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.

E nyere William Miller nnukwu ìhè gbasara ụka asaa, akara asaa, na opi asaa dị n’akwụkwọ Mkpughe. O tinyere ihe nnọchianya amụma ndị ahụ n’ime nhazi nke ike abụọ na-ebibi ihe—ikpere arụsị sochiri ikike ndị nchu-àjà Rom. Ọ hụghị àgwà amụma nile nke ihe nnọchianya ndị ahụ, ma ihe ọ hụrụ mere ka e guzobe nghọta ntọala nke akụkọ ime na akụkọ mpụga nke ụka Chineke site n’oge ndịozi ruo na njedebe nke ụwa. Ihe e ji akụkọ ime ahụ nọchie anya bụ ụka ndị ahụ, ebe ihe e ji akụkọ mpụga nke ụka ndị ahụ nọchie anya bụ akara ndị ahụ. Ọ hụrụ na opi ndị ahụ bụ ihe nnọchianya nke ikpe Chineke megide Rom, nke na-anọchitekwa ikpe Chineke megide Rom n’oge njedebe nke ụwa, n’agbanyeghị na ọ hụghị na Rom n’oge njedebe nke ụwa bụ njikọ atọ n’otu mejupụtara ya.

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.”

Akwụkwọ Uriah Smith dere nke a kpọrọ Daniel and Revelation, nwere ụfọdụ echiche na-ezighị ezi, ma Nwanyị White kọwara ya dịka, “aka enyemaka nke Chineke.” O gosikwara na a ga-ekesa ya ọnụ na The Great Controversy, Patriarchs and Prophets, na The Desire of Ages. Nkwado siri ike o nyere ya apụtaghị na akwụkwọ ahụ nọ n’otu ọkwa mkpughe mmụọ nsọ ahụ dị ka akwụkwọ ya, kama na akwụkwọ ahụ nwere “nkuzi dị ebube,” ma bụrụkwa nke kpatara “iweta ọtụtụ mkpụrụ obi dị oké ọnụ ahịa n’ịmata eziokwu ahụ.”

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.

Akwụkwọ a ji usoro amụma nke ndị Millerite eme ihe, tinyere echiche banyere amụma ndị a na-ahụbeghị tupu Ọktoba 22, 1844. Anyị ga-ezo aka n’akụkụ dị iche iche dị n’akwụkwọ ahụ ka anyị na-akọwapụta itinye n’ọrụ ugboro atọ nke Ahụhụ atọ ahụ.

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 kwuru na “opi asaa ahụ bụ akụkọ ihe mere eme nke ikpe asaa pụrụ iche na nke dị arọ e zitere n’elu ụwa, ma ọ bụ alaeze Rom.” Opi anọ mbụ ahụ na-anọchi anya ikpe ndị e wetara n’elu Rom nke ndị ọgọ mmụọ, opi nke ise na nke isii kwa bụ ikpe Chineke e wetara n’elu Rom nke ndị popu, ma Miller agaraghị amata na opi nke asaa na-anọchi anya ikpe Chineke n’elu Rom nke Oge A. N’ịkọ banyere akàrà asaa na opi asaa nke Mkpughe, Uriah Smith dere:

“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.

“Mgbe Nwa Atụrụ ahụ natasịrị akwụkwọ ahụ, ọ gara ozugbo imeghe akàrà ndị ahụ; a kpọrọkwa ntị nke onyeozi ahụ ka ọ lekwasị anya n’ihe ndị na-eme n’okpuru akàrà nke ọ bụla. A matalarị ọnụọgụgụ asaa dịka nke na-egosi izuoke na izu ezu n’Akwụkwọ Nsọ. Ya mere, akàrà asaa ahụ na-agụnye ihe niile nke otu ụdị ihe omume ụfọdụ, na-eru ala ikekwe ruo n’oge Constantine, ma opì asaa ahụ bụrụ usoro ọzọ site n’oge ahụ gawa n’ihu, enweghị ike ịbụ ihe ziri ezi. Opì ndị ahụ na-egosi usoro ihe omume nke na-eme n’otu oge ahụ na ihe omume nke akàrà ndị ahụ, ma bụrụ nke agwa ya dị iche kpamkpam. Opì bụ akara nke agha; ya mere opì ndị ahụ na-egosi nnukwu ọgba aghara ndọrọ ndọrọ ọchịchị nke ga-eme n’etiti mba dị iche iche n’oge oziọma. Akàrà ndị ahụ na-egosi ihe omume nke agwa okpukpe, ma nwee akụkọ ihe mere eme nke nzukọ Kraịst site n’imeghe nke oge Ndị Kraịst ruo n’ọbịbịa Kraịst.” 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:

Ọjà bụ akara agha na ọgbaaghara ndọrọ ndọrọ ọchịchị. N’ikwu okwu banyere amaokwu nke abụọ nke isi nke asatọ nke Mkpughe, Smith kwuru:

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

“‘AMAOKWU 2. M wee hụ ndị mmụọ ozi asaa ahụ nke guzo n’ihu Chineke; e wee nye ha opi asaa.’”

“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.

“Amaokwu a na-ewebata usoro ihe omume ọhụrụ ma dị iche. N’ime akàrà ndị ahụ, anyị enweela akụkọ ihe mere eme nke ụka n’oge a na-akpọ oge nkesa ozioma. N’ime opì asaa ndị a, a na-ewebata ugbu a, anyị nwere isi ihe omume ndọrọ ndọrọ ọchịchị na agha ndị ga-eme n’ime otu oge ahụ.” 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.

A na-emepe akara nke asaa n’ime amaokwu isii mbụ nke Mkpughe isi nke asatọ, ma n’azụ mgbọrọgwụ mmepe nke akara nke asaa ahụ, a na-akwadebe ndị mmụọ ozi asaa nwere opi asaa ka ha fụọ opi.

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.

Ma mgbe o mepere akara nke asaa, e nwere nkịtị n’eluigwe ihe dị ka ọkara awa. Ahụrụ m ndị mmụọ ozi asaa ahụ ndị guzoro n’ihu Chineke; e nyekwara ha opi asaa. Mmụọ ozi ọzọ wee bịa guzo n’akụkụ ebe ịchụàjà, nwee ihe-ísi-ụtọ ọlaedo; e nyekwara ya ọtụtụ ísì-ụtọ, ka o were ya tinyere ekpere nke ndị nsọ niile chụọ ya n’elu ebe ịchụàjà ọlaedo nke dị n’ihu ocheeze ahụ. Anwụrụ ísì-ụtọ ahụ, nke sitere n’ekpere ndị nsọ bilie, si n’aka mmụọ ozi ahụ rigoro n’ihu Chineke. Mmụọ ozi ahụ wee were ihe-ísi-ụtọ ahụ, juputa ya n’ọkụ sitere n’ebe ịchụàjà ahụ, tụba ya n’ụwa: e wee nwee olu dị iche iche, na égbè-eluigwe, na amụma-àmụmà, na ala ọma jijiji. Ndị mmụọ ozi asaa ahụ ndị nwere opi asaa ahụ wee kwadebe onwe ha ịfụ opi. Mkpughe 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.

E nwere ihe na-adịghị ahụkebe n’amụma nke anyị na-achọpụta n’isiokwu ndị gara aga, ma nke anyị akọwabeghị n’ụzọ kpọmkwem dị ka otu ihe omimi amụma pụrụ iche ya si dị. Ihe na-adịghị ahụkebe ahụ bụ na ihe nnọchianya ndị na-anọchi anya usoro nke akara-ụzọ n’akụkọ amụma, a na-achịkọtakwa ha ọnụ nile n’ọgwụgwụ nke akụkọ ha nọchiri anya ya. Anyị egosila na ọgbọ anọ nke Adventism nke Laodisia nke ihe arụ anọ nke Ezikiel isi nke asatọ nọchiri anya ya, kpọrọ akara-ụzọ ndị kpọmkwem; ma na nke ọ bụla n’ime ha, dịka ule, na-emegharị onwe ya n’akụkọ banyere ido akara nke ndị narị otu na puku iri anọ na anọ. A na-ahụkwa ihe na-adịghị ahụkebe a n’opi asaa ahụ, n’ihi na, ọ bụ ezie na ha nọchiri anya ikpe ndị kpọmkwem megide Rom nke ndị ọgọ mmụọ, nke popu, na nke oge a, ha nile na-abịakọkwa ọnụ ọzọ mgbe ikpe mmezu megide Rom nke oge a malitere n’iwu Sọnde na-abịa n’oge na-adịghị anya.

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.

Ọpịpị asaa ahụ nwere ụbọchị kpọmkwem e mezuru ha n’oge gara aga, ma Nwannaanyị White na-etinyekwa ndị mmụọ ozi asaa nwere opi asaa n’Akwụkwọ Mkpughe isi nke asatọ, n’akụkọ ihe mere eme nke iwu Ụka Sọnde na-abịa ngwa ngwa.

“‘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.

“‘Ma mgbe O meghere akara nke ise, ahụrụ m n’okpuru ebe ịchụàjà mkpụrụobi ndị ahụ e gburu n’ihi okwu Chineke na n’ihi àmà ahụ ha jidere: ha wee tie mkpu n’olu ukwu, sị, Ruo ole, Onyenweanyị, Onye Nsọ na Onye Ezi-okwu, ka Ị na-adịghị ekpe ikpe ma ọ bụbọ ọbara anyị n’aka ndị bi n’ụwa? E wee nye onye ọ bụla n’ime ha uwe ọcha [E kwuputara ha dị ka ndị dị ọcha ma dị nsọ]; e wee gwa ha ka ha zuo ike obere oge ọzọ, ruo mgbe ọnụ ọgụgụ ndị ọrụ ibe ha na ụmụnna ha, ndị a ga-egbukwa dịka e gburu ha, ga-ezu’ [Mkpughe 6:9–11]. N’ebe a, e gosiri Jọn ihe ndị a na-abụghị ihe dị adị n’eziokwu n’oge ahụ, kama ịbụ ihe ndị ga-adị n’oge dị n’ihu.”

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

“Mkpughe 8:1–4 e hotara.” Manuscript Releases, mpịakọta nke 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.

N’akụkụ okwu gara aga, Nwanyị White na-etinye mkparịta ụka ahụ na mmezu nke akara nke ise n’oge ahụ mgbe ndị mmụọ ozi asaa na-achọ ịfụ opi n’isi nke asatọ, ma ọ na-etinyekwa otu nnọchite ahụ n’akụkọ ihe mere eme nke olu abụọ nke Mkpughe isi nke iri na asatọ.

“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.

“Mgbe e meghere akara nke ise, Jọn onye mkpughe ahụ n’ọhụụ hụrụ n’okpuru ebe ịchụàjà ìgwè ahụ ndị e gburu n’ihi Okwu Chineke na àmà Jisọs Kraịst. Mgbe nke a gasịrị, ihe ndị ahụ a kọwara n’isi nke iri na asatọ nke Mkpughe bịara, mgbe a kpọpụtara ndị ahụ kwesị ntụkwasị obi ma bụrụkwa eziokwu ka ha si na Babilọn pụta. [Mkpughe 18:1–5, e hotara.]” Manuscript Releases, volumu 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.

Opì ìké asaa ahụ na-anọchi anya ikpe Chineke n’akụkọ ihe mere eme nke Rom nke ndị ọgọ mmụọ, nke ndị papa, na nke Rom Oge A, ma a na-anọchitekwa ha n’akụkọ ihe mere eme nke Septemba 11, 2001, na olu nke abụọ nke iwu Sọnde nke na-abịa n’oge na-adịghị anya. Mgbe o kwuchara amaokwu isii mbụ nke Mkpughe isi nke asatọ, Uriah Smith na-amalite igosi mmezu akụkọ ihe mere eme nke opì ìké anọ mbụ ahụ.

“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.

“A na-amaliteghachi isiokwu banyere opi asaa n’ebe a, ọ na-ejidekwa akụkụ fọdụrụ nke isi nke a na isi nke 9 dum. Ndị mmụọ ozi asaa ahụ na-akwado onwe ha ịfụ opi. Ịfụ opi ha na-abata dị ka mmeju nye amụma nke Daniel 2 na 7, malite site n’ịgbasawanye alaeze Rom ochie n’ime nkewa iri ya, nke anyị nwere nkọwa ya n’ime opi anọ mbụ.” 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 kọwara na opi anọ mbụ bụ ikpe Chineke n’elu Rom ndị ọgọ mmụọ. Ọ na-ehota amaokwu nke asaa, nke na-akọwapụta njirimara amụma nke opi mbụ ahụ, ma mesịa kọwaa mmezu ya n’akụkọ ihe mere eme.

“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.

“Ikpe-ikpe mbụ ahụ, nke dị arọ nke ukwuu, nke dakwasịrị Rome nke Ọdịda Anyanwụ n’ụzọ ọdịda ya, bụ agha ya na ndị Goth n’okpuru Alaric, onye meghere ụzọ maka mbata ndị ọzọ mechara soro. Ọnwụ Theodosius, eze ukwu Rom, mere n’ọnwa Jenụwarị, 395, ma tupu ngwụcha oge oyi ahụ, ndị Goth n’okpuru Alaric ebulitela ngwa agha imegide alaeze ukwu ahụ.

“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.

“Mwakpo mbụ n’okpuru Alaric bibiri Thrace, Macedonia, Attica, na Peloponnesus, ma o rutebeghị n’obodo Rom. Ma n’ime mwakpo ya nke abụọ, onyeisi ndị Goth gafere Alps na Apennines wee pụta n’ihu mgbidi nke ‘obodo ebighị ebi,’ nke n’oge na-adịghị anya ghọrọ anụ oriri nke iwe ndị mba ọzọ ahụ.”

“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.

“Ụda opi mbụ nwere ọnọdụ ya nso n’isi njedebe nke narị afọ nke anọ ma gaa n’ihu, ọ na-ezo aka n’ime mwakpo ndị a na-ebibi ebibi n’Alaeze Ukwu Rom n’okpuru ndị 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 kọwara Alaric dịka ihe nnọchianya nke ikpe Chineke n’elu Rom nke ndị na-ekpere arụsị, nke opi mbụ nọchiri anya ya. Opi nke ọ bụla nwere onye mere eme nke na-anọchi anya opi ahụ; Alaric na-anọchi anya mbata nke opi mbụ site na ngwụcha narị afọ nke anọ. Miller enweghị ike ịhụ na a bịakwutere Rom na opi a n’ihi mmanye idebe ụbọchị Sọnde, n’ihi na Miller bụ onye na-edebe Sọnde. Smith kwa tufuru eziokwu a, ma Smith ghọtara na iwu mbụ e ji mmanye mee ka e debe Sọnde bụ nke Constantine hibere n’afọ 321. Iwu amụma a na-ejikarị atụ aka n’ihe metụtara mmanye idebe Sọnde na-abụ otu mgbe niile, n’ihi na Chineke anaghị agbanwe agbanwe; iwu ahụ bụ na “ndapụ n’ezi ofufe nke mba na-esote nbibi nke mba.” Alaric na-anọchi anya mmalite nke nbibi nke mba, nke bidoro n’otu oge ahụ Constantine nyere iwu mbụ banyere Sọnde.

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

Smith gara n’ihu site n’ihota amaokwu nke asatọ, nke na-akọwa opi nke abụọ, ma mesịa gaa n’ihu na nkọwa ya:

“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.

“Alaeze Ukwu Rom, mgbe Constantine gachara, kewara n’akụkụ atọ; ya mere ka a na-ahụkarị okwu a, ‘otu ụzọ n’ime atọ nke mmadụ,’ wdg., dịka nrụtụ aka n’otu ụzọ n’ime atọ nke alaeze ahụ nke nọ n’okpuru ihe otiti ahụ. E mere nkewa a nke alaeze Rom mgbe Constantine nwụsịrị, n’etiti ụmụ ya nwoke atọ, Constantius, Constantine II, na Constans. Constantius jidere Ọwụwa Anyanwụ, ma debe ebe obibi ya na Constantinople, isi obodo alaeze ahụ. Constantine nke Abụọ jidere Britain, Gaul, na Spain. Constans jidere Illyricum, Africa, na Italy. (Lee Sabine’s Ecclesiastical History, p. 155.) Banyere eziokwu a a ma nke ọma n’akụkọ ihe mere eme, Elliott, dịka Albert Barnes zoro aka na ya, n’ihe ndetu ya banyere Rev.12:4, sịrị: ‘Ugboro abụọ, ma ọ dịkarịa ala, tupu alaeze Ukwu Rom ekewa kpamkpam n’ime akụkụ abụọ ahụ, nke Ọwụwa Anyanwụ na nke Ọdịda Anyanwụ, e nwere nkewa alaeze ahụ n’akụkụ atọ. Nke mbụ mere n’afọ A.D. 311, mgbe e kewara ya n’etiti Constantine, Licinius, na Maximin; nke ọzọ, n’afọ A.D. 337, mgbe Constantine nwụrụ, n’etiti Constans na 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.

Ihe omume mere eme nke kewara Rom n’akụkụ atọ, na kwa akụkụ abụọ nke ndị odeakụkọ ihe mere eme ndị Smith hotara kpọrọ aha, bụ ihe ndị mejupụtara Rom nke na-akọwapụta njikọ akụkụ atọ nke Rom Oge A, nke na-eme ka e nwee usoro e kewara n’ime abụọ, na-anọchi anya ngwakọta nke ụka na ọchịchị. Mgbe Smith gara n’ihu, o wee mata onye ahụ dị n’akụkọ ihe mere eme nke jikọtara ya na opi nke abụọ.

“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. . ..

“Akụkọ ihe mere eme nke na-egosi ụda opì nke abụọ doro anya na-ezo aka n’ịwakpo na mmeri nke Afrịka, ma emesịa nke Itali, site n’aka Genseric ahụ dị egwu. Mmeri ya bụ nke n’ụzọ ka ukwuu n’OSIMIRI; ma mmeri ya nile bụ “dị ka ugwu ukwu nke ọkụ na-ere, a tụbara ya n’ime osimiri.” Ònye ihe atụ ga-aka mma, ma ọ bụ ọbụna hà ya mma, n’ịkọwa nkukota nke ụgbọ mmiri agha, na mbibi zuru ezu nke agha n’akụkụ ụsọ oké osimiri? N’ịkọwa opì a, anyị ga-achọ ụfọdụ ihe omume ndị ga-enwe njikọ pụrụ iche na ụwa azụmahịa. Akara ngosi e ji mee ihe a n’onwe ya na-eduga anyị ịchọ ọgba aghara na mkpaghasị. Ọ dịghị ihe ọ bụla ma e wezụga agha siri ike n’elu osimiri ga-emezu amụma a. Ọ bụrụ na ụda opì anọ mbụ ahụ metụtara ihe omume anọ pụrụ iche nke nyere aka n’ịdaba nke alaeze Rom, ma opì mbụ ahụ na-ezo aka n’mbibi ndị Goths mere n’okpuru Alaric, n’ime nke a anyị n’ụzọ nkịtị na-achọ omume mwakpo nke sochiri ya nke kpasuru ike Rom iwe ma nye aka n’ịdaba ya. Nnukwu mwakpo sochirinụ bụ nke “Genseric ahụ dị egwu,” n’isi ndị Vandals. Ọrụ ya gara n’ihu n’ime afọ A.D. 428–468. Nnukwu onye isi Vandal a nwere isi ụlọ ọrụ ya n’Afrịka....”

“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.

“Banyere akụkụ dị mkpa onye ohi mmiri a nwere obi ike rụrụ n’ịdaba nke Rom, Maazị Gibbon jiri okwu ndị a dị mkpa sị: ‘Genseric, aha nke, n’ime mbibi nke alaeze ukwu Rom, ekwesịrị inweta ọkwa hà otu na aha Alaric na 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, ka ọ na-ehota onye odeakụkọ ihe mere eme bụ Gibbon, onye kpọpụtara ihe nnọchianya ndị mere eme nke opì atọ mbụ, chọpụtara na Genseric bụ opì nke abụọ, ma mesịa kwuo na Genseric, “kwesịrị inwe otu ọkwa na Alaric na Attila.” Alaric bụ opì mbụ, Genseric bụ nke abụọ, Attila onye Hun bụkwa opì nke atọ, nke a na-ekwu maka ya n’amaokwu nke iri. Smith kọwara na opì nke abụọ, nke Genseric nọchiri anya ya, nọchiri anya akụkọ ihe mere eme nke “428-468.” Mgbe ahụ Smith na-ehota amaokwu nke iri, nke na-akọwapụta opì nke atọ, ma gaa n’ihu n’akụkọ ya:

“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’ịkọwa na n’itinye akụkụ Akwụkwọ Nsọ a n’ọrụ, a na-eweta anyị n’ihe omume nke atọ dị mkpa nke butere ịkwatu alaeze Rom. Ma n’ịchọta mmezu ya n’akụkọ ihe mere eme nke opi nke atọ a, anyị ga-enwe ụgwọ nye Notes nke Dọkịta Albert Barnes maka ntụpọ ole na ole. N’ịkọwa Akwụkwọ Nsọ a, ọ dị mkpa, dịka onye nkọwa a na-ekwu, ‘Na e kwesị ịdị onye-isi agha ma ọ bụ dike agha ọ bụla a pụrụ iji tụnyere kpakpando mgbọ na-enwu ọkụ; onye ụzọ ya ga-abụ nke na-enwu n’ụzọ pụrụ iche; onye ga-apụta n’ụzọ mberede DỊ KA kpakpando na-enwu ọkụ, ma mesịa laa n’iyi dịka kpakpando nke a manyụrụ ìhè ya n’ime mmiri.’— 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. . ..

“A na-ewere ebe a dị ka ihe e butere ụzọ na opi a nwere ntụaka n’agha mbibi na mwakpo iwe nke Attila megide ọchịchị Rom, nke ọ gara n’ihu na-ebu n’isi ìgwè ndị agha Huns ya....”

“‘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.

“‘A na-akpọ Aha nke Kpakpando ahụ Wormwood [na-egosi nsonaazụ ndị na-elu ilu].’ Okwu ndị a—nke jikọtara nke ọma karị na amaokwu bu ya ụzọ, dị ka ọbụna akara edemede dị na nsụgharị anyị si gosi—na-echetara anyị nwa oge àgwà Attila, nhụjuanya nke ọ bụ ya kpatara ma ọ bụ nke ọ ghọrọ ngwáọrụ ya, na egwu nke aha ya kpaliri.

“‘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.

“‘Mbibi kpamkpam na ihichapụ kpamkpam,’ bụ okwu ndị kacha mma na-egosi ọdachi ndị o wetara.” O kpọrọ onwe ya, “‘Ihe-otiti nke Chineke.’” 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.

Akụkọ banyere opi nke atọ, nke Attila onye Hun nọchiri anya ya, sitere n’afọ 441 ruo ọnwụ ya n’afọ 453. Smith wee kpọọ amaokwu nke iri na abụọ, nke na-egosi opi nke anọ ma kọwaa eze ndị barbarian Odoacer, ebe a na-anọchi anya akara ngosi atọ nke Rom nke Ọdịda Anyanwụ site n’anyanwụ, ọnwa, na kpakpando. Ọ na-akọwa akara ngosi atọ ahụ dịka akara nke “anyanwụ, ọnwa, na kpakpando—n’ihi na n’enweghị mgbagha a na-eji ha ebe a dịka akara ngosi—nke doro anya na ha na-egosi ìhè ukwu nke ọchịchị Rom,—ndị eze ukwu ya, ndị otu senate ya, na ndị konsul ya. Bishop Newton kwuru na eze ukwu ikpeazụ nke Rom nke Ọdịda Anyanwụ bụ Romulus, onye a kpọrọ Augustulus n’ụzọ ịkwa emo, ma ọ bụ “Augustus nta.” Rom nke Ọdịda Anyanwụ dara n’afọ A.D. 476. N’agbanyeghị nke a, ọ bụ ezie na anyanwụ Rom agbanyụrụ, ìhè ndị dị n’okpuru ya ka na-enwu nwayọọ nwayọọ ebe senate na ndị konsul nọgidere. Ma mgbe ọtụtụ ọdịda obodo na mgbanwe nke chi ndọrọ ndọrọ ọchịchị gasịrị, n’ikpeazụ, n’afọ A.D. 566, e bibiri usoro dum nke ọchịchị oge ochie ahụ, ma belata Rom n’onwe ya site n’ịbụ eze nwanyị nke ụwa bụrụ obere duchy na-atụ ụtụ nye Exarch nke 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.

N’ebe a anyị hụrụ ihe àmà ọzọ banyere nkewa Rome n’ụzọ atọ, nke na-egosi n’ihu njikọta Rome nke oge a n’ụzọ atọ. N’ihe metụtara Rome nke ọwụwa anyanwụ na eze ukwu Constantine, e gosiri nkewa ahụ n’ụzọ atọ site n’aka ụmụ ya ndị ikom atọ, ma n’ihe metụtara Rome nke ọdịda anyanwụ, ọ bụ ụdị ọchịchị ha nke atọ. Mgbe ahụ, Smith na-akọwapụta na anyanwụ, ọnwa, na kpakpando na-anọchi anya usoro pụrụ iche e si mee ka Rome nke ọdịda anyanwụ daa. Ọ na-emechi akụkọ ya site n’ịnye mmeghe na-esonụ banyere opi atọ ikpeazụ ahụ.

“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.

“Ọ bụ ezie na ọdachi ndị mwakpo mbụ nke ndị ọhịa a wetara n’alaeze ahụ jọgburu onwe ha, ha dị ntakịrị ma e jiri ha tụnyere ọdachi ndị ga-eso ha. Ha dị nnọọ ka mkpụrụ mmiri mbụ nke mmiri ozuzo tupu oke idei mmiri nke na-adịghị anya ga-adakwasị ụwa ndị Rom. Afọ opi atọ fọdụrụnụ ka e jiri igwe ojii nke ahụhụ kpuchie, dị ka e gosiri ya n’amaokwu ndị a na-eso.

“‘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.’

“‘AMAOKWU 13. M wee hụ, ma nụ ka mmụọ-ozi na-efegharị n’etiti eluigwe, na-ekwu n’oké olu, Ahụhụ, ahụhụ, ahụhụ diri ndị bi n’ụwa n’ihi ụda ndị ọzọ nke opi nke ndị mmụọ-ozi atọ ahụ, ndị ka ga-afụ opi.’”

“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.

“Mmụọ-ozi a abụghị otu n’ime usoro ndị mmụọ-ozi asaa nke opi ahụ, kama ọ bụ naanị onye na-ekwupụta na opi atọ fọdụrụnụ bụ opi nke ahụhụ, n’ihi ihe omume ndị ka njọ nke ga-eme n’okpuru ụda ha. Ya mere, opi na-esonụ, ma ọ bụ opi nke ise, bụ ahụhụ nke mbụ; opi nke isii, ahụhụ nke abụọ; ma opi nke asaa, nke ikpeazụ n’ime usoro a nke opi asaa, bụ ahụhụ nke atọ.” Uriah Smith, Daniel and Revelation, 493.

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

Anyị ga-aga n’ihu n’isiokwu na-esote na Ahụhụ opi atọ ahụ.

“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.

“A kọwara ọdachi nile nke Rom nke eze-ala, n’ida ya, ruo n’ikpeazụ ha niile, ruo mgbe Rom enweghị eze-ukwu, maọbụ onye nnọchi anya ọchịchị, maọbụ nzukọ omeiwu. ‘N’okpuru ndị Exarchs nke Ravenna, e wedara Rom n’ọkwa nke abụọ.’ E tiri akụkụ nke atọ nke anyanwụ, na akụkụ nke atọ nke ọnwa, na akụkụ nke atọ nke kpakpando dị iche iche. Agbụrụ ndị Siza adịghị alaa n’iyi mgbe ndị eze-ukwu nke Ọdịda Anyanwụ nwụsịrị. Tupu ida ya, Rom nwere naanị otu akụkụ nke ike ọchịchị eze-ala ahụ. Constantinople so ya kee alaeze nke ụwa. Ma ndị Goths maọbụ ndị Vandals achịkwaghị dịka ndị nwe ha n’elu obodo ahụ ka bụ nke eze-ala, onye eze-ukwu ya, mgbe Constantine bufesịrị isi oche alaeze ahụ na mbụ, na-etinyekarị eze-ukwu nke Rom dịka onye ọ họpụtara na onye na-anọchi ya. E deberekwa akara aka Constantinople ruo n’oge ndị ọzọ, e jikwa opi ndị ọzọ kwupụta ya. N’ihe gbasara anyanwụ, ọnwa, na kpakpando, ruo ugbu a, ọ bụ naanị akụkụ nke atọ ka e tiri.”

“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.

“Okwu mmechi nke Opì Nke Anọ na-egosi mweghachi ga-eme n’ọdịnihu nke Alaeze Ukwu Ọdịda Anyanwụ: ‘ehihie amụtaghị ìhè ya n’otu ụzọ n’ime ụzọ atọ nke ya, abalị kwa otu a kwa.’ N’ihe gbasara ikike ọchịchị obodo, Rom ghọrọ ihe dị n’okpuru Ravenna, Italy kwa bụrụ ógbè e meriri emeri nke Alaeze Ukwu Ọwụwa Anyanwụ. Ma, dịka o si bụrụ ihe kwesịrị ekwesi karị nke amụma ndị ọzọ, ịgbachitere ofufe nke oyiyi ka mbụ wetara ike ime mmụọ na nke oge nke pope na nke eze ukwu n’ime ọgụ ike siri ike; site n’inye pope ikike nile n’elu ụka dị iche iche, Justinian tinyere aka enyemaka ya n’ịkwalite ọchịchị kacha elu nke papal, nke mesịrị were ike nke ikepụta ndị eze. N’afọ nke Onyenwe anyị 800, pope nyere Charlemagne aha nke Eze Ukwu nke ndị Rom.’—Keith. E mechara nyefee aha ahụ ọzọ site n’aka eze France nye eze Germany. Ma site n’aka Eze Ukwu Francis nke Abụọ, ọbụna akụkọ ifo a ka e mesịrị jụ kpamkpam na ruo mgbe ebighị ebi, Ọg. 6, 1806.” A. T. Jones, The Great Nations of Today, 54.