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.

A fún William Miller ní ìmọ̀lẹ̀ ńlá lórí àwọn ìjọ méje, àwọn èdìdì méje, àti àwọn kàkàkí méje nínú ìwé Ìfihàn. Ó fi àwọn ààmì àsọtẹ́lẹ̀ wọ̀nyí sínú àkójọpọ̀ ìtòlẹ́sẹẹsẹ àwọn agbára ìparun méjì—ìbọ̀rìṣà tí ó tẹ̀ lé e ni ìjọ pàápàá. Kò rí gbogbo àbùdá àsọtẹ́lẹ̀ ti àwọn ààmì wọ̀nyí, ṣùgbọ́n ohun tí ó rí fi ìpìlẹ̀ ìmọ̀ yé wa lélẹ̀ nípa ìtàn inú àti ìtàn òde ti ìjọ Ọlọ́run láti àkókò àwọn àpọ́sítélì títí dé òpin ayé. Àwọn ìjọ ṣojú fún ìtàn inú náà, àwọn èdìdì sì ṣojú fún ìtàn òde àwọn ìjọ náà. Ó rí i pé àwọn kàkàkí jẹ́ ààmì ìdájọ́ Ọlọ́run lórí Róòmù, èyí tí ó jẹ́ àpẹẹrẹ ìdájọ́ Ọlọ́run lórí Róòmù ní òpin ayé, bí ó tilẹ̀ jẹ́ pé kò rí i pé Róòmù ní òpin ayé jẹ́ ìṣọ̀kan mẹ́ta pátápátá.

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.”

Ìwé tí Uriah Smith kọ, tí àkọlé rẹ̀ jẹ́ Daniel and Revelation, ní àwọn èrò kan nínú tí wọ́n jẹ́ aṣìṣe; ṣùgbọ́n Sister White dá a mọ̀ gẹ́gẹ́ bí, “ọwọ́ ìrànlọ́wọ́ Ọlọ́run.” Ó sọ pé a gbọ́dọ̀ pín án ká pọ̀ mọ́ The Great Controversy, Patriarchs and Prophets, àti The Desire of Ages. Ìfọwọ́sí alágbára rẹ̀ kò túmọ̀ sí pé ìwé náà wà ní ìpele ìmísí kan náà pẹ̀lú àwọn ìwé rẹ̀, bí kò ṣe pé ìwé náà ní “ẹ̀kọ́ ńlá,” ó sì ti jẹ́ ohun ìdí fún “mímú ọ̀pọ̀ ọkàn iyebíye wá sí ìmọ̀ òtítọ́.”

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.

Ìwé náà ń lo ọgbọ́n àròsọ-asọtẹ́lẹ̀ ti àwọn Millerite, pẹ̀lú àwọn èrò-ìmọ̀ nípa àsọtẹ́lẹ̀ tí a kò tíì rí rí kí ọjọ́ October 22, 1844 tó dé. A óo tọ́ka sí àwọn ìpínrọ̀ inú ìwé náà bí a ṣe ń gbé ìlò mẹ́tẹ̀ẹ̀ta ti àwọn Ègbé mẹ́ta náà kalẹ̀.

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 sọ pé “àwọn kàkàkí méje jẹ́ ìtàn àwọn ìdájọ́ méje àkànṣe àti líle tí a rán wá sórí ayé, tàbí ìjọba Romu.” Àwọn kàkàkí mẹ́rin àkọ́kọ́ ń ṣàpẹẹrẹ àwọn ìdájọ́ tí a mú wá sórí Romu aláìgbọràn sí Ọlọ́run, kàkàkí karùn-ún àti kẹfà sì jẹ́ àwọn ìdájọ́ Ọlọ́run tí a mú wá sórí Romu papal, ṣùgbọ́n Miller kì yóò ti mọ̀ pé kàkàkí keje ń ṣàpẹẹrẹ ìdájọ́ Ọlọ́run sórí Romu Òde-Òní. Ní sísọ nípa àwọn èdìdì méje àti àwọn kàkàkí méje nínú Ìfihàn, Uriah Smith kọ pé:

“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.

“Lẹ́yìn tí ó ti gba ìwé náà, Ọ̀dọ́-Àgùntàn náà bẹ̀rẹ̀ ní kíákíá sí í ṣí àwọn èdìdì náà; a sì fa àkíyèsí apọ́sítélì náà sí àwọn ìṣẹ̀lẹ̀ tí ń ṣẹlẹ̀ lábẹ́ èdìdì kọ̀ọ̀kan. A ti ṣàkíyèsí tẹ́lẹ̀ pé nọ́mbà méje ń tọ́ka nínú Ìwé Mímọ́ sí ìpéye àti pípé. Nítorí náà, àwọn èdìdì méje náà bo gbogbo ẹ̀ka kan pàtó ti àwọn ìṣẹ̀lẹ̀, tí ó lè gùn dé àkókò Constantine bóyá, àti pé àwọn ìpè méje náà sì jẹ́ àtòpọ̀ míràn láti àkókò náà lọ síwájú, kò lè jẹ́ òtítọ́. Àwọn ìpè náà ń tọ́ka sí àtòpọ̀ ìṣẹ̀lẹ̀ kan tí ń ṣẹlẹ̀ ní àkókò kan náà pẹ̀lú àwọn ìṣẹ̀lẹ̀ àwọn èdìdì náà, ṣùgbọ́n tí ìwà wọn yàtọ̀ pátápátá. Ìpè jẹ́ àmì ogun; nítorí náà, àwọn ìpè náà ń tọ́ka sí àwọn rírìgbẹ̀mì òṣèlú ńlá tí yóò ṣẹlẹ̀ láàárín àwọn orílẹ̀-èdè ní àkókò ìhìnrere. Àwọn èdìdì náà ń tọ́ka sí àwọn ìṣẹ̀lẹ̀ tí ó ní ìwà ẹ̀sìn, wọ́n sì ní ìtàn ìjọ láti ìṣípayá àkókò Kristẹni títí dé ìbọ̀wá Kristi.” 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:

Ipè jẹ́ àmì ogun àti rudurúdù ìṣèlú. Ní sisọ nípa ẹsẹ̀ kejì orí kẹjọ Ìfihàn, Smith sọ pé:

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

“‘ẸSẸ̀ 2. Mo sì rí àwọn áńgẹ́lì méje tí wọ́n dúró níwájú Ọlọ́run; a sì fi ìpè méje fún wọn.’”

“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.

“Ẹsẹ̀ yìí ń ṣàfihàn àtòjọ iṣẹ̀lẹ̀ tuntun kan tí ó sì yàtọ̀ pátápátá. Nínú àwọn èdìdì, a ti ní ìtàn ìjọ ní àkókò ohun tí a ń pè ní ìpínlẹ̀ ìhìnrere. Nínú àwọn ìpè méje, tí a ṣàfihàn nísinsin yìí, a ní àwọn iṣẹ̀lẹ̀ iṣèlú àti ogun pàtàkì tí ó yẹ kí ó ṣẹlẹ̀ ní àkókò kan náà.” 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.

A ṣí èdìdì keje ní àwọn ẹsẹ̀ mẹ́fà àkọ́kọ́ ti Ìfihàn orí kẹjọ, àti ní abẹ́lẹ̀ ṣíṣí èdìdì keje náà, a mú àwọn angẹli méje tí wọ́n ní ipè méje sílẹ̀ ní ìmúrasílẹ̀ láti fún un.

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.

Nígbà tí ó sì ṣí èdìdì keje náà, ìdákẹ́jẹ̀ sì wà ní ọ̀run ní ìwọ̀n ààbọ̀ wákàtí kan. Mo sì rí àwọn angẹli méje tí wọ́n dúró níwájú Ọlọ́run; a sì fi ìpè méje fún wọn. Angẹli mìíràn sì wá, ó sì dúró lẹ́bàá pẹpẹ, ó ní àwo tùràrí wúrà kan; a sì fi tùràrí púpọ̀ fún un, kí ó lè fi í pẹ̀lú àdúrà gbogbo àwọn mímọ́ lórí pẹpẹ wúrà tí ó wà níwájú ìtẹ́ náà. Èéfín tùràrí náà sì, tí ó bá àdúrà àwọn mímọ́ wá, gòkè lọ síwájú Ọlọ́run láti ọwọ́ angẹli náà. Angẹli náà sì mú àwo tùràrí náà, ó sì fi iná pẹpẹ náà kún un, ó sì da á sí ayé: ohùn sì wà, àti àrá, àti mànàmáná, àti ìmìtìtì ilẹ̀. Àwọn angẹli méje náà tí wọ́n ní ìpè méje sì pèsè ara wọn láti fọn wọn. Ìfihàn 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.

Ìyàtọ̀ ọ̀rọ̀ àsọtẹ́lẹ̀ kan wà tí à ń tọ́ka sí nínú àwọn àpilẹ̀kọ ìṣáájú, ṣùgbọ́n tí a kò tíì fi pàtó sọ̀rọ̀ lórí ìṣẹ̀lẹ̀ àsọtẹ́lẹ̀ àkànṣe rẹ̀. Ìyàtọ̀ náà ni pé àwọn àmì tí ń ṣojú àtòlẹ́sẹẹsẹ àwọn àmì-ọ̀nà nínú ìtàn àsọtẹ́lẹ̀, ni a mú gbogbo wọn jọ ní ìparí ìtàn tí wọ́n ń ṣojú fún. A ti fihàn pé àwọn ìran mẹ́rin ti Àdífẹnítì Lódíṣíà tí a ṣojú fún nípasẹ̀ àwọn ìríra mẹ́rin ti Esekiẹli orí kẹjọ samisi àwọn àmì-ọ̀nà pàtó, ṣùgbọ́n pé ọkọọkan wọn, gẹ́gẹ́ bí ìdánwò, tún ń ṣe ara wọn ní ìtàn ìdìdì àwọn ẹgbẹ̀rún lọ́nà ọgọ́rùn-ún mẹ́rìnlélógójì. Ìyàtọ̀ yìí tún farahàn nínú àwọn ìpè méje náà, nítorí bí ó tilẹ̀ jẹ́ pé wọ́n ń ṣojú àwọn ìdájọ́ pàtó sórí Róòmù aláìgbọ́ràn, Róòmù pápá, àti Róòmù òde òní, gbogbo wọn tún wá papọ̀ lẹ́ẹ̀kansi nígbà tí ìdájọ́ ìmúlò lórí Róòmù òde òní bẹ̀rẹ̀ ní òfin Sọ́ńdè tí ó súnmọ́ dé.

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.

Àwọn ìpè meje náà ní àwọn ọjọ́ pàtó tí a fi mú wọn ṣẹ ní ìgbà àtijọ́, ṣùgbọ́n Sister White tún fi àwọn áńgẹ́lì méje pẹ̀lú àwọn ìpè meje sí inú Ìfihàn orí kẹjọ, nínú ìtàn òfin Ọjọ́ Àìkú tí ń bọ̀ láìpẹ́.

“‘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.

“‘Nígbà tí ó sì ṣí èdìdì karùn-ún náà, mo rí lábẹ́ pẹpẹ àwọn ọkàn àwọn tí a pa nítorí ọ̀rọ̀ Ọlọ́run, àti nítorí ẹ̀rí tí wọ́n dì mú: wọ́n sì ké pẹ̀lú ohùn ńlá, wí pé, Yóò ti pé tó, Olúwa, ẹni mímọ́ àti olódodo, tí Ìwọ kì í ṣe ìdájọ́, tí Ìwọ kì í sì í gbẹ̀san ẹ̀jẹ̀ wa lórí àwọn tí ń gbé ayé? A sì fi aṣọ funfun fún olúkúlùkù wọn [A kéde wọn ní mímọ́ àti ní mímọ́ níwájú Ọlọ́run]; a sì sọ fún wọn pé kí wọ́n sinmi sí i díẹ̀ síbẹ̀, títí àwọn ẹlẹgbẹ́-ọdọ wọn pẹ̀lú àti àwọn ará wọn, tí a ó pa gẹ́gẹ́ bí a ti pa wọ́n, yóò fi péye’ [Ìfihàn 6:9–11]. Níhìn-ín ni a ti fi àwọn ìran hàn án Johanu tí kì í ṣe òtítọ́ ní àsìkò náà, ṣùgbọ́n ohun tí yóò ṣẹlẹ̀ ní àkókò kan ní ọjọ́ iwájú.”

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

“Ìfihàn 8:1–4 ni a tọ́ka sí.” Manuscript Releases, ìdìpọ̀ 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.

Nínú àpá tó ṣáájú, Sister White lo ìjíròrò àti ìmúṣẹ èdìdì karùn-ún sí àsìkò tí àwọn áńgẹ́lì méje ti fẹ́rẹ̀ dún ní orí kẹjọ, ṣùgbọ́n ó tún fi àwòrán kan náà sí ìtàn àwọn ohùn méjèèjì ti Ìfihàn orí kẹtàlá-dín-lọ́gbọ̀n.

“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.

“Nígbà tí a ṣí èdìdì karùn-ún, Johanu Olùṣípayá nínú ìran rí ẹgbẹ́ àwọn tí a pa nítorí Ọ̀rọ̀ Ọlọ́run àti ẹ̀rí Jesu Kristi ní abẹ́ pẹpẹ. Lẹ́yìn èyí ni àwọn ìṣẹ̀lẹ̀ tí a ṣàpèjúwe nínú Ìfihàn orí kejìdínlógún tẹ̀ lé e, nígbà tí a pè àwọn tí ó jẹ́ olóòótọ́ tí ó sì jẹ́ olódodo jáde kúrò ní Babiloni. [Ìfihàn 18:1–5, a fa ọ̀rọ̀ náà yọ.]” Manuscript Releases, ìdìpọ̀ 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.

Àwọn ipè méje náà ń ṣàpẹẹrẹ ìdájọ́ Ọlọ́run nínú ìtàn Róòmù aláìmọ́, ti póòpù, àti ti Róòmù Òde-Òní, ṣùgbọ́n wọ́n tún jẹ́ aṣojú nínú ìtàn September 11, 2001, àti ohùn kejì ti òfin Ọjọ́-ìsinmi tí ń bọ̀ láìpẹ́. Lẹ́yìn tí ó ti sọ̀rọ̀ nípa ẹsẹ̀ mẹ́fà àkọ́kọ́ ti Ìfihàn orí kẹjọ, Uriah Smith bẹ̀rẹ̀ sí í gbékalẹ̀ àwọn ìmúṣẹ ìtàn ti àwọn ipè mẹ́rin àkọ́kọ́.

“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.

“Kókó-ọrọ̀ nípa àwọn ìpè méje ni a tún gbé kalẹ̀ níbí, ó sì gba ìyókù orí yìí àti gbogbo orí 9. Àwọn áńgẹ́lì méje náà múra tán láti fún ìpè. Ìfúnpè wọn wá gẹ́gẹ́ bí àfikún sí àsọtẹ́lẹ̀ Dáníẹ́lì 2 àti 7, tí ó bẹ̀rẹ̀ pẹ̀lú ìpínkà Ìjọba Róòmù àtijọ́ sí àwọn ìpín mẹ́wàá rẹ̀, èyí tí, nínú àwọn ìpè mẹ́rin àkọ́kọ́, a ti ní àpèjúwe rẹ̀.” 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 ṣàfihàn pé àwọn ipè mẹ́rin àkọ́kọ́ jẹ́ ìdájọ́ Ọlọ́run lórí Róòmù kèfèrí. Ó tọ́ka sí ẹsẹ̀ keje, tí ó fi àwọn àbùdá àsọtẹ́lẹ̀ ti ipè àkọ́kọ́ hàn, lẹ́yìn náà ó sì fi ìmúṣẹ rẹ̀ nínú ìtàn hàn.

“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.

“Ìdájọ́ àkọ́kọ́ tí ó burú tí ó sì le gan-an, tí ó ṣubú lórí Róòmù Ìwọ̀-Oòrùn nínú ìrìnàjò ìsọdòkalẹ̀ rẹ̀, ni ogun pẹ̀lú àwọn Gọ́tì lábẹ́ Alaric, ẹni tí ó ṣí ọ̀nà sílẹ̀ fún àwọn ìwọ̀lú tí ó tẹ̀ lé e. Ikú Theodosius, ọba-ọba Róòmù, ṣẹlẹ̀ ní oṣù January, 395, àti kí òpin ìgbà òtútù tó dé, àwọn Gọ́tì lábẹ́ Alaric ti dìde sí ogun lòdì sí ìjọba náà.

“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.

“Ìkọlù àkọ́kọ́ lábẹ́ Alaric ba Thrace, Macedonia, Attica, àti Peloponnesus jẹ gidigidi, ṣùgbọ́n kò dé ìlú Róòmù. Ní ìkọlù kejì rẹ̀, síbẹ̀, olórí àwọn Goth kọjá Alps àti Apennines, ó sì fara hàn níwájú ògiri ‘ìlú àìnípẹ̀kun,’ èyí tí kò pẹ́ di ohun ìjẹ àwọn aláìlọ́là jẹ nípasẹ̀ ìbínú wọn.

“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.

“Ìró ìpè àkọ́kọ́ ní ipò àkókò rẹ̀ ní ìbẹ̀rẹ̀ ìparí ọ̀rúndún kẹrin àti síwájú, ó sì tọ́ka sí àwọn ìkọlù apanirun wọ̀nyí sí ìjọba Romu lábẹ́ àwọn 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 mọ̀ Alaric gẹ́gẹ́ bí àmì ìdájọ́ Ọlọ́run lórí Romu abọ̀rìṣà, èyí tí a ṣàfihàn nípasẹ̀ ìpè àkọ́kọ́. Ọ̀kọ̀ọ̀kan àwọn ìpè náà ní ènìyàn ìtàn kan tí ó ṣojú fún ìpè náà; Alaric ṣojú fún dídé ìpè àkọ́kọ́ láti ìkẹyìn ọ̀rúndún kẹrin. Miller kò lè ti rí i pé a mú ìpè yìí wá sórí Romu nítorí fífi òfin Ọjọ́-Àìkú lélẹ̀, nítorí Miller jẹ́ olùpa Ọjọ́-Àìkú. Smith náà pàdánù òtítọ́ yìí, ṣùgbọ́n Smith mọ̀ pé òfin Ọjọ́-Àìkú àkọ́kọ́ tí a fi agbára múlẹ̀ ni Constantine dá sílẹ̀ ní ọdún 321. Òfin ìlànà àsọtẹ́lẹ̀ tí ó ní í ṣe pẹ̀lú fífi òfin Ọjọ́-Àìkú lélẹ̀ jẹ́ ohun kan náà ní gbogbo ìgbà, nítorí Ọlọ́run kì í yí padà láé, òfin náà sì ni pé “ìpẹ̀yà orílẹ̀-èdè sí Ọlọ́run ni ìparun orílẹ̀-èdè máa ń tẹ̀ lé.” Alaric ṣojú fún ìbẹ̀rẹ̀ ìparun orílẹ̀-èdè, èyí tí ó bẹ̀rẹ̀ gan-an ní àkókò kan náà tí Constantine ti ṣe òfin Ọjọ́-Àìkú àkọ́kọ́ náà.

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

Smith tún ń bá a lọ nípa mímú ẹsẹ̀ kẹjọ wá, èyí tí ó ṣàfihàn ipè kejì, lẹ́yìn náà ó sì tẹ̀síwájú nínú àlàyé rẹ̀ pé:

“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.

“Ìjọba Róòmù, lẹ́yìn Kọ́ńsítáńtínù, ni a pín sí apá mẹ́ta; nítorí náà ni ọ̀rọ̀ tí a máa ń sọ léraléra pé, ‘ìdámẹ́ta àwọn ènìyàn,’ àti bẹ́ẹ̀ bẹ́ẹ̀ lọ, gẹ́gẹ́ bí ìtọ́kasí sí ìdámẹ́ta ìjọba náà tí ó wà lábẹ́ ìnàkùnà. Ìpín yìí ti ìjọba Róòmù ni a ṣe nígbà ikú Kọ́ńsítáńtínù, láàárín àwọn ọmọkùnrin rẹ̀ mẹ́ta, Kọ́ńsítánsíọ̀sì, Kọ́ńsítáńtínù Kejì, àti Kọ́ńsítánsì. Kọ́ńsítánsíọ̀sì ní apá Ìlà Oòrùn, ó sì fi ibùgbé rẹ̀ múlẹ̀ ní Kọ́ńsítántínópù, olú-ìlú ìjọba náà. Kọ́ńsítáńtínù Kejì di Bíríténì, Gọ́ọ̀lù, àti Sípéènì mú. Kọ́ńsítánsì di Ilíríkùmù, Áfíríkà, àti Ítálì mú. (Wo Ìtàn Ìjọ ti Sabine, ojú-ìwé 155.) Nípa òtítọ́ ìtàn yìí tí a mọ̀ dáadáa, Elliott, gẹ́gẹ́ bí Albert Barnes ti tọ́ka sí i nínú àkíyèsí rẹ̀ lórí Rev.12:4, sọ pé: ‘Ní ó kéré tán lẹ́ẹ̀mejì, kí ìjọba Róòmù tó di pípa pín pátápátá sí apá méjì, ti Ìlà Oòrùn àti ti Ìwọ̀ Oòrùn, ìpín apá mẹ́ta kan ti ìjọba náà ti wà. Àkọ́kọ́ ṣẹlẹ̀ ní A.D. 311, nígbà tí a pín un láàárín Kọ́ńsítáńtínù, Licinius, àti Maximin; èkejì sì jẹ́ ní A.D. 337, nígbà ikú Kọ́ńsítáńtínù, láàárín Kọ́ńsítánsì àti Kọ́ńsítánsíọ̀sì.’” 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.

Ìṣẹ̀lẹ̀ ìtàn nípa bí a ṣe pín Róòmù sí apá mẹ́ta, àti pẹ̀lú sí apá méjì gẹ́gẹ́ bí àwọn akọ̀wé-ìtàn tí Smith tọ́ka sí ti sọ, ni àwọn àkópọ̀ ìpìlẹ̀ Róòmù tí ń fi ìṣọ̀kan mẹ́ta ti Róòmù Òde-Òní hàn, èyí tí ó dá ìtòlẹ́sẹẹsẹ̀ kan sílẹ̀ tí a pín sí méjì, tí ó dúró fún ìdapọ̀ ìjọ àti ìpínlẹ̀. Nígbà tí Smith bá sì tẹ̀síwájú, ó tún mọ ẹni-ìtàn tí ó ní ìbáṣepọ̀ pẹ̀lú ìpè kejì náà.

“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. . ..

“Itan tí ń fi ìlù kejì hàn gbangba ní ìbáṣepọ̀ pẹ̀lú ìkọlù àti ìṣẹ́gun Áfíríkà, àti lẹ́yìn náà ti Ítálì, ní ọwọ́ Genseric ẹlẹ́rùjẹ̀jẹ̀ náà. Àwọn ìṣẹ́gun rẹ̀ jẹ́ ní ọ̀pọ̀ ìgbà ti ÒKUN; àwọn ìṣẹ́gun àṣeyọrí rẹ̀ sì dà bíi “òkè ńlá kan tí ń jó pẹ̀lú iná, tí a sọ sínú òkun.” Àwòrán wo ni yóò sàn ju èyí lọ, tàbí tí yóò tilẹ̀ bá a dọ́gba, láti ṣàfihàn ìfarakànra àwọn ọkọ̀-ogun ojú omi, àti ìparun gbogbogbò ti ogun lórí àwọn etíkun ojú omi? Ní ṣíṣe àlàyé ìlù yìí, a gbọ́dọ̀ wá àwọn ìṣẹ̀lẹ̀ kan tí yóò ní ìtọ́ka pàtàkì sí ayé ọjà àti òwò. Àmì tí a lò náà, ní ìbámu pẹ̀lú ìwà rẹ̀, ń darí wa láti retí rudurù àti ìdàrúdàpọ̀. Kò sí ohun mìíràn bí kò ṣe ogun líle lórí òkun ni yóò mú àsọtẹ́lẹ̀ náà ṣẹ. Bí fífọn àwọn ìlù mẹ́rin àkọ́kọ́ bá ní ìbáṣepọ̀ pẹ̀lú àwọn ìṣẹ̀lẹ̀ àgbàyanu mẹ́rin tí wọ́n ṣe àfikún sí ìṣubú ìjọba Róòmù, tí ìlù kìnní sì ń tọ́ka sí ìparun tí àwọn Goths ṣe lábẹ́ Alaric, ní èyí a máa retí, ní ìbámu pẹ̀lú ìṣedá, ìṣe ìkọlù tí ó tẹ̀ lé e lẹ́yìn náà, èyí tí ó mì agbára Róòmù tí ó sì ràn án lọ́wọ́ sí ìṣubú rẹ̀. Ìkọlù ńlá tí ó tẹ̀ lé e ni ti “Genseric ẹlẹ́rùjẹ̀jẹ̀ náà,” ní ipò olórí àwọn Vandals. Ọ̀nà ìgbésí-ayé ogun rẹ̀ ṣẹlẹ̀ láàárín ọdún A.D. 428–468. Olórí Vandal ńlá yìí ní ibùdó àṣẹ rẹ̀ ní Áfíríkà....”

“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.

“Ní ti ipa pàtàkì tí ajinigbé òkun alágboyà yìí kó nínú ìṣubú Romu, Ọ̀gbẹ́ni Gibbon lo ọ̀rọ̀ tó ní ìtumọ̀ jinlẹ̀ yìí pé: ‘Genseric, orúkọ kan tí, nínú ìparun ìjọba Romu, ti yẹ fún ipò kan náà pẹ̀lú àwọn orúkọ Alaric àti 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, nígbà tí ó ń yọ ọ̀rọ̀ láti ọ̀dọ̀ òpìtàn náà Gibbon, ẹni tí ó tọ́ka sí àwọn ààmì ìtàn ti fèrè mẹ́ta àkọ́kọ́, ṣàfihàn pé Genseric ni fèrè kejì, lẹ́yìn náà ó sì sọ pé Genseric, “tọ́ sí ipò kan náà pẹ̀lú Alaric àti Attila.” Alaric ni fèrè àkọ́kọ́, Genseric ni ekejì, Attila ọmọ Hun sì ni fèrè kẹta, èyí tí a tọ́ka sí nínú ẹsẹ̀ kẹwàá. Smith tọ́ka sí i pé fèrè kejì, tí Genseric ṣojú fún, ṣojú fún ìtàn “428-468.” Lẹ́yìn náà Smith yọ ẹsẹ̀ kẹwàá, èyí tí ó fi dá fèrè kẹta mọ̀, ó sì tẹ̀síwájú nínú ìtàn rẹ̀ pé:

“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.

“Nínú ìtumọ̀ àti ìlò ọ̀rọ̀ yìí, a mú wa dé sí ìṣẹ̀lẹ̀ pàtàkì kẹta tí ó yọrí sí ìparun ìjọba Romu. Ní ti wíwá ìmúṣẹ ìtàn kan fún fèrè kẹta yìí, a ó sì jẹ gbèsè sí Àwọn Àkíyèsí ti Dókítà Albert Barnes fún díẹ̀ nínú àwọn àyọkúrò. Nínú ṣíṣe àlàyé Ìwé Mímọ́ yìí, ó jẹ dandan, gẹ́gẹ́ bí akọ̀ọ́lẹ̀ yìí ṣe sọ, pé, ‘Kí olórí kan tàbí jagunjagun kan wà tí a lè fi wé òjò iná tí ń jóná; ẹni tí ipa ọ̀nà rẹ̀ yóò jẹ́ ti ìmọ́lẹ̀ àrà ọ̀tọ̀ gidigidi; ẹni tí yóò fara hàn lójijì BÍ ìràwọ̀ tí ń jóná, lẹ́yìn náà yóò sì pòórá bí ìràwọ̀ kan tí a pa ìmọ́lẹ̀ rẹ̀ nínú omi.’— Àwọn Àkíyèsí lórí Ìfihàn 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. . ..

“A ti gbé kalẹ̀ nínú rẹ̀ pé fèrè yìí ní ìtọ́kasí sí àwọn ogun ìparun àti àwọn ìkógun ìbínú ti Attila sí agbára Romu, èyí tí ó jagun rẹ̀ ní olórí àwọn ogunlọ́gọ̀ ọmọ Huns rẹ̀....”

“‘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.

“‘Orúkọ Ìràwọ̀ náà sì ni a ń pè ní Wormwood [tí ó ń tọ́ka sí àwọn àbájáde kíkórò].’ Àwọn ọ̀rọ̀ wọ̀nyí—tí ó ní ìbáṣepọ̀ tímọ́tímọ́ jùlọ pẹ̀lú ẹsẹ̀ tó ṣáájú rẹ̀, gẹ́gẹ́ bí àfihàn ìdákọ̀ró-ọ̀rọ̀ nínú àtúnṣe wa ti fi hàn—mú wa rántí fún ìṣẹ́jú kan nípa ìwà Attila, nípa ìpọ́njú tí òun ni olùdásílẹ̀ tàbí irinṣẹ́ rẹ̀, àti nípa ìbẹ̀rù tí orúkọ rẹ̀ mú wá.”

“‘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.

“‘Ìparun pátápátá àti pípaarẹ́ pátápátá,’ ni àwọn ọ̀rọ̀ tí ó dára jùlọ láti ṣàfihàn àwọn àjálù tí ó fà wá.” Ó pe ara rẹ̀ ní, “‘Okùn ìnà Ọlọ́run.’” 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.

Ìtàn ìpè kẹta, tí Attila ará Hun dúró fún, bẹ̀rẹ̀ ní ọdún 441 títí di ikú rẹ̀ ní ọdún 453. Lẹ́yìn náà Smith fa ọ̀rọ̀ láti inú ẹsẹ̀ kejìlá, èyí tí ó gbé ìpè kẹrin kalẹ̀ tí ó sì ṣàpèjúwe ọba aláìlékọ Barbarian náà, Odoacer, níbi tí àpẹẹrẹ mẹ́tẹ̀ẹ̀ta ti Róòmù Ìwọ̀-Oòrùn ti jẹ́ aṣojú nípasẹ̀ oòrùn, òṣùpá, àti àwọn ìràwọ̀. Ó fi àwọn àmì mẹ́ta náà hàn gẹ́gẹ́ bí àwọn àmì “oòrùn, òṣùpá, àti àwọn ìràwọ̀—nítorí láìsí àní-àní a lò wọ́n níbí gẹ́gẹ́ bí àwọn àmì—ní gbangba ni wọ́n ń tọ́ka sí àwọn ìmọ́lẹ̀ ńlá ìjọba Róòmù,—àwọn ọba-ọba rẹ̀, àwọn sénétọ̀ rẹ̀, àti àwọn kónsùlù rẹ̀. Bishop Newton sọ pé ọba-ọba ìkẹyìn ti Róòmù Ìwọ̀-Oòrùn ni Romulus, ẹni tí a fi ẹ̀yà pè ní Augustulus, tàbí “Augustus kékeré.” Róòmù Ìwọ̀-Oòrùn ṣubú ní A.D. 476. Síbẹ̀síbẹ̀, bí ó tilẹ̀ jẹ́ pé oòrùn Róòmù ti pa, àwọn ìmọ́lẹ̀ abẹ́ rẹ̀ ṣì ń tàn ní kíkù díẹ̀ nígbà tí ilé asòfin àti àwọn kónsùlù ṣi ń bá a lọ. Ṣùgbọ́n lẹ́yìn ọ̀pọ̀ ìpadàsẹ́yìn ìlú àti àwọn ìyípadà nínú oríire ìṣèlú, ní ìkẹyìn, ní A.D. 566, gbogbo ìrísí ìjọba àtijọ́ náà ni a yí padà pátápátá, a sì rẹ Róòmù fúnra rẹ̀ sílẹ̀ láti ipò jíjẹ́ ayaba ayé di dukedom talaka kan tí ń san owó orí fún Exarch ti 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.

Níhìn-ín ni a tún rí ẹlẹ́rìí mìíràn sí pínpín Rome ní apá mẹ́ta, èyí tí ó ṣàpẹẹrẹ ìṣọ̀kan Rome òde-òní ní apá mẹ́ta. Pẹ̀lú Rome ìlà-oòrùn àti ọba Constantine, pínpín ní apá mẹ́ta náà ni a ṣàfihàn nípasẹ̀ àwọn ọmọkùnrin rẹ̀ mẹ́ta, ṣùgbọ́n pẹ̀lú Rome ìwọ̀-oòrùn, ó jẹ́ nípasẹ̀ irú ìjọba wọn ní apá mẹ́ta. Nígbà náà ni Smith fi hàn pé oòrùn, òṣùpá, àti àwọn ìràwọ̀ dúró fún àtòlẹ́sẹẹsẹ kan pàtó nínú èyí tí a fi mú Rome ìwọ̀-oòrùn ṣubú. Ó sì parí àlàyé rẹ̀ pẹ̀lú ìfihàn wọ̀nyí ti àwọn ìpè mẹ́ta ìkẹyìn.

“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.

“Bí ó tilẹ̀ jẹ́ pé ẹ̀rù ni àwọn àjálù tí ìkọlù àkọ́kọ́ àwọn aláìlójú wọ̀nyí mú wá sórí ìjọba náà, síbẹ̀ wọ́n fẹ́rẹ̀ jẹ́ ohun kékeré ní ìfiwéra pẹ̀lú àwọn àjálù tí yóò tẹ̀ lé e. Wọ́n dà bí àkọ́kọ́ ọ̀ṣẹ̀ọ̀ṣẹ̀ òjò ṣáájú ìṣàn-omi líle tí yóò ṣubú láìpẹ́ sórí ayé Romu. Òrùka mẹ́ta tí ó kù ni a ti fi àwọsánmà ìbànújẹ bo, gẹ́gẹ́ bí a ti fi hàn nínú àwọn ẹsẹ̀ tí ó tẹ̀ lé e.”

“‘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.’

“‘ẸSẸ 13. Mo sì wò, mo sì gbọ́ angẹli kan tí ń fò láàrín ọ̀run, tí ń fi ohùn ńlá wí pé, Ègbé, ègbé, ègbé ni fún àwọn olùgbé ayé, nítorí àwọn ohùn ìyókù ti ipè àwọn angẹli mẹ́ta náà, tí kò tíì dún.’”

“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.

“Angẹli yìí kì í ṣe ọ̀kan nínú àtòkọ àwọn angẹli ipè méje náà, bí kò ṣe angẹli kan ṣoṣo tí ó ń kéde pé àwọn ipè mẹ́ta tí ó kù jẹ́ ipè ìbànújẹ, nítorí àwọn ìṣẹ̀lẹ̀ tí ó burú jùlọ tí yóò ṣẹlẹ̀ nígbà ìró wọn. Ní báyìí, èyí tí ó tẹ̀lé, tàbí ipè karùn-ún, ni ìbànújẹ àkọ́kọ́; ipè kẹfà, ìbànújẹ kejì; àti ipè keje, èyí tí ó jẹ́ ẹni ìkẹyìn nínú àtòkọ ipè méje yìí, ni ìbànújẹ kẹta.” Uriah Smith, Daniel and Revelation, 493.

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

A ó tẹ̀síwájú pẹ̀lú àwọn Ègbé ipè mẹ́ta náà nínú àpilẹ̀kọ tó kàn.

“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.

“Àwọn àjálù ti Róòmù ọba-àṣẹ, nínú ìṣubú rẹ̀, ni a sọ títí dé ìkẹyìn wọn pátápátá, títí Róòmù fi wà láìní ọba-ọba, tàbí kọ́ńsùlù, tàbí sẹ́nẹ́ẹ̀tì. ‘Lábẹ́ àwọn Exarchs ti Ravenna, a rẹ Róòmù sí ipò kejì.’ A sì lù ìdá mẹ́ta oòrùn, àti ìdá mẹ́ta òṣùpá, àti ìdá mẹ́ta àwọn ìràwọ̀. Irú-ọmọ àwọn Késárì kò parun pẹ̀lú àwọn ọba-ọba ìwọ̀-oòrùn. Róòmù, kí ó tó ṣubú, ní apá kan ṣoṣo nínú agbára ọba-àṣẹ náà. Constantinople pín pẹ̀lú rẹ̀ nípa ìjọba ayé. Kì í ṣe àwọn Goths tàbí àwọn Vandals ni wọ́n ṣe olúwa lórí ìlú náà tí ó ṣì jẹ́ ìlú ọba-àṣẹ, ẹni tí ọba-ọba rẹ̀, lẹ́yìn ìgbékalẹ̀ àkọ́kọ́ ti ibùdó ìjọba nípasẹ̀ Constantine, sábà máa ń di ọba-ọba Róòmù mú gẹ́gẹ́ bí ẹni tí òun yàn àti aṣojú-ìṣàkóso rẹ̀. A sì pa ayànmọ́ Constantinople mọ́ sílẹ̀ fún àwọn àkókò mìíràn, àwọn fèrè mìíràn sì ni wọ́n fi kéde rẹ̀. Nínú oòrùn, àti òṣùpá, àti àwọn ìràwọ̀, ìdá mẹ́ta nìkan ni a ti lù títí di àsìkò yẹn.”

“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.

“Àwọn ọ̀rọ̀ ìparí Ipè Kẹrin ń tọ́ka sí ìmúpadàbọ̀sípò Ìjọba Ìwọ̀-Oòrùn ní ọjọ́ iwájú pé: ‘Ìmọ́lẹ̀ ọ̀sán kò ràn fún ìdá mẹ́ta nínú rẹ̀, bẹ́ẹ̀ ni òru náà pẹ̀lú.’ Ní ti ọlá-àṣẹ ìjọba aráyé, Róòmù wá di abẹ́ Ravenna, Ítálì sì jẹ́ agbègbè tí Ìjọba Ìlà-Oòrùn ṣẹ́gun. Ṣùgbọ́n, gẹ́gẹ́ bí ó ti bá àwọn àsọtẹ́lẹ̀ mìíràn mu jù lọ, ààbò ìjọ́sìn àwọn ère ni ó kọ́kọ́ mú agbára ẹ̀mí àti agbára ayé ti póòpù àti ti ọba-ọba wọ ìjà líle; àti pé, nípa fífi gbogbo ọlá-àṣẹ lórí àwọn ìjọ fún póòpù, Justinian fi ọwọ́ ìrànlọ́wọ́ rẹ̀ kún ìgbéga ipò-gíga póòpù, èyí tí ó wá gba agbára láti dá àwọn ọba-ọba kalẹ̀ lẹ́yìn náà. Ní ọdún Olúwa wa 800, póòpù fi oyè Ọba-ọba àwọn ará Róòmù fún Charlemagne.’—Keith. Oyè yẹn tún wá yí padà láti ọba Faranse sí ọba Jámánì. Àti pé ní ọwọ́ Ọba-ọba Francis Kejì, àní àròsọ yìí pàápàá ni a fi sílẹ̀ pátápátá àti títí láé, ní Oṣù Kẹjọ ọjọ́ 6, ọdún 1806.” A. T. Jones, The Great Nations of Today, 54.