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 dipaparinkeun cahaya anu gedé ngeunaan tujuh jemaat, tujuh meterai, jeung tujuh tarompet dina kitab Wahyu. Anjeunna nempatkeun éta lambang-lambang nubuat dina raraga dua kakawasaan anu ngancurkeun, nya éta paganisme dituturkeun ku kapapaan. Anjeunna henteu ningali unggal ciri nubuat tina éta lambang-lambang, tapi naon anu ku anjeunna katingali netepkeun pamahaman dasar ngeunaan sajarah internal jeung sajarah éksternal gareja Allah ti mangsa para rasul nepi ka ahir dunya. Sajarah internal dilambangkeun ku jemaat-jemaat, ari sajarah éksternal jemaat-jemaat dilambangkeun ku meterai-meterai. Anjeunna ningali yén tarompet-tarompet téh lambang pangadilan Allah kana Roma, anu jadi perlambang pangadilan Allah kana Roma dina ahir dunya, sanajan anjeunna henteu ningali yén Roma dina ahir dunya téh diwangun ku hiji persatuan tilu rupa.
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 anu ditulis ku Uriah Smith nu judulna Daniel and Revelation ngandung sawatara pamadegan anu salah, tapi ku Sister White éta diakukeun minangka, “panangan pitulung Allah.” Anjeunna netelakeun yén éta buku kudu disebarkeun babarengan jeung The Great Controversy, Patriarchs and Prophets, sarta The Desire of Ages. Pangrojongna anu kacida kuatna henteu ngandung harti yén éta buku aya dina tingkat ilham anu sarua jeung buku-bukuna sorangan, tapi yén éta buku ngandung “pangajaran anu agung,” sarta geus jadi sarana pikeun “mawa loba jiwa anu mulia kana pangaweruh ngeunaan bebeneran.”
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.
Ieu buku ngagunakeun logika nubuat Millerite, dibarengan ku konsép-konsép ngeunaan nubuat anu can katingali saméméh 22 Oktober 1844. Urang baris ngarujuk kana petikan-petikan dina ieu buku bari ngajentrekeun panerapan rangkep tilu tina tilu Woe.
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 nétélakeun yén “tujuh tarompet téh mangrupakeun sajarah tujuh hukuman anu has jeung beurat anu dikirimkeun ka bumi, atawa karajaan Romawi.” Opat tarompet anu kahiji ngalambangkeun hukuman-hukuman anu ditimpakeun ka Roma kapir, jeung tarompet anu kalima jeung kagenep nyaéta hukuman-hukuman Allah anu ditimpakeun ka Roma kapausan, tapi Miller moal kungsi ngakuan yén tarompet anu katujuh ngalambangkeun hukuman Allah ka Roma Modern. Nalika nyarioskeun ngeunaan tujuh meterai jeung tujuh tarompet dina Wahyu, Uriah Smith nyerat:
“Having taken the book, the Lamb proceeds at once to open the seals; and the attention of the apostle is called to the scenes that transpire under each seal. The number seven has already been noticed as denoting in the Scriptures completeness and perfection. The seven seals therefore embrace the whole of a certain class of events, reaching down perhaps to the time of Constantine, and the seven trumpets another series from that time farther on, cannot be correct. The trumpets denote a series of events which transpire contemporaneously with the events of the seals, but of an entirely different character. A trumpet is a symbol of war; hence the trumpets denote great political commotions to take place among the nations during the gospel age. The seals denote events of a religious character, and contain the history of the church from the opening of the Christian era to the coming of Christ.” Uriah Smith, Daniel and Revelation, 431.
“Sanggeus nyandak kitab éta, Anak Domba tuluy langsung muka segel-segelna; sarta perhatian rasul dipuseurkeun kana kajadian-kajadian anu lumangsung dina unggal segel. Bilangan tujuh geus dipikanyaho minangka anu dina Kitab Suci nandakeun kasampurnaan jeung kasampurnaan anu lengkep. Ku kituna, tujuh segel ngawengku sakabéh hiji golongan kajadian anu tangtu; ku sabab éta pamadegan yén éta ngan ukur ngahontal meureun nepi ka jaman Konstantinus, sarta tujuh tarompet mangrupa runtuyan séjén ti mangsa éta ka hareup, henteu bisa dianggap leres. Tarompet nandakeun hiji runtuyan kajadian anu lumangsung babarengan jeung kajadian-kajadian dina segel-segel, tapi sipatna béda pisan. Tarompet téh lambang perang; ku sabab éta, tarompet nandakeun gejolak pulitik anu gedé anu bakal lumangsung di antara bangsa-bangsa salila jaman Injil. Segel-segel nandakeun kajadian-kajadian anu sipatna agamawi, sarta ngamuat sajarah gareja ti bubukana jaman Kristen nepi ka datangna 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:
Tarompét téh lambang perang jeung kaributan pulitik. Nyaritakeun ayat kadua tina pasal dalapan Kitab Wahyu, Smith nyebutkeun:
“‘VERSE 2. And I saw the seven angels which stood before God; and to them were given seven trumpets.’
“‘AYAT 2. Jeung kuring ningali tujuh malaikat anu ngadeg di payuneun Allah; sarta ka maranéhna dipasrahkeun tujuh tarompét.’”
“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 ieu ngenalkeun runtuyan kajadian anu anyar tur béda. Dina materai-materai urang geus gaduh sajarah gareja salila naon anu disebut jaman injil. Dina tujuh tarompet, anu ayeuna dipidangkeun, urang gaduh kajadian-kajadian pulitik jeung peperangan anu utama, anu bakal lumangsung salila mangsa anu sarua.” Uriah Smith, Daniel and Revelation, 476.
The seventh seal is opened in the first six verses of Revelation chapter eight, and in the backdrop of the opening of the seventh seal, seven angels with seven trumpets are prepared to blow.
Meterai katujuh dibuka dina genep ayat kahiji tina Wahyu pasal dalapan, sarta dina latar tukang bubukana meterai katujuh éta, tujuh malaikat anu nyepeng tujuh tarompét disiapkeun pikeun niupna.
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.
Jeung nalika Anjeunna muka meterai nu katujuh, aya tiiseun di sawarga kira-kira satengah jam lilana. Tuluy kuring nempo tujuh malaikat nu nangtung di payuneun Allah; sarta ka maranéhna dipasrahkeun tujuh tarompet. Jeung malaikat séjén datang tuluy nangtung di altar, nyekel pedupaan emas; sarta ka anjeunna dipaparin menyan anu loba, supaya anjeunna ngahaturkeun éta bareng jeung doa-doa sakumna jalma suci dina altar emas nu aya di hareupeun tahta. Jeung haseup menyan éta, anu naék bareng jeung doa-doa jalma-jalma suci, ngascent ka payuneun Allah tina panangan malaikat éta. Jeung malaikat éta nyandak pedupaan, tuluy ngeusian éta ku seuneu tina altar, sarta ngalungkeunana ka bumi: tuluy aya sora-sora, guruh-guruh, kilat-kilat, jeung lini. Jeung tujuh malaikat nu nyekel tujuh tarompet éta nyiapkeun diri pikeun ngageterkeunana. 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.
Aya hiji kalainan profétis anu geus ku urang diidéntifikasi dina tulisan-tulisan saméméhna, tapi anu can acan ku urang dipaliré sacara husus dina fénoména profétisna anu tangtu. Kalainan éta nyaéta yén lambang-lambang anu ngagambarkeun runtuyan waymark dina sajarah profétis, sakabéhna dihijikeun dina panutup sajarah anu ku éta dilambangkeun. Urang geus némbongkeun yén opat generasi Adventisme Laodikea anu diwakilan ku opat kakajian dina Yeheskiel pasal dalapan nandaan waymark-waymark anu tangtu, tapi masing-masingna, minangka hiji ujian, ngulang deui dina sajarah panyegelan saratus opat puluh opat rébu. Kalainan ieu ogé kapanggih dina tujuh tarompet, sabab sanajan éta ngagambarkeun panghukuman-panghukuman anu tangtu kana Roma kapir, Roma kapapal, jeung Roma modéren, éta sakabéhna ngahiji deui nalika panghukuman éksékutip kana Roma modéren dimimitian dina hukum Minggu anu baris geura datang.
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.
Tujuh sangkakala miboga tanggal-tanggal nu tangtu nalika éta kacumponan dina mangsa katukang, tapi Sister White ogé nempatkeun tujuh malaikat anu mawa tujuh sangkakala dina Wahyu pasal dalapan, dina sajarah hukum Minggu anu baris geura datang.
“‘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.
“‘Jeung waktu Anjeunna muka meterai anu kalima, kami ningali di handapeun altar jiwa-jiwa maranéhanana anu dipaéhan ku sabab firman Allah, jeung ku sabab kasaksian anu dicekel ku maranéhanana: sarta maranéhanana sasauran ku sora anu tarik, pokna, Dugi ka iraha, nun Gusti, anu Suci jeung Leres, Gusti can ngahakiman jeung males getih kami ka jalma-jalma anu marukim di bumi? Jeung jubah-jubah bodas dipaparinkeun ka unggal saurang di antara maranéhanana [Maranéhanana dinyatakeun murni jeung suci]; sarta ka maranéhanana dititah, supaya maranéhanana tetep reureuh heula salila sawatara mangsa deui, nepi ka sasama abdi-abdi maranéhanana kénéh jeung dulur-dulur maranéhanana, anu bakal dipaéhan saperti maranéhanana, geus kacumponan’ [Wahyu 6:9–11]. Di dieu dipintonkeun ka Yohanes adegan-adegan anu lain kanyataan dina mangsa harita, tapi anu bakal kajadian dina hiji mangsa dina waktu nu bakal datang.
“Revelation 8:1–4 quoted.” Manuscript Releases, volume 20, 197.
“Wahyu 8:1–4 dicutat.” Manuscript Releases, jilid 20, 197.
In the previous passage Sister White applies the dialogue and fulfillment of the fifth seal to the period when the seven angels are about to sound in chapter eight, but she also places the same representation at the history of the two voices of Revelation chapter eighteen.
Dina petikan saméméhna Sister White nerapkeun dialog sarta kagenepan tina meterai kalima kana mangsa nalika tujuh malaikat rek niup dina pasal dalapan, tapi anjeunna ogé nempatkeun gambaran anu sarua dina sajarah dua sora dina Wahyu pasal dalapan welas.
“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.
“Waktu meterai kalima dibuka, Yohanes nu Nampa Wahyu dina tetenjo ningali di handapeun altar rombongan jalma anu dipaéhan ku sabab Firman Allah jeung kasaksian Yesus Kristus. Sanggeus ieu saterusna datang kajadian-kajadian anu dipedar dina Wahyu pasal dalapan welas, waktu jalma-jalma anu satia jeung bener ditelepon kaluar ti Babul. [Wahyu 18:1–5, dicutat.]” Manuscript Releases, jilid 20, 14.
The seven trumpets represent God’s judgment in the history of pagan, papal and Modern Rome, but they are also represented in the history of September 11, 2001, and the second voice of the soon-coming Sunday law. After addressing the first six verses of Revelation chapter eight, Uriah Smith begins to present the first four trumpets’ historical fulfillments.
Tujuh tarompet ngawakilan pangadilan Allah dina sajarah Roma kapir, kapausan, jeung Roma Modéren, tapi éta ogé kagambarkeun dina sajarah 11 Séptémber 2001, jeung sora kadua tina hukum Minggu anu enggal bakal datang. Sanggeus medar genep ayat kahiji dina Wahyu pasal dalapan, Uriah Smith mimiti nampilkeun kacumponan sajarah tina opat tarompet anu kahiji.
“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.
“Jejer perkara tujuh tarompet ayeuna diteruskeun deui di dieu, sarta ngeusian sesa ieu pasal jeung sakabéh pasal 9. Tujuh malaikat nyiapkeun dirina pikeun niupkeun tarompet. Bunina tarompet maranéhna datang minangka panglengkep kana nubuat Daniel 2 jeung 7, dimimitian ku ruksakna kakaisaran Romawi heubeul jadi sapuluh bagianna, anu dina opat tarompet kahiji urang meunang kateranganana.” 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 nétélakeun yén opat tarompet anu kahiji téh mangrupa hukuman-hukuman Allah ka Roma pagan. Anjeunna ngutip ayat tujuh anu nétélakeun ciri-ciri profétis tina tarompet kahiji, tuluy nunjukkeun kacumponan sajarahna.
“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.
“Panghukuman anu kahiji, anu nyeri jeung beurat, nu tumiba ka Roma Kulon dina lalampahanana ka handap, nyaéta perang jeung bangsa Goth dina pamingpinan Alaric, anu muka jalan pikeun panarajangan-panrajangan salajengna. Pupusna Theodosius, kaisar Romawi, kajadian dina Januari 395, sarta saméméh ahir usum tiris bangsa Goth dina pamingpinan Alaric geus ngangkat pakarang ngalawan kakaisaran.
“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.
“Serangan kahiji di handapeun Alaric ngaruksak Thrace, Macedonia, Attica, jeung Peloponnesus, tapi henteu nepi ka kota Roma. Sanajan kitu, dina seranganana nu kadua, panghulu bangsa Goth nyebrang Alpen jeung Apennina sarta nembongan di hareupeun témbok ‘kota langgeng,’ anu teu lila tuluy jadi mangsa amukan bangsa-bangsa barbar.
“The blast of the first trumpet has its location about the close of the fourth century and onward, and refers to these desolating invasions of the Roman empire under the Goths.” Uriah Smith, Daniel and Revelation, 478.
“Bunyi tarompét kahiji lumangsung kira-kira dina ahir abad kaopat sarta saterusna, sarta nujul kana serangan-serangan ngancurkeun ieu ka Kakaisaran Romawi di handapeun 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 nangtukeun Alaric minangka lambang panghukuman Allah ka Roma kapir anu digambarkeun ku tarompet kahiji. Unggal tarompet miboga hiji tokoh sajarah anu ngawakilan éta tarompet; Alaric ngawakilan datangna tarompet kahiji ti ahir abad kaopat. Miller moal bisa ningali yén tarompet ieu ditimpakeun ka Roma ku lantaran panegakan poé Minggu, sabab Miller téh pangjaga poé Minggu. Smith ogé luput kana kanyataan ieu, tapi Smith mémang ngaku yén hukum poé Minggu anu kahiji anu dipaksa dilaksanakeun diadegkeun ku Constantine dina taun 321. Patokan nubuat anu pakait jeung panegakan poé Minggu salawasna sarua, sabab Allah teu kungsi robah, sarta éta patokan téh nya éta yén “murtadna bangsa dituturkeun ku karuksakan bangsa”. Alaric ngawakilan awal karuksakan bangsa anu dimimitian dina mangsa anu sarua nalika Constantine netepkeun hukum poé Minggu anu kahiji.
Smith continues on by quoting verse eight, which identifies the second trumpet, and then continues his commentary:
Smith nuluykeun ku ngadugikeun ayat ka dalapan, anu nandakeun tarompet kadua, tuluy neraskeun panaranganana:
“The Roman empire, after Constantine, was divided into three parts; and hence the frequent remark, ‘a third part of men,’ etc., in allusion to the third part of the empire which was under the scourge. This division of the Roman kingdom was made at the death of Constantine, among his three sons, Constantius, Constantine II, and Constans. Constantius possessed the East, and fixed his residence at Constantinople, the metropolis of the empire. Constantine the Second held Britain, Gaul, and Spain. Constans held Illyricum, Africa, and Italy. (See Sabine’s Ecclesiastical History, p. 155.) Of this well-known historical fact, Elliott, as quoted by Albert Barnes, in his notes on Rev.12:4, says: ‘Twice, at least, before the Roman empire became divided permanently into the two parts, the Eastern and the Western, there was a tripartite division of the empire. The first occurred in A.D. 311, when it was divided between Constantine, Licinius, and Maximin; the other, A.D. 337, on the death of Constantine, Constans and Constantius.’” Uriah Smith, Daniel and Revelation, 480.
“Kakaisaran Romawi, sanggeus mangsa Konstantinus, kabagi jadi tilu bagian; ku sabab éta mindeng aya ungkara, ‘sapartilu tina manusa,’ jsb., salaku sindiran kana sapartilu kakaisaran anu keur katarajang ku pecut hukuman. Pabagian karajaan Romawi ieu lumangsung waktu Konstantinus pupus, di antara tilu putrana, nyaéta Constantius, Konstantinus II, jeung Constans. Constantius ngawasaan Wétan, sarta netepkeun tempat cicingna di Konstantinopel, ibu kota kakaisaran. Konstantinus Kadua nyekel Britania, Galia, jeung Spanyol. Constans nyekel Ilirikum, Afrika, jeung Italia. (Tingali Sajarah Garéja ku Sabine, kc. 155.) Ngeunaan kanyataan sajarah anu kacida kasohorna ieu, Elliott, sakumaha dicutat ku Albert Barnes, dina catetanana ngeunaan Wah. 12:4, nyebutkeun: ‘Sahenteuna dua kali, saméméh kakaisaran Romawi kabagi sacara tetep jadi dua bagian, nyaéta bagian Wétan jeung bagian Kulon, aya pabagian kakaisaran jadi tilu bagian. Nu kahiji lumangsung dina T.M. 311, waktu éta kabagi antara Konstantinus, Licinius, jeung Maximin; nu séjénna, dina T.M. 337, nalika Konstantinus pupus, [antara] Constans jeung 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.
Fénoména sajarah ngeunaan Roma anu kabagi jadi tilu bagian, jeung ogé dua bagian anu dirujuk ku para sajarawan anu dicutat ku Smith, téh mangrupa unsur-unsur Roma anu nandaan persatuan tilu rupa Roma Modern, anu ngawangun hiji struktur anu kabagi jadi dua, ngalambangkeun gabungan garéja jeung nagara. Nalika Smith nuluykeun pedaranana, anjeunna tuluy ngaidéntifikasi tokoh sajarah anu pakait jeung tarompét kadua.
“The history illustrative of the sounding of the second trumpet evidently relates to the invasion and conquest of Africa, and afterward of Italy, by the terrible Genseric. His conquests were for the most part NAVAL; and his triumphs were “as it were a great mountain burning with fire, cast into the sea.” What figure would better, or even so well, illustrate the collision of navies, and the general havoc of war on the maritime coasts? In explaining this trumpet, we are to look for some events which will have a particular bearing on the commercial world. The symbol used naturally leads us to look for agitation and commotion. Nothing but a fierce maritime warfare would fulfil the prediction. If the sounding of the first four trumpets relates to four remarkable events which contributed to the downfall of the Roman empire, and the first trumpet refers to the ravages of the Goths under Alaric, in this we naturally look for the next succeeding act of invasion which shook the Roman power and conduced to its fall. The next great invasion was that of “the terrible Genseric,” at the head of the Vandals. His career occurred during the years A.D. 428–468. This great Vandal chief had his headquarters in Africa. . ..
“Riwayat anu ngagambarkeun ditiupna tarompet kadua écés patali jeung panarajang jeung panaklukan Afrika, sarta saterusna Italia, ku Genseric anu pikasieuneun. Panaklukanna lolobana nya éta di LAUT; sarta kameunangan-kameunanganana téh “saolah-olah hiji gunung gedé nu hurung ku seuneu, dialungkeun ka laut.” Gambaran naon anu leuwih merenah, atawa komo sarua hadéna, pikeun ngajelaskeun papanggihan armada-armada laut, jeung karuksakan umum ku perang di basisir-basisir maritim? Dina nerangkeun tarompet ieu, urang kudu nenjo sababaraha kajadian anu bakal miboga patalina husus jeung dunya perdagangan. Lambang anu dipaké sacara alami ngarahkeun urang pikeun ngarepkeun guncangan jeung kagaduhan. Teu aya lian iwal ti perang maritim anu galak anu bakal nyumponan éta ramalan. Lamun ditiupna opat tarompet kahiji patali jeung opat kajadian anu kacida pinunjulna anu nyumbang kana ragragna kakaisaran Romawi, sarta tarompet kahiji ngarujuk kana karuksakan ku bangsa Goth dina pamingpinan Alaric, maka dina ieu hal urang sacara alami ngarepkeun tindakan panarajang salajengna anu ngaguncang kakawasaan Romawi sarta ngadorong kana karagragna. Panarajang gedé salajengna nya éta panarajang ku “Genseric anu pikasieuneun,” dina pamingpinan bangsa Vandal. Lalampahan karirna lumangsung dina taun-taun Masehi 428–468. Kapala Vandal anu agung ieu miboga markas utamana di Afrika....”
“Concerning the important part which this bold corsair acted in the downfall of Rome, Mr. Gibbon uses this significant language: ‘Genseric, a name which, in the destruction of the Roman empire, has deserved an equal rank with the names of Alaric and Attila.’” Uriah Smith, Daniel and Revelation, 481, 484.
“Ngeunaan peran anu penting anu dipidangkeun ku bajak laut anu gagah ieu dina ragragna Roma, Tuan Gibbon ngagunakeun kecap-kecap anu pinuh ku harti kieu: ‘Genseric, hiji ngaran anu, dina karuksakan kakaisaran Romawi, pantes meunangkeun darajat anu sarua jeung ngaran Alaric jeung 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:
Nalika Smith ngutip sejarawan Gibbon, anu nétélakeun lambang-lambang sajarah tina tilu tarompét anu kahiji, anjeunna nangtukeun yén Genseric téh tarompét anu kadua tuluy nyarios yén Genseric, “pantes meunang pangkat anu sarua jeung Alaric jeung Attila.” Alaric nyaéta tarompét anu kahiji, Genseric anu kadua, sarta Attila urang Hun nyaéta tarompét anu katilu, anu dibahas dina ayat ka sapuluh. Smith nétélakeun yén tarompét anu kadua, anu dilambangkeun ku Genseric, ngawakilan sajarah “428-468.” Tuluy Smith ngutip ayat ka sapuluh anu nandakeun tarompét anu katilu, sarta neruskeun caritaanana:
“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.
Dina napsirkeun jeung ngalarapkeun ieu petikan, urang dibawa kana kajadian penting anu katilu anu nyababkeun ruksakna kakaisaran Romawi. Jeung dina manggihan kacumponan sajarah tina tarompét anu katilu ieu, urang bakal ngahutang ka Catetan Dr. Albert Barnes pikeun sawatara cuplikan. Dina nerangkeun ieu Kitab Suci, perlu, sakumaha saur ieu komentator, “Yén kudu aya hiji kapala atawa jawara perang anu bisa dibandingkeun jeung hiji météor anu hurung nyala; anu lalampahanana bakal kacida cemerlangna; anu bakal ujug-ujug nembongan KAWAS hiji béntang anu hurung nyala, tuluy leungit kawas béntang anu cahayana dipareuman dina cai.” — Catetan ngeunaan Wahyu 8.
“It is here premised that this trumpet has allusion to the desolating wars and furious invasions of Attila against the Roman power, which he carried on at the head of his hordes of Huns. . ..
“Di dieu dipremiskeun yén tarompet ieu miboga sindiran kana perang-perang nu ngancurkeun jeung serangan-serangan nu ngamuk ti Attila ngalawan kakawasaan Romawi, nu anjeunna laksanakeun bari mingpin gerombolan-gerombolan bangsa Hunna....”
“‘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.
“‘Jeung ngaran éta béntang disebut Apsintus [ngalambangkeun akibat-akibat anu pait].’ Kecap-kecap ieu—anu patalina leuwih raket jeung ayat saméméhna, sakumaha malah tanda bacana dina vérsi urang némbongkeun—ngingetkeun urang sakeudeung kana watak Attila, kana kasangsaraan anu ku anjeunna ditimbulkeun atawa anu ku anjeunna dijadikeun alat, sarta kana kasieun anu diasupkeun ku ngaranna.
“‘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.
“‘Mupuskeun tumpes jeung mupus nepi ka teu aya tapakna,’ nya éta kecap-kecap anu pangmuhunghulna pikeun nandakeun musibah-musibah anu ku anjeunna ditimpakeun.” Anjeunna nyebut dirina sorangan, “‘Cambuk Allah.’” Uriah Smith, Daniel and Revelation, 484, 487.
The history of the third trumpet, represented by Attila the Hun, was the year 441, unto his death in the year 453. Smith then quotes verse twelve, which presents the fourth trumpet and describes the barbarian monarch Odoacer, where the threefold symbolism of Western Rome is represented by the sun, the moon and the stars. He identifies the three symbols as symbols of the “sun, moon, and stars—for they are undoubtedly here used as symbols—evidently denote the great luminaries of the Roman government,—its emperors, senators, and consuls. Bishop Newton remarks that the last emperor of Western Rome was Romulus, who in derision was called Augustulus, or the “diminutive Augustus.” Western Rome fell A.D. 476. Still, however, though the Roman sun was extinguished, its subordinate luminaries shone faintly while the senate and consuls continued. But after many civil reverses and changes of political fortune, at length, A.D. 566, the whole form of the ancient government was subverted, and Rome itself was reduced form being the empress of the world to a poor dukedom tributary to the Exarch of Ravenna.” Uriah Smith, Daniel and Revelation, 487.
Sajarah tarompét katilu, anu dilambangkeun ku Attila urang Hun, dimimitian dina taun 441 nepi ka pupusna dina taun 453. Saterusna Smith ngutip ayat dua welas, anu nampilkeun tarompét kaopat sarta ngagambarkeun raja barbar Odoacer, di mana perlambangan tilu rupa ngeunaan Roma Kulon diwakilan ku panonpoé, bulan, jeung béntang-béntang. Anjeunna ngaidentipikasi éta tilu lambang minangka lambang “panonpoé, bulan, jeung béntang-béntang—sabab ieu tanpa mamang dipaké di dieu minangka lambang—kalawan écés nunjuk kana cahya-cahya agung pamaréntahan Romawi,—nyaéta para kaisarna, sénatorna, jeung konsulna. Uskup Newton nyatet yén kaisar panungtung Roma Kulon nyaéta Romulus, anu ku sindiran disebut Augustulus, atawa ‘Augustus leutik.’ Roma Kulon runtuh dina Masehi 476. Sanajan kitu, najan panonpoé Romawi geus pareum, cahya-cahya handapanna masih nyorot samar salila sénat jeung para konsul tetep lumangsung. Tapi sanggeus loba kakalahan sipil jeung parobahan nasib pulitik, ahirna, dina Masehi 566, sakabéh wangun pamaréntahan kuna éta diruntagkeun, sarta Roma sorangan diturunkeun tina kaayaan jadi permaisuri dunya kana kadipatén leutik anu mayar upeti ka Exarch 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.
Di dieu urang manggihan deui hiji kasaksian ngeunaan kabagianna Roma kana tilu, anu ngalambangkeun sateuacanna ngahijina Roma modéren kana tilu bagian. Dina Roma wétan jeung kaisar Constantine, éta kabagianna kana tilu diwakilan ku tilu putrana, ari dina Roma kulon ku wangun pamaréntahanana anu tilu rupa. Smith tuluy nétélakeun yén panonpoé, bulan, jeung béntang ngalambangkeun hiji runtuyan nu tangtu dina kumaha Roma kulon diruntuhkeun. Anjeunna nutup caritana ku bubuka di handap ieu ngeunaan tilu tarompet panungtungan.
“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.
“Sakumaha matak sieunna musibah-musibah anu ditibankeun ka kakaisaran ku serangan-serangan mimiti ti jalma-jalma barbar ieu, éta saenyana mah rada hampang lamun dibandingkeun jeung musibah-musibah anu engké bakal nyusul. Éta téh ngan saukur lir cecer hujan pangheulana saméméh curug gedé anu geuwat rek tumiba kana dunya Romawi. Tilu tarompet anu kari deui kasalimutan ku mega kanyeri, sakumaha ditepikeun dina ayat-ayat di handap ieu.
“‘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. Sarta sim kuring nenjo, sarta ngadéngé hiji malaikat ngalayang di tengah langit, saur-Na kalawan sora tarik, Cilaka, cilaka, cilaka, ka sakumna nu nyicingan bumi ku lantaran sora-sora tarompét séjénna ti tilu malaikat, anu can kénéh bade niup.’”
“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 ieu lain salah sahiji tina runtuyan tujuh malaikat tarompét, tapi ngan saukur hiji anu ngumumkeun yén tilu tarompét nu masih kari téh mangrupa tarompét cilaka, ku sabab kajadian-kajadian nu leuwih pikasieuneun bakal lumangsung dina mangsa sora tarompét-tarompét éta dibunyikeun. Ku kituna tarompét salajengna, nyaéta tarompét kalima, mangrupa cilaka kahiji; tarompét kagenep, cilaka kadua; sarta tarompét katujuh, anu pamungkas dina runtuyan tujuh tarompét ieu, mangrupa cilaka katilu.” Uriah Smith, Daniel and Revelation, 493.
We will continue with the three trumpet Woes in the next article.
Urang baris neraskeun kana tilu Woe tarompét dina artikel salajengna.
“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.
“Musibah-musibah Roma kaisar, dina karuntuhanna, geus dicaritakeun nepi ka anu pangpamungkasna, nepi ka Roma teu boga deui kaisar, konsul, atawa sénat. ‘Dina mangsa para Exarch Ravenna, Roma direndahkeun kana darajat kadua.’ Sapertilu panonpoé dipaéhan, jeung sapertilu bulan, jeung sapertilu béntang-béntang. Karuhun para Caesar teu musna babarengan jeung para kaisar Kulon. Roma, saméméh ragragna, ngan miboga sabagian tina kakawasaan kaisar. Konstantinopel ngabagi jeung éta kakaisaran dunya. Jeung boh urang Goth boh urang Vandal henteu ngawasa kalawan jadi panguasa luhur kana éta kota anu masih kénéh kaisar, anu kaisarna, sanggeus pangmindahan mimiti puseur kakaisaran ku Konstantinus, remen nyekel kaisar Roma minangka nu diangkat ku anjeunna jeung wawakil kakawasaanana. Jeung takdir Konstantinopel ditangtayungan nepi ka jaman-jaman séjén, sarta diumumkeun ku tarompet-tarompet séjén. Tina panonpoé, bulan, jeung béntang-béntang, kakara sapertiluna anu dipaéhan.”
“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.
“Kecap-kecap panutup tina Tarompet Kaopat nuduhkeun pamulihan Kakaisaran Kulon dina mangsa nu bakal datang: ‘Beurang henteu caang sapertiluna bagianna, kitu deui peuting.’ Dina hal kakawasaan sipil, Roma jadi tunduk ka Ravenna, sarta Italia jadi hiji propinsi jajahan Kakaisaran Wétan. Tapi, sakumaha leuwih merenah patalina jeung nubuat-nubuat séjén, pangbelaan kana ibadah gambar-gambar mimitina mawa kakawasaan rohani jeung kakawasaan dunyawi ti paus jeung ti kaisar kana tabrakan anu telenges; sarta, ku maparin ka paus sagala kakawasaan luhur gereja-gereja, Justinian nempatkeun leungeun pangrojongna pikeun ngamajukeun kaunggulan kapausan, anu satuluyna ngarebut kakawasaan pikeun nyiptakeun raja-raja. Dina taun Gusti urang 800, paus maparin ka Charlemagne gelar Kaisar urang Rum.’—Keith. Gelar éta tuluy dipindahkeun deui ti raja Perancis ka raja Jerman. Jeung ku Kaisar Francis anu Kadua, sanajan ieu téh ngan hiji fiksi, ahirna jeung salalanggengna ditolak, 6 Agustus 1806.” A. T. Jones, The Great Nations of Today, 54.