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 dia nomena fahazavana lehibe momba ireo fiangonana fito, ireo tombo-kase fito ary ireo trompetra fito ao amin’ny bokin’ny Apokalypsy. Napetrany tao anatin’ny rafitry ny hery roa mandravarava ireo tandindona ara-paminaniana ireo, dia ny fanompoan-tsampy narahin’ny fahefana papaly. Tsy hitany ny toetra ara-paminaniana rehetra amin’ireo tandindona ireo, kanefa izay hitany no nametraka ny fahatakarana fototra ny tantara anatiny sy ny tantara ivelany momba ny fiangonan’Andriamanitra hatramin’ny andron’ny apostoly ka hatramin’ny faran’izao tontolo izao. Ny tantara anatiny dia nasehon’ireo fiangonana, ary ny tantara ivelan’ireo fiangonana kosa dia nasehon’ireo tombo-kase. Hitany fa ireo trompetra dia tandindon’ny fitsaran’Andriamanitra an’i Roma, izay naneho mialoha ny fitsaran’Andriamanitra an’i Roma amin’ny faran’izao tontolo izao, na dia tsy hitany aza fa i Roma amin’ny faran’izao tontolo izao dia voaforon’ny firaisana telo sosona.
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.”
Ny boky nosoratan’i Uriah Smith mitondra ny lohateny hoe *Daniel and Revelation* dia ahitana hevitra sasantsasany diso, nefa nofaritan-dRahavavy White ho toy izao: “Ny tànana mpanampin’Andriamanitra.” Nambarany fa tokony haparitaka miaraka amin’ny *The Great Controversy*, *Patriarchs and Prophets*, ary *The Desire of Ages* izy io. Ny fanohanany mafy dia tsy midika akory fa mitovy haavon’ny tsindrimandry amin’ny bokiny io boky io, fa kosa hoe ahitana “fampianarana lehibe” izy, ary efa tompon’andraikitra tamin’ny “fitondrana fanahy sarobidy maro ho amin’ny fahalalana ny fahamarinana.”
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.
Mampiasa ny lojika ara-paminaniana Millerita ilay boky, miaraka amin’ireo hevitra momba ny faminaniana izay tsy mbola hita talohan’ny 22 Oktobra 1844. Hiresaka andalan-teny ao amin’ilay boky isika eo am-pamolavolana ny fampiharana in-telo an’ireo Loza telo.
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:
Nambaran’i Miller fa ny “trompetra fito dia tantaran’ny fitsarana fito miavaka sady mavesatra nalefa tamin’ny tany, na tamin’ny fanjakana romana.” Ny trompetra efatra voalohany dia maneho ireo fitsarana nentina tamin’i Roma mpanompo sampy, ary ny trompetra fahadimy sy fahenina dia ireo fitsaran’Andriamanitra nentina tamin’i Roma papa, nefa tsy ho fantatr’i Miller fa ny trompetra fahafito dia maneho ny fitsaran’Andriamanitra amin’i Roma ankehitriny. Raha niresaka ny amin’ny tombo-kase fito sy ny trompetra fito ao amin’ny Apokalypsy, dia nanoratra i Uriah Smith:
“Having taken the book, the Lamb proceeds at once to open the seals; and the attention of the apostle is called to the scenes that transpire under each seal. The number seven has already been noticed as denoting in the Scriptures completeness and perfection. The seven seals therefore embrace the whole of a certain class of events, reaching down perhaps to the time of Constantine, and the seven trumpets another series from that time farther on, cannot be correct. The trumpets denote a series of events which transpire contemporaneously with the events of the seals, but of an entirely different character. A trumpet is a symbol of war; hence the trumpets denote great political commotions to take place among the nations during the gospel age. The seals denote events of a religious character, and contain the history of the church from the opening of the Christian era to the coming of Christ.” Uriah Smith, Daniel and Revelation, 431.
“Rehefa nalain’ny Zanak’ondry ny boky, dia miroso avy hatrany Izy hanokatra ny tombo-kase; ary ny sain’ny apostoly dia tarihina ho amin’ireo toe-javatra miseho eo ambanin’ny tombo-kase tsirairay. Efa voamarika sahady fa ny isa fito, ao amin’ny Soratra Masina, dia manambara fahafenoana sy fahatanterahana. Koa ny tombo-kase fito dia mamihina ny fitambaran’ny sokajin-javatra iray manontolo, ka mety hihatra hatrany angamba amin’ny andron’i Constantin, ary ny trompetra fito kosa andian-javatra hafa manomboka amin’izany fotoana izany ka mandroso kokoa, dia tsy mety ho marina. Ny trompetra dia manondro andian-javatra mitranga miaraka amin’ny zava-miseho ao amin’ny tombo-kase, nefa samy manana toetra hafa tanteraka. Ny trompetra dia tandindon’ny ady; noho izany, ny trompetra dia manondro fikorontanana ara-politika lehibe hiseho eo amin’ny firenena mandritra ny vanim-potoanan’ny filazantsara. Ny tombo-kase kosa dia manondro zava-mitranga manana toetra ara-pivavahana, ary mirakitra ny tantaran’ny fiangonana hatramin’ny fisokafan’ny vanim-potoana kristiana ka hatramin’ny fiavian’i Kristy.” 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:
Ny trompetra dia tandindon’ny ady sy ny fikorontanana ara-politika. Miresaka ny andininy faha-roa amin’ny toko fahavalo ao amin’ny Apokalypsy i Smith ka milaza hoe:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
“‘ANDININY 2. Ary hitako ny anjely fito izay nitsangana teo anatrehan’Andriamanitra; ary nomena trompetra fito izy ireo.’”
“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.
“Ity andininy ity dia mampiditra andiana toe-javatra vaovao sy miavaka. Tao amin’ny tombo-kase no nahitantsika ny tantaran’ny fiangonana nandritra izay antsoina hoe vanim-potoanan’ny filazantsara. Ao amin’ireo trompetra fito, izay ampidirina eto ankehitriny, no ahitantsika ireo toe-javatra lehibe ara-politika sy ara-tafika izay hiseho mandritra io fotoana io ihany.” 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.
Ny tombo-kase fahafito dia novohana ao amin’ny andininy enina voalohany amin’ny Apokalypsy toko fahavalo, ary eo amin’ny sehatra iavian’ny fanokafana ny tombo-kase fahafito dia angely fito mitondra trompetra fito no voaomana mba hitsoka azy.
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.
Ary rehefa nosokafany ny tombo-kase fahafito, dia nangina ny tany an-danitra tokony ho antsasak’adiny. Ary hitako ny anjely fito izay nitsangana teo anatrehan’Andriamanitra; ary nomena trompetra fito izy. Ary nisy anjely iray hafa tonga ka nitsangana teo amin’ny alitara, nitondra fanatitra volamena fandoroana ditin-kazo manitra; ary nomena ditin-kazo manitra be dia be izy, mba hanolony izany miaraka amin’ny vavak’olon-masina rehetra eo ambonin’ny alitara volamena izay teo anoloan’ny seza fiandrianana. Ary ny setroky ny ditin-kazo manitra, izay niaraka tamin’ny vavak’olon-masina, dia niakatra teo anatrehan’Andriamanitra avy teo an-tànan’ilay anjely. Ary nalain’ilay anjely ny fanatitra fandoroana ditin-kazo manitra, ka nofenoiny afo avy teo amin’ny alitara, dia natsipiny tamin’ny tany izany; ary nisy feo sy kotrokorana ary helatra sy horohoron-tany. Ary ireo anjely fito izay nanana ny trompetra fito dia niomana hitsoka azy. Apokalypsy 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.
Misy tsy fahatomombanana ara-paminaniana izay efa nofariparitantsika tao amin’ireo lahatsoratra teo aloha, nefa mbola tsy noresahintsika manokana ny tranga ara-paminaniana miavaka momba azy. Izany tsy fahatomombanana izany dia ny hoe ireo tandindona izay maneho filaharan’ireo mari-dàlana ao amin’ny tantara ara-paminaniana dia angonina avokoa miaraka amin’ny famaranana ny tantara izay soloiny tena. Efa nasehontsika fa ny taranaka efatra amin’ny Advantisma Laodiseana, izay asehon’ireo fahavetavetana efatra ao amin’ny Ezekiela toko fahavalo, dia nanamarika mari-dàlana manokana; kanefa ny tsirairay amin’ireny, amin’ny maha-fitsapana azy, dia miverina ao amin’ny tantaran’ny famehezana ny efatra arivo amby efatra alina sy iray hetsy. Hita ao amin’ireo trompetra fito koa izany tsy fahatomombanana izany; fa na dia maneho fitsarana manokana amin’i Roma jentilisa sy Roma papaly ary Roma maoderina aza izy ireo, dia miara-miseho indray avokoa rehefa manomboka amin’ny lalàna Alahady ho avy tsy ho ela ny fitsarana mpanatanteraka amin’i Roma maoderina.
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.
Ireo trompetra fito dia manana daty voafaritra tsara izay nahatanterahany tamin’ny lasa, nefa i Rahavavy White koa dia mametraka ireo anjely fito mitondra trompetra fito ao amin’ny Apokalypsy toko faha-valo ao amin’ny tantaran’ny lalàna alahady izay ho avy tsy ho ela.
“‘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.
“‘Ary rehefa novohany ny tombo-kase fahadimy, dia hitako teo ambanin’ny alitara ny fanahin’ireo izay novonoina noho ny tenin’Andriamanitra sy noho ny filazàna izay nohazoniny; ary niantso tamin’ny feo mahery izy ireo ka nanao hoe: Mandra-pahoviana, Tompo ô, masina sy marina, no mbola tsy hitsaranao sy hamalianao ny rànay amin’izay monina ambonin’ny tany? Ary samy nomena fitafiana fotsy avokoa izy rehetra [Nambara ho madio sy masina izy ireo]; ary voalaza taminy fa mbola hiala sasatra vetivety aloha izy, mandra-pahatanteraky ny isan’ny mpanompo namany koa sy ny rahalahiny, izay hovonoina tahaka azy’ [Apokalypsy 6:9–11]. Eto dia naseho tamin’i Jaona ireo toe-javatra izay tsy zava-misy tamin’izany fotoana izany, fa izay mbola ho tonga amin’ny fotoana iray any aoriana.”
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
“Apokalypsy 8:1–4 notsongaina.” Manuscript Releases, volume 20, 197.
In the previous passage Sister White applies the dialogue and fulfillment of the fifth seal to the period when the seven angels are about to sound in chapter eight, but she also places the same representation at the history of the two voices of Revelation chapter eighteen.
Ao amin’ilay andalana teo aloha dia ampiharin’i Ranabavy White amin’ilay vanim-potoana izay efa hifofofofo hanenoan’ireo anjely fito ao amin’ny toko faha-valo ny fifanakalozan-kevitra sy ny fahatanterahan’ny tombo-kase fahadimy; nefa apetrany koa io fanehoana io ihany ao amin’ny tantaran’ireo feo roa ao amin’ny Apokalypsy toko faha-valo ambin’ny folo.
“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.
“Rehefa nosokafana ny tombo-kase fahadimy, dia hitan’i Jaona, ilay Mpahita Apokalypsy, tao amin’ny fahitana teo ambanin’ny alitara ny antokon’ireo izay novonoina noho ny Tenin’Andriamanitra sy ny filazantsaran’i Jesosy Kristy. Taorian’izany dia tonga ireo toe-javatra voalaza ao amin’ny toko faha-valo ambin’ny folo amin’ny Apokalypsy, rehefa antsoina hivoaka avy ao Babylona ireo izay mahatoky sy marina. [Apokalypsy 18:1–5, notsongaina.]” Manuscript Releases, boky faha-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.
Ny trompetra fito dia maneho ny fitsaran’Andriamanitra eo amin’ny tantaran’i Roma jentilisa, Roma papaly ary Roma maoderina, nefa aseho koa ao amin’ny tantaran’ny 11 Septambra 2001 sy ny feo faharoan’ny lalàna alahady ho avy tsy ho ela izany. Rehefa avy niresaka ny andininy enina voalohany ao amin’ny Apokalypsy toko faha‑valo i Uriah Smith, dia manomboka manolotra ny fahatanterahan’ny trompetra efatra voalohany eo amin’ny tantara.
“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.
Ny lohahevitra momba ireo trompetra fito dia averina raisina eto, ary mameno ny sisa amin’ity toko ity sy ny toko faha-9 manontolo. Miomana hitsoka ireo anjely fito. Ny fitsokany dia miseho ho famenon’ny faminanian’i Daniela 2 sy 7, manomboka amin’ny fizarazarana ny fanjakana romana fahiny ho amin’ireo fizarana folo, izay ahitantsika famaritana ao amin’ireo trompetra efatra voalohany.” 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 dia nanamarika fa ny trompetra efatra voalohany dia fitsaran’Andriamanitra tamin’i Roma jentilisa. Notanisainy ny andininy fahafito izay maneho ny toetra ara-paminaniana momba ny trompetra voalohany, ary avy eo dia nofaritany ny fahatanterahany teo amin’ny tantara.
“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.
Ny fitsarana voalohany, mafy sady mavesatra, izay namely an’i Roma Andrefana teo amin’ny fizorany nidina, dia ny ady tamin’ny Goths teo ambany fitarihan’i Alaric, izay nanokatra lalana ho an’ireo fanafihana tatỳ aoriana. Ny nahafatesan’i Theodosius, emperora romana, dia nitranga tamin’ny volana Janoary 395, ary talohan’ny nifaranan’ny ririnina dia efa nitsangana niady tamin’ny fanjakana ny Goths teo ambany fitarihan’i Alaric.
“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.
“Ny fanafihana voalohany teo ambany fitarihan’i Alaric dia nandravarava an’i Thrace, Makedonia, Attica, ary ny Peloponnesus, nefa tsy tonga hatrany amin’ny tanànan’i Roma. Tamin’ny fanafihany faharoa anefa, ilay lehiben’ny Goth dia niampita ny Alpes sy ny Apennines ka niseho teo anoloan’ny mandan’ny ‘tanàna mandrakizay,’ izay vetivety dia lasan’ny fahatezeran’ireo barbariana.”
“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.
“Ny fitsofana ny trompetra voalohany dia miorina eo amin’ny fiafaran’ny taonjato fahefatra sy manohy hatrany aoriana, ary manondro ireo fanafihana mandravarava natao tamin’ny fanjakana Romanina teo ambanin’ny 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 dia mamantatra an’i Alaric ho tandindon’ny fitsaran’Andriamanitra tamin’i Roma mpanompo sampy, izay asehon’ny trompetra voalohany. Ny trompetra tsirairay dia samy manana olo-manan-tantara iray izay misolo tena azy; Alaric no misolo tena ny fahatongavan’ny trompetra voalohany hatramin’ny faran’ny taonjato fahefatra. Tsy ho nahita i Miller fa nentina tamin’i Roma io trompetra io noho ny fanerena ny fitandremana ny Alahady, satria mpitandrina Alahady i Miller. Tsy hitan’i Smith koa izany zava-misy izany, kanefa dia fantatr’i Smith fa ny lalàna Alahady voalohany nampiharina an-tery dia naorin’i Constantin tamin’ny taona 321. Ny fitsipika ara-paminaniana mifandray amin’ny fanerena ny fitandremana ny Alahady dia tsy miova velively, satria Andriamanitra tsy miova mandrakizay; ary izany fitsipika izany dia izao: “ny fivadiham-pirenena amin’Andriamanitra dia arahina faharavam-pirenena.” Alaric dia maneho ny fiandohan’ny faharavam-pirenena izay nanomboka tamin’ilay vanim-potoana mihitsy izay namoahan’i Constantin ny lalàna Alahady voalohany.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Mitohy i Smith amin’ny fitanisana ny andininy faha-valo, izay manondro ny trompetra faharoa, ary avy eo manohy ny fanamarihany:
“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.
“Ny fanjakana romanina, taorian’i Constantin, dia nozaraina ho fizarana telo; ary noho izany no isian’ilay filazana miverimberina hoe: ‘ampahatelon’ny olona,’ sy ny sisa, ho fanondroana ny ampahatelon’ny fanjakana izay teo ambanin’ny kapoka. Io fizarana ny fanjakana romanina io dia natao tamin’ny nahafatesan’i Constantin, teo amin’ireo zanany telo lahy, dia i Constantius, Constantine II, ary Constans. Constantius no nanana ny Atsinanana, ary nametraka ny fonenany tao Constantinople, renivohitry ny fanjakana. Constantine Faharoa no nitana an’i Britain, Gaul, ary Espaina. Constans no nitana an’i Illyricum, Afrika, ary Italia. (Jereo Sabine’s Ecclesiastical History, p. 155.) Momba io zava-misy ara-tantara fanta-daza io, Elliott, araka ny notononin’i Albert Barnes, ao amin’ny fanamarihany momba ny Apok. 12:4, dia milaza hoe: ‘Indroa, fara fahakeliny, talohan’ny nizaràn’ny fanjakana romanina maharitra ho fizarana roa, dia ny Atsinanana sy ny Andrefana, no nisy fizarana telo ny fanjakana. Ny voalohany dia tamin’ny A.D. 311, raha nozaraina tamin’i Constantine sy Licinius ary Maximin izy; ny faharoa kosa tamin’ny A.D. 337, tamin’ny nahafatesan’i Constantine, tamin’i Constans sy 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.
Ny zava-nitranga ara-tantara nahatonga an’i Roma ho voazara telo, ary koa ho roa araka izay voalazan’ireo mpahay tantara notononin’i Smith, dia ireo singa ao amin’i Roma izay manondro ilay firaisana telo sosona an’i Roma Maoderina, izay mandrafitra rafitra iray voazarazara roa, ka maneho ny fitambaran’ny fiangonana sy ny fanjakana. Rehefa manohy i Smith dia ambarany avy eo ilay olo-manan-tantara mifandray amin’ny trompetra faharoa.
“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. . ..
“Ny tantara izay maneho ny fanenoan’ny trompetra faharoa dia miharihary fa mifandray amin’ny fanafihana sy fandresena an’i Afrika, ary tatỳ aoriana an’i Italia, nataon’i Genseric mahatahotra. Ny fandreseny dia an-dranomasina indrindra; ary ny fandreseny dia “toy ny tendrombohitra lehibe mirehitra afo ka nariana tao an-dranomasina.” Inona no sary hafa izay afaka maneho tsara kokoa, na dia mitovy amin’izany aza, ny fifandonan’ny tafika an-dranomasina sy ny fandravana lehibe ateraky ny ady eny amin’ny morontsiraka? Amin’ny fanazavana ity trompetra ity dia tokony hitady zava-mitranga izay hisy fifandraisana manokana amin’ny tontolon’ny varotra isika. Ny tandindona ampiasaina dia mitarika antsika ho azy hijery fikorontanana sy fientanentanana. Tsy hisy hahatanteraka ny faminaniana afa-tsy ady an-dranomasina masiaka. Raha mifandray amin’ny zava-mitranga efatra miavaka izay nandray anjara tamin’ny fianjeran’ny fanjakana Romanina ny fanenoan’ireo trompetra efatra voalohany, ary ny trompetra voalohany manondro ny fandravana nataon’ny Goths teo ambany fitarihan’i Alaric, dia amin’ity kosa isika no mitodika voajanahary hitady ny hetsika fanafihana manaraka avy hatrany izay nampihorohoro ny fahefana Romanina sy nitarika ho amin’ny fahalavoany. Ny fanafihana lehibe nanaraka dia ilay nataon’ “i Genseric mahatahotra,” teo an-tampon’ny Vandals. Niseho nandritra ny taona A.D. 428–468 ny asa sy diany. Tao Afrika no foiben’ity mpitarika lehibe Vandal ity....”
“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.
“Momba ny anjara lehibe notanterahin’io jiolahin-tsambo sahisahy io tamin’ny fianjeran’i Roma, dia mampiasa izao teny manan-danja izao Andriamatoa Gibbon: ‘Genseric, anarana izay, teo amin’ny fandravana ny fanjakana romana, dia mendrika laharana mitovy amin’ny anaran’i Alaric sy 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:
Raha naka teny avy amin’ilay mpahay tantara Gibbon i Smith, izay nanondro ireo tandindona ara-tantara amin’ireo trompetra telo voalohany, dia nilaza fa i Genseric no trompetra faharoa, ary avy eo dia hoy izy fa i Genseric dia “mendrika laharana mitovy amin’i Alaric sy Attila.” I Alaric no trompetra voalohany, i Genseric no faharoa, ary i Attila ilay Hun no trompetra fahatelo, izay resahina ao amin’ny andininy faha‑10. Nambaran’i Smith fa ny trompetra faharoa, izay asehon’i Genseric, dia maneho ny tantaran’ny “428-468.” Avy eo i Smith dia maka teny ny andininy faha‑10 izay manondro ny trompetra fahatelo, ary manohy ny fitantarany:
“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.
“Amin’ny fandikana sy fampiharana ity andalan-teny ity dia entina eo anoloantsika ny zava-nitranga lehibe fahatelo izay nahatonga ny fanonganana ny fanjakana romana. Ary amin’ny fitadiavana fahatanterahana ara-tantara momba ity trompetra fahatelo ity dia hanan-trosa amin’ny Fanamarihan’i Dr. Albert Barnes isika noho ny sombintsombiny vitsivitsy. Ao amin’ny fanazavany io Soratra Masina io dia ilaina, araka ny lazain’ity mpanazava ity, ‘Ny hisian’ny lohany na mpiady anankiray izay azo ampitahaina amin’ny meteoritra mirehitra; ka ny lalany dia ho mamirapiratra amin’ny fomba miavaka; ka hiseho tampoka TOY ny kintana mirehitra, ary avy eo hanjavona tahaka ny kintana izay voafono ny fahazavany tao anatin’ny rano.’— Fanamarihana momba ny Apokalypsy 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. . ..
“Eto dia heverina mialoha fa io trompetra io dia manondro ny ady mandrava sy ny fanafihana masiaka nataon’i Attila tamin’ny fahefana romana, izay notanterahiny teo an-tampon’ny andian-tafiky ny Huns....”
“‘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.
“‘Ary ny Anaran’ilay Kintana dia atao hoe Zava-mangidy [manambara ny vokatra mangidy].’ Ireo teny ireo—izay mifandray akaiky kokoa amin’ilay andininy mialoha, araka izay asehon’ny mari-piatoana ao amin’ny dikan-tenintsika aza—dia mampahatsiahy antsika vetivety ny toetran’i Attila, ny fahoriana izay izy no mpanorina na fitaovana nampisy azy, ary ny tahotra izay nateraky ny anarany.
“‘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.
“‘Fandringanana tanteraka sy famafana tsy hisy intsony,’ dia voambolana izay tena maneho indrindra ireo loza naterany.” Nantsoiny ny tenany hoe: “Ny Karavasy avy amin’Andriamanitra.” 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.
Ny tantaran’ny trompetra fahatelo, izay nasehon’i Attila ilay Huna, dia nanomboka tamin’ny taona 441 ka hatramin’ny nahafatesany tamin’ny taona 453. Avy eo dia mitanisa ny andininy faha-roa ambin’ny folo i Smith, izay maneho ny trompetra fahefatra sy mamaritra an’i Odoacer, mpanjaka barbariana, izay isehoan’ny tandindona in-telo momba an’i Roma Andrefana amin’ny alalan’ny masoandro sy ny volana ary ny kintana. Faritany ho tandindon’ny “masoandro sy volana ary kintana—fa tsy isalasalana fa ampiasaina eto ho tandindona izy ireo—ary mazava fa manondro ireo fanazavana lehibe ao amin’ny fitondram-panjakana romana, dia ireo amperora sy loholona ary konsily. Hoy ny fanamarihan’i Eveka Newton fa i Romulus no amperora farany tao amin’i Roma Andrefana, izay nantsoina tamin’ny fanesoana hoe Augustulus, na ilay “Augustus madinika.” Nianjera i Roma Andrefana tamin’ny A.D. 476. Kanefa, na dia maty aza ny masoandron’i Roma, dia mbola namirapiratra malefaka ireo fanazavana ambany kokoa tao aminy raha mbola nitohy ny loholona sy ny konsily. Nefa taorian’ny faharesena sivily maro sy ny fiovan’ny vintana ara-politika, dia nony farany, tamin’ny A.D. 566, dia noravana tanteraka ny endriky ny fitondrana fahiny manontolo, ary i Roma mihitsy dia nahena avy amin’ny naha-empresan’izao tontolo izao azy ho dukedom mahantra mpandoa hetra amin’ny Exarch of 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.
Eto no ahitantsika porofo iray hafa momba ilay fizaràna telo sosona an’i Roma, izay tandindon’ny firaisana telo sosona an’i Roma maoderina. Tamin’i Roma tatsinanana sy ny emperora Constantin, dia nasehon’ny zanany telo lahy ilay fizaràna telo sosona; fa tamin’i Roma tandrefana kosa, dia ny endriny telo sosona amin’ny fitondrana no naneho izany. Avy eo i Smith dia manondro fa ny masoandro sy ny volana ary ny kintana dia maneho filaharana manokana izay naharavan’i Roma tandrefana. Farany, dia mamarana ny fitantarany izy amin’ity fampidirana manaraka ity momba ireo trompetra telo farany.
“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.
“Na dia mahatahotra aza ireo loza nentin’ny fanafihan’ireo barbariana ireo voalohany teo amin’ny fanjakana, dia mbola maivana ihany izany raha oharina amin’ireo loza mbola hanaraka. Tahaka ny ranonorana vitsivitsy mialoha ny oram-be mikija tsy ho ela eo ambonin’ny tontolo romana ihany ireny. Ny trompetra telo sisa dia rakotry ny rahon’ny loza, araka ny aseho ao amin’ireto andininy manaraka ireto.
“‘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.’
“‘ANDININY 13. Ary hitako, sady reko, ny anjely iray nanidina teo afovoan’ny lanitra, niteny tamin’ny feo mahery hoe: Lozabe, lozabe, lozabe ho an’ny mponina ambonin’ny tany noho ny amin’ny feo hafa amin’ny trompetran’ny anjely telo, izay mbola hitsoka.’”
“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.
“Ity anjely ity dia tsy isan’ny andian’ireo anjely fito mitondra trompetra, fa anjely iray fotsiny izay manambara fa ireo trompetra telo sisa dia trompetran’ny loza, noho ireo zava-mitranga mahatsiravina kokoa izay hiseho eo ambanin’ny fitsofana azy. Koa araka izany, ny manaraka, na ny trompetra fahadimy, no loza voalohany; ny trompetra fahenina, no loza faharoa; ary ny trompetra fahafito, izay farany amin’ity andian-trompetra fito ity, no loza fahatelo.” Uriah Smith, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Hitohy amin’ireo Loza telo nambaran’ny trompetra isika ao amin’ny lahatsoratra manaraka.
“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.
“Ny loza nanjo an’i Roma amperora, tamin’ny fianjerany, dia nambara hatramin’ny farany indrindra, mandra-pahatongan’i Roma tsy hanana amperora, na konsily, na antenimieran-doholona intsony. ‘Tamin’ny andron’ny Eksarka tao Ravenna, dia naetry ho amin’ny laharana faharoa i Roma.’ Ny ampahatelon’ny masoandro dia voakapoka, ary ny ampahatelon’ny volana, ary ny ampahatelon’ny kintana. Ny taranak’ireo Kaisara dia tsy levona niaraka tamin’ireo amperoran’ny Andrefana. Talohan’ny fianjerany, Roma dia tsy nanana afa-tsy ampahany tamin’ny fahefana amperora. Konstantinopla dia nizara taminy ny fanjakana maneran-tany. Ary na ny Gota na ny Vandala dia samy tsy nanapaka tamin’izany tanàna mbola amperora izany, izay ny amperorany, taorian’ny famindrana voalohany ny sezan’ny fanjakana nataon’i Konstantino, dia matetika no nitana ny amperoran’i Roma ho olom-boatendriny sy solontenany. Ary ny anjaran’i Konstantinopla dia natokana ho amin’ny andro hafa, ary nambaran’ny trompetra hafa. Ny masoandro sy ny volana ary ny kintana, hatreto, dia ny ampahatelony ihany no voakapoka.”
“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.
“Ny teny famaranana ao amin’ny Trompetra Fahefatra dia manondro ny famerenana amin’ny laoniny ny Empira Tandrefana amin’ny andro ho avy: ‘Ny andro tsy namirapiratra tamin’ny ampahatelony, ary toy izany koa ny alina.’ Raha ny amin’ny fahefana sivily, dia nanjary niankina tamin’i Ravenna i Roma, ary i Italia dia faritany resin’ny Empira Tatsinanana. Kanefa, araka izay mendrika kokoa ho ampifandraisina amin’ny faminaniana hafa, ny fiarovana ny fanompoam-pivavahana amin’ny sary no voalohany nampifandona tamin-kery ny fahefana ara-panahy sy ara-nofo an’ny papa sy ny amperora; ary tamin’ny nanolorany ny fahefana rehetra amin’ny fiangonana ho an’ny papa dia nametraka tanana nanampy tamin’ny fampiroboroboana ny fanjakazakan’ny papa i Justinien, izay tatỳ aoriana dia nandray ny fahefana hamorona mpanjaka. Tamin’ny taona 800 taorian’i Kristy Tompontsika, ny papa dia nanome an’i Charlemagne ny anaram-boninahitra hoe Amperoran’ny Romanina.’—Keith. Naverina nafindra avy tamin’ny mpanjakan’i Frantsa ho amin’ny mpanjakan’i Alemaina indray izany anaram-boninahitra izany. Ary na dia izany fiheverana noforonina izany aza dia nolavin’ny Amperora François Faharoa tamin’ny fomba farany sady mandrakizay tamin’ny 6 Aogositra 1806.” A. T. Jones, The Great Nations of Today, 54.