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# The Book of Daniel - Number One-Hundred and Eight

Littafin Daniyel — Na Ɗari da Takwas

Unveiling Prophetic Symbolism: A Comprehensive Analysis of the Seven Trumpets in Revelation

Bayyana Alamar Annabci: Cikakken Bincike Kan Ƙahoni Bakwai a Ru’ya ta Yohanna

Author

Jeff Pippenger

Published

February 29, 2024

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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.

An ba William Miller babban haske game da majami’u bakwai, hatimai bakwai da ƙaho bakwai a cikin littafin Ru’ya ta Yohanna. Ya sanya waɗannan alamomin annabci a cikin tsarin manyan ƙarfi biyu masu hallakarwa, wato arna, sannan daga baya papanci. Bai ga kowane hali na annabci na waɗannan alamomi ba, amma abin da ya gani ya kafa fahimtar asali game da tarihin cikin gida da tarihin waje na ikkilisiyar Allah tun daga zamanin manzanni har zuwa ƙarshen duniya. Tarihin cikin gida majami’u ne suka wakilta, kuma tarihin waje na majami’un kuwa hatimai ne suka wakilta. Ya ga cewa ƙahoni alamu ne na hukuncin Allah a kan Roma, wanda ya kasance alamar hukuncin Allah a kan Roma a ƙarshen duniya, ko da yake bai ga cewa Roma a ƙarshen duniya ta ƙunshi tarayya mai ninki uku ba.

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.”

Littafin da Uriah Smith ya rubuta mai take Daniel and Revelation yana ɗauke da wasu ra’ayoyi marasa daidaito, amma Sister White ta bayyana shi a matsayin, “hannun taimakon Allah.” Ta nuna cewa ya kamata a yaɗa shi tare da The Great Controversy, Patriarchs and Prophets, da The Desire of Ages. Ƙaƙƙarfan amincewarta da shi ba ta nufin cewa littafin yana kan irin matakin wahayi ɗaya da littattafanta ba, sai dai cewa littafin yana ɗauke da “babban koyarwa,” kuma ya kasance sanadin “kawo rayuka masu tamani da yawa ga sanin gaskiya.”

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.

Littafin yana amfani da dabarar annabci ta Millerite, tare da ra’ayoyin annabci waɗanda ba a taɓa gani ba kafin 22 ga Oktoba, 1844. Za mu yi nuni da wasu sassa a cikin littafin yayin da muke gabatar da aikace-aikace sau uku na Bala’o’i uku.

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 ya bayyana cewa “ƙahoni bakwai tarihi ne na hukunce-hukunce bakwai na musamman kuma masu tsanani da aka aiko a kan duniya, ko kuma daular Roma.” Ƙahonni huɗu na farko suna wakiltar hukunce-hukuncen da aka kawo a kan Roma arna, kuma ƙaho na biyar da na shida hukuncin Allah ne da aka kawo a kan Roma ta paparoma; amma da Miller bai gane cewa ƙaho na bakwai yana wakiltar hukuncin Allah a kan Roma ta Zamani ba. Da yake magana game da hatimai bakwai da ƙahoni bakwai na Ru’ya ta Yohanna, Uriah Smith ya rubuta:

> “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.

> “Da Ɗan Rago ya karɓi littafin, nan da nan ya ci gaba da buɗe hatiman; aka kuma ja hankalin manzon zuwa ga al’amuran da suke faruwa a ƙarƙashin kowane hatimi. Tuni an lura cewa adadin bakwai, a cikin Nassosi, yana nuni da cikawa da kamala. Saboda haka, hatimai bakwai suna ƙunshe da dukan wani rukuni na al’amura, suna iya kaiwa har zuwa zamanin Constantine; kuma ƙaho bakwai kuma wani jerin al’amura ne daga wancan lokaci zuwa gaba, ba zai iya zama daidai ba. Ƙahoni suna nuni da wani jerin al’amura waɗanda suke faruwa a lokaci ɗaya da al’amuran hatiman, amma suna da hali dabam ƙwarai. Ƙaho alama ce ta yaƙi; saboda haka, ƙahoni suna nuni da manyan rikice-rikicen siyasa da za su faru a tsakanin al’ummai a zamanin bishara. Hatimai kuwa suna nuni da al’amura masu halin addini, kuma suna ɗauke da tarihin ikkilisiya tun daga buɗewar zamanin Kiristanci har zuwa zuwan Almasihu.” 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:

Ƙaho alama ce ta yaƙi da hargitsin siyasa. Da yake magana game da aya ta biyu ta sura ta takwas ta Ru’ya ta Yohanna, Smith ya ce:

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

> “‘AYA TA 2. Sai na ga mala’iku bakwai waɗanda suke tsaye a gaban Allah; aka kuma ba su ƙaho bakwai.’”

> “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.

> “Wannan aya tana gabatar da wani sabon jerin abubuwa na daban. A cikin hatimai mun ga tarihin ikilisiya a lokacin abin da ake kira zamanin bishara. A cikin ƙaho bakwai, waɗanda yanzu ake gabatarwa, muna da manyan abubuwan siyasa da na yaƙi waɗanda za su faru a cikin wannan lokaci ɗaya.” 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.

An buɗe hatimi na bakwai a cikin ayoyi shida na farko na Ru’ya ta Yohanna sura ta takwas, kuma a bayan fagen buɗe hatimi na bakwai, mala’iku bakwai masu ƙaho bakwai sun shirya su busa.

> 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.

> Kuma sa’ad da ya buɗe hatimi na bakwai, sai aka yi shiru a sama kamar tsawon rabin sa’a. Sai na ga mala’iku bakwai waɗanda suka tsaya a gaban Allah; aka kuma ba su ƙaho bakwai. Sai wani mala’ika kuma ya zo ya tsaya a bagade, yana riƙe da maƙera ta zinariya; aka kuma ba shi turare mai yawa, domin ya miƙa shi tare da addu’o’in dukan tsarkaka a kan bagaden zinariya wanda yake a gaban kursiyin. Sai hayaƙin turaren, wanda ya zo tare da addu’o’in tsarkaka, ya hau sama a gaban Allah daga hannun mala’ikan. Sai mala’ikan ya ɗauki maƙerar, ya cika ta da wuta daga bagaden, ya jefa ta cikin duniya; sai aka ji muryoyi, da tsawa, da walƙiya, da girgizar ƙasa. Sai mala’iku bakwai waɗanda suke da ƙaho bakwai suka shirya kansu domin su busa. Ru’ya ta Yohanna 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.

Akwai wani saɓanin annabci da muka kasance muna gano shi a cikin maƙaloli na baya, amma har yanzu ba mu kai ga takamaiman bayani a kan wannan al’amari na annabci na musamman ba. Wannan saɓanin shi ne, alamu da suke wakiltar jerin matakan tarihi na annabci, ana haɗa su duka wuri guda a ƙarshen tarihin da suke wakilta. Mun nuna cewa tsararraki huɗu na Adventism na Laodicea waɗanda abubuwan ƙyama huɗu na Ezekiel sura ta takwas suke wakilta, sun nuna takamaiman matakan tarihi; amma kowannensu, a matsayin gwaji, yana maimaituwa a cikin tarihin hatimtar mutum dubu ɗari da arba’in da huɗu. Ana kuma samun wannan saɓani a cikin ƙaho bakwai, domin ko da yake suna wakiltar takamaiman hukunce-hukunce a kan Roma ta arna, ta papacy, da kuma ta zamani, dukansu suna sake haɗuwa tare sa’ad da zartarwar hukunci a kan Roma ta zamani ta fara a dokar Lahadi mai zuwa nan ba da daɗewa ba.

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.

Ƙahonin bakwai suna da takamaiman kwanaki da aka cika su a dā, amma Sister White kuma ta ɗora mala’iku bakwai masu ƙahoni bakwai a Ru’ya ta Yohanna sura ta takwas cikin tarihin dokar Lahadi mai zuwa nan ba da daɗewa ba.

> “‘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.

> “‘Kuma sa’ad da ya buɗe hatimi na biyar, na ga a ƙarƙashin bagade rayukan waɗanda aka kashe saboda maganar Allah, da kuma saboda shaidar da suka riƙe; suka kuma yi kira da babbar murya, suna cewa, Har yaushe ne, ya Ubangiji, Mai tsarki mai gaskiya, ba za ka yi hukunci ba, ka kuma ɗauki fansar jininmu a kan mazaunan duniya? Aka kuma ba kowane ɗayansu fararen riguna [An ayyana su masu tsarki kuma masu tsabta]; aka kuma faɗa musu cewa, su huta tukuna na ɗan lokaci kaɗan, har sai takwarorinsu bayi kuma ’yan’uwansu, waɗanda za a kashe kamar yadda aka kashe su, sun cika’ [Ru’ya ta Yohanna 6:9–11]. A nan an nuna wa Yohanna al’amura waɗanda ba su kasance a zahiri ba, sai dai waɗanda za su kasance a wani zamani a nan gaba.

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

> “Ru’ya ta Yohanna 8:1–4 da aka nakalto.” Manuscript Releases, juzu’i na 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.

A cikin sakin da ya gabata, Sister White ta danganta tattaunawar da cikar hatimi na biyar ga lokacin da mala’iku bakwai suke shirin busa ƙaho a babi na takwas, amma ta kuma sanya irin wannan wakilci a cikin tarihin muryoyi biyu na Ru’ya ta Yohanna babi na goma sha takwas.

> “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.

> “Sa’ad da aka buɗe hatimi na biyar, Yohanna mai bayyana wahayi ya ga cikin wahayi a ƙarƙashin bagade taron waɗanda aka kashe saboda Maganar Allah da kuma shaidar Yesu Almasihu. Bayan wannan kuma sai abubuwan da aka kwatanta a cikin sura ta goma sha takwas ta Ru’ya ta Yohanna suka biyo baya, sa’ad da ake kiran waɗanda suke masu aminci da gaskiya su fito daga Babila. [An kawo Ru’ya ta Yohanna 18:1–5.]” Manuscript Releases, juzu’i na 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.

Ƙahoni bakwai suna wakiltar hukuncin Allah a cikin tarihin Roma ta arna, ta papacy, da ta zamani, amma kuma an wakilta su a cikin tarihin 11 ga Satumba, 2001, da murya ta biyu ta dokar Lahadi mai zuwa nan ba da daɗewa ba. Bayan ya yi magana a kan ayoyi shida na farko na Ru’ya ta Yohanna sura ta takwas, Uriah Smith ya fara gabatar da cikar tarihi na ƙahonin farko huɗu.

> “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.

> “A nan an ci gaba da batun ƙahoni bakwai, kuma ya mamaye ragowar wannan sura da kuma dukan sura ta 9. Mala’iku bakwai suka shirya kansu domin su busa. Busawarsu ta zo a matsayin cika ga annabcin Daniyel 2 da 7, tana farawa da tarwatsewar tsohuwar daular Roma zuwa kashi goma na rarrabuwarta, waɗanda, a cikin ƙahoni huɗu na farko, muka samu bayaninsu.” 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 ya bayyana cewa ƙahoni huɗu na farko hukuncin Allah ne a kan Romawa arna. Ya kawo nassi na aya ta bakwai wanda ya bayyana siffofin annabci na ƙaho na fari, sa’an nan kuma ya nuna cikar sa a tarihin duniya.

> “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.

> “Hukunci na farko mai tsanani da nauyi wanda ya sauko a kan Roma ta Yamma a cikin gangarowarta, shi ne yaƙin da aka yi da Goths ƙarƙashin Alaric, wanda ya buɗe hanya ga hare-haren kutse na gaba. Mutuwar Theodosius, sarkin Roma, ta faru a watan Janairu, 395, kuma kafin ƙarshen lokacin sanyi Goths ƙarƙashin Alaric sun ɗauki makamai gāba da daular.”

> “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.

> “Harin farko a ƙarƙashin Alaric ya lalata Thrace, Macedonia, Attica, da Peloponnesus, amma bai kai ga birnin Roma ba. Sai dai a harinsa na biyu, shugaban Goth ya haye Alps da Apennines, ya kuma bayyana a gaban katangar ‘birni madawwami,’ wanda ba da daɗewa ba ya faɗa ganima ga fushin baragurbi.”

> “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.

> “Sautin busar farko yana da matsayinsa kusa da ƙarshen ƙarni na huɗu da kuma gaba, kuma yana nufin waɗannan mamayewa masu hallakarwa na Daular Roma a ƙarƙashin Goths.” Uriah Smith, Daniel and Revelation, 478.

Smith identifies Alaric as the symbol of God’s judgment upon pagan Rome represented by the first trumpet. Each of the trumpets have a historical figure that represents the trumpet, Alaric represents the arrival of the first trumpet from the end of the fourth century. Miller could not have seen that this trumpet was brought upon Rome because of Sunday enforcement, for Miller was a Sunday keeper. Smith missed this fact also, but Smith did recognize that the first enforced Sunday law was instituted by Constantine in the year 321. The prophetic rule of thumb associated with Sunday enforcement is always the same, for God never changes, and that rule is that “national apostasy is followed by national ruin”. Alaric represents the beginning of national ruin which began in the very period that Constantine passed the first Sunday law.

Smith ya bayyana Alaric a matsayin alamar hukuncin Allah a kan Roma arni, wadda ƙararrawa ta fari ke wakilta. Kowace ƙararrawa tana da wani mutum a tarihi da ke wakiltar ta; Alaric yana wakiltar isowar ƙararrawa ta fari daga ƙarshen ƙarni na huɗu. Miller ba zai iya ganin cewa an kawo wannan ƙararrawa a kan Roma ba saboda tilasta kiyaye Lahadi, domin Miller mai kiyaye Lahadi ne. Smith ma ya rasa wannan hujja, amma Smith ya fahimci cewa dokar farko ta tilasta kiyaye Lahadi Constantine ne ya kafa a shekara ta 321. Ƙa’idar annabci ta yatsa da ke da alaƙa da tilasta kiyaye Lahadi kullum iri ɗaya ce, gama Allah ba ya canzawa, kuma wannan ƙa’ida ita ce, “ridda ta ƙasa tana biye da halakar ƙasa.” Alaric yana wakiltar farkon halakar ƙasa wadda ta fara a daidai wannan lokaci da Constantine ya zartar da dokar Lahadi ta farko.

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

Smith ya ci gaba da yin ƙaulin aya ta takwas, wadda ta bayyana ƙaho na biyu, sa’an nan ya ci gaba da sharhinsa:

> “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.

> “Daular Roma, bayan Constantine, an raba ta kashi uku; sabili da haka ake yawan ambaton, ‘kashi na uku na mutane,’ da sauransu, a matsayin nuni ga kashi na uku na daular da take ƙarƙashin bulalar azaba. An yi wannan rarrabuwar mulkin Roma ne bayan mutuwar Constantine, a tsakanin ’ya’yansa uku, wato Constantius, Constantine II, da Constans. Constantius ya mallaki Gabas, ya kuma kafa mazauninsa a Constantinople, babban birnin daular. Constantine na Biyu ya riƙe Britain, Gaul, da Spain. Constans ya riƙe Illyricum, Afirka, da Italiya. (Duba Ecclesiastical History na Sabine, shafi na 155.) Game da wannan sanannen gaskiyar tarihi, Elliott, kamar yadda Albert Barnes ya kawo maganarsa a cikin bayanansa kan Rev.12:4, ya ce: ‘Aƙalla sau biyu, kafin a raba daular Roma har abada zuwa kashi biyu, wato Gabas da Yamma, an yi rarrabuwar daular kashi uku. Ta fari ta faru a A.D. 311, sa’ad da aka raba ta tsakanin Constantine, Licinius, da Maximin; ɗaya kuma a A.D. 337, bayan mutuwar Constantine, tsakanin Constans da 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.

Abin da ya faru a tarihi na Ruma ta kasu kashi uku, da kuma kashi biyu, wanda masana tarihi da Smith ya kawo magana a kansa suke nufi, su ne ɓangarorin Ruma waɗanda suke bayyana haɗin kai mai ninki uku na Ruma ta Zamani, wanda ya ƙunshi tsari ne da ya kasu gida biyu, yana wakiltar haɗuwar coci da ƙasa. Sa’ad da Smith ya ci gaba, sai ya gano mutumin tarihi da ke da alaƙa da ƙaho na biyu.

> “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. . ..

> “Tarihin da ke misalta busar ƙaho na biyu a fili yana nufin mamaya da cin Afirka, sannan daga baya na Italiya, ta hannun mugun nan Genseric. Nasarorinsa mafi yawansu na TEKU ne; kuma nasarorinsa sun kasance “kamar wani babban dutse mai ci da wuta, da aka jefa cikin teku.” Wace siffa ce za ta fi dacewa, ko ma ta kai wannan, wajen misalta arangamar rundunonin jiragen ruwa, da kuma irin mummunar ɓarna ta yaƙi a bakin gabar teku? A wajen fassara wannan ƙaho, ya kamata mu nemi wasu abubuwa da za su shafi duniyar kasuwanci ta musamman. Alamar da aka yi amfani da ita a zahiri tana kai mu ga tsammanin tashin hankali da hargitsi. Babu abin da zai cika wannan annabci sai tsananin yaƙin teku. Idan busar ƙahoni huɗu na farko tana da alaƙa da manyan abubuwa huɗu fitattu waɗanda suka taimaka wajen rugujewar Daular Roma, kuma ƙaho na farko yana nuni da ɓarnar Goths a ƙarƙashin Alaric, to a nan a zahiri muna sa ran mataki na gaba na mamaya wanda ya girgiza ikon Roma ya kuma taimaka ga faɗuwarta. Babban mamaya na gaba shi ne na “mugun nan Genseric,” a kan jagorancin Vandals. Aikinsa ya faru a cikin shekarun A.D. 428–468. Wannan babban shugaban Vandal ya kafa hedkwatarsa a Afirka....”

> “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.

> “Game da muhimmiyar rawar da wannan ɗan fashin teku mai jaruntaka ya taka a rushewar Roma, Mista Gibbon ya yi amfani da wannan magana mai muhimmanci: ‘Genseric, suna wanda, a cikin halakar daular Roma, ya cancanci matsayi daidai da sunayen Alaric da 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, yayin da yake kawo maganar masanin tarihi Gibbon, wanda ya nuna alamomin tarihi na ƙaho uku na farko, ya bayyana cewa Genseric shi ne ƙaho na biyu, sa’an nan ya ce Genseric, “ya cancanci matsayi daidai da na Alaric da Attila.” Alaric shi ne ƙaho na farko, Genseric na biyu, Attila Bahunne kuma shi ne ƙaho na uku, wanda aka yi magana a kansa a aya ta goma. Smith ya nuna cewa ƙaho na biyu, wanda Genseric yake wakilta, ya wakilci tarihin “428-468.” Sa’an nan Smith ya kawo aya ta goma, wadda ta bayyana ƙaho na uku, ya kuma ci gaba da labarinsa:

> “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.

> “A cikin fassara da kuma aiwatar da wannan nassi, ana kai mu ga muhimmin abu na uku wanda ya haifar da rushewar Daular Roma. Kuma wajen samun cikar wannan ƙaho na uku a cikin tarihi, za mu ci bashi ga Bayanan Dr. Albert Barnes domin wasu ‘yan tsokaci. A wajen bayyana wannan nassi, ya zama dole, kamar yadda wannan mai sharhi ya faɗa, ‘A sami wani shugaba ko jarumi wanda za a iya kwatanta shi da tauraro mai walƙiya da harshen wuta; wanda tafiyarsa za ta kasance da haske mai ban mamaki ta musamman; wanda zai bayyana ba zato ba tsammani KAMAR tauraro mai harshen wuta, sa’an nan kuma ya ɓace kamar tauraron da haskensa ya mutu a cikin ruwaye.’— Bayanan kan Ru’ya ta Yohanna 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 nan an ɗauka a matsayin tubali cewa wannan ƙaho yana nuni ga yaƙe-yaƙen hallaka da hare-haren mamaya masu tsanani na Attila a kan ikon Roma, waɗanda ya gudanar a gaban rundunoninsa na Hunawa....”

> “‘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.

> “‘Kuma Sunan Tauraron ana ce da shi Wormwood [yana nuni da ɗacin sakamakon].’ Waɗannan kalmomi—waɗanda suke da alaƙa mafi kusa da ayar da ta gabata, kamar yadda ko alamar rubutu a fassararmu take nuna—suna mai da mu na ɗan lokaci ga halin Attila, ga baƙin cikin da shi ne ya haddasa ko kuma ya zama hanyar aukuwarsa, da kuma ga tsoron da sunansa ya haifar.

> “‘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.

> “‘Kakabewa gaba ɗaya da kuma shafe- shafe,’ kalmomi ne da suka fi dacewa su bayyana masifun da ya jawo.” Ya kira kansa, “Bulalar 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.

Tarihin ƙaho na uku, wanda Attila ɗan Hun ya wakilta, ya kasance daga shekara ta 441 har zuwa mutuwarsa a shekara ta 453. Sa’an nan Smith ya kawo aya ta goma sha biyu, wadda ta gabatar da ƙaho na huɗu, kuma ta bayyana sarkin barbare Odoacer, inda aka wakilta alamar ninki uku ta Roma ta Yamma da rana, da wata, da taurari. Ya bayyana waɗannan alamomi uku a matsayin alamomin “rana, da wata, da taurari—gama babu shakka an yi amfani da su a nan a matsayin alamomi—kuma a fili suna nufin manyan haskakawa na gwamnatin Roma,—sarakunanta, sanatocinta, da konsulolinta. Bishop Newton ya lura cewa sarkin ƙarshe na Roma ta Yamma shi ne Romulus, wanda cikin izgili aka kira Augustulus, ko kuma ‘ƙaramin Augustus.’ Roma ta Yamma ta faɗi a A.D. 476. Duk da haka, ko da yake an kashe hasken ranan Roma, ƙananan haskakawanta sun ci gaba da haskawa a raunane yayin da sanatoci da konsuloli suka ci gaba. Amma bayan yawan juyin-juya-halin cikin gida da sauye-sauyen sa’ar siyasa, daga ƙarshe, a A.D. 566, aka rushe dukan tsarin tsohuwar gwamnati, kuma ita kanta Roma aka mai da ita daga sarauniyar duniya zuwa ƙaramin dukanci mai biyan haraji ga Exarch na 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.

A nan mun sami wata shaida kuma ga rabe-raben Roma gida uku, wanda ke nuni tun da farko ga haɗuwar Roma ta zamani gida uku. A cikin Roma ta gabas da sarki Constantine, an wakilta wannan rabe-raben gida uku ta wurin ’ya’yansa maza uku, amma a cikin Roma ta yamma kuwa ta hanyar siffofin mulkinsu guda uku ne. Sa’an nan Smith ya bayyana cewa rana, wata, da taurari suna wakiltar wani takamaiman tsari da aka bi wajen kawo fāɗuwar Roma ta yamma. Ya kammala labarinsa da gabatarwa mai zuwa game da ƙaho uku na ƙarshe.

> “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.

> “Ko da yake masifun da kutse na farko na waɗannan barbarawa ya jawo wa daular sun kasance masu ban tsoro, a gwada su da masifun da za su biyo baya, sai a tarar cewa sun fi sauƙi ƙwarai. Sun kasance kamar ɗigon ruwan farko na ruwa kafin ambaliyar da ba da daɗewa ba za ta sauko a kan duniyar Romawa. Ƙahonin ukun da suka rage kuwa, an lulluɓe su da girgijen kaito, kamar yadda aka bayyana a ayoyi masu biye.”

> “‘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.’

> “‘AYA TA 13. Sai na duba, na kuma ji wani mala’ika yana tashi a tsakiyar sararin sama, yana faɗa da babbar murya, Kaito, kaito, kaito ga mazaunan duniya saboda sauran sautunan ƙahonin mala’ikun nan uku, waɗanda har yanzu ba su busa ba.’

> “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.

> “Wannan mala’ikan ba ɗaya ba ne daga cikin jerin mala’ikun ƙaho bakwai, sai dai kawai wanda yake shelar cewa ƙahoni uku da suka rage ƙahoni ne na kaito, saboda mafi munin abubuwan da za su faru a ƙarƙashin busarsu. Saboda haka na gaba, wato ƙaho na biyar, shi ne kaito na farko; ƙaho na shida, kaito na biyu; kuma na bakwai, na ƙarshe a cikin wannan jerin ƙahoni bakwai, shi ne kaito na uku.” Uriah Smith, Daniel and Revelation, 493.

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

Za mu ci gaba da Woe uku na ƙaho a talifi na gaba.

> “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.

> “An faɗi masifun Roma ta daula, a faɗuwarta, har zuwa na ƙarshensu duka, sai da Roma ta kasance ba ta da sarki, ko ƙaramin sarki, ko majalisa. ‘A ƙarƙashin Exarchs na Ravenna, an ƙasƙantar da Roma zuwa matsayi na biyu.’ An bugi kashi na uku na rana, da kashi na uku na wata, da kashi na uku na taurari. Zuriyar Kaisar ba ta ƙare tare da sarakunan yamma ba. Roma, kafin faɗuwarta, ta mallaki wani ɓangare ne kawai na ikon daula. Konstantinoful ta raba da ita daular duniya. Kuma ba Goto ba, ba kuma Vandals ba ne suka yi mulkin mallaka a kan wannan birni da har yanzu yake na daula, wanda sarkinsa, bayan canja wurin mazaunin daula na fari da Constantine ya yi, sau da yawa yakan riƙe sarkin Roma a matsayin naɗaɗɗensa kuma wakilinsa. Kuma an ajiye ƙaddarar Konstantinoful domin wasu zamanai, kuma wasu ƙaho ne suka sanar da ita. Na rana, da wata, da taurari, har yanzu kashi na uku ne kaɗai aka bugi.”

> “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.

> “Kalmomin ƙarshe na Kakaki ta Huɗu suna nuna maido da Daular Yamma a nan gaba: ‘Rana ba ta haskaka a kan kashi na uku nata ba, haka ma dare.’ Dangane da ikon farar hula, Roma ta zama ƙarƙashin Ravenna, kuma Italiya ta zama lardi da aka ci na Daular Gabas. Amma, kamar yadda ya fi dacewa da wasu annabce-annabce, kare bautar gumakan hotuna ne ya fara jefa ikon ruhaniya da na mulki na paparoma da na sarki cikin mummunan karo; kuma, ta wajen ba wa paparoma dukan iko a kan ikkilisiyoyi, Justinian ya ba da hannun taimakonsa wajen ciyar da fifikon paparoma gaba, wanda daga baya ya ɗauki ikon ƙirƙirar sarakuna. A shekarar Ubangijinmu ta 800, paparoma ya ba Charlemagne muƙamin Sarkin Daular Romawa.’—Keith. Daga baya aka sāke canja wurin wannan muƙami daga sarkin Faransa zuwa sarkin Jamus. Kuma ta wurin Sarkin Daula Francis na Biyu har ma da wannan almara daga ƙarshe kuma har abada aka yi watsi da ita, 6 ga Agusta, 1806.” A. T. Jones, The Great Nations of Today, 54.

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