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.

William Miller fik givet stort lys over de syv menigheder, de syv segl og de syv basuner i Johannes’ Åbenbaring. Han anbragte disse profetiske symboler inden for rammen af de to ødelæggende magter: hedenskabet efterfulgt af pavedømmet. Han så ikke ethvert profetisk kendetegn ved disse symboler, men det, han så, fastlagde den grundlæggende forståelse af Guds menigheds indre historie og ydre historie fra apostlenes tid og indtil verdens ende. Den indre historie blev fremstillet ved menighederne, og menighedernes ydre historie blev fremstillet ved seglene. Han så, at basunerne var symboler på Guds dom over Rom, hvilket var et forbillede på Guds dom over Rom ved verdens ende, skønt han ikke så, at Rom ved verdens ende bestod af en trefoldig forening.

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.”

Bogen skrevet af Uriah Smith med titlen Daniel and Revelation indeholder nogle fejlagtige idéer, men den blev af Søster White betegnet som „Guds hjælpende hånd“. Hun angav, at den burde udbredes sammen med The Great Controversy, Patriarchs and Prophets og The Desire of Ages. Hendes stærke anbefaling betød ikke, at bogen stod på samme inspirerede niveau som hendes bøger, men at bogen indeholdt „storslået undervisning“ og havde været ansvarlig for „at bringe mange dyrebare sjæle til kundskab om sandheden“.

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.

Bogen anvender milleritisk profetisk logik, ledsaget af profetibegreber, som var ukendte før den 22. oktober 1844. Vi vil henvise til passager i bogen, idet vi fremlægger den trefoldige anvendelse af de tre Ve-råb.

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 fastslog, at de »syv basuner er en historie om syv særegne og tunge domme, sendt over jorden eller det romerske rige.« De første fire basuner repræsenterer de domme, der blev bragt over det hedenske Rom, og den femte og sjette basun var Guds domme, som blev bragt over det pavelige Rom; men Miller ville ikke have erkendt, at den syvende basun repræsenterede Guds dom over det moderne Rom. Med henvisning til de syv segl og de syv basuner i Åbenbaringen skrev 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.

„Efter at have taget bogen går Lammet straks videre til at åbne seglene; og apostlens opmærksomhed henledes på de scener, der udspiller sig under hvert segl. Tallet syv er allerede blevet bemærket som i Skrifterne at betegne fuldstændighed og fuldkommenhed. De syv segl omfatter derfor hele en bestemt klasse af begivenheder, som måske strækker sig ned til Konstantins tid, og de syv basuner endnu en anden række fra den tid og videre frem; dette kan ikke være korrekt. Basunerne betegner en række begivenheder, som finder sted samtidig med begivenhederne under seglene, men af en ganske anden karakter. En basun er et symbol på krig; derfor betegner basunerne store politiske omvæltninger, der skal finde sted blandt nationerne i evangeliets tidsalder. Seglene betegner begivenheder af religiøs karakter og indeholder kirkens historie fra den kristne tidsalders begyndelse til Kristi komme.” Uriah Smith, Daniel og Åbenbaringen, 431.

A trumpet is a symbol of war and political commotion. Speaking of verse two of chapter eight of Revelation Smith states:

En basun er et symbol på krig og politisk uro. Med henvisning til vers to i kapitel otte i Johannes’ Åbenbaring siger Smith:

“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’

“‘VERS 2. Og jeg så de syv engle, som stod for Gud; og der blev givet dem syv basuner.’

“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.

”Dette vers indfører en ny og særskilt række begivenheder. I seglene har vi haft kirkens historie under det, som kaldes evangeliets husholdning. I de syv basuner, som nu indføres, har vi de vigtigste politiske og krigeriske begivenheder, som skulle finde sted i den samme tid.” 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.

Det syvende segl åbnes i de første seks vers i Åbenbaringen kapitel otte, og på baggrund af åbningen af det syvende segl gør syv engle med syv basuner sig rede til at blæse.

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.

Og da han åbnede det syvende segl, blev der stille i himlen ved omtrent en halv time. Og jeg så de syv engle, som stod for Gud; og der blev givet dem syv basuner. Og en anden engel kom og stod ved alteret med et gyldent røgelseskar; og der blev givet ham megen røgelse, for at han skulle frembære den sammen med alle de helliges bønner på det gyldne alter, som var foran tronen. Og røgen af røgelsen, som steg op sammen med de helliges bønner, steg op for Gud fra engelens hånd. Og englen tog røgelseskarret og fyldte det med ild fra alteret og kastede det på jorden; og der kom røster og tordener og lyn og et jordskælv. Og de syv engle, som havde de syv basuner, gjorde sig rede til at basune. Åbenbaringen 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.

Der findes en profetisk anomali, som vi har identificeret i tidligere artikler, men som vi endnu ikke særskilt har behandlet i dens særlige profetiske fænomen. Denne anomali er, at symboler, som repræsenterer en rækkefølge af milepæle i den profetiske historie, alle sammenføres ved afslutningen af den historie, de repræsenterer. Vi har vist, at de fire generationer af laodikeisk adventisme, som er fremstillet ved de fire vederstyggeligheder i Ezekiels ottende kapitel, markerede bestemte milepæle, men at hver af dem som en prøve gentages i historien om beseglingen af de hundrede og fireogfyrre tusinde. Denne anomali findes også i de syv basuner; for skønt de repræsenterer bestemte domme over det hedenske, det pavelige og det moderne Rom, samles de alle igen, når den eksekutive dom over det moderne Rom begynder ved den snart kommende søndagslov.

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.

De syv basuner har bestemte tidspunkter, hvor de blev opfyldt i fortiden, men Søster White placerer også de syv engle med syv basuner i Åbenbaringen kapitel otte i historien om den snart kommende søndagslov.

“‘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.

“‘Og da han havde åbnet det femte segl, så jeg under alteret sjælene af dem, som var blevet dræbt for Guds ords skyld og for det vidnesbyrds skyld, som de holdt fast ved; og de råbte med høj røst og sagde: Hvor længe, Herre, du Hellige og Sanddru, vil du undlade at dømme og hævne vort blod på dem, som bor på jorden? Og der blev givet hver af dem hvide klæder [De blev erklæret rene og hellige]; og der blev sagt til dem, at de endnu skulle hvile en liden stund, indtil også deres medtjenere og deres brødre, som skulle blive dræbt ligesom de, var fuldtallige’ [Åbenbaringen 6:9–11]. Her blev der for Johannes fremstillet scener, som ikke var en virkelighed på den tid, men det, som ville finde sted i en fremtidig tidsperiode.”

“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.

„Åbenbaringen 8,1–4 citeret.“ Manuscript Releases, bind 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.

I det foregående afsnit anvender søster White dialogen og opfyldelsen af det femte segl på den periode, hvor de syv engle står i begreb med at basune i kapitel otte, men hun placerer også den samme fremstilling i historien om de to røster i Åbenbaringen kapitel atten.

“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.

„Da det femte segl blev åbnet, så Johannes Åbenbareren i et syn under alteret skaren af dem, der var blevet dræbt for Guds ords og Jesu Kristi vidnesbyrds skyld. Derefter fulgte de scener, som er beskrevet i Åbenbaringens attende kapitel, hvor de, som er trofaste og sande, kaldes ud fra Babylon. [Åbenbaringen 18,1–5, citeret.]“ Manuscript Releases, bind 20, s. 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.

De syv basuner repræsenterer Guds dom i det hedenske, pavelige og moderne Roms historie, men de er også fremstillet i historien om den 11. september 2001 og i den anden røst fra den snart kommende søndagslov. Efter at have behandlet de første seks vers i Åbenbaringen, kapitel otte, begynder Uriah Smith at fremlægge de første fire basuners historiske opfyldelser.

“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.

”Emnet om de syv basuner genoptages her og optager resten af dette kapitel samt hele kapitel 9. De syv engle forbereder sig på at basune. Deres basunen fremtræder som et supplement til profetien i Daniel 2 og 7, idet den begynder med opløsningen af det gamle romerske rige i dets ti opdelinger, hvoraf vi i de første fire basuner har en beskrivelse.” 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 fastslår, at de første fire basuner var Guds domme over det hedenske Rom. Han citerer vers syv, som angiver den første basuns profetiske kendetegn, og påviser dernæst dens historiske opfyldelse.

“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.

Den første ømme og tyngende dom, som ramte det vestlige Rom på dets nedadgående bane, var krigen med goterne under Alarik, som banede vejen for senere indfald. Den romerske kejser Theodosius’ død indtraf i januar 395, og før vinterens ende stod goterne under Alarik i våben mod riget.

“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.

Den første invasion under Alarik hærgede Thrakien, Makedonien, Attika og Peloponnes, men nåede ikke frem til byen Rom. Ved hans anden invasion krydsede den gotiske høvding derimod Alperne og Appenninerne og viste sig foran murene til den »evige stad«, som snart blev et bytte for barbarernes raseri.

“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.

„Den første basuns lyd har sin placering omkring slutningen af det fjerde århundrede og fremefter og henviser til disse ødelæggende invasioner af Romerriget under goterne.“ Uriah Smith, Daniel and Revelation, 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 identificerer Alarik som symbolet på Guds dom over det hedenske Rom, repræsenteret ved den første basun. Hver af basunerne har en historisk skikkelse, som repræsenterer basunen; Alarik repræsenterer den første basuns komme fra slutningen af det fjerde århundrede. Miller kunne ikke have set, at denne basun blev bragt over Rom på grund af håndhævelsen af søndagen, for Miller var søndagsholder. Dette forhold overså Smith også, men Smith erkendte dog, at den første håndhævede søndagslov blev indført af Konstantin i året 321. Den profetiske tommelfingerregel, som er forbundet med håndhævelsen af søndagen, er altid den samme, for Gud forandrer sig aldrig, og den regel er, at »nationalt frafald efterfølges af national undergang«. Alarik repræsenterer begyndelsen på den nationale undergang, som tog sin begyndelse netop i den periode, da Konstantin vedtog den første søndagslov.

Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:

Smith fortsætter ved at citere vers otte, som identificerer den anden basun, og fortsætter derpå sin kommentar:

“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.

„Det romerske imperium blev efter Konstantin delt i tre dele; og deraf den hyppige bemærkning: ‚en tredjedel af menneskene‘ osv., med hentydning til den tredjedel af riget, som var under svøben. Denne deling af det romerske rige fandt sted ved Konstantins død mellem hans tre sønner, Constantius, Konstantin II og Constans. Constantius besad Østen og lagde sin residens i Konstantinopel, imperiets hovedstad. Konstantin den Anden beholdt Britannien, Gallien og Spanien. Constans beholdt Illyricum, Afrika og Italien. (Se Sabine’s Ecclesiastical History, s. 155.) Om denne velkendte historiske kendsgerning siger Elliott, som citeret af Albert Barnes i hans noter til Åb. 12:4: ‚Mindst to gange, før det romerske imperium blev delt varigt i de to dele, den østlige og den vestlige, fandt der en tredelt deling af imperiet sted. Den første indtraf i år 311 e.Kr., da det blev delt mellem Konstantin, Licinius og Maximin; den anden i år 337 e.Kr., ved Konstantins død, mellem Constans og Constantius.‘“ 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.

Det historiske fænomen, at Rom blev delt i tre dele, og ligeledes i to dele, som historikerne, hvilke Smith citerer, henviser til, er de elementer i Rom, der identificerer det trefoldige forbund i det moderne Rom, hvilket danner en struktur, som er delt i to, og som repræsenterer foreningen af kirke og stat. Når Smith fortsætter, identificerer han dernæst den historiske skikkelse, som er forbundet med den anden basun.

“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. . ..

„Historien, som illustrerer den anden basuns lyd, vedrører åbenbart invasionen og erobringen af Afrika og derefter af Italien ved den frygtelige Genserik. Hans erobringer var for størstedelens vedkommende TIL SØS; og hans triumfer var „som et stort bjerg, brændende i ild, kastet i havet“. Hvilket billede ville bedre, eller blot lige så godt, kunne illustrere flåders sammenstød og krigens almindelige ødelæggelse langs havkysterne? Når vi skal forklare denne basun, må vi se efter nogle begivenheder, som vil have en særlig betydning for den kommercielle verden. Det anvendte symbol leder os naturligt til at forvente uro og omvæltning. Intet andet end en voldsom søkrig ville opfylde forudsigelsen. Hvis de første fire basuners lyd vedrører fire bemærkelsesværdige begivenheder, som bidrog til det romerske riges undergang, og den første basun henviser til goternes hærgen under Alarik, ser vi i denne naturligt efter den næstfølgende invasionshandling, som rystede den romerske magt og medvirkede til dens fald. Den næste store invasion var „den frygtelige Genseriks“, i spidsen for vandalerne. Hans virke fandt sted i årene 428–468 e.Kr. Denne store vandalhøvding havde sit hovedkvarter i Afrika....“

“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.

„Vedrørende den vigtige rolle, som denne dristige sørøver spillede i Roms fald, bruger hr. Gibbon dette betydningsfulde sprog: ‘Genseric, et navn som i det romerske riges ødelæggelse har fortjent en lige rang med navnene Alarik og Attila.’“ 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:

Smith, som citerede historikeren Gibbon, der påpegede de historiske symboler i de første tre basuner, fastslog, at Genserik var den anden basun, og sagde dernæst, at Genserik „fortjente samme rang som Alarik og Attila.“ Alarik er den første basun, Genserik den anden, og Attila hunnerkongen var den tredje basun, som omtales i vers ti. Smith påpegede, at den anden basun, repræsenteret ved Genserik, svarede til historien i „428-468.“ Derpå citerer Smith vers ti, som identificerer den tredje basun, og fortsætter sin fremstilling:

“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.

„I fortolkningen og anvendelsen af dette skriftsted føres vi til den tredje vigtige begivenhed, som resulterede i det romerske riges undergravelse. Og når vi søger en historisk opfyldelse af denne tredje basun, vil vi for nogle få uddrags vedkommende stå i gæld til dr. Albert Barnes’ noter. Ved forklaringen af dette skriftsted er det nødvendigt, som denne kommentator siger, „at der skulle være en eller anden høvding eller kriger, som kunne sammenlignes med en flammende meteor; hvis bane ville være særdeles strålende; som pludselig ville fremtræde LIG en flammende stjerne og dernæst forsvinde som en stjerne, hvis lys blev slukket i vandene.“ — 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. . ..

„Det forudsættes her, at denne basun sigter til Attilas ødelæggende krige og rasende invasioner mod den romerske magt, som han førte i spidsen for sine horder af hunner....“

“‘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.

“‘Og Stjernens Navn kaldes Malurt [betegnende de bitre følger].’ Disse ord — som er mere nært forbundne med det foregående vers, således som endog tegnsætningen i vor oversættelse angiver — leder os et øjeblik tilbage til Attilas karakter, til den elendighed, hvis ophavsmand eller redskab han var, og til den rædsel, som hans navn indgød.

“‘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.

»‚Fuldstændig udryddelse og udslettelse‘ er de betegnelser, som bedst angiver de ulykker, han påførte.« Han kaldte sig selv »Guds svøbe«. Uriah Smith, 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.

Historien om den tredje basun, repræsenteret ved Attila hunneren, strakte sig fra året 441 til hans død i året 453. Smith citerer dernæst vers tolv, som fremstiller den fjerde basun og beskriver den barbariske monark Odoaker, hvor Vestroms trefoldige symbolik er repræsenteret ved solen, månen og stjernerne. Han identificerer de tre symboler som symboler på “solen, månen og stjernerne—for de bruges her uden tvivl som symboler—og betegner tydeligvis den romerske regerings store himmellys,—dens kejsere, senatorer og konsuler. Biskop Newton bemærker, at den sidste kejser i Vestrom var Romulus, som spottende blev kaldt Augustulus, eller den ‘formindskede Augustus’. Vestrom faldt e.Kr. 476. Alligevel, skønt den romerske sol var slukket, skinnede dens underordnede himmellys svagt videre, mens senatet og konsulerne fortsatte. Men efter mange borgerlige omvæltninger og skiftende politisk lykke blev til sidst, e.Kr. 566, hele den gamle regeringsform omstyrtet, og Rom selv blev reduceret fra at være verdens kejserinde til et fattigt hertugdømme, som betalte tribut til eksarken i Ravenna.” Uriah Smith, 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.

Her finder vi endnu et vidnesbyrd om Roms tredobbelte deling, som foregriber det moderne Roms tredobbelte forening. Med det østlige Rom og kejser Konstantin blev den tredobbelte deling repræsenteret ved hans tre sønner, men med det vestlige Rom var det deres tredobbelte styreform. Smith identificerer dernæst, at solen, månen og stjernerne repræsenterer en bestemt rækkefølge, hvori det vestlige Rom blev bragt til fald. Han afslutter sin fremstilling med følgende introduktion til de sidste tre basuner.

“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.

„Hvor frygtelige end de ulykker var, som blev bragt over riget ved disse barbarers første indtrængen, var de forholdsvis lette i sammenligning med de ulykker, som skulle følge. De var kun som de første dråber af en regnbyge forud for den strøm, som snart skulle falde over den romerske verden. De tre tilbageværende basuner er overskygget af en sky af ve, således som det fremstilles i de følgende vers.“

“‘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.’

"VERS 13. Og jeg så, og jeg hørte en engel flyve midt igennem himlen og sige med høj røst: Ve, ve, ve over jordens beboere på grund af de øvrige basunrøster fra de tre engle, som endnu skal blæse."

“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.

„Denne engel er ikke en af rækken af de syv basunengle, men blot en, som forkynder, at de tre tilbageværende basuner er ve-basuner på grund af de mere frygtelige begivenheder, der skal finde sted under deres klang. Således er den næste, eller den femte basun, det første ve; den sjette basun, det andet ve; og den syvende, den sidste i denne række af syv basuner, er det tredje ve.“ Uriah Smith, Daniel and Revelation, 493.

We will continue with the three trumpet Woes in the next article.

Vi vil fortsætte med de tre ve-råb ved basunerne i den næste artikel.

“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.

Det kejserlige Roms ulykker ved dets fald blev forkyndt helt til den sidste af dem, indtil Rom stod uden en kejser, en konsul eller et senat. »Under eksarkerne i Ravenna blev Rom fornedret til anden rang.« Solens tredje del blev ramt, og månens tredje del og stjernernes tredje del. Cæsarernes slægt uddøde ikke med Vestens kejsere. Rom besad før sit fald kun en del af den kejserlige magt. Konstantinopel delte med det verdensriget. Og hverken goter eller vandaler herskede som herrer over denne endnu kejserlige stad, hvis kejser, efter Konstantins første overførelse af rigets sæde, ofte havde kejseren i Rom som sin udnævnte stedfortræder og vicegerent. Og Konstantinopels skæbne blev forbeholdt andre tidsaldre og blev forkyndt ved andre basuner. Af solen, månen og stjernerne var endnu kun den tredje del ramt.

“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.

”De afsluttende ord i den fjerde basun antyder den fremtidige genoprettelse af det vestlige imperium: »Dagen skinnede ikke for dens tredje del, og natten ligeledes.« Med hensyn til den civile myndighed blev Rom underlagt Ravenna, og Italien var en erobret provins under det østlige imperium. Men, som mere passende hører under andre profetier, var det forsvaret for billeddyrkelsen, som først bragte pavens og kejserens åndelige og verdslige magter i voldsom sammenstød; og ved at overdrage paven al myndighed over kirkerne lagde Justinian sin hjælpende hånd til fremmelsen af den pavelige overhøjhed, som senere påtog sig magten til at skabe monarker. I vor Herres år 800 overdrog paven Karl den Store titlen Romernes kejser.« — Keith. Denne titel blev siden igen overført fra Frankrigs konge til Tysklands konge. Og ved kejser Frans den Anden blev selv denne fiktion endelig og for bestandig opgivet den 6. aug. 1806.” A. T. Jones, The Great Nations of Today, 54.