William Miller was given great light upon the seven churches, the seven seals and the seven trumpets in the book of Revelation. He placed those prophetic symbols within the framework of the two desolating powers of paganism followed by papalism. He did not see every prophetic characteristic of those symbols, but what he did see established the foundational understanding of the internal history and external history of God’s church from the time of apostles until the end of the world. The internal history was represented by the churches, and the churches’ external history was represented by the seals. He saw that the trumpets were symbols of God’s judgment upon Rome, that typified God’s judgment upon Rome at the end of the world, though he did not see that Rome at the end of the world was made up of a threefold union.

William Miller a na-a enye ya nnukwu ìhè gbasara ụka asaa ahụ, akara asaa ahụ, na opi asaa ahụ n’akwụkwọ Mkpughe. O tinyere ihe nnọchianya amụma ndị ahụ n’ime usoro nke ike abụọ ndị na-emebi emebi—ikpere arụsị, nke papalizim soro ya. Ọ hụghị àgwà amụma ọ bụla nke ihe nnọchianya ndị ahụ n’ụzọ zuru ezu, ma ihe ọ hụrụ guzobere nghọta ntọala banyere akụkọ ime na akụkọ mpụta nke ụka Chineke site n’oge ndịozi ruo na njedebe nke ụwa. Akụkọ ime ahụ ka e ji ụka ndị ahụ nọchite anya ya, akụkọ mpụta nke ụka ndị ahụ ka e jikwa akara ndị ahụ nọchite anya ya. Ọ hụrụ na opi ndị ahụ bụ ihe nnọchianya nke ikpe Chineke megide Rom, nke nọchiri anya ikpe Chineke megide Rom n’oge njedebe nke ụwa, ọ bụ ezie na ọ hụghị na Rom n’oge njedebe nke ụwa bụ njikọ okpukpe atọ 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.”

Buku yang ditulis oleh Uriah Smith berjudul Daniel and Revelation mengandungi beberapa idea yang silap, namun ia telah dikenal pasti oleh Sister White sebagai, “tangan penolong Allah.” Beliau menyatakan bahawa buku itu harus diedarkan bersama-sama The Great Controversy, Patriarchs and Prophets, dan The Desire of Ages. Sokongan teguh beliau tidak bererti bahawa buku itu berada pada taraf ilham yang sama seperti buku-bukunya, melainkan bahawa buku itu mengandungi “ajaran yang agung,” dan telah bertanggungjawab dalam “membawa banyak jiwa yang berharga kepada pengenalan akan kebenaran.”

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 itu menggunakan logika nubuatan Millerit, disertai dengan konsep-konsep nubuatan yang belum pernah terlihat sebelum 22 Oktober 1844. Kami akan merujuk kepada bagian-bagian dalam buku itu sementara kami mengemukakan penerapan rangkap tiga dari ketiga Malapetaka itu.

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 ਨੇ ਕਿਹਾ ਕਿ “ਸੱਤ ਤੁਰਹੀਆਂ ਧਰਤੀ ਉੱਤੇ, ਜਾਂ ਰੋਮੀ ਰਾਜ ਉੱਤੇ, ਭੇਜੇ ਗਏ ਸੱਤ ਵਿਲੱਖਣ ਅਤੇ ਭਾਰੀ ਨਿਆਂਵਾਂ ਦਾ ਇਤਿਹਾਸ ਹਨ।” ਪਹਿਲੀਆਂ ਚਾਰ ਤੁਰਹੀਆਂ ਉਹਨਾਂ ਨਿਆਂਵਾਂ ਨੂੰ ਦਰਸਾਉਂਦੀਆਂ ਹਨ ਜੋ ਬੁਤਪਰਸਤ ਰੋਮ ਉੱਤੇ ਲਿਆਂਦੇ ਗਏ, ਅਤੇ ਪੰਜਵੀ ਅਤੇ ਛੇਵੀ ਤੁਰਹੀਆਂ ਉਹ ਪਰਮੇਸ਼ੁਰ ਦੇ ਨਿਆਂ ਸਨ ਜੋ ਪਾਪਾਈ ਰੋਮ ਉੱਤੇ ਲਿਆਂਦੇ ਗਏ; ਪਰ Miller ਇਹ ਨਹੀਂ ਪਛਾਣ ਸਕਿਆ ਹੋਣਾ ਸੀ ਕਿ ਸੱਤਵੀ ਤੁਰਹੀ ਆਧੁਨਿਕ ਰੋਮ ਉੱਤੇ ਪਰਮੇਸ਼ੁਰ ਦੇ ਨਿਆਂ ਨੂੰ ਦਰਸਾਉਂਦੀ ਸੀ। ਪ੍ਰਕਾਸ਼ ਦੀ ਪੁਸਤਕ ਦੀਆਂ ਸੱਤ ਮੁਹਰਾਂ ਅਤੇ ਸੱਤ ਤੁਰਹੀਆਂ ਬਾਰੇ ਬੋਲਦਿਆਂ, Uriah Smith ਨੇ ਲਿਖਿਆ:

“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.

“Selepas mengambil kitab itu, Anak Domba itu serta-merta meneruskan untuk membuka meterai-meterai itu; dan perhatian rasul itu ditujukan kepada peristiwa-peristiwa yang berlaku di bawah setiap meterai. Bilangan tujuh telah pun diperhatikan sebagai menandakan, dalam Kitab Suci, kesempurnaan dan kepenuhan. Oleh itu, tujuh meterai itu merangkumi seluruh suatu golongan peristiwa tertentu, yang mungkin menjangkau hingga kepada zaman Konstantinus, dan tujuh sangkakala itu suatu lagi rangkaian dari masa itu dan seterusnya, tidaklah benar. Sangkakala-sangkakala itu menandakan suatu rangkaian peristiwa yang berlaku serentak dengan peristiwa-peristiwa meterai, tetapi dengan sifat yang sama sekali berbeza. Sangkakala ialah lambang peperangan; oleh itu sangkakala-sangkakala itu menandakan pergolakan politik yang besar yang akan berlaku di antara bangsa-bangsa pada zaman Injil. Meterai-meterai itu menandakan peristiwa-peristiwa yang bersifat keagamaan, dan mengandungi sejarah gereja dari pembukaan era Kristian hingga kedatangan 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:

Sangkakala ialah lambang peperangan dan kekacauan politik. Berkenaan dengan ayat dua dalam pasal lapan Wahyu, Smith menyatakan:

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

“‘AYAT 2. Lalu aku melihat ketujuh malaikat yang berdiri di hadapan Allah; dan kepada mereka diberikan tujuh sangkakala.’”

“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 ini memperkenalkan satu rangkaian peristiwa yang baru dan tersendiri. Dalam meterai-meterai itu, kita telah memperoleh sejarah gereja sepanjang apa yang disebut sebagai dispensasi Injil. Dalam tujuh sangkakala, yang kini diperkenalkan, kita mendapati peristiwa-peristiwa politik dan peperangan yang utama yang akan berlaku dalam tempoh yang sama.” 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.

Tok ea hitimela ya bosupa e bulwa mo ditemaneng tsa ntlha tse thataro tsa Tshenolo kgaolo ya robedi, mme mo lemoragong la go bulwa ga tok ya hitimela ya bosupa, baengele ba supa ba ba nang le diphala tse supa ba baakanyediwa go di letsa.

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.

Dan ketika Ia membuka meterai yang ketujuh, terjadilah kesunyian di surga kira-kira setengah jam lamanya. Dan aku melihat ketujuh malaikat yang berdiri di hadapan Allah; dan kepada mereka diberikan tujuh sangkakala. Lalu datanglah seorang malaikat lain dan berdiri di dekat mezbah dengan membawa pedupaan emas; dan kepadanya diberikan banyak dupa, supaya ia mempersembahkannya bersama-sama dengan doa semua orang kudus di atas mezbah emas yang ada di hadapan takhta itu. Maka asap dupa itu, yang naik bersama-sama dengan doa orang-orang kudus, membubung ke hadapan Allah dari tangan malaikat itu. Lalu malaikat itu mengambil pedupaan itu, mengisinya dengan api dari mezbah, dan melemparkannya ke atas bumi; maka terjadilah suara-suara, guruh, kilat, dan gempa bumi. Dan ketujuh malaikat yang memegang ketujuh sangkakala itu pun bersiap-siap untuk meniupnya. 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.

Ho na le kheloho ea boporofeta eo re ntseng re e tsebahatsa lihloohong tse fetileng, empa eo re e-so ka re e shebana ka ho toba e le ketsahalo ea eona e ikhethang ea boporofeta. Kheloho eo ke ena: matšoao a emelang tatellano ea matšoao a tsela historing ea boporofeta kaofela a bokelloa hammoho qetellong ea histori eo a e emelang. Re bontšitse hore meloko e mene ea Bo-Adventist ba Laodisea, e emeloang ke manyala a mane a Ezekiele khaolo ea borobeli, e ile ea tšoaea matšoao a itseng a tsela, empa e ’ngoe le e ’ngoe ea eona, e le teko, e phetoa historing ea ho tiisoa ha ba likete tse lekholo le mashome a mane a metso e mene. Kheloho ena e boetse e fumanoa literompeteng tse supileng, hobane leha li emela likahlolo tse itseng holim’a Roma ea bohetene, ea bopapa, le ea mehleng ea kajeno, kaofela ha tsona li boela li kopana qalehong ea histori eo li e emelang, ha kahlolo ea phethahatso holim’a Roma ea mehleng ea kajeno e qala molaong oa Sontaha o seng o le haufi.

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.

Du tipsarape gi songo an·tangni dakesrango gnang somoirango dongaha maidakgipa ong·aha, indiba Sister White-an, Para. 8 o donggipa saanti du·gipa angjelrangko, mande rangni re·baani salrangni chasongo, mikkangchi sokbagipa Sunday law-oni itihaso donaha.

“‘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.

“‘Maka tatkala Ia membuka meterai yang kelima, aku melihat di bawah mezbah jiwa-jiwa mereka yang telah dibunuh oleh karena firman Allah dan karena kesaksian yang mereka pegang; dan mereka berseru dengan suara nyaring, katanya: Berapa lama lagi, ya Tuhan, Yang Kudus dan Yang Benar, Engkau tidak menghakimi dan membalaskan darah kami kepada mereka yang diam di bumi? Dan kepada masing-masing dari mereka diberikan jubah putih [Mereka dinyatakan murni dan kudus]; dan kepada mereka dikatakan, supaya mereka beristirahat sedikit waktu lagi, sampai jumlah kawan-kawan pelayan mereka dan saudara-saudara mereka, yang akan dibunuh seperti mereka, menjadi genap’ [Wahyu 6:9–11]. Di sini diperlihatkan kepada Yohanes pemandangan-pemandangan yang bukan kenyataan pada saat itu, melainkan apa yang akan terjadi pada suatu masa di kemudian hari.

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

“တော်လှန်ခြင်းကျမ်း ၈:၁–၄ ကို ကိုးကားထားသည်။” Manuscript Releases, အတွဲ ၂၀, ၁၉၇။

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.

Dalam petikan sebelumnya, Sister White menerapkan dialog dan penggenapan meterai yang kelima kepada tempoh apabila ketujuh-tujuh malaikat hampir meniup sangkakala dalam fasal lapan, tetapi beliau juga menempatkan gambaran yang sama pada sejarah dua suara dalam Wahyu fasal lapan belas.

“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.

“Wakati muhuri wa tano ulipofunguliwa, Yohana Mfunuaji katika maono aliona chini ya madhabahu lile kundi waliouawa kwa ajili ya Neno la Mungu na ushuhuda wa Yesu Kristo. Baada ya hayo yakafuata matukio yaliyoelezwa katika sura ya kumi na nane ya Ufunuo, wakati wale walio waaminifu na wa kweli wanaitwa watoke Babeli. [Ufunuo 18:1–5, imenukuliwa.]” Manuscript Releases, juzuu ya 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.

Kinpuitu riangel tín katataŋvan van Pathian rorrelnak kha Rome milem bia, pope hruai Rome leh Rome thar san chanchin ah a entîr a; nimahsela, September 11, 2001 chanchin ah leh hnai taka lo thleng tûr Sunday law aw pahnihna ah pawh an entîr bawk. Thupuan bung 8 chhûnga chang 1–6 a sawi hnuah, Uriah Smith chuan riangel tín pali hmasa berte chanchina an lo famkim dân chhinchhiahna a ṭan ta a ni.

“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.

“सात बिगुलहरूका विषय यहाँ फेरि उठाइएका छन्, र यस अध्यायको बाँकी भाग तथा अध्याय ९ को सम्पूर्ण भाग ओगट्छन्। सात स्वर्गदूतहरूले बिगुल फुक्न आफूलाई तयार पार्छन्। तिनीहरूको बिगुल-ध्वनि दानियल २ र ७ को भविष्यवाणिको परिपूरकका रूपमा आउँछ, प्राचीन रोमी साम्राज्यको त्यसका दस विभाजनहरूमा विघटन हुन थालेदेखि आरम्भ हुँदै, जसको वर्णन पहिलो चार बिगुलहरूमा हामी पाउँछौँ।” उरियाह स्मिथ, 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 mơ rằng bốn tiếng kèn đầu tiên là những sự phán xét của Đức Chúa Trời giáng trên La Mã ngoại giáo. Ông trích dẫn câu bảy, câu xác định những đặc điểm tiên tri của tiếng kèn thứ nhất, rồi chỉ ra sự ứng nghiệm của nó trong lịch sử.

“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.

“Hukuman pertama yang pedih dan berat yang menimpa Rom Barat dalam kemerosotannya ialah peperangan dengan orang Goth di bawah Alaric, yang membuka jalan bagi serbuan-serbuan kemudian. Kematian Theodosius, maharaja Rom, berlaku pada bulan Januari 395, dan sebelum berakhirnya musim sejuk itu orang Goth di bawah Alaric telah bangkit bersenjata menentang empayar.”

“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.

“Penyerbuan yang pertama di bawah Alaric telah memusnahkan Thrace, Macedonia, Attica, dan Peloponnesus, tetapi tidak sampai ke kota Roma. Akan tetapi, pada penyerbuan yang kedua, ketua bangsa Goth itu menyeberangi Alps dan Apennines lalu tampil di hadapan tembok-tembok ‘kota yang kekal,’ yang tidak lama kemudian jatuh menjadi mangsa keganasan bangsa-bangsa biadab.

“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.

“Tiupan sangkakala yang pertama berlaku sekitar penghujung abad keempat dan seterusnya, serta merujuk kepada penaklukan yang membinasakan terhadap empayar Rom di bawah 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 i sup tokou Alaric olsem mak bilong kot bilong God i kam antap long baen Rom, we namba wan biugel i makim. Wan wan bilong ol biugel i gat wanpela man bilong histri i stap olsem mak bilong dispela biugel; Alaric i makim kamap bilong namba wan biugel kirap long pinis bilong namba foa senseri. Miller i no inap long luksave olsem dispela biugel i bin kam antap long Rom bilong kotim em long wanem ol i bin strongim pasin bilong holim Sande, long wanem, Miller yet em i man bilong holim Sande. Smith tu i no bin luksave long dispela samting, tasol Smith i bin save olsem namba wan lo bilong strongim Sande em Constantine i bin putim long yia 321. Rul bilong ol profet em oltaim i save go wantaim dispela pasin bilong strongim Sande, long wanem God i no save senis, na dispela rul em olsem: “nesenel aposasi i save kam pas, na bihain bagarap bilong nason i bihainim.” Alaric i makim kirap bilong bagarap bilong nason, we i bin stat long wankain taim stret we Constantine i bin mekim namba wan lo bilong Sande.

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

Smith nge a tsŭ tenda nṋe nga u redza ndimana ya vhuṱahe, ine ya talusa phalaphala ya vhuvhili, nahone a bvela phanḓa na ṱhalutshedzo yawe:

“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.

“Empayar Rom, sesudah Constantine, telah dibahagikan kepada tiga bahagian; dan oleh itu keraplah terdapat ungkapan, ‘sepertiga daripada manusia,’ dan sebagainya, sebagai kiasan kepada sepertiga empayar yang berada di bawah cemeti hukuman itu. Pembahagian kerajaan Rom ini telah dibuat pada waktu kematian Constantine, antara tiga orang puteranya, Constantius, Constantine II, dan Constans. Constantius memiliki bahagian Timur, dan menetapkan kediamannya di Constantinople, kota utama empayar itu. Constantine yang Kedua memegang Britain, Gaul, dan Sepanyol. Constans memegang Illyricum, Afrika, dan Itali. (Lihat Sejarah Gerejawi Sabine, hlm. 155.) Mengenai fakta sejarah yang terkenal ini, Elliott, sebagaimana dipetik oleh Albert Barnes, dalam catatannya tentang Rev.12:4, berkata: ‘Sekurang-kurangnya dua kali, sebelum empayar Rom menjadi terbahagi secara tetap kepada dua bahagian, iaitu bahagian Timur dan bahagian Barat, telah berlaku pembahagian empayar kepada tiga bahagian. Yang pertama berlaku pada tahun 311 M., apabila ia dibahagikan antara Constantine, Licinius, dan Maximin; yang satu lagi, pada tahun 337 M., pada waktu kematian Constantine, antara Constans dan 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.

Mokgwa wa histori wa Roma go aroganywa ka dikarolo tse tharo, gape le ka dikarolo tse pedi, jaaka go umakiwa ke borahisitori ba Smith a ba nopolang, ke diteng tsa Roma tse di supang kopano ya dikarolo tse tharo ya Roma ya Segompieno, e e bopang popego e e kgaogantsweng ka bobedi, e e emelang kopanyo ya kereke le puso. Fa Smith a tswelela, o tshwanetse go supa motho wa histori yo o amanang le terompeta ya bobedi.

“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. . ..

“Histri a i soema nia ia puaokna ni pwipwi iang ngidien kaieu ni trumpet en kadu, mehlel iang en pahn wehwehki ntrehr en pwaakihla Africa, oh mwurin Italy, ren Genseric me suwed. A pwapwahn a pwaakihla ko, mehn war iang madau; oh a poadoapoad kan “dueta nahna suwed eu me mwekidala ni kisiniai, me lokidokila nan madau.” Ia duwen poadopoad menlau me kak kasalehdihda me iei, de pahn mehlel kan, duwen paip en sip en weri ko, oh pwehlik en pwaakihla ni en weri pon kailan madau ko? Ni atail wehwehki trumpet wet, kitail en rapaki mwaht me pahn ahneki pahn duwen nting mehn net en sampah. Soaik me piladahr, mehlel, kaihshihda kitail en auhdi mwekid oh peinerek. Mehn weri suwed ni madau ahnsou eta pahn kapwungihda wanporon en mahsen wet. Ma ngidien pahieuin trumpet pah ko iang pahieuin mwaht me lapalap me sewesehr pahn kamwomwla imperium en Rome, oh trumpet keieu kasalehda kawehla en Goth ko pan Alaric, nan wet kitail mehlel auhdi pahn mwahuk en pwaakihla me idohrok mwurin, me kamwekidihda manaman en Rome oh sewese pahn a pwelihla. Pwaakihla lapalap me idohrok mwurin iei en “Genseric me suwed,” ni a kahlapan Vandal ko. A doadoahk en wehi wet wiawi nan sounpar ko A.D. 428–468. Soumas en Vandal lapalap wet ahneki a wasahn poadoapoad ni Africa....”

“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.

“Berhubung dengan peranan penting yang dimainkan oleh lanun berani ini dalam kejatuhan Rom, Mr. Gibbon menggunakan ungkapan yang penuh makna ini: ‘Genseric, suatu nama yang, dalam penghancuran empayar Rom, telah layak mendapat kedudukan yang setara dengan nama-nama Alaric dan 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, semasa memetik ahli sejarah Gibbon, yang telah menunjukkan lambang-lambang sejarah bagi tiga sangkakala yang pertama, mengenal pasti bahawa Genseric ialah sangkakala kedua, lalu berkata bahawa Genseric, “layak mendapat kedudukan yang setara dengan Alaric dan Attila.” Alaric ialah sangkakala pertama, Genseric yang kedua dan Attila si Hun ialah sangkakala ketiga, yang dibicarakan dalam ayat sepuluh. Smith menunjukkan bahawa sangkakala kedua, yang diwakili oleh Genseric, melambangkan sejarah “428-468.” Kemudian Smith memetik ayat sepuluh yang mengenal pasti sangkakala ketiga, lalu meneruskan naratifnya:

“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.

“Khutsong ya tlhaloso le tiriso ya temana ye, re išwa tiragalong ya boraro ya bohlokwa yeo e ilego ya feletša ka go fenya ga Mmušo wa Roma. Gomme ge re nyaka phethagatšo ya histori ya phalafala ye ya boraro, re tla ba re kolota Dintlha tša Ngaka Albert Barnes bakeng sa ditsopolwa tše mmalwa. Ge a hlaloša Lengwalo le, go a hlokega, bjalo ka ge mohlatholli yo a bolela, ‘Gore go be le kgoši goba mohlabani yo mongwe yo a ka bapetšwago le naledi e tukago bjalo ka mmhete; yo tsela ya gagwe e bego e tla ba e phadimago ka mo go sa tlwaelegago; yo a bego a tla tšwelela ka tšhoganetšo BJALO KA naledi e tukago, gomme ka morago a nyamele bjalo ka naledi yeo seetša sa yona se timilego meetseng.’— Dintlha ka Kutollo 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. . ..

“Di sini diandaikan bahawa sangkakala ini merujuk kepada peperangan yang membawa kebinasaan dan serangan-serangan ganas Attila terhadap kuasa Rom, yang dilakukannya dengan memimpin gerombolan-gerombolan bangsa Hun....”

“‘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.

“‘Na Ndin la Bitlhi ri Vitaniwa Risava [ri kombetelaka vuyelo bya ku bava].’ Marito lawa—lama ma hlanganeke swinene na ndzimana leyi rhangaka, hilaha hambi ku ri ku vekiwa ka swiga swa ku wisa ematshan’weni ya kona eka vuhundzuluxeri bya hina ku swi kombisaka hakona—ma hi vuyisela nkarhinyana eka vumunhu bya Attila, eka ku xaniseka loku a nga mutsari wa kona kumbe xitirhisiwa xa kona, ni le ka ku chava loku vito rakwe a ri ku hlohlotelaka.

“‘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.

“‘Pemupusan dan penghapusan sepenuhnya,’ ialah istilah yang paling tepat menggambarkan malapetaka yang ditimpakannya.” Dia menggelarkan dirinya, “Cemeti Tuhan.” 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.

Historya han ikatulo nga trumpeta, nga ginlarawan ni Attila nga Huno, tikang han tuig 441 tubtob han iya kamatayon han tuig 453. Katapos, ginkokotar ni Smith an bersikulo dose, nga naghahatag han ikaupat nga trumpeta ngan naghuhulagway han barbaro nga monarka nga hi Odoacer, diin an tulo-kapilo nga simbolismo han Kasadpang Roma iginrerepresentar han adlaw, han bulan, ngan han mga bitoon. Iya gin-iila inin tulo nga mga simbolo sugad nga mga simbolo han “adlaw, bulan, ngan mga bitoon—kay waray gud ruhaduha nga dinhi ginagamit hira sugad nga mga simbolo—dayag nga nagtutudlok ha dagku nga mga suga han Romano nga gobyerno,—an mga emperador, mga senador, ngan mga konsul. Nagsiring hi Obispo Newton nga an kataposan nga emperador han Kasadpang Roma amo hi Romulus, nga ha pagtamay gintawag nga Augustulus, o an ‘gutíay nga Augustus.’ An Kasadpang Roma napukan han A.D. 476. Bisan pa ngani, bisan kon napara na an Romano nga adlaw, an iya mga sakop nga mga suga maluya pa nga nagsidlak samtang nagpadayon an senado ngan an mga konsul. Kondi katapos han damu nga sibil nga mga kapildihan ngan mga pagbag-o han politikal nga kapalaran, ha kataposan, han A.D. 566, an bug-os nga porma han kadaan nga gobyerno ginbungkag, ngan an Roma mismo ginpahubsan tikang ha pagka-emperatris han kalibotan ngadto ha usa nga pobre nga dukado nga nagbabayad hin tributo ha Exarch han 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.

Mi hi hia testimoni narafala long trifala divisen blong Rom, we i stap prefigaem trifala yunion blong Rom blong tede. Long isten Rom mo Emperoa Konstantin, trifala divisen ia i bin soemaot long trifala boe blong hem; be long westen Rom, hem i bin stap long trifala fasin blong gavman blong olgeta. Biaen Smith i talem se san, mun, mo sta oli representem wan spesifik oda we long hem nao oli bin daonem westen Rom. Hem i finisim stori blong hem wetem introdaksen ya i kam long las trifala trumpet.

“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.

“Mpo ya kutila luvalo yina yimene kulumuna mpasi na kimfumu na nzila ya mabundana ya ntete ya babarbare yai, yo vandaka kaka pete na kuyifwanisa ti mpasi yina zolaka kulanda. Yau vandaka kaka bonso matonó ya ntete ya mvula mbele ya ndambu ya masa yina vandaka pene ya kubwa na nsi-ntoto ya Roma. Bimpungi tatu yina bikala bivwelamaka na lipata ya mawa, mutindu yi me monisama na bavese yina bilanda.

“‘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. Lalu aku melihat, dan mendengar seorang malaikat terbang di tengah-tengah langit, sambil berkata dengan suara nyaring: Celaka, celaka, celaka bagi penghuni-penghuni bumi oleh sebab bunyi-bunyi sangkakala yang lain dari ketiga malaikat, yang masih akan meniupnya.’”

“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.

“Malaikat ini bukan salah satu daripada rangkaian tujuh malaikat sangkakala itu, melainkan sekadar seorang yang mengumumkan bahawa tiga sangkakala yang masih tinggal ialah sangkakala celaka, oleh sebab peristiwa-peristiwa yang lebih dahsyat yang akan berlaku ketika bunyinya ditiup. Maka sangkakala yang berikutnya, atau sangkakala yang kelima, ialah celaka yang pertama; sangkakala yang keenam, celaka yang kedua; dan sangkakala yang ketujuh, yang terakhir dalam rangkaian tujuh sangkakala ini, ialah celaka yang ketiga.” Uriah Smith, Daniel and Revelation, 493.

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

Re tla tswelela ka Masetlapelo a mararo a diterompeta mo setlhogong se se latelang.

“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.

“Bencana-bencana Rom empayar, dalam kejatuhannya, telah dinyatakan hingga yang terakhir sekali, sehingga Rom tidak lagi mempunyai maharaja, konsul, atau senat. ‘Di bawah para Exarch Ravenna, Rom direndahkan ke taraf kedua.’ Sepertiga daripada matahari telah dipukul, dan sepertiga daripada bulan, dan sepertiga daripada bintang-bintang. Keturunan Caesar tidak terhapus bersama maharaja-maharaja Barat. Sebelum kejatuhannya, Rom hanya memiliki sebahagian daripada kuasa empayar. Konstantinopel berkongsi dengannya empayar dunia. Dan baik orang Goth mahupun Vandal tidak berkuasa atas kota yang masih bersifat empayar itu, yang maharajanya, sesudah pemindahan pertama takhta empayar oleh Konstantin, sering memegang maharaja Rom sebagai calon lantikannya dan wakil pemerintahnya. Dan nasib Konstantinopel diperuntukkan bagi zaman-zaman yang lain, dan diumumkan oleh sangkakala-sangkakala yang lain. Daripada matahari, bulan, dan bintang-bintang itu, setakat itu hanya sepertiga bahagiannya yang telah dipukul.”

“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.

“Umphetho ya mafoko a Trumpeta ya Bone e layita ku busediwa ka kwa mulao kwa Muvuso wa Bophirima mo nakong e e tlang: ‘Motshegare ga wa ka wa phatsima ka karolo ya boraro ya one, le bosigo jalo le jone.’ Mo ntlheng ya taolo ya sepolotiki, Roma e ne ya bewa ka fa tlase ga Ravenna, mme Italia e ne e le porofense e e fenngweng ya Muvuso wa Botlhaba. Mme, jaaka go tshwanela thata mo diporofetong tse dingwe, go sireletsa kobamelo ya ditshwantsho go ne ga tlisa maatla a semowa le a nakwana a mopapa le a mmusimogolo mo thulanong e e bogale; mme, ka go naya mopapa taolo yotlhe godimo ga dikereke, Justinian o ne a baya seatla sa gagwe sa thuso mo go tsweletseng pele ga bogolo jwa bopapa, jo morago bo neng jwa tsaya maatla a go tlhoma dikgosi. Mo ngwageng wa Morena wa rona 800, mopapa o ne a naya Charlemagne sereto sa Moempara wa Baroma.’—Keith. Sereto seo se ne sa busediwa gape go tswa kwa kgosing ya Fora go ya kwa kgosing ya Jeremane. Mme ka Moempara Francis wa Bobedi, le e leng boikakanyo joo bo ne jwa ganwa kwa bofelong le ka bosakhutleng, Aug. 6, 1806.” A. T. Jones, The Great Nations of Today, 54.