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 kaparingi pepadhang gedhé ngenani pitung pasamuwan, pitung segel, lan pitung kalasangka ing kitab Wahyu. Panjenenganipun mapanaké pralambang-pralambang kenabian mau ana ing sajroning rerangkèn loro kakuwasan kang ngrusak, yaiku paganisme kang banjur katut déning kepausan. Panjenenganipun boten mirsani saben ciri kenabian saka pralambang-pralambang mau, nanging apa kang sampun panjenenganipun tingali netepaké pangertosan dhasar bab sajarah internal lan sajarah eksternal pasamuwané Allah wiwit jaman para rasul nganti tekan pungkasaning jagad. Sajarah internal mau dipralambangaké déning pasamuwan-pasamuwan, lan sajarah eksternal pasamuwan-pasamuwan mau dipralambangaké déning segel-segel. Panjenenganipun mirsani bilih kalasangka-kalasangka iku minangka pralambang paukumané Allah tumrap Roma, kang dados pralambang tumrap paukumané Allah marang Roma ing pungkasaning jagad, sanadyan panjenenganipun boten mirsani bilih Roma ing pungkasaning jagad iku kabangun saka satunggaling uni telung rangkep.

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.”

Buku sing ditulis déning Uriah Smith kanthi irah-irahan Daniel and Revelation ngemot sawatara gagasan kang kliru, nanging déning Sister White dianggep minangka, “pitulunganing astané Gusti Allah.” Dhèwèké netepaké yèn buku iku kudu disebarake bebarengan karo The Great Controversy, Patriarchs and Prophets, lan The Desire of Ages. Panyengkuyungé kang kuwat iku ora ateges yèn buku mau ana ing tataran ilham kang padha karo buku-bukuné dhéwé, nanging yèn buku iku ngemot “piwulang kang agung,” lan wis dadi sarana “nggawa akèh jiwa kang aji marang kawruh bab kayektèn.”

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.

Buku punika ngginakaken logika kenabian Millerit, dipuniringi kaliyan konsèp-konsèp bab ramalan ingkang dereng katingal sadèrèngipun tanggal 22 Oktober 1844. Kita badhé nyebut pérangan-pérangan ing buku punika nalika kita njlentrehaken panganggèn rangkep tiga saking tiga Bilai punika.

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 nyatakake bilih “pitung kalasangka punika minangka sajarah saking pitung paukuman ingkang mirunggan lan abot ingkang dipun utus dhateng bumi, utawi karajan Rum.” Papat kalasangka ingkang kapisan nggambaraken paukuman-paukuman ingkang dipun dhawuhaken dhateng Rum kapir, lan kalasangka ingkang kaping gangsal lan kaping enem punika paukumanipun Allah ingkang dipun dhawuhaken dhateng Rum kapapan, ananging Miller mesthi boten badhe mangertos bilih kalasangka ingkang kaping pitu nggambaraken paukumanipun Allah dhateng Rum Modern. Nalika ngrembag bab pitung meterai lan pitung kalasangka ing kitab Wahyu, Uriah Smith nyerat:

“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.

“Sawisé njupuk kitab mau, Sang Cempé banjur enggal miwiti mbukak segel-segelé; lan kawigatèné rasul katuntun marang pemandhangan-pemandhangan kang dumadi ana ing sangisoré saben segel. Cacah pitu wis kacathet sadurungé minangka pratandha ing Kitab Suci tumrap kasampurnan lan kasakèhan. Mulané, pitu segel iku nyakup kabèh sawijining golongan prastawa tartamtu, kang bisa uga nganti tekan jaman Konstantinus, lan pitu kalasangka iku rerangkening prastawa liyané wiwit saka wektu iku tumuli lumaku luwih adoh, ora bisa dianggep bener. Kalasangka-kalasangka iku nuduhaké rerangkening prastawa kang dumadi bebarengan karo prastawa-prastawa ing segel-segel mau, nanging sipaté béda babar pisan. Kalasangka iku minangka pralambang perang; mula kalasangka-kalasangka iku nuduhaké gègèr pulitik kang gedhé kang bakal dumadi ing antarané bangsa-bangsa sajrone jaman Injil. Segel-segel iku nuduhaké prastawa-prastawa kang sipaté agama, lan ngemot sajarah gréja wiwit saka kabukaké jaman Kristen nganti tekan rawuhipun Kristus.” 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:

Slomprèt minangka pralambang perang lan gejolak pulitik. Bab ayat kapindho saka Wahyu pasal wolu, Smith ngandika:

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

“‘AYAT 2. Lan aku weruh malaékat pitu kang ngadeg ana ing ngarsané Allah; lan marang wong-wong mau diparingi slomprèt pitu.’”

“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.

“Ayat iki ngenalaké runtutan kadadéan kang anyar lan béda. Ing segel-segel, kita wis ndarbèni sajarah pasamuwan sajroning apa kang sinebut jaman pangibadah Injil. Ing pitung slomprèt, kang saiki dienalaké, kita ndarbèni kadadéan-kadadéan pulitik lan peperangan kang utama, kang bakal kalakon sajroning wektu kang padha.” 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.

Meterai kapitu kabukak ana ing enem ayat kapisan saka Wahyu pasal wolu, lan ing latar mburiné pambukaking meterai kapitu iku, pitu malaékat kanthi pitu kalasangka wus kasiyapaké kanggo ngunekaké.

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.

Lan nalika Panjenengané mbikak meterai kang kapitu, ana kasepen ing swarga watara satengahing jam. Lan aku weruh malaékat pitu kang ngadeg ana ing ngarsané Allah; lan marang wong-wong mau diparingi kalasangka pitu. Lan ana malaékat liyané rawuh sarta ngadeg ana ing mesbèh, nggawa padupan emas; lan marang dhèwèké diparingaké menyan akèh, supaya iya nyaosaké iku bebarengan karo pandongané para suci kabèh ana ing mesbèh emas kang ana ing ngarepé dhampar. Lan kukusé menyan iku, kang munggah bebarengan karo pandongané para suci, minggah ana ing ngarsané Allah saka tangané malaékat iku. Lan malaékat iku njupuk padupan mau, banjur diisèni geni saka mesbèh, lan dibuwang menyang bumi; banjur ana swara-swara, gludhug-gludhug, kilat-kilat, lan lindhu. Lan malaékat pitu kang nyekel kalasangka pitu iku padha siyap kanggo ngunekaké. Wahyu 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.

Ana sawijining anomali kenabian sing wis kita idhèntifikasi ing artikel-artikel sadurungé, nanging durung kita rembag kanthi cetha ngenani fénoména kenabiané sing mligi. Anomali iku yaiku manawa simbol-simbol sing makili runtutan waymark ing sajarah kenabian, kabèh digabung dadi siji ing panutuping sajarah sing diwakili déning simbol-simbol mau. Kita wis nuduhaké yèn patang generasi Adventisme Laodikia sing diwakili déning patang kasangsaran nistha ing Yéhezkiel bab wolu nandhani waymark-waymark tartamtu, nanging saben-sabené, minangka sawijining ujian, mbalèni manèh ana ing sajarah panyegelan wong satus patang puluh papat èwu. Anomali iki uga tinemu ing pitu slomprèt, amarga sanajan slomprèt-slomprèt iku makili paukuman-paukuman tartamtu marang Roma kapir, Roma paus, lan Roma modhèren, kabèh mau padha kaimpun manèh nalika paukuman eksekutif marang Roma modhèren wiwit lumaku ing angger-angger Minggu sing bakal enggal teka.

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.

Pitu slompret iku nduwèni tanggal-tanggal tartamtu nalika kawujud ing jaman biyèn, nanging Sister White uga nempatake pitu malaékat kanthi pitu slompret ing Wahyu pasal wolu, ing sajarah hukum Minggu sing enggal bakal teka.

“‘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.

“‘Lan nalika Panjenengané wus mbukak segel kang kaping lima, aku weruh ana ing sangisoring mesbèh nyawa-nyawané wong-wong kang dipatèni merga pangandikané Allah lan merga paseksi kang dicekelé: lan padha sesambat kalawan swara banter, pangucapé, Nganti pinten suwéné, dhuh Pangéran, Panjenengané kang suci lan satya, Panjenengan ora ngadili lan males getih kawula marang wong-wong kang padha manggon ana ing bumi? Lan saben wong mau diparingi jubah putih [Padha diumumaké resik lan suci]; lan marang wong-wong mau kadhawuhaké, supaya padha ngaso dhisik sawatara mangsa, nganti para kancané padha ngawula lan para saduluré, kang bakal dipatèni kaya déné wong-wong mau, kacumponan’ [Wahyu 6:9–11]. Ing kéné kaandharaké marang Yohanes pemandhangan-pemandhangan kang dudu kasunyatan ing wektu iku, nanging prakara-prakara kang bakal kelakon ing sawijining mangsa ing tembé mburi.

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

“Wahyu 8:1–4 dipunpetik.” Manuscript Releases, jilid 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.

Ing pethikan sadurungé, Sister White nerapaké dialog lan kasampurnaning segel kaping lima tumrap wektu nalika pitu malaékat lagi arep muni ing pasal wolu, nanging panjenengané uga mapanaké pralambang sing padha iku ing sajarahing rong swara ing Wahyu pasal wolulas.

“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.

“Nalika segel kaping lima kabukak, Yohanes Sang Panerang, ing sawijining sesanti, ndeleng ana ing sangisoré mesbèh golongan wong-wong sing dipatèni marga saka Sabdané Allah lan paseksèné Gusti Yesus Kristus. Sawisé iku tumuli rawuh pemandangan-pemandangan sing katerangaké ana ing Wahyu bab kaping wolulas, nalika wong-wong kang setya lan bener kapanggil metu saka Babil. [Wahyu 18:1–5, dipunpetik.]” Manuscript Releases, jilid 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.

Pitung kalasangka iku nglambangaké paukumané Allah sajroning sajarah Roma kapir, kapapaan, lan Roma Modhèren, nanging uga kagambaraké ing sajarah tanggal 11 September 2001, lan swara kapindho saka angger-angger Minggu kang bakal enggal rawuh. Sawisé ngrembag enem ayat kapisan saka Wahyu pasal wolu, Uriah Smith wiwit nyawisaké kaleksanan sajarah saka papat kalasangka kang kapisan.

“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.

“Babagan pitu kalasangka punika dipunwiwiti malih ing ngriki, lan ngisi sisane bab punika sarta sadaya bab 9. Pitu malaékat nyawisaken dhirinipun kanggé muni. Muniipun punika rawuh minangka pepangkep tumrap pamecaipun Daniel 2 lan 7, kawiwitan saking pecahipun kakaisaran Roma kuna dados sapuluh wewengkon, ingkang, wonten ing patang kalasangka kapisan, kita pikantuk katranganipun.” 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 nedahaké yèn sangkakala papat kang kapisan iku minangka paukumané Allah tumrap Roma pagan. Panjenengané ngutip ayat pitu sing mratélakaké ciri-ciri profetik saka sangkakala kang kapisan, banjur netepaké kasampurnan sajarahé.

“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.

“Pengadilan pisanan kang nglarani lan abot, kang tumiba marang Roma Kulon ing sajroning lakuning mudhuné, yaiku perang nglawan bangsa Goth ing sangisoré Alaric, kang mbukak dalan tumrap panyerbuan-panyerbuan sabanjuré. Sedanipun Theodosius, kaisar Romawi, dumadi ing sasi Januari 395, lan sadurungé pungkasan mangsa adhem, bangsa Goth ing sangisoré Alaric wus padha ngangkat gaman nglawan kekaisaran.

“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.

“Panyerbuan kapisan ing sangisoring Alaric ngrusak Thrace, Macedonia, Attica, lan Peloponnesus, nanging ora tekan kutha Roma. Nanging, ing panyerbuané kang kapindho, panggedhéné bangsa Goth mau nyabrang Pegunungan Alpen lan Apennina, lan katon ana ing ngarepé témbok kutha ‘langgeng’ iku, kang ora suwi banjur ambruk dadi mangsaning bebendu bangsa barbar.

“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.

“Swaraning kalasangka kapisan dumunung watara pungkasan abad kaping papat lan salajengipun, lan ngrujuk dhateng serbuan-serbuan ngrusak punika tumrap kakaisaran Romawi ing sangandhaping bangsa Goth.” 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 mratelakaké Alaric minangka pralambang paukumané Allah tumrap Roma kapir sing dipratandhani déning slomprèt kapisan. Saben slomprèt nduwèni tokoh sajarah sing makili slomprèt mau; Alaric makili rawuhipun slomprèt kapisan wiwit pungkasan abad kaping papat. Miller ora bisa nyumurupi yèn slomprèt iki ditibakaké marang Roma marga saka penegakan dina Minggu, awit Miller piyambak iku wong sing netepi dina Minggu. Smith uga ora nyumurupi kasunyatan iki, nanging Smith pancèn ngakoni yèn angger-angger dina Minggu pisanan sing dipaksakaké iku diadani déning Constantine ing taun 321. Paugeran profetik sing magepokan karo penegakan dina Minggu tansah padha, amarga Allah ora tau owah, lan paugeran iku yaiku yèn “murtad nasional katut déning karusakan nasional”. Alaric nggambarake wiwitan karusakan nasional, sing wiwit ing wektu piyambak nalika Constantine netepaké angger-angger dina Minggu pisanan.

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

Smith nerusake kanthi ngutip ayat kaping wolu, sing ngenali kalasangka kapindho, banjur nerusake ulasane:

“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.

"Kakaisaran Rum, sawisé Konstantinus, kabagi dadi telung pérangan; lan mulané asring ana unen-unen, ‘saprateloné manungsa,’ lan sapituruté, minangka alusi marang saprateloné kakaisaran kang ana ing sangisoré pecut paukuman. Pambagéyan karajan Rum iki ditindakake nalika Konstantinus séda, ing antarané telung putrané, yaiku Konstantius, Konstantinus II, lan Konstans. Konstantius nguwasani Wétan, lan netepaké papan panggonané ana ing Konstantinopel, kutha krajan kakaisaran. Konstantinus II nguwasani Britania, Galia, lan Spanyol. Konstans nguwasani Ilirikum, Afrika, lan Italia. (Delengen Sabine’s Ecclesiastical History, p. 155.) Bab kasunyatan sajarah iki kang wis kondhang, Elliott, kaya dikutip déning Albert Barnes, ing cathetané tumrap Rev.12:4, ngandika: ‘Paling ora kaping pindho, sadurungé kakaisaran Rum kabagi kanthi tetep dadi rong pérangan, yaiku Wétan lan Kulon, wis tau ana pambagéyan telu saka kakaisaran iku. Sing kapisan kelakon ing A.D. 311, nalika kakaisaran iku kabagi antarané Konstantinus, Licinius, lan Maximin; sing sijiné manèh, A.D. 337, nalika Konstantinus séda, antarané Konstans lan Konstantius.’” 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.

Fénoména sajarah nalika Roma kabagi dadi telung pérangan, lan uga dadi rong pérangan, kaya kang dirujuk déning para sajarawan sing dikutip déning Smith, iku minangka unsur-unsur Roma kang ngenali uni telung rangkep saka Roma Modhèren, kang mbentuk sawijining struktur kang kabagi dadi loro, makili gabungan greja lan nagara. Nalika Smith nerusaké, dhèwèké banjur ngenali tokoh sajarah kang ana gandhèng cenèngan karo slomprèt kapindho.

“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. . ..

“Riwayat kang dadi pepindhan tumrap muniing slompret kapindho kanthi cetha magepokan karo panyerbuan lan panaklukan Afrika, lan salajengipun Italia, déning Genseric kang nggegirisi. Panaklukan-panaklukané ing saperangan gedhé awujud KELAUTAN; lan kamenangan-kamenangané iku “kaya dene gunung gedhé kang murub geni, kacemplungaké menyang segara.” Pepindhan apa kang bakal luwih trep, utawa malah saktrepé iku, kanggo nggambaraké tabrakaning armada-armada laut, lan karusakan umum peperangan ing pasisir-pasisir segara? Ing njlentrehaké slompret iki, kita kudu nggolèki sawatara prastawa kang bakal nduwèni gegayutan mligi karo jagad padagangan. Lambang kang kaanggo kanthi lumrah nuntun kita supaya nyawang anané gègèr lan kisruh. Ora ana kajaba peperangan segara kang sengit kang bisa netepi ramalan iki. Manawa muniing papat slompret kang wiwitan iku magepokan karo papat prastawa wigati kang nyumbang marang ambruké kakaisaran Romawi, lan slompret kapisan nuduhaké marang pangrusakan déning bangsa Goth ing sangisoré Alaric, ing slompret iki kita kanthi lumrah nyawang tumindak panyerbuan sabanjuré kang ngoyak-ayak kakuwatan Romawi lan nyurung tumuju rubuhé. Panyerbuan gedhé sabanjuré yaiku déning “Genseric kang nggegirisi,” ing pucuking bangsa Vandal. Lakuné dumadi sajroning taun-taun M. 428–468. Panggedhé Vandal kang gedhé iki ndarbèni markas utama ing Afrika....”

“Concerning the important part which this bold corsair acted in the downfall of Rome, Mr. Gibbon uses this significant language: ‘Genseric, a name which, in the destruction of the Roman empire, has deserved an equal rank with the names of Alaric and Attila.’” Uriah Smith, Daniel and Revelation, 481, 484.

“Babagan perangan wigati kang ditindakaké déning bajak segara kang gagah prakosa iki sajroning rubuhipun Roma, Pak Gibbon migunakaké tembung-tembung wigati iki: ‘Genseric, sawijining jeneng kang, sajroning karusakaning kakaisaran Romawi, pantes nampa drajat kang padha karo jeneng-jeneng Alaric lan 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, nalika ngutip sejarawan Gibbon, sing nedahaké pralambang-pralambang sajarah saka telung kalasangka kapisan, negesaké yèn Genseric iku kalasangka kapindho, banjur ngandika yèn Genseric, “pantes oleh drajat kang padha karo Alaric lan Attila.” Alaric iku kalasangka kapisan, Genseric kalasangka kapindho, lan Attila wong Hun iku kalasangka katelu, kang kasebut ana ing ayat sepuluh. Smith nedahaké yèn kalasangka kapindho, kang dipralambangaké déning Genseric, makili sajarah “428-468.” Banjur Smith ngutip ayat sepuluh kang nandhakaké kalasangka katelu, lan nerusaké narasiné:

“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.

“Ing panfsiran lan panrapan saka wacana iki, kita kaasta marang kadadéan wigati kaping telu kang njalari rubuhedhe Karajan Romawi. Lan sajroning nemokake kawujudan sajarah saka kalasangka kaping telu iki, kita bakal kaparingan pitulungan saka Cathetan Dr. Albert Barnes lumantar sawetara pethikan. Ing njlentrehake Kitab Suci iki, perlu, kaya kang dipangandikakake déning panaliti iki, ‘Menawa kudu ana sawijining panggedhé utawa satriya perang kang bisa dipadhakaké karo météor kang murub sumilak; kang lakuné bakal mligi banget padhangé; kang bakal dumadakan katon KAYA lintang murub sumunar, banjur sirna kaya lintang kang pepadhangé dipateni ana ing banyu.’— Cathetan babagan Wahyu 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. . ..

“Ing kéné dipratelakaké dhisik yèn slomprèt iki ngemu alusi marang perang-perang kang ngrusak lan panyerbuan-panyerbuan kang nggegirisi saka Attila marang kakuwasan Romawi, kang ditindakaké déning dhèwèké nalika mimpin gerombolan-gerombolan bangsa Huné....”

“‘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.

“‘Lan Jenenging Lintang iku sinebut Wormwood [nglambangaké akibat-akibat kang pait].’ Tembung-tembung iki—kang sajatiné luwih raket gandhèngané karo ayat sadurungé, kaya déné tandha waca ing terjemahan kita dhéwé nuduhaké—ngélingaké kita sawatara mangsa marang wataké Attila, marang kasangsaran kang dadi woh pakaryané utawa pirantiné, lan marang kaagungan wedi kang kajalari déning jenengé.

“‘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.

“‘Pambasman lan pambusakan tuntas,’ iku istilah-istilah sing paling trep kanggo nandhani bilai-bilai kang dipun-tindakaké déning dhèwèké.’ Panjenengané nyebut awaké dhéwé, ‘Pecuting Allah.’” 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.

Sajarahing kalasangka kaping telu, kang dilambangaké déning Attila wong Hun, wiwit taun 441 nganti tekan sédaé ing taun 453. Smith banjur ngutip ayat rolas, kang nyuguhaké kalasangka kaping papat lan njlèntrèhaké ratu barbar Odoacer, ing ngendi pralambang kaping telu saka Roma Kulon dipratélakaké déning srengéngé, rembulan, lan lintang-lintang. Panjenengané netepaké telung pralambang mau minangka pralambangé “srengéngé, rembulan, lan lintang-lintang—amarga temenan ing kéné iku digunakaké minangka pralambang—cethané nuduhaké padhang gedhé pamaréntahan Romawi,—yaiku para kaisaré, para sénatoré, lan para konsulé. Uskup Newton nyathet yèn kaisar pungkasan Roma Kulon yaiku Romulus, kang kanthi olok-olok sinebut Augustulus, utawa “Augustus alit.” Roma Kulon ambruk ing A.D. 476. Nanging sanadyan mangkono, senajan srengéngé Romawi wus dipadamaké, pepadhang-pepadhang sangisoré isih madhangi kanthi samar nalika sénat lan para konsul isih lumaku. Nanging sawisé akèh kawalikan sipil lan owah-owahan nasib pulitik, pungkasané, ing A.D. 566, kabèh wangun pamaréntahan kuna iku dibubrahaké, lan Roma dhéwé diturunaké saka dadi permaisuri donya dadi kadipaten miskin kang mbayar upeti marang Eksarkh 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.

Ing kéné kita manggihaké paseksi liyané tumrap pambagéyan Roma kang telu, sing nglambangaké serikat Roma modhèrn kang telu. Ing Roma sisih wétan lan kaisar Constantine, pambagéyan kang telu iku kaawakaké déning anaké lanang telu, nanging ing Roma sisih kulon iku kaawakaké déning wangun pamaréntahané kang telu. Smith banjur netepaké yèn srengéngé, rembulan, lan lintang-lintang nggambaraké sawijining tatanan tartamtu kang lumantaré Roma sisih kulon diruntuhaké. Panjenengané banjur nutup cariyosé kanthi pambuka ing ngisor iki ngenani telung kalasangka pungkasan.

“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.

“Sanadyan bilai-bilai sing ditibakaké marang kakaisaran déning serbuan-serbuan kapisan saka bangsa-bangsa barbar iku nggegirisi, nanging bilai-bilai mau, kanthi perbandingan, luwih entheng tinimbang bilai-bilai sing bakal nuli ndherek. Kabeh iku mung kaya tetes-tetes wiwitan sadurungé udan deres, sadurungé banjir gedhé sing enggal bakal tumiba marang jagad Romawi. Telung kalasangka sing isih kari katutupi déning méga kasusahan, kaya dene katuduhaké ana ing ayat-ayat ing ngisor iki.

“‘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.’

“‘AYAT 13. Lan aku mirsani, sarta krungu ana malaékat mabur ing satengahing langit, ngandika kanthi swara sora, Bilai, bilai, bilai tumrap para wong kang manggon ana ing bumi marga saka swara-surane kalasangka saka telung malaékat liyane, kang isih bakal ngunekaké kalasangka.’”

“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.

“Malaékat iki dudu salah siji saka runtutan para malaékat pitu kang nyebul kalasangka, nanging mung sawiji malaékat kang ngumumaké yèn telung kalasangka kang isih kari iku kalasangka cilaka, amarga ana gegayutané karo prastawa-prastawa sing luwih nggegirisi kang bakal kalakon nalika swarané muni. Mulané, kalasangka candhaké, utawa kalasangka kaping lima, iku cilaka kang kapisan; kalasangka kaping nem, cilaka kang kapindho; lan kalasangka kaping pitu, kang dadi kang pungkasan ing runtutan kalasangka pitu iki, iku cilaka kang katelu.” Uriah Smith, Daniel and Revelation, 493.

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

Kita badhé nerusaké telung bilaiing slomprèt punika wonten ing artikel salajengipun.

“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.

“Karusakan-karusakaning Roma kekaisaran, sajroning rubuhe, wis kawartakaké nganti tekan sing pungkasan saka kabèh iku, nganti Roma tanpa kaisar, tanpa konsul, lan tanpa senat. ‘Ing sangisoré para Exarch Ravenna, Roma direndhahaké dadi pangkat kapindho.’ Saprateloné srengéngé katibak, lan saprateloné rembulan, lan saprateloné lintang-lintang. Trasané para Caesar ora sirna bebarengan karo para kaisar Kulon. Roma, sadurungé tiba, mung ngasta sapérangan saka kakuwasan kekaisaran. Konstantinopel mbagi karo Roma kakaisaraning jagad. Lan ora wong Goth utawa wong Vandal sing nguwasani kutha iku, kang isih dadi kutha kekaisaran, sing kaisaré, sawisé pamindhahan kapisan kursi kakaisaran déning Konstantinus, kerep ngasta kaisar Roma minangka wong sing ditunjuk déning dhèwèké lan minangka wakilé. Lan nasib Konstantinopel dilestarekaké tumrap jaman-jaman liyané, lan diumumaké déning kalasangka-kalasangka liyané. Saka srengéngé, rembulan, lan lintang-lintang, nganti wektu iku mung saprateloné waé kang katibak.”

“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.

“Pangandika pungkasan saka Trompet kaping Papat nedahaké pamulihan Kakaisaran Kulon ing mangsa ngarep: ‘Ing saprateloné, awan ora madhangi, mengkono uga bengi.’ Ing babagan wewenang sipil, Roma dadi tundhuk marang Ravenna, lan Italia dadi sawijining provinsi sing kasirnakaké déning Kakaisaran Wétan. Nanging, kaya sing luwih trep magepokan karo ramalan-ramalan liyané, pambélaan marang panyembahan gambar-gambar wiwitané ndadèkaké kakuwasan rohani lan kadonyan saka paus lan kaisar padha tabrakan kanthi sengit; lan, kanthi maringaké marang paus sakèhé wewenang marang gréja-gréja, Yustinianus nglèbokaké tangan pambiyantuné kanggo ngundhakaké kaunggulan kapausan, sing salajengipun banjur njupuk kakuwasan kanggo nglairaké para ratu. Ing taun Gusti kita 800, paus maringaké marang Karolus Agung gelar Kaisar wong Roma.’—Keith. Gelar iku banjur dipindhahaké manèh saka ratu Prancis marang ratu Jerman. Lan déning Kaisar Franciscus II, malah rekaan iki pungkasané lan salawas-lawasé dipasrahaké, 6 Agustus 1806.” A. T. Jones, The Great Nations of Today, 54.