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 a primit o mare lumină asupra celor şapte biserici, a celor şapte peceţi şi a celor şapte trâmbiţe din cartea Apocalipsei. El a aşezat aceste simboluri profetice în cadrul celor două puteri pustiitoare: păgânismul, urmat de papalitate. Nu a văzut fiecare trăsătură profetică a acestor simboluri, dar ceea ce a văzut a statornicit înţelegerea fundamentală a istoriei interne şi a istoriei externe a bisericii lui Dumnezeu, de la timpul apostolilor până la sfârşitul lumii. Istoria internă era reprezentată de biserici, iar istoria externă a bisericilor era reprezentată de peceţi. El a văzut că trâmbiţele erau simboluri ale judecăţii lui Dumnezeu asupra Romei, care preînchipuia judecata lui Dumnezeu asupra Romei la sfârşitul lumii, deşi nu a văzut că Roma de la sfârşitul lumii era alcătuită dintr-o întreită unire.
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.”
Nkitahisomwa na Uriah Smith chenye kichwa Daniel and Revelation kina mawazo fulani yenye makosa, lakini kilitambuliwa na Sister White kuwa “mkono wa msaada wa Mungu.” Alibainisha kwamba kilipaswa kusambazwa pamoja na The Great Controversy, Patriarchs and Prophets, na The Desire of Ages. Uungaji mkono wake wenye nguvu haukumaanisha kwamba kitabu hicho kilikuwa katika kiwango kilekile cha uvuvio kama vitabu vyake, bali kwamba kilikuwa na “mafundisho makuu,” na kwamba kimekuwa na wajibu wa “kuwaleta roho nyingi za thamani kwenye ujuzi wa kweli.”
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.
Le livre emploie la logique prophétique millérite, accompagnée de conceptions de la prophétie qui n’avaient pas été vues avant le 22 octobre 1844. Nous nous référerons à des passages du livre en exposant la triple application des trois Malheurs.
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 déclara que « les sept trompettes sont l’histoire de sept jugements particuliers et sévères envoyés sur la terre, ou royaume romain ». Les quatre premières trompettes représentent les jugements qui furent exercés contre la Rome païenne, et les cinquième et sixième trompettes furent les jugements de Dieu qui s’abattirent sur la Rome papale ; mais Miller n’aurait pas reconnu que la septième trompette représentait le jugement de Dieu sur la Rome moderne. Parlant des sept sceaux et des sept trompettes de l’Apocalypse, Uriah Smith écrivit :
“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.
« Ayant pris le livre, l’Agneau procède aussitôt à l’ouverture des sceaux; et l’attention de l’apôtre est attirée sur les scènes qui se déroulent sous chacun des sceaux. Le nombre sept a déjà été signalé comme désignant dans les Écritures la plénitude et la perfection. Les sept sceaux embrassent donc la totalité d’une certaine catégorie d’événements; dire qu’ils s’étendent peut-être jusqu’au temps de Constantin, et que les sept trompettes constitueraient une autre série à partir de ce temps et au-delà, ne saurait être exact. Les trompettes désignent une série d’événements qui se produisent simultanément avec les événements des sceaux, mais d’un caractère entièrement différent. Une trompette est un symbole de guerre; dès lors, les trompettes désignent de grands bouleversements politiques devant avoir lieu parmi les nations durant l’ère de l’Évangile. Les sceaux désignent des événements d’ordre religieux et renferment l’histoire de l’Église depuis l’ouverture de l’ère chrétienne jusqu’à la venue du Christ. » 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:
Бору — соғыс пен саяси толқудың нышаны. Смит Аян кітабының сегізінші тарауының екінші аяты туралы былай дейді:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
« VERSET 2. Et je vis les sept anges qui se tenaient devant Dieu ; et sept trompettes leur furent données. »
“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.
«Այս համարը ներկայացնում է իրադարձությունների նոր և առանձին շարք։ Կնիքների մեջ մենք տեսանք եկեղեցու պատմությունը այն ժամանակահատվածում, որը կոչվում է ավետարանի տնտեսություն։ Այժմ ներկայացվող յոթ փողերի մեջ մենք տեսնում ենք գլխավոր քաղաքական և պատերազմական իրադարձությունները, որոնք պետք է տեղի ունենային նույն ժամանակաշրջանի ընթացքում»։ Ուրիա Սմիթ, 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.
Ndị mmụọ ozi asaa ahụ, ndị nwere opi asaa, kwadebere ịfụ opi n’azụ mmeghe nke akara nke asaa, ebe a na-emeghe akara nke asaa n’ime amaokwu isii mbụ nke Mkpughe, isi nke asatọ.
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.
Lut ngaa nga a nngok tamtûm boina boi, akei thangthôi ah rei hriam a awm a, dâr chanve vel. Tin, Pathian hmaah ding vântirhkoh sarihte chu ka hmu a; an hnênah sumdâwi sarihte pek an ni. Tin, vântirhkoh dang pakhat a lo kal a, maichâm bulaah a ding a, khaikhâwlnâ puanrang sen a nei a; tin, a hnênah rimtui tam tak pek a ni, chutichuan Lalṭhianthuam hmaah awm maichâm rangkachak chungah mi thianghlim zawng zawng tawngṭainate nên a hlân theih nân. Tin, rimtui meikhu chu, mi thianghlimte tawngṭainate nên, vântirhkoh kut ata Pathian hmaah a chho ta a. Tin, vântirhkoh chuan khaikhâwlnâ chu a la a, maichâm meiin a khat a, leiah a paih thla a: tin, aw thâwngte, khuaiawrte, êngṭhingte, leh ling nasa tak a awm ta a. Tin, sumdâwi sarihte nei vântirhkoh sarihte chuan an tum buatsaih ta a. Thupuan 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.
Er is een profetische anomalie die wij in eerdere artikelen hebben onderkend, maar waarvan wij het bijzondere profetische verschijnsel nog niet uitdrukkelijk hebben behandeld. Die anomalie bestaat hierin, dat symbolen die een opeenvolging van wegmarkeringen in de profetische geschiedenis voorstellen, alle tezamen worden samengebracht in de afsluiting van de geschiedenis die zij vertegenwoordigen. Wij hebben aangetoond dat de vier generaties van het Laodiceïsche adventisme, voorgesteld door de vier gruwelen van Ezechiël hoofdstuk acht, specifieke wegmarkeringen aanduidden, maar dat elk van deze zich, als een beproeving, herhaalt in de geschiedenis van de verzegeling van de honderd vierenveertigduizend. Deze anomalie wordt ook aangetroffen in de zeven bazuinen; want hoewel zij specifieke oordelen over het heidense, pauselijke en moderne Rome voorstellen, komen zij alle wederom tezamen wanneer het uitvoerende oordeel over het moderne Rome aanvangt bij de spoedig komende zondagswet.
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.
Les sept trompettes ont des dates précises auxquelles elles se sont accomplies dans le passé, mais Sœur White situe également les sept anges aux sept trompettes d’Apocalypse, chapitre huit, dans l’histoire de la loi dominicale imminente.
“‘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.
«Եվ երբ նա բացեց հինգերորդ կնիքը, ես սեղանի տակ տեսա նրանց հոգիները, որ սպանվել էին Աստծու խոսքի համար և այն վկայության համար, որ պահում էին. և նրանք բարձր ձայնով աղաղակում էին՝ ասելով. Մինչև ե՞րբ, ո՛վ Տեր, Սուրբ և Ճշմարիտ, չես դատում և չես վրէժխնդրում մեր արյունը երկրի վրա բնակվողներից։ Եվ նրանցից յուրաքանչյուրին տրվեցին սպիտակ հանդերձներ [Նրանք հռչակվեցին մաքուր և սուրբ], և նրանց ասվեց, որ դեռ մի փոքր ժամանակ հանգստանան, մինչև որ լրացվի նաև իրենց ծառայակիցների և իրենց եղբայրների թիվը, որոնք պետք է սպանվեին, ինչպես իրենք» [Հայտնություն 6:9–11]։ Այստեղ Հովհաննեսին ներկայացված էին տեսարաններ, որոնք իրականության մեջ այդ պահին չէին, այլ այն, ինչ լինելու էր ապագայում՝ ժամանակի մի որոշակի շրջանում։
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
«Révélation 8:1–4 cité.» Manuscript Releases, volume 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.
Au passage précédent, Sœur White applique le dialogue et l’accomplissement du cinquième sceau à la période où les sept anges sont sur le point de sonner, au chapitre huit; mais elle situe aussi cette même représentation dans l’histoire des deux voix d’Apocalypse, chapitre dix-huit.
“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 ble åpnet, så Johannes Åpenbareren i syn under alteret den skare som var blitt drept for Guds Ord og Jesu Kristi vitnesbyrd. Etter dette fulgte de scener som er beskrevet i det attende kapittel av Åpenbaringen, da de som er trofaste og sanne, blir kalt ut fra Babylon. [Åpenbaringen 18:1–5, sitert.]” Manuscript Releases, bind 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.
Ettita mezmurat yewaklalu yəʾEgziʾabəher fitḥ be-tarikə nägästawi, papawi,na zämänawi Roma, nägär gän inäzih degmo yätäwäkälu be-tarikə mäsqäl 11, 2001,na hulättäñña dəms yäqärəbäw yäSänbät hig. Uriah Smith qädämawi sidist qälat yäMäṣḥafä Räʾy mälkəʾ 8 kägäbäñña bohala, qädämawi arat mezmurat täarikawi molfəññätocčäw mäqäräb yäjemmir.
“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.
«El tema de las siete trompetas se retoma aquí, y ocupa el resto de este capítulo y todo el capítulo 9. Los siete ángeles se preparan para tocar. Su toque se presenta como complemento de la profecía de Daniel 2 y 7, comenzando con la desintegración del antiguo imperio romano en sus diez divisiones, de las cuales, en las primeras cuatro trompetas, tenemos una descripción». 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 ataonyesha kwamba parapanda nne za kwanza zilikuwa hukumu za Mungu juu ya Rumi ya kipagani. Ananukuu aya ya saba, inayotambulisha sifa za kinabii za parapanda ya kwanza, kisha anaonyesha utimilifu wake wa kihistoria.
“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.
«Римыд фæстагдæр уæлдæрдзинады фæндаджы Уæстæр Римыл фæллад куыд æмæ тæвд хъуыддагæй æрцыд, уый уыд Готтæтимæ Алæрихы хъæбатырдзинад, кæцы фæстæдæр бæстæмæ хызтæн фæндаг байгом кодта. Феодосийы, Римы паддзахы, мæлæт 395 азы январы равдыст, æмæ тæвдæн фæстагæй нæ фæстæг уыцы зымæджы кæронмæ Готтæ Алæрихы раздзæуджытимæ империæйы ныхмæ æрлæууыдысты.»
“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.
«ការឈ្លានពានលើកទីមួយក្រោមការដឹកនាំរបស់ Alaric បានបំផ្លិចបំផ្លាញ Thrace, Macedonia, Attica និង Peloponnesus ប៉ុន្តែមិនបានទៅដល់ទីក្រុង Rome ទេ។ ទោះជាយ៉ាងណា ក្នុងការឈ្លានពានលើកទីពីរ មេដឹកនាំ Goth បានឆ្លងកាត់ Alps និង Apennines ហើយបានមកដល់មុខកំពែងនៃ ‘ទីក្រុងអមតៈ’ ដែលមិនយូរប៉ុន្មានក៏បានធ្លាក់ជាចំណីនៃកំហឹងរបស់ពួកព្រៃផ្សៃ»។
“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.
« L’explosion de la première trompette se situe vers la fin du quatrième siècle et au-delà, et se rapporte à ces invasions dévastatrices de l’Empire romain sous les Goths. » 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 anamtambua Alaric kuwa ishara ya hukumu ya Mungu juu ya Roma ya kipagani inayowakilishwa na baragumu ya kwanza. Kila moja ya baragumu hizo ina mhusika wa kihistoria anayewakilisha baragumu hiyo; Alaric anawakilisha kuwasili kwa baragumu ya kwanza tangu mwisho wa karne ya nne. Miller hangeweza kuona kwamba baragumu hii ililetwa juu ya Roma kwa sababu ya utekelezwaji wa sheria ya Jumapili, kwa maana Miller alikuwa mshika Jumapili. Smith naye pia hakulitambua jambo hili, lakini Smith alitambua kwamba sheria ya kwanza ya Jumapili iliyotekelezwa iliwekwa na Constantine katika mwaka wa 321. Kanuni ya kiunabii ya jumla inayohusiana na utekelezwaji wa sheria ya Jumapili huwa ni ileile sikuzote, kwa maana Mungu habadiliki kamwe, na kanuni hiyo ni kwamba “uasi wa kitaifa hufuatiwa na maangamizi ya kitaifa”. Alaric anawakilisha mwanzo wa maangamizi ya kitaifa yaliyoanza katika kipindi kilekile ambacho Constantine alipitisha sheria ya kwanza ya Jumapili.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Smith anaendelea kwa kunukuu mstari wa nane, ambao unatambulisha tarumbeta ya pili, kisha anaendelea na ufafanuzi wake:
“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.
“Rim imperiyasi Konstantindan keyin uch qismga bo‘lindi; shuning uchun ham, zulm ostida qolgan imperiyaning uchinchi qismiga ishora qilib, har yerda tez-tez ‘odamlarning uchdan bir qismi’ va hokazo degan ibora uchraydi. Rim saltanatining bu bo‘linishi Konstantin vafot etganida uning uch o‘g‘li — Konstansiy, Konstantin II va Konstans o‘rtasida amalga oshirildi. Konstansiy Sharqni egallab, o‘z qarorgohini imperiyaning poytaxti bo‘lgan Konstantinopolga o‘rnatdi. Ikkinchi Konstantin Britaniya, Galliya va Ispaniyani boshqardi. Konstans esa Illirik, Afrika va Italiyani egalladi. (Qarang: Sabine’s Ecclesiastical History, 155-bet.) Albert Barnesning Vah. 12:4 ga yozgan izohlarida keltirilgan Elliott bu mashhur tarixiy haqiqat haqida shunday deydi: ‘Rim imperiyasi Sharqiy va G‘arbiy ikki qismga doimiy ravishda bo‘linishidan oldin, kamida ikki marta imperiya uch qismga bo‘lingan edi. Birinchisi milodiy 311-yilda, u Konstantin, Lisiniy va Maksimin o‘rtasida bo‘linganida yuz berdi; ikkinchisi esa milodiy 337-yilda, Konstantin vafot etganida, Konstans va Konstansiy o‘rtasida sodir bo‘ldi.’” 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.
Le phénomène historique de Rome divisée en trois parties, ainsi qu’en deux parties, auquel font référence les historiens cités par Smith, constitue les éléments de Rome qui identifient l’union tripartite de la Rome moderne, laquelle forme une structure divisée en deux, représentant la combinaison de l’Église et de l’État. Lorsque Smith poursuit, il identifie alors la figure historique associée à la deuxième trompette.
“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. . ..
«Ҷараёни таърих, ки ба садо додани карнаи дуюм намунавӣ мебошад, ошкоро ба ҳамла ва фатҳи Африқо, ва баъдан Итолиё, аз ҷониби Генсерики даҳшатовар марбут аст. Фатҳҳои ӯ, бештар аз ҳама, БАҲРӢ буданд; ва пирӯзиҳои ӯ «гӯё кӯҳи бузурге буд, ки аз оташ месӯхт ва ба баҳр андохта шуд». Кадом тасвир метавонист беҳтар, ё ҳатто ба ҳамон андоза хуб, бархӯрди флотҳо ва харобии умумии ҷангро бар соҳилҳои баҳрӣ нишон диҳад? Ҳангоми тавзеҳи ин карнай, мо бояд ба ҷустуҷӯи баъзе воқеаҳое бошем, ки ба ҷаҳони тиҷорат таъсири махсус доранд. Рамзе, ки истифода шудааст, табиатан моро водор мекунад, ки нооромӣ ва ошӯбро интизор шавем. Ҷуз як ҷанги шадиди баҳрӣ, ҳеҷ чиз пешгӯиро иҷро карда наметавонист. Агар садо додани чор карнаи аввал ба чор воқеаи барҷастае марбут бошад, ки ба суқути империяи Рум мусоидат карданд, ва карнаи аввал ба харобкориҳои готҳо таҳти роҳбарии Аларик ишора кунад, пас дар ин ҷо мо ба таври табиӣ амали навбатии ҳамларо меҷӯем, ки қудрати Румро ба ларза даровард ва ба суқути он мусоидат кард. Ҳамлаи бузурги навбатӣ ҳамлаи «Генсерики даҳшатовар» буд, ки дар сари вандалҳо қарор дошт. Давраи фаъолияти ӯ дар солҳои 428–468 милодӣ рух дод. Ин сарвари бузурги вандал қароргоҳи худро дар Африқо дошт....»
“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.
“Be langa di girîng a ku ev korsarê bêdil di hilweşandina Romayê de lîst, Mîr Gibbon ev gotinên watedar bi kar tîne: ‘Genseric, navek ku di hilweşandina împaratoriya Romayê de, stahîqê wê ye ku bi navên Alaric û Attila re di heman asta de were danîn.’” 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:
سمِث، در حالی که از مورخ گیبون نقل میکرد، کسی که نمادهای تاریخیِ سه شیپور نخست را نشان داده بود، مشخص ساخت که گنسریک همان شیپور دوم بود و سپس گفت که گنسریک «شایستهٔ همرتبگی با آلاریک و آتیلا بود.» آلاریک شیپور نخست است، گنسریک شیپور دوم، و آتیلای هون شیپور سوم بود که در آیهٔ دهم به آن پرداخته میشود. سمِث خاطرنشان کرد که شیپور دوم، که بهوسیلهٔ گنسریک نمایانده میشود، تاریخ «428-468» را نمایندگی میکند. سپس سمِث آیهٔ دهم را نقل میکند که شیپور سوم را مشخص میسازد، و روایت خود را ادامه میدهد:
“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.
“N semnadi i ku n’na aplikadi es pasaji, nu ta ser levadu pa kel di terseru eventu importanti ki rezultou na subversãu di impériu Romanu. I, na buska di un cumprimentu históricu di es terseru trombeta, nu ta debi a Notas di Dr. Albert Barnes alguns estratus. Na esplicason di es Skriptura, é nisisáriu, sima es komentador ta fla, ‘Ma ten ki i ten algũ txefi ó guerreiru ki pudia ser konparadu ku un meteoru ardi; kaminhu di kel algu ten ki ser singularmenti brilhanti; el ten ki aparese di repentI SIMA un strelha ardi, i dipôs desaparesi sima un strelha kũ luz foi apagadu na águasi.’— Notas sobri Revelason 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. . ..
«Поэтому здесь предполагается, что эта труба относится к опустошительным войнам и яростным нашествиям Аттилы против римской власти, которые он вел во главе своих орд гуннов....»
“‘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.
“‘Me em din na xwe ya sterê Wermwood tê gotin [ku encamên talşîn nîşan dide].’ Ev gotin—ku, wekî xala nivîsîna di guhertoya me de jî nîşan dide, bi ayeta berê re bi awayekî zêdetir têkildar in—em bo kêlîyekê vedigerînin karakterê Attila, bo êşa ku ew sedem an amûra wê bû, û bo tirsê ku bi navê wî hate afirandin.”
“‘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.
«L’extermination totale et l’effacement» sont les termes qui désignent le mieux les calamités qu’il infligea.» Il se donnait à lui-même le titre de «Fléau de Dieu».» 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.
Die Geschichte der dritten Posaune, dargestellt durch Attila den Hunnen, umfasste die Zeit vom Jahr 441 bis zu seinem Tod im Jahr 453. Smith zitiert sodann Vers zwölf, der die vierte Posaune vor Augen führt und den barbarischen Monarchen Odoaker beschreibt, wobei die dreifache Symbolik Westroms durch die Sonne, den Mond und die Sterne dargestellt wird. Er deutet die drei Sinnbilder als Sinnbilder der „Sonne, des Mondes und der Sterne—denn sie werden hier ohne Zweifel als Sinnbilder gebraucht—und bezeichnen offenbar die großen Himmelslichter der römischen Regierung,—ihre Kaiser, Senatoren und Konsuln. Bischof Newton bemerkt, dass der letzte Kaiser des Weströmischen Reiches Romulus war, der zum Spott Augustulus oder der ‚verkleinerte Augustus‘ genannt wurde. Westrom fiel im Jahre 476 n. Chr. Dennoch leuchteten, obwohl die römische Sonne erloschen war, ihre untergeordneten Himmelslichter noch schwach fort, solange der Senat und die Konsuln bestanden. Aber nach vielen bürgerlichen Rückschlägen und Veränderungen des politischen Geschicks wurde schließlich im Jahre 566 die ganze Gestalt der alten Regierung umgestürzt, und Rom selbst wurde, statt die Kaiserin der Welt zu sein, zu einem armen Herzogtum herabgebracht, das dem Exarchen von Ravenna tributpflichtig war.“ 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.
Hier finden wir ein weiteres Zeugnis für die dreifache Teilung Roms, die die dreifache Vereinigung des neuzeitlichen Rom vorbildlich darstellt. Beim östlichen Rom und Kaiser Konstantin wurde die dreifache Teilung durch seine drei Söhne repräsentiert; beim westlichen Rom hingegen durch ihre dreifache Regierungsform. Smith weist sodann darauf hin, dass Sonne, Mond und Sterne eine bestimmte Reihenfolge darstellen, in der das westliche Rom zu Fall gebracht wurde. Er beschließt seine Darstellung mit der folgenden Einführung der letzten drei Posaunen.
“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.
« Aussi redoutables que fussent les calamités infligées à l’empire par les premières incursions de ces barbares, elles étaient relativement légères en comparaison de celles qui devaient suivre. Elles n’étaient que comme les premières gouttes d’une averse avant le torrent qui allait bientôt s’abattre sur le monde romain. Les trois trompettes restantes sont assombries par un nuage de malheur, ainsi qu’il est exposé dans les versets suivants. »
“‘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.’
«ВЕРСЕТ 13. И погледнах, и чух ангел да лети насред небето, който казваше със силен глас: Горко, горко, горко на земните жители поради останалите гласове на тръбата на тримата ангели, които още предстои да затръбят.»
“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.
«ફફ દેવદૂત સાત તૂર્યવાજક દેવદૂતોની શ્રેણીમાંનો એક નથી, પરંતુ માત્ર એવો એક છે, જે જાહેર કરે છે કે બાકી રહેલા ત્રણ તૂર્યો હાયના તૂર્યો છે, કારણ કે તેમના નાદ હેઠળ વધુ ભયાનક ઘટનાઓ બનવાની છે. તેથી આગળનો, અથવા પાંચમો તૂર્ય, પ્રથમ હાય છે; છઠ્ઠો તૂર્ય, બીજી હાય; અને સાતમો, સાત તૂર્યોની આ શ્રેણીમાંનો અંતિમ, ત્રીજી હાય છે.» ઉરિયા સ્મિથ, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Nous poursuivrons avec les trois malheurs des trompettes dans l’article suivant.
“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.
“দৈৱ-সম্ৰাজ্যিক ৰোমৰ পতনৰ সময়ত তাৰ ওপৰত নামি অহা বিপৰ্যয়সমূহৰ বৰ্ণনা একেবাৰে অন্তিম পৰ্যন্ত কোৱা হৈছিল, যেতিয়ালৈকে ৰোম সম্ৰাট, কনছুল, বা চেনেট—একো নথকা হৈ নপৰে। ‘ৰাভেন্নাৰ এক্সাৰ্কসকলৰ অধীনত, ৰোমক দ্বিতীয় শ্ৰেণীত অৱনমিত কৰা হৈছিল।’ সূৰ্যৰ তৃতীয় অংশ আঘাতপ্ৰাপ্ত হ’ল, আৰু চন্দ্ৰৰ তৃতীয় অংশ, আৰু তৰাসকলৰ তৃতীয় অংশ। কাইছাৰসকলৰ বংশ পশ্চিমৰ সম্ৰাটসকলৰ সৈতে লুপ্ত হৈ যোৱা নাছিল। পতনৰ পূৰ্বে ৰোমে সম্ৰাজ্যিক ক্ষমতাৰ কেৱল এটা অংশহে অধিকাৰ কৰি আছিল। কনষ্টান্টিনোপলে তাৰ সৈতে জগত-সম্ৰাজ্য ভাগ কৰি লৈছিল। আৰু গথসকলেও নহয়, ভেণ্ডালসকলেও নহয়, সেই এতিয়াও সম্ৰাজ্যিক নগৰীৰ ওপৰত প্ৰভুত্ব চলাইছিল; যাৰ সম্ৰাটে, কনষ্টান্টাইনৰ দ্বাৰা সম্ৰাজ্যৰ আসন প্ৰথমবাৰৰ বাবে স্থানান্তৰিত হোৱাৰ পাছত, বহু সময়ত ৰোমৰ সম্ৰাটক নিজৰ মনোনীত প্ৰতিনিধি আৰু উপ-শাসক হিচাপে অধিষ্ঠিত কৰিছিল। আৰু কনষ্টান্টিনোপলৰ ভাগ্য আন আন যুগলৈ সংৰক্ষিত হৈ আছিল, আৰু তাক আন আন শিঙাৰ দ্বাৰা ঘোষণা কৰা হৈছিল। সূৰ্য, চন্দ্ৰ, আৰু তৰাসকলৰ মাজৰ, এতিয়াও কেৱল তৃতীয় অংশহে আঘাতপ্ৰাপ্ত হৈছিল।”
“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.
«Муқаддимавий калималар Тўртинчи Карнайнинг Ғарб империясининг келажакда қайта тикланишини англатади: “Кун унинг учдан бир қисми учун ёришмади, шунингдек тун ҳам.” Фуқаровий ҳокимият нуқтаи назаридан, Рим Равеннага қарам бўлиб қолди, Италия эса Шарқий империянинг забт этилган вилояти эди. Аммо бошқа башоратларга янада муносиб тарзда тааллуқли бўлган жиҳат шу эдики, тасвирларга сажда қилишни ҳимоя этиш биринчи бор папа ва императорнинг руҳий ҳамда дунёвий ҳокимиятларини шиддатли тўқнашувга олиб келди; ва черковлар устидан барча ҳокимиятни папага бериш орқали Юстиниан кейинчалик подшоҳлар яратиш қудратини ўзлаштирган папа устунлигини юксалтиришга ёрдам қўлини чўзди. Раббимиз 800-йилида папа Карл Буюкка Римликлар Императори унвонини берди». — Keith. Бу унвон кейинчалик яна Франция подшоҳидан Германия подшоҳига кўчирилди. Ва Император Иккинчи Францис томонидан ҳатто мана шу сохта даъво ҳам 1806 йил 6 августда ниҳоят ва абадий равишда рад этилди». A. T. Jones, The Great Nations of Today, 54.