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 Millerqa qanchis iglesiakunamanta, qanchis sellokunamanta, hinaspa qanchis trompetakunamanta Apocalipsis libropi kachkaqkunamanta hatun k’anchayta chaskirqan. Payqa chay profetakuna unanchaqkunata ishkay ch’usaqllachiq atiyniyoqkunaq marco ruranan ukhupi churarqan: ñawpaqta paganismo, chaymanta papalismo. Manam chay unanchaqkunaq llapan profético kaqninchakunatachu rikurqan, ichaqa ima rikurqanchus, chaymi Diospa iglesianpa ukhupi historianta hinaspa hawapi historiantapas apostolkunaq p’unchayninkumanta pacha kay pachaq tukukuyninkama cimiento hina sayachirqan. Ukhupi historiataqa iglesiakunam unancharqan, iglesiakunaq hawapi historiantaq sellokunam unancharqan. Payqa rikurqanmi trompetakunaqa Roma llaqtapa contranpi Diospa juicionninpa unanchaqnin kasqanta; chayqa kay pachaq tukukuyninpi Roma llaqtapa contranpi Diospa juicionninta tipificarqan, ichaqa manam rikurqanchu kay pachaq tukukuyninpi Romaqa kimsa-kutin huñusqa hukllachasqa uniónmanta ruwasqa kasqanta.
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.”
Uriah Smith qelqasqan Daniel and Revelation sutiyuq libroqa wakin pantasqa yuyaykunata hap’in, ichaqa Hermana White payta reqsichirqan: “Diospa yanapaq makin” nispa. Payqa reqsichillarqan chay libroqa The Great Controversy, Patriarchs and Prophets, hinallataq The Desire of Ages nisqakunawan kuska mast’arichisqa kananpaq. Chay sinchi allin rimaynin manam niyarqanchu chay libroqa paypa librokunawan kaq hina kikin musquychasqa qhapaqniyuq kasqanta, aswanpas niyarqan chay libroqa “hatun yachachiyta” hap’isqanta, hinallataq “achka ancha chanin almaskunata cheqaq kaq yachayman apamunankupaq” responsable kasqanta.
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.
Kay liqriqa Millerita profetikay yuyayman hina apaykachkan, hinaspataq 1844 watapi octubre killapa 22 p’unchaymanta ñawpaqman mana rikukuq profeciamanta yuyaykunawan kuska. Kimsa Llaqikuykunapa kimsa kuti churakuyninta qhawarichispa, kay liqriqapi qillqasqa pasajekunaman kutimusunchik.
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:
Millerqa nirqanmi: “qanchis trompetakunaqa qanchis sapanka hinallataq llakiy apaq hatun juiciokunapa willakuyninmi, kay pachaman utaq Roma qhapaq suyumanta apachisqa.” Ñawpaq tawa trompetakunaqa pagan Roma pataman apamushqa juiciokunata rikuchin, pichqayuqtaq suqta trompetakunataq Diospa juicionkuna kasqanku papal Roma pataman apamushqa; ichaqa Millerqa mana reqsiyta atirqachu qanchis kaq trompetaqa Diospa juicionnin kasqanta Moderna Roma patapi. Apocalipsispi qanchis sellokunamanta hinallataq qanchis trompetakunamanta rimashaspa, Uriah Smithqa qillqarqan:
“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.
“Qillqata hap’ikuspan, Corderoqa chay ratollaña sellokunata kicharin; hinaspataq apóstolpa yuyayninqa sapa sellopa uranpi ima rikuykuna pasasqankuman waqyachisqa kachkan. Qanchis yupayqa ñawpaqmantapacha qhawarisqaña karqan qellqasqa Escrituraspi hunt’asqa kayta hinaspa allin hunt’a kayta niq hina. Chayrayku qanchis sellokunaqa huk laya ruwaykunapa llapanta uqllarin, ichapas Constantinoq pacha kama chayanan, hinaspa qanchis trompetakunaqa chay pachamanta aswan ñawpaqman huk serie kasqanta niyqa mana chiqaqchu. Trompetakunaqa huk serie ruwaykunata ninku, chaykunaqa sellokunapa ruwayninkunawan kuskan p’unchawkunapi pasan, ichaqa lliwpis huknirayraq kasqanwan. Trompetaqa guerrapa unanchaqninmi; chayrayku trompetakunaqa naciones ukhupi jatun política ch’aqwaykunata, evangelioq pacha tiempunpi pasanankupaq, ninku. Sellokunaqa religión nisqawan tupaq ruwaykunata ninku, hinaspataq iglesiapa historianta apamunku cristianopa erapa kichariyninmanta Cristoq hamunankama.” 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:
Q’epinaqa huk unanchanmi kashan awqanakuyta hinaspa política ch’aqwayta. Apocalipsis qelqap tawa chunka pusaqniyuq capítulo pa iskay versiculonmanta rimashaspa, Smith nin:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
“‘VERSO 2. Hinaspataq Diospa ñawpaqninpi sayaq qanchis angelkunata; paykunamanmi qanchis trompetakuna qosqa karqan.’”
“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.
“Kay versículuqa musuqta, hukmanta sut’inta rurasqa ruwaykunapa qatita qallarin. Sellokunapiqa Iglesiapa historianta karqan, imatachus evangelio dispensasión nisqapi sutichanku chay pacha ukhupi. Kunan qayllachisqa qanchis trompetakunapiqa, chaylla pachapi pasananpaq karqan hatun política nisqaman hina, chaymanta maqanakuywan tupaq llapa aswan ancha hatun ruwaykunata tariyku.” 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.
Qanchis kaq selloq kichasqa kachkan Apocalipsis pusaq ñiqi qillqaq qanchis p’unchayniyuqta ñawpaq suqta versículokunapi; chay qanchis kaq sello kichasqa kasqan qhipapiqa, qanchis angelkuna qanchis trompetayuq waqchanankupaq wakichisqa kachkanku.
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.
Hinaspan qanchis kaq sellota kichariptin, hanaq pachapi ch’in kachkarqan kuskan hora hina. Hinaspan rikurqani Diospa ñawpaqenpi sayaq qanchis angelta; paykunamanmi qanchis trompetakuna qorqankuña. Hinaspan huk angelta hamuspa altarman sayarqan, qori inciensarioyuq; paymanmi achka inciensota qorqanku, llapa santospa mañakusqankunawan kuska haywananpaq, trono ñawpaqpi kaq qori altar hawaman. Hinaspan inciensopa q’osñin, santospa mañakusqankunawan kuska, angelpa makinmanta Diospa ñawpaqenman wicharirqan. Hinaspan angelqa inciensariota hap’ispa, altarmanta ninawan hunt’achirqan, kay pachamanña wikch’uykurqan; hinaspan karqan rimaykuna, truonokuna, llipyaykuna, hinallataq allpa kuyuy. Hinaspan qanchis trompetayuq qanchis angelkuna wakichikurqanku waqachinankupaq. Apocalipsis 8:1–6.
There is a prophetic anomaly that we have been identifying in previous articles, but which we have not yet specifically addressed its particular prophetic phenomenon. That anomaly is that symbols that represent a sequence of waymarks in prophetic history, are all brought together in the conclusion of the history they represent. We have shown that the four generations of Laodicean Adventism that is represented by the four abominations of Ezekiel chapter eight marked specific waymarks, but that each of them, as a test, repeat in the history of the sealing of the one hundred and forty-four thousand. This anomaly is also found in the seven trumpets, for though they represent specific judgments upon pagan, papal and modern Rome, they all come together again when the executive judgment upon modern Rome begins at the soon-coming Sunday law.
Kananmi artículukunapi reqsichisqayku huk profétic mana llank’aq rikch’ayninmi kan, ichaqa manaraqmi sut’ita rimarisqaykuchu paypa sapanka profétic imayna kasqanmanta. Chay mana llank’aq rikch’ayninqa kaymi: unanchakuna, mayqinkunachus profétic historiapi huk ñanmarkakuna qatiq qatiq kasqanta rikuchin, llapallankum chay representasqanku historiapa tukukuyninpi huñunakunku. Qawachisqaykum, Laodicea nisqa Adventismopa tawa mirayninkuna, mayqinkunachus Ezequiel qhapaq pusaq kaq capitulopi tawa millay ruwaykunawan representasqa kanku, sut’i ñanmarkakunata señalasqanta; ichaqa sapa hukninpas, huk pruebat hina, cutimun pachak tawa chunka tawa waranqa sellakusqan historiapi. Kay mana llank’aq rikch’ayninqa qanchis trompetakunapipas tarikullantaqmi; imaraykuchus, pagan, papal, hinallataq kunan pacha Romapa contranpi sut’i taripasqa juiciokunata representaytaq kashaspapas, llapallankum yapamanta huñunakunku kunan pacha Romapa contranpi ejecutivota juiciopi qallarisqanpi, utqay hamuq domingo kamachiypi.
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.
Qanchis cornētakunaqa ñawpaq pachaspi hunt’asqankupaq sut’i p’unchayniyoqmi karqanku, ichaqa Panay Whitepas Apocalipsis qhelqap tawaq pusaqniyuq kapitulanpi qanchis angelkunata qanchis cornētayuqkunata churallantaqmi, chay qaylla hamuq Domingo leypa historiampi.
“‘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.
“‘Payqa sellota kichkaskasqanmanta qhepaman, altar uranpi rikurqani Diospa siminrayku wañuchisqa runakunaq almankunata, hinallataq hap’isqanku testimoniomantapas; hinaspan qapariq hatun kunkawan nirqanku: Hayk’aqkamataq, Apu, ch’uya, cheqaq, kay pachapi tiyaqkunamanta yawarnikuqta mana juzganki, mana kutichinkichu? Hinaspan sapaqninman yuraq p’achakuna qusqa karqan [Paykunaqa ch’uya, qhapaq kankuman hina willasqa karqanku]; hinaspan paykunaman nisqa karqan, aswan pisi p’unchawkama samarikunankupaq, kamachimasinkupas, wawqinkupas, paykuna hina wañuchisqa kananpaq kaqkuna hunt’akunkama’ [Apocalipsis 6:9–11]. Kaypi Juanman qawachisqa karqan mana chaypuni kasqankuta, aswanqa qhepa pacha tiempope kananpaq kaqkunata.”
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
“Apocalipsis 8:1–4 nisqa cita.” Manuscript Releases, volumen 20, 197.
In the previous passage Sister White applies the dialogue and fulfillment of the fifth seal to the period when the seven angels are about to sound in chapter eight, but she also places the same representation at the history of the two voices of Revelation chapter eighteen.
Ñawpaq pasajepi Panay White pichqay sellopa rimanakuynta hinaspa hunt’asqanta churaykan pusaj kaq capitulopi qanchis angelkuna waqyakuyta qallarinankupaq kasqan p’unchawman; ichaqa chay kikin rikuchiytapas churaykan Apocalipsis chunka pusaj kaq capitulopi iskay simikunapa historiankupi.
“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.
“Pisqay sello kicharisqa kaptinmi, Juan Reveladorqa rikuypi altarpa uranpi rikurqan Diospa Siminrayku, Jesucristopa testimoniuntaqrayku wañuchisqa kaqkuna tantanakuyta. Kaymanta qhepamanmi hamurqan Apocalipsis libro pa chunka pusaqniyuq capítulopi willasqa rikchaykuna, chaypi cheqap kaqkuna, hinallataq chiqaq kaqkuna Babiloniamanta waqyasqa lloqsichisqa kanku. [Apocalipsis 18:1–5, nisqa.]” Manuscript Releases, tomo 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.
Qanchis waqraqakunaqa Diospa juicioyninta rikuchinku gentil, papal hinaspa Kunan pacha Romapa historiapin, ichaqa paykunaqa 11 septiembre 2001 watapi historiapipas, hinaspa utqaylla hamuq domingo leyipa iskay kaq vozpipas rikuchisqa kanku. Apocalipsis qelqapa pusaq kaq kapitulumanta suqta ñiqinkama ñawpaqta rimarispa, Uriah Smithqa qallarin ñawpaq tawa waqraqakunapa historiapi hunt’akusqankuta qhawachiyta.
“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.
“Qanchis trompetakunaq yuyaynin kaypi yapamanta hap’ipakusqa, hinaspa kay capítuloq puchukayninta llapan, capítulo 9-ntawan hunt’an. Qanchis angelkuna waqaychanankupaq wakichikunku. Paykuna waqaychasqankuqa Daniel 2 hinaspa 7 qelqasqa willakuyta hunt’achiq hina yaykun, ñawpaq Romanokunaq hatun qhapaq suyuq chunka rakikayninkunaman t’aqakusqanmantapacha qallarispa; chaymantaqa, ñawpaq tawa trompetakunapi, huk willakuyta tarinchik.” 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.
Smithqa riqsichinmi, ñawpaq tawa trompetakunaqa Diospa taripayninkuna karqan pagano Roma contra. Payqa qanchis versiculota citespanmi rimarin, chaypiqa ñawpaq trompetapa profético kasqanmanta señalkuna riqsichisqa kashan; chaymantataqmi reqsichin histórico hunt’akuyninta.
“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.
Ñawpaq nanaywan llasaq juchachay, inti haykuykuna urayman urmamushasqanpi Roma Occidentalman chayasqa, karqan Alaricpa kamachisqan Góticokunawan awqanakuymi; paymi qhepa yaykuykunapaq ñanta kicharirqan. Teodosio wañusqan, romano emperadorpa wañuynin, karqan enero killapi, 395 watapi; chaymanta manaraq chiri pacha tukukuptin, Alaricpa kamachisqan Góticokunaqa armasqaña kachkarganku imperiopa contranpi.
“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.
“Ñawpaq yaykuy, Alaricpa kamachisqan uraypi, Thrace, Macedonia, Attica, hinallataq Peloponnesus nisqakunata phuyupaq hina waqllichirqan, ichaqa manam Romapa llaqtanman chayarqanchu. Iskay kaq yaykuyninpiqa, ichaqa, gotokunapa kurakaqninqa Alpes urqukunata Apennines urqukunatawan chimpaspa, ‘wiñay llaqta’ nisqapa pirqankuna ñawpaqman rikurirqan, chay llaqtataq mana unayllata barbarokunapa phiñasqa sinchi kallpanku qipaman urmaykurqan.”
“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.
“Ñawpaq trompetapa waqayninqa tawa pachak watapa tukukuyninpi hinallataq chaymanta ñawpaqmanmi kashan, hinaspataq chay Roma imperiota wakllichiq yaykuykunamanmi rikuchikun, godokuna uraypi.” 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.
Smithqa riqsichin Alaricta hina Diospa taripaynin pagano Romapaq, ñawpaq trompetawan rikuchisqa. Sapa trompetapas huk historiapi runayuqmi, chay runaqa trompetata rikuchin; Alaricqa tawa pachak watapa tukukuyninmanta ñawpaq trompetapa hamuyninta rikuchin. Millerqa mana rikuyta atirqachu kay trompeta Romaman apamusqanta domingo hunt’asqa kasqanrayku, imaraykuchus Millerqa domingo waqaychaq karqa. Smithpas kay cheqaqta qispirqan, ichaqa Smithqa riqsirqanmi ñawpaq hunt’asqa domingo kamachiyqa Constantinoq kamachisqan kasqanta wata 321pi. Domingo hunt’achiywan tupaq profetapa kamachikuynin sapa kuti kaqllam, imaraykuchus Diosqa hayk’aqpas mana t’ikranchu, chay kamachikuytaq kaymi: “llaqtapa apostasianninqa llaqtapa thuñiyninwan qatiqchasqa kan”. Alaricqa llaqtapa thuñiynin qallariyninta rikuchin, chaymi qallariq Constantino ñawpaq domingo kamachiyta churashqan pacha kikillanpi.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Smithqa qatiqaykunata qallarispan pusaqniyuq versículota citespa, mayqinchus iskay kaq trompetata reqsichin, chaymantaq rimariyninta kayhinata mast’arichin:
“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.
“Imperio romanoqa, Constantinomanta qhipamanqa, kimsa rak’iman t’aqasqa karqan; chayraykun sapa kuti nisqaqa rikurin, ‘runakunap kimsan kaqnin rak’in,’ nispa, hukkunapas, chay imperiop kimsan kaq rak’in muchuywan maqasqa kasqanman riqsichispa. Kay romano qhapaq suyup t’aqasqa kayninqa Constantino wañusqan qhipanpi ruwasqa karqan, kimsan churinkuna chawpinpi: Constantius, Constantine II, hinaspa Constans. Constantius inti lloqsiy suyupta hap’ispa, tiyayninta Constantinopla llaqtapi churakurqan, imperiop hatun umalliq llaqtanpi. Constantine Iskay kaqmi Bretáña, Galia, hinaspa España suyukunata charirqan. Constansmi Ilírico, África, hinaspa Italia suyukunata charirqan. (Qhaway Sabinepa Historia Eclesiástica nisqanta, p. 155.) Kay allin riqsisqa historiapi kaq chiqap ruwaymanta, Elliottqa, Albert Barnespa nisqanman hina willakusqa, Rev.12:4 nisqaman qillqasqan notankunapi, kayhinata nin: ‘Iskay kutita, ichaqa aswanpas, romano imperio mana wiñaypaq iskay rak’iman t’aqasqa kananmanta ñawpaqta, inti lloqsiy hinaspa inti haykuy rak’ikunaman, kimsa rak’iman t’aqasqa kasqa imperio. Ñawpaq kaqmi A.D. 311 watapi karqan, chay p’unchaykunapiqa Constantine, Licinius, hinaspa Maximin chawpinpi t’aqasqa kaspa; hukñataq, A.D. 337 watapi, Constantino wañusqanpi, Constans hinaspa Constantius chawpinpi.’” 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.
Romaqa kimsayman rakisqa rakisqa t’aqasqa rakisqa t’aqasqa t’aqasqa rakisqa kasqan ñawpa pacha rikhuy, hinallataq iskayman rakisqa kasqan, mayqinchus historiador-kuna rimanku, Smith-taq chaykunata citan, chaymi Romaq imaymana elementonkunata rikuchin, chaykunan Moderno Romaq kimsay huñusqa kasqanta reqsichin, mayqinchus iskayman rakisqa huk estructura-ta ruwan, Iglesiatawan Estadotawan huñusqa kasqanta sut’ichaspa. Smithqa astawan riqtinqa, iskay kaq trompetawan tupaqtin ñawpa pachapi reqsisqa runa-ta reqsichin.
“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. . ..
“Iskay trompetapa waqachisqanman rikch’achikuq historiataqa sut’inmi Genseric manchay llaqllay runapa Africa-man yaykusqanwan atipayninwan, chaymanta qhepaman Italia-manpas, tupaq. Paypa atipayninkunaqa aswanqa lamarpi kasqanku; hinaspa paypa hayllinkunaqa “hina hatun urqu nina rawraywan lamar-man wisch’usqa” nisqahinam karqan. ¿Ima rikch’akuymi aswan allin, utaq ni chay hina allinpas, armadakunapa tinkuyninta, hinaspa lamar kuchukunapi maqanakuypa llapan ñak’ariy wañuchiyta rikch’achinman? Kay trompetata sut’inchaspaqa, mask’ananchikmi wakin ruwaykunata, mayqenkunachus qhatu p’unchaw pachapi kaq runakunaman sut’i tupaq kasqanku. Símbolo apasqaqa naturalmantam qhawarichin ch’aqwayta hinaspa kuyuyta mask’ananchikpaq. Manam imapas, mana sinchi lamar maqanakuylla, willakusqata hunt’achinmanchu. Sichus ñawpaq tawa trompetakunapa waqachisqanqa tawa reqsisqa hatun ruwaykunaman tupaq, chaykuna Romanopi imperiopa urmayninman yanapakuq karqanku, hinaspa ñawpaq trompetaqa Alaricpa urapi gotokunapa waqllichisqankunaman tupaq chayqa, kaypiqa naturalmantam qhawanchik qatiqnin yaykuy ruwayta, mayqenchus Romanopa atiyninta chhaphchirqan hinaspa urmayninman apamurqan. Qatiqnin hatun yaykuyqa karqan “manchay Gensericpa,” vándalokunapa umalliqnin hina. Paypa puriyninqa A.D. 428–468 watakunapi karqan. Kay hatun vándalo kurakapa hatun kamachikuy tiyananqa Africa-pim karqan....”
“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.
“Roma urmaynin urmananpi kay mana manchakuy corsario hatun ruwaq kasqanmanta, Señor Gibbon kay allin riqsichiq simikunata llamk’achin: ‘Genseric, sutinmi, imperio romanopa tukukuyninpi, Alaricwan Attilawan sutinkunapa kaq kikillan rango nisqapi kananpaq chaskisqa kasqa.’” 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:
Smithqa, historiador Gibbonpa rimarisqanta qawarispa, paymi ñawpaq kimsa trompetakunapa historiapi simbolokunata rikuchirqan, reqsisqa karqan Gensericqa iskay kaq trompeta kasqanta; chaymanta nirqan Gensericqa, “Alaricwan Attilawan kuska kikillan patapi churakusqanmanta hina mañakun.” Alaricqa ñawpaq kaq trompetam, Gensericqa iskay kaq trompetam, Attila hunoñataq kinsa kaq trompeta karqan, chaymi chunka kaq versículopi rimarisqa. Smithqa reqsichirqan iskay kaq trompeta, Gensericwan rikuchisqa, “428-468” watakunapa historianta rikuchisqanta. Chaymantataq Smithqa chunka kaq versículota citespa, mayqinchus kinsa kaq trompetata reqsichin, willakuynta qatiqtaq nirqan:
“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.
“Kay pasajeta qhawarispa chaymanta ima hina rurakuyta churarispa, Roma imperiota urmachiq kimsañiqin hatun kaq pasayman apasqas kanchis. Kay kimsañiqin trompetapa historiapi hunt’akuyninta maskhaspaqa, Dr. Albert Barnespa Notes nisqanmantam huk iskay-kimsa kutichasqakunata mañakusunchik. Kay qillqasqata sut’inchaspaqa, kay qillqaq rimaynin hina, necesariom kashan: ‘Huk kuraka utaq maqanakuy runa kanan, rawraylla meteoroman rikch’akuq; puriyninqa ancha lliphipi, sapallan kaq hina kanan; usqhayllam rikhurinqa RAWRAY STAR hina, chaymantañataq chinkarinqa yakukunapi wañusqa k’anchaynin star hina.’— Notes on Revelation 8.”
“It is here premised that this trumpet has allusion to the desolating wars and furious invasions of Attila against the Roman power, which he carried on at the head of his hordes of Huns. . ..
“Kaypi ñawpaqman churakuyta munan kay trompetapa rimariyninqa alusión kasqanta, Attilapa ch’usaqyachiq guerranankunaman hinaspa phiñakusqa yaykuyninkunaman Roma atiyniyoqpa contranpi, chaykunataq rurasqan huno Hunos soldadonkunapa umalliqnin kaspa....”
“‘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.
“‘Chay Quyllurpa Sutinqa Wormwood nisqa sutim’ [chayqa hayk’aqraq llakiqmi, hayra ruwaykunapa paqarinanta sut’ichaspa]. Kay simikuna—ñawpaq versículowan aswan ukhuypi tupasqa kasqankuman hina, imaynachus ñuqanchikpa versiónpi puntuaciónpas chayta rikuchin—huk ratulla kutichiwanchik Attilapa kasqanman, paypa rurasqan utaq pay hina llamk’asqan llakikuykuna-man, hinallataq sutinmanta paqarisqa manchayman.
“‘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.
«“Tukuyta chinkachiy hinaspa pichay,” nisqakunaqa paypa apachimusan llakikuykunata aswan allinta sut’ichan. Payqa kayhina sutichakúrqan: “Diospa azote.”» 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.
Kimsaq trompetapa willakuynin, Atila huno nisqawan rikuchisqa, karqan wata 441-manta wañusqan wata 453-kama. Chaymantataq Smithqa chunka iskayniyuq versículota citespa, tawa kaq trompetata rikuchin, hinaspa bárbaro monarca Odoacrota willan, maypichus intiwan, killawan, quyllurkunawan inti-chunka kinsa simbolismonpi Roma occidental nisqapa kinsa kuti simbolismon rikuchisqa kachkan. Payqa kimsa simbolokunata reqsin “inti, killa, hinaspa quyllurkuna—mana iskayrayaypaqmi kaypi simbolokuna hina apasqa kanku—sut’imanta Roman gobierno hatun k’anchaykunata nin, emperadorkunata, senadorakunata, hinaspa cónsulkunata. Obispo Newton nispa qhawachinmi qhipa emperador Roma occidentalpa karqan Rómulo, payta asipayanakuspataq Augustulo nispa suticharqanku, ichaqa chayqa ‘uchuy Augustus’ ninmi. Roma occidentalqa A.D. 476 watapi urmarqan. Ichaqa chaymantaqa, Roman intin wañusqa kaspapas, ura lumbrerokuna pisi k’anchayllawanraq k’ancharqanku, senado hinaspa cónsulkuna qatipakusqanrayku. Ichaqa achka llakikuy civil kutiriykunawan hinaspa política fortunapa tikraykunawan qhipamanqa, A.D. 566 watapi, ñawpaq gobiernomanta tukuy formankama urmachisqa karqan, hinaspa Roma kikintaqmi pacha llapaq ñawpaq emperatriz kasqanmanta uraykuchisqa karqan, wakcha dukadoman tukuspa, Rávena Exarcopa tributariom karqan.” 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.
Kaypi tarisunchik huk kutimusiq willakuyta Roma llaqtapa kimsa kuti rakisqa kasqanmantam, chaymi ñawpaqchasqa hina rikuchin kunan pacha Roma llaqtapa kimsa kuti huñusqa kasqanta. Inti lloqsimuynin Roma wan qhapaq apu Constantino wanqa, chay kimsa kuti rakiyqa paypa kimsan churinkunawanmi rikuchisqa karqa; ichaqa inti yaykumuynin Roma wanqa, paykunaq kimsa kuti kamachiy-ninkuwanmi karqa. Chaymantataq Smith sut’inchan inti, killa, ch’askakunaqa mayqin nisqa ordenmantam rikuchin inti yaykumuynin Roma urmachisqa kasqanta. Hinaspataq willakuyninta tukuchan qhipa kimsan trompetakunapa kay qallarichiywan.
“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.
“Kay hina manchakuna karqan kay barbáro runakunapa ñawpaq yaykuyninkuna rayku imperioman apamushqa llaquykunaqa, chaykunaqa qhepamanta hamuq llaquykunawan tupachispaqa aswan pisilla karqan. Chaykunaqa karqan paraq ñawpaq sut’u para urmaykuna hina, manaraq Romanokunapa pachanman utqaylla urmuna lloqllaman chayanankama. Qhipapi puchuq kimsa trompetakunaqa llaquy phuyuwan llanthuykusqa kashan, hina nisqa qatiq versículokunapi rikuchisqa hina.”
“‘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.’
“‘VERSO 13. Hinaspataqmi, uyariqmi huk angelta hanaq pacha chawpinpi phawachkaqta, sinchi kunkawan nispan: ¡Ay, ay, ay, kay pachapi tiyaqkunapaq, wakin waqaychaq kunkakuna rayku, kimsa angelkunapa trompetankunaq kunkanmantam, manaraq waqaychasqa kananpaq kashan!’”
“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.
“Kay angelqa mana qanchis waqrachakuna angelkunapa qatipi hukninchu, aswanpas huklla kaqmi, pisiq qusaq waqrachakunam kimsa puchuq waqrachakunaqa llakikuy waqrachakuna kasqanta willananpaq, imaraykuchus paykunapa waqrachakusqan ukhupi aswan manchay ruwaykuna pasanankurayku. Chayhinaqa qatiq, ichaqa phisqa kaq waqrachakuyqa ñawpaq llakikuymi; suqta kaq waqrachakuyqa iskay kaq llakikuy; qanchis kaqtaq, kay qanchis waqrachakunapa kay qatipi qhipa kaq, kinsa kaq llakikuymi.” Uriah Smith, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Qatiq qillqapiqa qhipapi, kinsa trompetakunaq aywakuy “Ay” nisqakunawanmi qatiqkunaqta rikusunchik.
“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.
“Imperial Roma llaqi ñak’ariykuna, urmayninpi, qhipa kaqkama llapanmi willasqa karqan, Romaqa manaña emperadorniyuq, cónsulniyuq, nitaq senadoniuyuqña kaptin. ‘Ravenna llaqtapi Exarcaspa uranpiqa, Romaqa iskay ñiqinman uraykachasqa karqan.’ Intipa huk kimsa ñiqinmi maqasqa karqan, killapa huk kimsa ñiqinpas, ch’askakunapa huk kimsa ñiqinpas. Césarkunapa mirayninqa mana chinkachisqachu karqan inti wata emperador oeste kaqkunawan. Romaqa, urmananpaq ñawpaqta, imperial atiyninmanta huk rak’ta llallinmi hap’irqan. Constantinopla llaqtawan kuska rakisqaraqmi karqan kay pachapa imperionta. Hinaspapas mana Goths nitaq Vandals qhapaqyachikurqanchu chayraq imperial llaqtapi, mayqenpa emperadorninpas, Constantinoq imperial tiyananta ñawpaq kutichisqanmantapacha, sapa kuti Romaq emperadorninta akllasqan hina, rantinpi kamachiq hinapas churayta atirqan. Constantinoplaq kawsayninpa tukukuyninqa huk pacha wiñaykunapaq waqaychasqa karqan, huk trompetakunawanmi willasqa karqan. Intimanta, killamanta, ch’askakunamantapas, manaraqmi aswanqa huk kimsa ñiqillan maqasqa karqan.”
“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.
«Tawaq p’unchaw qillqakuna Chunka Tawa Cornetapa qhipa siminkuna qawachin qhipa p’unchawkunapi Kinti Lawpi Imperiopa kutirimusqanta: “P’unchawqa mana k’ancharchu kimsa kaqninta, tutaqa chayhinallataq.” Kamachiy atiyninmantaqa, Roma llaqtam Ravennaman uyarisqa karqan, Italiataq Inti lloqsiy lawpi Imperiopa atipasqa suyu karqan. Ichaqa, huk willakuykunaman aswan allin taqeqtin, santukuna rikch’ayninkuna yupaychasqanta amachaymi ñawpaqtaqa papap, emperadormantaq espirituyninpi, pacha kamachiyninpipas atiyninkunata sinch’i tinkuyman churarqan; hinaspataq, iglesiakunapi llapa kamachiyta papaman qospa, Justiniano yanapaynin makinta churarqan papal kamachiy aswan hatunyayninman wiñachinapaq, mayqinchus qhipaman monarcakunata paqarichiy atiyniyuqman tukurqan. Señorninchispa wata 800 watapi, papaqa Carlomagno-man “Romanokunapa Emperador” sutita qorqan.»—Keith. Chay sutiqa huk kutitaq Francia suyupa rey nirqanmanta Alemania suyupa rey nirqanman apasqa karqan. Hinaspataq Emperador Francisco II nisqapaq, kay llulla rikch’aypas qhipapi, wiñaypaqpas saqisqa karqan, Ago. 6, 1806.” A. T. Jones, The Great Nations of Today, 54.