައެވެ މަޣްރިބީ ރޫމުގެ ފަހު އިމްޕެރަތޫރަކީ ރޯމިއުލަސް އެވެ، އޭނާއަށް މަލާމާތުގެ ގޮތުން އޯގަސްޓިޔުލަސް ނުވަތަ “ކުޑަ އޯގަސްޓަސް” އޭ ކިޔެއެވެ. މަޣްރިބީ ރޫމު A.D. 476 ގައި ވެއްޓިގެން ދިޔައެވެ. އެއާއެކުވެސް، ރޫމުގެ އިރު ނިވިގެން ދިޔަ ނަމަވެސް، އޭގެ ތިރި އަލިފާންތައް ސެނެޓު އަދި ކޮންސަލުން ދެމިގެން ހުރި ހައިސިއްޔަތުގައި މަޑު އަލިކޮށް އަބަދު ވިދާޅުވެއެވެ. ނަމަވެސް، ގިނަ އިޖްތިމާޢީ ވަރަށް ބަދަލުތަކާއި ސިޔާސީ ބަހާއެކު އައި އަނެކާ ބަދަލުތަކުގެ ފަހުން، އަޚިރުގައި A.D. 566 ގައި ގަދީމީ ސަރުކާރުގެ މުޅި ސޫރަ އުތުރައި ލެއްވި، އަދި ރޫމު ފަހުގައި ދުނިޔޭގެ އިމްޕްރެސް ކަމުން ރަވެންނާގެ އެކްސާރކުގެ ޚަރާޖު ދޭ މިސްކީން ޑިއުކްޑަމެއް ކަމަށް ދަށަށް ލެވިގެން ދިޔައެވެ.” ޔޫރަޔާ ސްމިތު، Daniel and Revelation, 487.
Here we find another witness to the threefold division of Rome, that prefigures the threefold union of modern Rome. With eastern Rome and emperor Constantine the threefold division was represented by his three sons, but with western Rome it was their threefold form of government. Smith then identifies that the sun, moon, and stars represent a specific order in which western Rome was brought down. He concludes his narrative with the following introduction of the last three trumpets.
Ici nous trouvons un autre témoignage de la division triple de Rome, qui préfigure l’union triple de la Rome moderne. Avec la Rome orientale et l’empereur Constantin, la division triple était représentée par ses trois fils, mais avec la Rome occidentale, elle l’était par leur triple forme de gouvernement. Smith identifie ensuite que le soleil, la lune et les étoiles représentent un ordre précis selon lequel la Rome occidentale fut renversée. Il conclut son récit par l’introduction suivante des trois dernières trompettes.
“Fearful as were the calamities brought upon the empire by the first incursions of these barbarians, they were comparatively light as contrasted with the calamities which were to follow. They were but as the preliminary drops of a shower before the torrent which was soon to fall upon the Roman world. The three remaining trumpets are overshadowed with a cloud of woe, as set forth in the following verses.
“Amaymus aplan imparatoriayan ti pannakaidulin dagiti immuna a panangrugi dagitoy a barbáro, naiparit laeng dagita no maidilig kadagiti dakes a mapasamak a sumaruno. Kasla laeng dagiti umuna a tuktukad ti tudo sakbay ti layos a madamdama a rumuar iti lubong ti Roma. Dagiti tallo a nabati a trumpeta ket nalidayan iti ulep ti asi, kas naipakita kadagiti sumarsaruno a bersikulo.
“‘VERSE 13. And I beheld, and heard an angel flying through the midst of heaven, saying with a loud voice, Woe, woe, woe, to the inhabiters of the earth by reason of the other voices of the trumpet of the three angels, which are yet to sound.’
“‘អត្ថបទ ១៣។ ហើយខ្ញុំបានមើលឃើញ និងបានឮទេវតាមួយអង្គហោះកាត់កណ្ដាលមេឃ ដោយប្រកាសដោយសំឡេងខ្លាំងថា វេទនា! វេទនា! វេទនា! ដល់អស់អ្នកដែលរស់នៅលើផែនដី ដោយសារសំឡេងត្រែផ្សេងទៀតរបស់ទេវតាទាំងបី ដែលនៅមិនទាន់ផ្លុំនៅឡើយ។’”
“This angel is not one of the series of the seven trumpet angels, but simply one who announces that the three remaining trumpets are woe trumpets, on account of the more terrible events to transpire under their sounding. Thus the next, or fifth trumpet, is the first woe; the sixth trumpet, the second woe; and the seventh, the last one in this series of seven trumpets, is the third woe.” Uriah Smith, Daniel and Revelation, 493.
“ᱱᱚᱣᱟ ᱫᱩᱛ ᱥᱟᱛ ᱵᱟᱲᱛᱤ ᱫᱩᱛᱠᱚ ᱨᱮᱱ ᱫᱷᱟᱨᱟ ᱨᱮ ᱢᱤᱫ ᱱᱚᱭ, ᱢᱮᱱᱠᱷᱟᱱ ᱮᱱᱟᱭ ᱮᱠᱮᱱ ᱱᱚᱣᱟ ᱫᱚ ᱚᱱᱚᱞ ᱮᱫᱟ ᱡᱮ ᱛᱮᱭᱟᱨ ᱛᱤᱱ ᱞᱮᱱᱟᱜ ᱵᱟᱲᱛᱤ ᱟᱹᱭᱩᱵ ᱵᱟᱲᱛᱤ ᱠᱚ ᱠᱟᱱᱟ, ᱪᱮᱫᱟᱠ ᱡᱮ ᱩᱱᱠᱩ ᱥᱟᱹᱰᱮ ᱨᱮ ᱟᱨᱚ ᱵᱷᱮᱭᱟᱱᱠᱟᱨ ᱜᱷᱚᱴᱚᱱᱟ ᱜᱷᱚᱴᱚᱜᱼᱟ᱾ ᱱᱚᱣᱟ ᱠᱟᱨᱚᱱ ᱛᱮ ᱮᱛᱚᱢ ᱟᱹᱨ ᱢᱚᱬᱮ, ᱟᱨᱵᱟᱝ ᱢᱚᱲᱮᱭᱟᱜ ᱵᱟᱲᱛᱤ, ᱯᱟᱹᱦᱤᱞ ᱟᱹᱭᱩᱵ ᱠᱟᱱᱟ; ᱴᱩᱨᱩᱭ ᱵᱟᱲᱛᱤ, ᱫᱚᱥᱨᱚ ᱟᱹᱭᱩᱵ; ᱟᱨ ᱮᱭᱟᱭ ᱵᱟᱲᱛᱤ, ᱥᱟᱛ ᱵᱟᱲᱛᱤᱭᱟᱜ ᱱᱚᱣᱟ ᱫᱷᱟᱨᱟ ᱨᱮ ᱪᱟᱵᱟ ᱢᱩᱪᱟᱹᱛ ᱟᱹᱭᱩᱵ ᱠᱟᱱᱟ।” Uriah Smith, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Chutjkʼal tʼaanuk ka beh óokʼol le óoxpʼéel “Woes” tiʼ le trompetáob ichil le láakʼ tsʼíiboʼ.
“The calamities of imperial Rome, in its downfall, were told to the very last of them, till Rome was without an emperor, a consul, or a senate. ‘Under the Exarchs of Ravenna, Rome was degraded to the second rank.’ The third part of the sun was smitten, and the third part of the moon, and the third part of the stars. The race of the Caesars was not extinct with the emperors of the West. Rome, before its fall, possessed but a portion of the imperial power. Constantinople divided with it the empire of the world. And neither Goths nor Vandals lorded over that still imperial city, the emperor of which, after the first transference of the seat of empire by Constantine, often held the emperor of Rome as his nominee and vicegerent. And the fate of Constantinople was reserved till other ages, and was announced by other trumpets. Of the sun, the moon, and the stars, as yet but the third part was smitten.
«کەرامەتەکانی ڕۆمای ئیمپراتۆری، لە داڕمانەکەیدا، تا دوایین یەکەیان پێشگوترا، هەتا ڕۆما بێ ئەمپیراطور، کۆنسوڵ، یان سێنات مایەوە. “لە ژێر ئەگزارخەکانی ڕاڤێننا، ڕۆما بۆ پلەی دووەم دابەزێنرا.” سێیەکی خۆر لێدرا، و سێیەکی مانگ، و سێیەکی ئەستێرەکان. نەوەی قەیسەرەکان لەگەڵ ئەمپیراطورەکانی ڕۆژئاوا نەبڕایەوە. ڕۆما، پێش داڕمانی خۆی، تەنها بەشێک لە هێزی ئیمپراتۆری هەبوو. قەستەنتینیە لەگەڵی ئیمپراتۆری جیهانی دابەش دەکرد. و نە گۆتەکان و نە ڤاندالەکان زاڵ نەبوون بەسەر ئەو شارە هێشتا ئیمپراتۆرییەدا، کە ئەو ئەمپیراطورەی، دوای یەکەم گواستنەوەی پایتەختی ئیمپراتۆری بە هۆی قەستەنتینەوە، زۆرجار ئەمپیراطورِ ڕۆمای وەک نوێنەری خۆی و جێگرەوەی خۆی دەهێشتەوە. و چارەنووسی قەستەنتینیە بۆ سەردەمەکانی دیکە پاشەکەوت کرابوو، و بە کەڕەنای دیکە ڕاگەیەنرابوو. لە خۆر و مانگ و ئەستێرەکان، هێشتا تەنها سێیەکەکەیان لێدرابوو.»
“The concluding words of the Fourth Trumpet imply the future restoration of the Western Empire: ‘The day shone not for the third part of it, and the night likewise.’ In respect to civil authority, Rome became subject to Ravenna, and Italy was a conquered province of the Eastern Empire. But, as more appropriately pertaining to other prophecies, the defense of the worship of images first brought the spiritual and temporal powers of the pope and of the emperor into violent collision; and, by conferring on the pope all authority over the churches, Justinian laid his helping hand to the promotion of the papal supremacy, which afterward assumed the power of creating monarchs. In the year of our Lord 800, the pope conferred on Charlemagne the title of Emperor of the Romans.’—Keith. That title was again transferred from the king of France to the king of Germany. And by the Emperor Francis the Second even this fiction was finally and forever renounced, Aug. 6, 1806.” A. T. Jones, The Great Nations of Today, 54.
“နောက်ဆုံးသော စတုတ္ထတံပိုး၏ စကားများသည် အနောက်တိုင်း အင်ပါယာ၏ အနာဂတ်ပြန်လည်ထူထောင်ခြင်းကို ညွှန်းဆိုသည်။ ‘ထိုအရာ၏ သုံးပုံတစ်ပုံအတွက် နေ့သည် မလင်း၊ ညလည်း ထို့အတူပင် ဖြစ်၏။’ နိုင်ငံရေးအာဏာအရဆိုလျှင် ရောမမြို့သည် ရာဗင်နာ၏ အုပ်ချုပ်မှုအောက်၌ ကျရောက်လာ၍ အီတလီသည် အရှေ့တိုင်း အင်ပါယာ၏ သိမ်းပိုက်ခံပြည်နယ်တစ်ခု ဖြစ်လာသည်။ သို့ရာတွင် အခြားသော ပရောဖက်ပြုချက်များနှင့် ပိုမိုသင့်လျော်စွာ ဆက်နွယ်သည့်အရာအဖြစ် ရုပ်တုများကို ကိုးကွယ်ဝတ်ပြုခြင်းအား ကာကွယ်ထောက်ခံမှုသည် ပုပ်ရဟန်းမင်းနှင့် ဘုရင်မင်းမြတ်၏ ဝိညာဉ်ရေးနှင့် လောကီရေး အာဏာတို့ကို ပထမဦးစွာ ပြင်းထန်စွာ ထိပ်တိုက်ပဋိပက္ခ ဖြစ်စေခဲ့သည်။ ထို့ပြင် ဘုရားကျောင်းများအပေါ် အာဏာအလုံးစုံကို ပုပ်ရဟန်းမင်းအား အပ်နှင်းခြင်းအားဖြင့် ဂျတ်စတီနီယန်သည် နောက်ပိုင်းတွင် ဘုရင်များကိုပင် ခန့်အပ်ဖန်တီးနိုင်သည့် အာဏာအဖြစ် ယူဆောင်လာသော ပုပ်ရဟန်းမင်းကြီး၏ အထွတ်အထိပ် အာဏာတည်မြဲရေးကို မြှင့်တင်ပေးရာ၌ အထောက်အကူပြုသော လက်တစ်ဖက်ကို ချီးမြှောက်ပေးခဲ့သည်။ ကျွန်ုပ်တို့၏ သခင်ဘုရား နှစ် ၈၀၀ ခုနှစ်တွင် ပုပ်ရဟန်းမင်းသည် ချာလမာန့်အား ‘ရောမလူမျိုးတို့၏ ဧကရာဇ်’ ဟူသော ဘွဲ့တံဆိပ်ကို အပ်နှင်းခဲ့သည်။”—Keith. ထိုဘွဲ့တံဆိပ်ကို ထို့နောက် ပြင်သစ်ဘုရင်ထံမှ ဂျာမနီဘုရင်ထံသို့ ထပ်မံ လွှဲပြောင်းပေးခဲ့သည်။ ထို့ပြင် ဧကရာဇ် ဖရန်စစ် ဒုတိယမြောက်အားဖြင့် ဤ အယောင်အမည်ပင် နောက်ဆုံး၌လည်းကောင်း၊ အစဉ်အမြဲအတွက်လည်းကောင်း၊ ၁၈၀၆ ခုနှစ် ဩဂုတ် ၆ ရက်နေ့တွင် စွန့်လွှတ်ပယ်ဖျက်ခြင်း ခံခဲ့ရသည်။” A. T. Jones, The Great Nations of Today, 54.