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-pe oñeme’ẽ heta tesape pe ñanduti rehegua umi siete iglésia, umi siete sello ha umi siete trompéta rehe, Apocalipsis lívrope. Ha’e omoĩkuri umi símbolo profético mokõi mbarete ohundi hag̃uáicha ryepýpe: paganísmo oúva tenondépe ha upéi papalísmo. Ndohecháikuri opaite característica profética umi símbolo rehegua, péro umi mba’e ha’e ohecháva omopyenda pe entendimiento ypyguáva Tupã iglésia rembiasakue hyepypegua ha okápeguáva rehe, apóstol-kuéra ára guive peve ko múndo pahaite. Pe rembiasakue hyepypegua ojehechauka vaʼekue umi iglésia rupive, ha umi iglésia rembiasakue okápeguáva ojehechauka vaʼekue umi sello rupive. Ha’e ohechakuaa vaʼekue umi trompéta ha’eha símbolo Tupã huísio rehegua Roma ári, ha upéva ojehecharamo hag̃uaicha Tupã huísio Roma ári pe múndo pahaitepe, jepe ha’e ndohecháikuri pe Roma pe múndo pahaitepe ojejapoha peteĩ joaju mbohapy hendáicha rehe.
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.”
Pe lívro ojehaíva Uriah Smith hérava Daniel and Revelation oguereko heta idea jejavýva, ha upéicharõ jepe, Sy White omombe'u heseha: “Tupã po pytyvõhára”. Ha'e he'i vaekue oñemyasãi va'erãha oñondive The Great Controversy, Patriarchs and Prophets, ha The Desire of Ages ndive. Iñe'ẽmombarete mbarete ndohechaukái pe lívro oĩha peteĩchagua nivel inspirado-pe hendive kuatiañe'ẽnguéra ndive, síno pe lívro oguerekoha “ñe'ẽporã guasu mbo'evyrã”, ha hague responsable “ogueru hag̃ua heta ánga porãite pe añetegua jeikuaápe.”
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.
Ko lívro oiporu pe lógica profética millerita, oñondive umi concepto profecía rehegua ndojehecháiva'ekue 22 jasypa 1844 mboyve. Ñañe'ẽta umi pasáhe lívropegua rehe, jajekuaaukávo mbohapy jeporu umi mbohapy Ay rehegua.
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 he’i vaekue “umi pokarẽ sieteha ha’eha peteĩ tembiasakue siete juicio ijojaha’ỹva ha pohýiva oñembou vaekue yvy ári, térã pe mburuvicharenda romano ári.” Irundy pokarẽ peteĩha ohechauka umi juicio ou vaekue Roma pagana ári, ha pe pokarẽ poha ha poteĩha ha’e vaekue Tupã juicio ou vaekue Roma papal ári; ha katu Miller ndoikuaái va’erãmo’ã kuri pe pokarẽ sieteha ohechaukaha Tupã juicio Roma Moderna ári. Oñe’ẽvo pe siete sello ha siete pokarẽ rehe Apocalipsis-pe, Uriah Smith ohai vaekue:
“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.
“Ojapyhývo pe kuatiañe’ẽ, pe Ovecha Ra’y pya’evoi oñepyrũ oipe’a hag̃ua umi sello; ha pe apóstol atención oñemboja umi escena ojehupytývare káda sello guýpe. Pe papapy siete ojehechakuaáma vaʼekue Ñandejára Ñe’ẽme oñemoĩ hag̃ua tekopyahu hag̃ua completez ha perfección. Upévare umi siete sello oguereko ipype peteĩ clase particular de acontecimientos kompletoite, ha peʼa hag̃ua ikatu hag̃uáicha oguahẽ pe tiempo de Constantino peve, ha umi siete trompeta ambue serie upe guive tenonderã gotyo, ndaikatúi oĩ porã. Umi trompeta ohechauka peteĩ serie de acontecimientos oikóva peteĩchaite jave umi acontecimientos umi sello rehegua ndive, péro peteĩ naturaleza completamente iñambuéva reheve. Peteĩ trompeta haʼe peteĩ símbolo ñorairõ rehegua; upévare umi trompeta ohechauka tuicha conmoción política oikótava tetãnguéra apytépe pe evangelio ára aja. Umi sello ohechauka acontecimientos carácter religioso rehegua, ha oguereko ipype pe iglesia rembiasakue pe época cristiana ñepyrũ guive Cristo jeju peve.” 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:
Mimbipu ha’e peteĩ símbolo ñorairõ ha jehe’a politikagua rehegua. Oñe’ẽvo Apocalipsis pehẽngue ocho vore mokõi rehe, Smith he’i:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
“‘VERSÍCULO 2. Ha ahecha umi pokõi ánhel oĩva Tupã renondépe; ha umévape oñeme’ẽ pokõi trompéta.’”
“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.
“Ko versíkulo omoñepyrũ peteĩ serie pyahu ha iñambuéva tembiaporã rehegua. Umi sello-pe jaguereko kuri tupaópe rembiasakue pe oñehenóivape evangelio dispensación aja pukukue. Umi siete trompeta-pe, ko’ág̃a oñemoingéva, jaguereko umi tembiaporã político ha ñorairõgua principal oikótava’ekue pe mismo tiempo aja.” 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.
Pe séllo mokõiha ojepe’a Apocalipsis capítulo poapy pehẽngue peteĩha irundyha peve, ha pe séllo mokõiha jepe’a rapykuerépe, siete ánhel oñembosako’i hína siete trompéta reheve opu hag̃ua.
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.
Ha haʼe oipeʼárõ guare pe séllo sieteha, oiko kirirĩ yvágape media óra rupi. Ha ahecha umi siete ánhel oĩva Ñandejára renondépe; ha chupekuéra oñemeʼẽ siete trompéta. Ha ambue ánhel ou ha oñemboʼy pe altárpe, oguerekóvo peteĩ incensário óroguigua; ha oñemeʼẽ chupe heta insiénso, hag̃ua oikuaveʼẽ opa umi imarangatu ñemboʼe reheve pe altár óroguigua oĩva pe tróno renondépe. Ha pe tatachy insiénso rehegua, oúva umi imarangatu ñemboʼe reheve, ojupi Ñandejára renondépe pe ánhel po guive. Ha pe ánhel ojapyhy pe incensário, ha omyenyhẽ altár tata reheve, ha omombo yvy ári; ha oiko ñeʼẽnguéra, arapu, overa, ha yvyryrýi. Ha umi siete ánhel oguerekóva umi siete trompéta oñembosakoʼi ombopu hag̃uáicha. Apocalipsis 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.
Oĩ peteĩ anomalia profética rohechakuaáva umi artíkulo mboyveguápe, ha katu ndoroñemoĩri gueteri peteĩ hendáicha pe fenómeno profético particular rehe. Upe anomalia ha’e umi símbolo ohechaukáva peteĩ secuencia de waymarks tembiasakue proféticope, opavave oñembyaty jey pe tembiasakue rembe’ýpe ha’ekuéra ohechaukáva. Rohechauka umi irundy generación adventismo Laodiceagua rehegua, ojehechaukáva Ezequiel capítulo ocho-pe umi irundy abominación rupive, omarka hague waymarks específicos; ha katu peteĩteĩva, peteĩ prueba ramo, ojerejey pe tembiasakuépe oñesellahápe umi cien cuarenta y cuatro mil. Ko anomalia ojejuhu avei umi siete trompeta-pe; pórke jepe ha’ekuéra ohechauka juicio específico Roma pagana, papal ha moderna ári, opavave oñembyaty jey oñepyrũvo pe juicio ejecutivo Roma moderna ári pe ley dominical hi’aguĩvape.
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.
Umi siete trompéta oguereko ára específico oñekumpli hague yma, ha Sister White avei omoĩ umi siete ánhel oguerekóva siete trompéta Apocalipsis capítulo ocho-pe, pe tembiasakue-pe pe léi dominical pya’e oútavape.
“‘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.
“‘Ha oñepe’ávo pe quinto sello, ahecha pe altar guýpe umi oñemano vaʼekue ánga Tupã Ñeʼẽ rehehápe ha pe testimónio oguerekóva rehe; ha osapukái hikuái peteĩ ñeʼẽ hatãme, heʼívo: Mboy arakaʼe peve, Ñandejára, Imarangatu ha Añetegua, nderejuzgái ha nanderuguy nerevengái umi yvy ári oikóva rehe? Ha oñemeʼẽ peteĩteĩme sa’y morotĩ [Oje’e chuguikuéra ipotĩha ha imarangatuha]; ha oñeñeʼẽ chupekuéra toñembo’yke gueteri sapyʼaite, peve oñekumpli hag̃ua avei iñirũnguéra tembiguái ha ijoykeʼykuéra, ojukátava chupekuéraicha’ [Revelación 6:9–11]. Koʼápe ojechauka Juan-pe umi escena ndahaʼéiva añetetépe oikóva upérõ, síno umi oikótava peteĩ ára renondépe, ára rire.”
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
“Apocalipsis 8:1–4 oñecita.” 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.
Pe pasáhe mboyvegua-pe, Hermana White omoĩ pe ñemongeta ha pe ñekumpli pe sello poha rehegua pe ára oĩháme umi siete ánhel oĩ hag̃uáicha ombopu hag̃ua hikuái i-trompéta kuéra capítulo ocho-pe; ha upéicha avei omoĩ pe jehechauka peteĩchaite pe tembiasakue umi mokõi ñe’ẽ Revelación capítulo dieciocho-pe.
“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.
“Ojepe’ávo pe quinto sello, Juan pe Revelador visión-pe ohecha pe altar guýpe umi aty ojejukáva’ekue Tupã Ñe’ẽ rehehápe ha Jesucristo testimonio rehehápe. Upe rire ou umi escena oñemombe’úva Apocalipsis capítulo 18-pe, upépe umi ijerovia ha añeteguáva oñehenói osẽ hag̃ua Babilonia-gui. [Apocalipsis 18:1–5, oñecita.]” Manuscript Releases, volumen 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.
Pe siete trompéta ohechauka Ñandejára juicio Roma pagana, papal ha Moderna rembiasakuepe, ha avei ojehechauka September 11, 2001 rembiasakuepe, ha pe mokõiha ñe’ẽ pe pya’etéma ou hag̃uáicha pe léi domingo rehegua. Oñe’ẽ rire Apocalipsis kapítulo ocho pehẽngue peteĩha seis versículo rehe, Uriah Smith oñepyrũ ohechauka umi irundy trompéta peteĩha cumplimiento histórico.
“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.
“Ko’ápe oñepyrũjey umi siete trompéta rehegua ñe’ẽmby, ha omyenyhẽ ko kapítulo rembyre ha pe kapítulo 9 tuichakue. Umi siete ánhel oñembosako’i ombopu hag̃ua. Iñembopu ojeike hag̃ua peteĩ mokõiveha mokãme hag̃ua Daniel 2 ha 7 marandu’ypy rehe, oñepyrũvo pe imperio Romano yma guare ñembyai ha iñemboja’o hembypa hag̃ua umi diez división-pe, umívagui, umi irundy trompéta peteĩha-pe, jaguereko peteĩ ñemombe’u.” 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 ohechakuaa umi irundy trompéta peteĩha ha’eha Tupã rembiapoukapy Roma pagana ári. Ha’e ombohéra pe versíkulo 7 ohechaukáva umi mba’ekuaarã profética trompéta peteĩha rehegua, ha upéi ohechauka mba’éichapa upéva oñekumpli va’ekue tembiasakue-pe.
“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.
“Pe mbaʼe vaiha ha pohýi raẽva oguáva’ekue Róma Occidentál ári, imboguejy rape jave, ha’e vaʼekue ñorairõ umi Gótico ndive Alarico poguýpe, haʼevaʼekue omboja hag̃ua tape umi riregua oike hag̃ua. Teodosio, mburuvicha guasu romano, omanóma vaʼekue jasypoapy ary 395-pe, ha mboyve hag̃ua opa hag̃ua araroʼy, umi Gótico Alarico poguýpe opuʼãma vaʼekue ipópe mburuvichaguasu rehe.”
“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.
“Pe peteĩha jeike vai Alarico poguýpe ombyaipa Thracia, Macedonia, Ática ha Peloponeso, péro ndohupytýi táva Roma-pe. Ijeike mokõihápe katu, mburuvicha gótico ohasa umi Alpes ha Apeninos ha ojehechauka pe ‘táva opave’ murálla renondépe, ha pya’e oiko bárbarokuéra pochy rembi’u.”
“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.
“Pe peteĩha trompéta pu oikóva ijehegui oñemoĩ pe irundyha sa’ary pahápe ha upéi guive, ha oñe’ẽ umi jeike vai ombyaíva Romagua mburuvicharenda rehe, umi Gótos poguýpe.” 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 ohechauka Alaric-pe pe símbolo ramo Tupã juicio rehegua Roma pagana ári, ojehechaukáva pe primer trompéta rupive. Káda peteĩva umi trompéta oguereko peteĩ figura histórica orepresentáva pe trompéta; Alaric ohechauka pe llegada pe primer trompéta rehegua, opa ramóvo pe siglo irundyha. Miller ndaikatúikuri ohechakuaa ko trompéta ou hague Roma ári pe domingo ñemombarete rupi, Miller niko oñangarekóva domingo rehe. Smith avei ndohechakuaái kuri ko mba’e, ha katu Smith oikuaa porãkuri pe primera léi domingo rehegua oñemombareteva’ekue omoĩ hague Constantino áño 321-pe. Pe regla profética ojeipurúva domingo ñemombarete ndive katuete peteĩchante, Tupã araka’eve ndojehechamo’ãi hag̃ua, ha upe regla ha’e: “apostasía nacional rire ou ruina nacional”. Alaric orepresenta pe ñepyrũ ruina nacional rehegua, oñepyrũva’ekue upe periodo voi Constantino ombohasávo pe primera léi domingo rehegua.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Smith osegui jey hína omoĩvo ñe’ẽryru poapyha, omombeʼúva pe mokõiha trompéta rehegua, ha upéi ombojoapy heʼiháicha iñeʼẽ ñemyesakã:
“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.
«Pe império romano, rire Constantino, oñemboja’o mbohapy hendápe; ha upévare oje’e jepi, “mbohapyhágui peteĩva umi kuimba’e apytégui”, hamba’e, oñemombe’úvo pe mbohapyha pehẽngue pe império rehegua oĩva’ekue pe ñenupã poguýpe. Ko ñemboja’o pe reino romano rehegua ojejapo Constantino omanórõ guare, hemimbou mbohapy apytépe: Constancio, Constantino II ha Constante. Constancio oguereko va’ekue pe Kuarahyresẽ gotyo, ha omoĩ hóga Constantinóplape, pe império táva guasúpe. Constantino Mokõiha oguereko va’ekue Bretaña, Galia ha España. Constante oguereko va’ekue Ilírico, África ha Italia. (Ehecha Sabine, Ecclesiastical History, p. 155.) Ko mba’e oikuaapyréva tembiasakue rehegua ári, Elliott, Albert Barnes omombe’uháicha ichugui he’ẽme’ë rev. 12:4 rehe, he’i: “Mokõi jey jepe, sa’ive’ỹre, pe império romano oñemboja’o mbarete hag̃ua mokõi hendápe, pe Kuarahyresẽ gotyo ha pe Kuarahyreike gotyo, oiko peteĩ ñemboja’o mbohapyhápe pe império rehegua. Peteĩha oiko ary 311-pe, oñemboja’órõ guare Constantino, Licinio ha Maximino apytépe; ambue katu, ary 337-pe, Constantino omanórõ guare, Constante ha Constancio apytépe.”» 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.
Pe mba’e oikova’ekue Roma oñemboja’o hague mbohapy hendápe, ha avei mokõi hendápe, umi historiadorkuéra Smith omombe’úva rupive oñeñe’ẽva hese, ha’e umi elemento Roma rehegua ohechauka hag̃ua pe joaju mbohapyvegua Roma Ko’ág̃agua rehegua, omohendáva peteĩ estructura oñemboja’óva mokõime, ohechaukáva tupão ha estado joaju. Smith oseguírõ guare iñe’ẽme, upéi ohechauka pe tapicha histórico ojoajúva pe mokõiha trompeta ndive.
“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. . ..
“Pe tembiasakue ohechaukáva mbopu mokõiha trompéta rehegua ojehechakuaa porã oñe’ẽha África jeike ha jejapyhy rehe, ha upéi Italia rehe, Genseric kyhyjehávare. Ijejapyhykuéra hetaveháicha ha’e va’ekue MARÍTIMO; ha itriumfokuéra ha’e va’ekue “guáicha peteĩ yvyty guasu tatápe hendyva, oñemombo hag̃ua marpe”. Mba’e ta’ãnga piko iporãvéta térã jepe péichaite porã ohechaukávo mbaretépe umi armada oñembota ojupe rehe, ha ñorairõ omoingovaíva opa mba’e umi y rembe’y marítimo rehe? Ñamyesakãvo ko trompéta, jaheka va’erã umi mba’e oikóva oguerekóva peteĩ jehecharamo hag̃ua ko mundo comercial rehe. Pe símbolo ojepurúva ogueraha ñandéve hekopete jaheka hag̃ua py’ahatã ha sarambi. Mba’eve ndaha’éi peteĩ ñorairõ marítimo pohýi añónte omohu’ãtava pe marandurã. Oiméramo umi irundy trompéta tenondegua ñembopu oñe’ẽ irundy mba’e oikova’ekue hechapyrãva rehe, oipytyvõva’ekue imperio romano ho’a hag̃ua, ha pe peteĩha trompéta oñe’ẽ umi godo-kuéra oñembyai hag̃ua Alaric poguýpe, upéicharõ ko’ápe hekopete jaheka pe ojeike hag̃ua ambue hendápe upe rire, omyangekóiva pe pokatu romano ha ogueraháva chupe ho’a hag̃uáicha. Pe ojeike guasu hag̃ua upe rire ha’e va’ekue “Genseric kyhyjeháva” rehegua, umi vándalo akãme. Hekove rape oiko va’ekue arykuéra A.D. 428–468 aja. Ko mburuvicha vándalo guasu oguereko va’ekue ihendaguasu África-pe....”
“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.
“Pe mba’e tuicháva ko corsario py’aguasu ojapo va’ekue Róma ñehundípe, karai Gibbon oipuru ko ñe’ẽ he’iséva porãite: ‘Genseric, peteĩ téra, pe imperio romano ñehundípe, omerese va’ekue peteĩ tenda peteĩchagua umi téra Alaric ha Attila ndive.’” 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, oñe’ẽnguévo historiador Gibbon rehe, ha’éva ohechauka vaekue umi símbolo histórico umi mbohapy trompéta peteĩha guive, ohechakuaa Genseric ha’eha pe mokõiha trompéta ha upéi he’i Genseric “omerekeseha peteĩ rango jojáva Alarico ha Atila ndive.” Alarico ha’e pe peteĩha trompéta, Genseric pe mokõiha, ha Atila pe Huno ha’e pe mbohapyha trompéta, oñeñe’ẽva rehe pe versíkulo 10-pe. Smith ohechauka pe mokõiha trompéta, ojehechaukáva Genseric rupive, oguerekoseha tembiasakue “428-468” rehegua. Upéi Smith ocita pe versíkulo 10, ohechaukáva pe mbohapyha trompéta, ha ombojoapy hembiasakue:
“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.
“Ko pasáhe ko’ẽva ñemyesakã ha ijejapo hag̃ua, jaguahẽ pe mbohapyha mba’e guasu oikóvape, oguerúva’ekue pe Mburuvicha Róma guare mbyaipa. Ha jahekávo peteĩ ñehundikuaa tembiasakuepegua omoañetéva ko mbohapyha trompéta, jaipuruva’erãta Dr. Albert Barnes Notes-gui mbovymi ñeguenohẽ. Omyesakãvo ko Ñandejára Ñe’ẽ, tekotevẽ, he’iháicha ko comentarista, ‘Toĩ peteĩ mburuvicha térã ñorairõhára ikatúva oñembojoja peteĩ meteóro hendy ratáva rehe; tape ohasáva ijojaha’ỹ hag̃uáicha hesakãmbaitéta; ojehechaukáta sapy’aitépe MBOJOJÁPE peteĩ mbyja hendyvaicha, ha upéi okañýta peteĩ mbyja hendypa y rupi oñembogueháicha.’— 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. . ..
“Oñemohenda ko’ápe ko mbopuha oguerekoha allusión umi ñorairõ mbyaíva ha umi jeike vai pochyite Attila rembiapokue rehe, pe Roma poguýpe guáre, ha’e omotenondévo ihentekuéra aty Hunos guigua....”
“‘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.
“‘Ha pe Mbyja rérava Hembiro [he’iséva umi mba’e ro’yrýva ikatu hag̃uáicha oiko hag̃ua].’ Ko’ã ñe’ẽ —oñembojoaju hag̃uavéva pe versíkulo ohasava’ekuépe, ha upéva voi ohechauka ñane versión-pe pe puntuación— ñanemomandu’a sapy’ami Attila rekóre, pe jehasa asýre ha’e omoñepyrũva’ekue térã oipurúva’ekue tembiporúrõ, ha pe kyhyjére omoheñóiva’ekue héra.
“‘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.
“‘Ñehundipaite ha oñemboguejeývaite,’ ha’e ñe’ẽ ohechauka porãvéva umi mba’asy vai ha’e omboguahéva.” Ha’e voi oñembohéra va’ekue, “‘Tupã Arapóho.’” 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.
Pe mbytépa mbohapyha rembiasakue, ojehechaukáva Atila pe Huno rupive, oñepyrũ kuri ary 441-pe ha og̃uahẽ peve imano me’ẽha ary 453-pe. Upéi Smith ohechauka pe versíkulo 12, omyesakãva pe mbytépa irundyha ha omombe’úva mburuvicha guasu bárbaro Odoacro rehegua, upépe Kuarahyreike gotyo Roma pe mbohapyichagua ta’ãnga simbólica ojehechauka kuarahy, jasy ha mbyja rupive. Ha’e ombohéra umi mbohapy techaukaha ha’eha “kuarahy, jasy ha mbyja—pórke ndaha’éi hag̃ua ambue mba’e, ko’ápe ojepuru símbolo ramo—hesakã porã ohechauka Roma ñangarekoha guasu kuéra—imburuvicha guasu kuéra, senador kuéra ha cónsul kuéra. Obispo Newton he’i pe mburuvicha guasu paha Kuarahyreike gotyo Roma pegua ha’e hague Rómulo, oñembohory hag̃uáicha oñehenóiva Augustulo, térã ‘Augusto michĩva’. Kuarahyreike gotyo Roma ho’a ary 476 d.C.-pe. Upéicharõ jepe, jepe pe kuarahy romano oñembogue, umi hesape mbykyvéva gueteri omimbi kangy asy pe senado ha umi cónsul osegi aja. Péro heta jevy rire jejopy vai civil ha tekuái política ñemoambue, ipahápe, ary 566 d.C.-pe, pe yma guare gobierno rekopy tuichakue oñembyaipaite, ha Roma voi oñemboguejy, yvóra sãmbyhyhára guasu ramo guare, peteĩ dukádo mboriahúpe ome’ẽva tribúto Exarca de Rávena-pe.” 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.
Ko’ápe jajuhu ambue testígo ohechaukáva Róma ñemboja’o mbohapyháicha, oporomboykéva Róma moderna joaju mbohapyháichape. Róma kuarahyresẽguápe ha mburuvicha guasu Constantino ndive, pe ñemboja’o mbohapyháicha ojehechauka va’ekue ita’ýra mbohapy rupive; ha Róma kuarahyreikéguápe katu, ha’eva’ekue hikuái iguvernorã mbohapyháicha. Upéi Smith he’i kuarahy, jasy ha mbyja kuéra orrepresentaha peteĩ orden específico rupive oñemboguejy hague Róma kuarahyreikéguápe. Ha omohu’ã hembiasakue ko ñe’ẽmondo reheve umi mbohapy trompeta pahaguápe guarã.
“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.
“Jepe kyhyje hag̃ua umi ñehundi oguerúva pe império ári ko’ã bárbaro-kuéra ñepyrũrã oike jave, upéicharõ jepe, ha’e kuéra ningo ivevúi ojehechávo umi ñehundi oúta va’erã va’ekue upe rire. Ha’e kuéra ningo peteĩ ama ky’a ñepyrũgua ykykue’ícha añónte pe ysyry guasu pya’e hag̃uáicha ho’átava’ekue pe mundo romano ári mboyve. Umi mbohapy trompéta hembýva oñemokãmbýi peteĩ mba’easy arai reheve, ojehechaháicha umi versíkulo oúvape.”
“‘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.’
“‘VERSÍCULO 13. Ha ahecha, ha ahendu peteĩ ánhel oveve hag̃ua yvága mbytépe, heʼívo ñeʼẽ hatãme: Ái, ái, ái, umi yvy arigua rehe, umi ambue trompéta ñeʼẽ rupi umi mbohapy ánhel pegua, umi gueteri ombopu hag̃ua.’”
“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.
“Ko ánhel ndaha’éi peteĩva umi sietehápe osẽva umi ánhel trompéta rehegua apytégui, síno peteĩnte oikuaaukáva umi mbohapy trompéta hembýva ha’eha ñembyasy trompéta, umi mba’e vaietereívagui ojehútava ijapu aja guive. Upévare pe oúvante, térã pe poha trompéta, ha’e pe peteĩha ñembyasy; pe poteĩha trompéta, pe mokõiha ñembyasy; ha pe sieteháicha, ko serie de siete trompetas pahápe, ha’e pe mbohapyha ñembyasy.” Uriah Smith, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Jaikuaáta umi mbohapy Mbyai mbopuha rehegua oúva pe artíkulo oúvape.
“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.
“Umi mbaʼe vaiete Roma imperial rehegua, ho’árõ guare, oñemombe’u pe pahagueve peve, Roma opyta hag̃uáicha mburuvicha guasu’ỹre, cónsul’ỹre, térã senado’ỹre. ‘Ravenna Exarca-kuéra poguýpe, Roma oñemomichĩ hag̃ua mokõiha tenda peve.’ Kuarahy mbohapyha pehẽngue oñenupã, ha jasy mbohapyha pehẽngue, ha mbyja-kuéra mbohapyha pehẽngue avei. César-kuéra ñemoñare ndaipahái umi emperador kuéra Occidente-pegua ndive. Roma, ho’a mboyve, oguereko mante imperio pu’aka peteĩ pehẽngue. Constantinopla hendive omboja’o yvóra imperio. Ha ni Gótico-kuéra ni Vándalo-kuéra ndoguerekói sãmbyhy guasu upe táva guasu gueteri imperial ári, pe ipype oĩva emperador, pe tenondegua guive oñembohasávo imperio apyka Constantino rupive, heta jey oguereko Roma emperador-pe hembiporavo ha hekoviarã ramo. Ha Constantinopla rekove paha oñembohekopyrékuri ambue ára guasurã, ha ambue trompéta-kuéra rupive voi oñemomarandu. Kuarahy, jasy ha mbyja-kuéragui, ko’ág̃a peve pe mbohapyha pehẽngue añónte oñenupã.”
“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.
“Pe Irundy Vómbape paha ñemohu’ãrã he’ise pe Tetã Mburuvicha Guasu Kuarahyreikegua oñemyatyrõ jeýtaha amo gotyove: ‘Ára nohesapéiva’ekue pe mbohapyha pehẽngue hi’ãgui, ha pyhare avei upéicha.’ Mburuvicha reko civil rehegua ñemomba’épe, Roma oiko Ravenna poguýpe, ha Italia oiko peteĩ tetãvore oñemomba’epyréva pe Tetã Mburuvicha Guasu Kuarahyresẽgua rehe. Péro, ambue profesía rehegua porãve hag̃uáicha, ta’anga kuéra ñemomba’e ñangareko tenonde voi ombohovái vai ete hag̃ua pe papa ha pe mburuvicha guasu pokatu espiritual ha temporal; ha, ome’ẽvo pe pápape opa pokatu umi tupao ári, Justiniano omoĩ ipo pytyvõrã pe papado poguasu ñemotenondépe, upe rire oguerekóva’ekue pokatu omoheñóivo hag̃ua mburuvicha guasu kuérape. Ñandejára ára 800-pe, pe papa ome’ẽ Carlomagno-pe pe téra ‘Romaguakuéra Mburuvicha Guasu’.” —Keith. Upéi upe téra oñembohasa jey Francia ruvicha guasúgui Alemania ruvicha guasúpe. Ha Mburuvicha Guasu Francisco Mokõihápe, ko mombe’upyrã rei jepe oñemboyke ipahápe ha opa ára g̃uarã, agosto 6, 1806.” A. T. Jones, The Great Nations of Today, 54.