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

Doniyor Kitobi — Yuz Sakkizinchi

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

Vahiy kitobidagi yetti karnayning bashoratli ramziyligini ochib berish: har tomonlama tahlil

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Jeff Pippenger

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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.

Uilyam Millerga Vahiy kitobidagi yetti jamoat, yetti muhr va yetti karnay haqidagi buyuk nur berilgan edi. U bu bashoratli ramzlarni avval butparastlik, so‘ng papalikdan iborat bo‘lgan ikki vayron qiluvchi hokimiyat doirasiga joylashtirdi. U bu ramzlarning har bir bashoratli xususiyatini ko‘rmadi, biroq u ko‘rgan narsa havoriylar davridan to dunyoning oxirigacha Xudoning jamoatining ichki tarixi va tashqi tarixiga oid asosiy tushunchani qaror toptirdi. Ichki tarix jamoatlar orqali ifodalangan edi, jamoatlarning tashqi tarixi esa muhrlar orqali ifodalangan edi. U karnaylar Xudoning Rim ustidan hukmining ramzlari ekanini, bu esa dunyoning oxirida Xudoning Rim ustidan chiqaradigan hukmini oldindan ifodalashini ko‘rdi, garchi u dunyoning oxiridagi Rim uch tomonlama ittifoqdan tashkil topganini ko‘rmagan bo‘lsa-da.

The book written by Uriah Smith titled Daniel and Revelation, contains some erroneous ideas, but it was identified by Sister White as, “God’s helping hand.” She identified that it should be circulated along with The Great Controversy, Patriarchs and Prophets, and The Desire of Ages. Her strong endorsement did not mean that the book was on the same inspired level as her books, but that the book contained “grand instruction,” and had been responsible for “bringing many precious souls to a knowledge of the truth.”

Uriah Smith tomonidan yozilgan Daniel and Revelation kitobida ayrim xato g‘oyalar mavjud, biroq u Oq opa-singil tomonidan “Xudoning yordam qo‘li” deb ta’riflangan. U bu kitob The Great Controversy, Patriarchs and Prophets hamda The Desire of Ages bilan birga tarqatilishi kerakligini bildirgan. Uning kuchli ma’qullashi bu kitob uning o‘z kitoblari bilan bir xil ilhomlangan darajada ekanini anglatmas edi, balki bu kitob “ulug‘ ta’limot”ni o‘z ichiga olganini va “ko‘plab qadrli jonlarni haqiqatni bilishga olib kelish”ga sababchi bo‘lganini anglatardi.

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.

Kitob Millerchilariga xos bashoratli mantiqdan foydalanadi va 1844-yil 22-oktabrgacha ko‘rinmagan bashorat tushunchalari bilan birga keladi. Biz uch Voyning uch karra tatbiqini bayon etar ekanmiz, kitobdagi parchalariga murojaat qilamiz.

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 shunday degan edi: “Yetti karnay yer yuziga, yoxud Rim saltanatiga yuborilgan yetti o‘ziga xos va og‘ir hukmlar tarixidir.” Dastlabki to‘rt karnay butparast Rim ustiga keltirilgan hukmlarni ifodalaydi, beshinchi va oltinchi karnaylar esa papalik Rim ustiga keltirilgan Xudoning hukmlari edi, biroq Miller yettinchi karnay Zamonaviy Rim ustiga tushadigan Xudoning hukmini ifodalashini tan olmagan bo‘lur edi. Vahiyning yetti muhri va yetti karnayi haqida gapirar ekan, Uriah Smith shunday yozgan edi:

> “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.

> “Kitobni olgach, Qo‘zi darhol muhrlarni ochishga kirishadi; va havoriyning diqqati har bir muhr ostida sodir bo‘ladigan manzaralarga qaratiladi. Yetti soni Muqaddas Bitiklarda to‘liqlik va mukammallikni anglatishi avvalroq qayd etilgan edi. Shuning uchun yetti muhr ma’lum bir turdagi hodisalarning butun majmuasini qamrab oladi; bular, ehtimol, Konstantin zamonigacha yetib boradi, degan va yetti karnay esa o‘sha zamondan keyinroq davom etadigan boshqa bir qatorni tashkil etadi, degan fikr to‘g‘ri bo‘lishi mumkin emas. Karnaylar muhrlar voqealari bilan bir zamonda sodir bo‘ladigan, ammo mutlaqo boshqa xususiyatga ega bo‘lgan hodisalar qatorini anglatadi. Karnay urushning timsolidir; shuning uchun karnaylar Injil davri davomida xalqlar orasida yuz beradigan buyuk siyosiy larzalarni bildiradi. Muhrlar esa diniy xususiyatga ega hodisalarni anglatadi va Masihiy davrning boshlanishidan to Masihning kelishigacha bo‘lgan jamoat tarixini o‘z ichiga oladi.” 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:

Karnay urush va siyosiy g‘alayonning ramzidir. Smit Vahiy kitobining sakkizinchi bobidagi ikkinchi oyat haqida shunday deydi:

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

> “‘2-OYAT. Va men Xudo huzurida turgan yetti farishtani ko‘rdim; va ularga yetti karnay berildi.’”

> “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.

> “Bu oyat yangi va alohida voqealar qatorini taqdim etadi. Muhrlarda biz xushxabar davri deb ataladigan davr mobaynidagi jamoat tarixiga ega bo‘ldik. Endi kiritilayotgan yetti karnayda esa, ayni shu davr davomida yuz berishi kerak bo‘lgan asosiy siyosiy va harbiy voqealarga egamiz.” 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.

Yettinchi muhr Vahiy kitobining sakkizinchi bobidagi dastlabki olti oyatda ochiladi, va yettinchi muhrning ochilishi fonida yetti karnayga ega bo‘lgan yetti farishta chalishga hozirlanadi.

> 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.

> U yettinchi muhrni ochganida, osmonda qariyb yarim soat sukunat bo‘ldi. Va men Xudoning huzurida turgan yetti farishtani ko‘rdim; ularga yetti karnay berildi. Va boshqa bir farishta kelib, oltin tutatqi idishni olib qurbongoh oldida turdi; unga ko‘p tutatqi berildi, toki uni taxt oldidagi oltin qurbongoh ustida barcha azizlarning ibodatlari bilan birga taqdim etsin. Va tutatqining tutuni, azizlarning ibodatlari bilan birga, farishtaning qo‘lidan Xudoning huzuriga ko‘tarildi. Va farishta tutatqi idishini olib, uni qurbongohning olovi bilan to‘ldirdi-da, yerga tashladi; va ovozlar, momaqaldiroqlar, chaqmoqlar va zilzila yuz berdi. Va yetti karnayga ega bo‘lgan yetti farishta chalishga tayyorlandilar. Vahiy 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.

Oldingi maqolalarda biz aniqlab kelgan, ammo uning o‘ziga xos bashoratli hodisasini hali bevosita ko‘rib chiqmagan bir bashoratli g‘ayrioddiylik mavjud. O‘sha g‘ayrioddiylik shundan iboratki, bashoratli tarixdagi muayyan yo‘l-belgilar ketma-ketligini ifodalovchi timsollar, o‘zlari ifodalagan tarixning xulosasida barchasi bir joyga jamlanadi. Biz Hizqiyolning sakkizinchi bobidagi to‘rtta jirkanchlik bilan ifodalangan Laodikeya Adventizmining to‘rt avlodi muayyan yo‘l-belgilarni belgilaganini, biroq ularning har biri sinov sifatida bir yuz qirq to‘rt mingning muhrlanishi tarixida takrorlanishini ko‘rsatdik. Bu g‘ayrioddiylik yetti karnayda ham uchraydi, chunki ular butparast, papalik va zamonaviy Rim ustidan chiqarilgan muayyan hukmlarni ifodalasa-da, zamonaviy Rim ustidan ijro etuvchi hukm yaqinlashib kelayotgan yakshanba qonunida boshlanganda, ularning barchasi yana bir joyga jamlanadi.

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.

Yetti karnayning o‘tmishda amalga oshgan aniq sanalari bor, biroq Oq opa ham Vahiy kitobining sakkizinchi bobidagi yetti karnayli yetti farishtani yaqinlashib kelayotgan Yakshanba qonuni tarixiga joylashtiradi.

> “‘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.

> “‘U beshinchi muhrni ochganida, men qurbongoh ostida Xudoning kalomi va ular mahkam tutgan shahodat tufayli o‘ldirilganlarning jonlarini ko‘rdim; va ular baland ovoz bilan faryod qilib dedilar: Qachongacha, ey Rabbiy, Muqaddas va Haq, yer yuzida yashovchilar ustidan hukm qilib, qonimizning qasosini olmaysan? Va ularning har biriga oq liboslar berildi [Ular pok va muqaddas deb e’lon qilindilar]; va ularga aytildiki, ular yana bir oz muddat osoyishta tursinlar, to ular kabi o‘ldirilishi kerak bo‘lgan hamxizmatkorlari va birodarlari soni ham to‘lgunga qadar’ [Vahiy 6:9–11]. Bu yerda Yuhannoga asl voqelikning o‘zi emas, balki kelajakdagi ma’lum bir davrda sodir bo‘ladigan manzaralar ko‘rsatildi.

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

> “Vahiy 8:1–4 iqtibos keltirilgan.” Qo‘lyozma nashrlari, 20-jild, 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.

Oldingi parçada Opa Uayt beshinchi muhrning muloqoti va amalga oshishini sakkizinchi bobda yetti farishta surna chalish arafasida bo‘lgan davrga tatbiq etadi, biroq u ayni tasvirni Vahiy kitobining o‘n sakkizinchi bobidagi ikki ovoz tarixiga ham joylashtiradi.

> “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.

> “Beshinchi muhr ochilganda, vahiyda bo‘lgan Yuhanno Vahiychi qurbongoh ostida Xudoning Kalomi va Iso Masihning guvohligi uchun o‘ldirilganlar jamoasini ko‘rdi. Shundan so‘ng Vahiyning o‘n sakkizinchi bobida tasvirlangan manzaralar yuz berdi; unda sodiq va haqgo‘y bo‘lganlar Bobildan tashqariga chaqiriladi. [Vahiy 18:1–5, iqtibos keltirilgan.]” Manuscript Releases, 20-jild, 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.

Yetti karnay butparast, papalik va Zamonaviy Rim tarixidagi Xudoning hukmini ifodalaydi, biroq ular 2001-yil 11-sentyabr tarixida va yaqinda keladigan yakshanba qonunining ikkinchi ovozida ham ifodalangan. Uriah Smith Vahiy kitobining sakkizinchi bobidagi dastlabki olti oyatni sharhlaganidan so‘ng, dastlabki to‘rt karnayning tarixiy bajo kelishlarini bayon eta boshlaydi.

> “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.

> “Yetti karnay mavzusi bu yerda yana davom ettiriladi va mazkur bobning qolgan qismini hamda 9-bobning barchasini qamrab oladi. Yetti farishta karnay chalishga tayyorlanadi. Ularning karnay chalishi Doniyor 2 va 7 dagi bashoratga qo‘shimcha sifatida kirib keladi; u qadimgi Rim imperiyasining o‘nta bo‘linmaga parchalanishidan boshlanadi, bularning tavsifi birinchi to‘rtta karnayda bizga berilgan.” 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.

Smit birinchi to‘rtta karnay butparast Rim ustidan Xudoning hukmlari bo‘lganini ta’kidlaydi. U yettinchi oyatni iqtibos qilib, birinchi karnayning bashoratli xususiyatlarini ko‘rsatadi, so‘ngra uning tarixiy ro‘yobini belgilaydi.

> “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.

> G‘arbiy Rimning qulash sari yo‘lida uning boshiga tushgan birinchi og‘ir va qattiq hukm Alarik boshchiligidagi gotlar bilan bo‘lgan urush edi; bu urush keyingi bostirib kirishlar uchun yo‘l ochib berdi. Rim imperatori Feodosiyning o‘limi 395-yil yanvar oyida yuz berdi, va qish tugamasidan oldin Alarik boshchiligidagi gotlar imperiyaga qarshi qurol ko‘tardilar.

> “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.

> “Alarik boshchiligidagi birinchi bosqin Frakiya, Makedoniya, Attika va Peloponnesni vayron qildi, biroq Rim shahrigacha yetib bormadi. Ammo uning ikkinchi bosqinida gotlar boshlig‘i Alp va Apennin tog‘laridan oshib o‘tib, tez orada varvarlar g‘azabining o‘ljasiga aylangan ‘abadiy shahar’ning devorlari qarshisida namoyon bo‘ldi.

> “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.

> “Birinchi karnayning sadosi o‘z o‘rnini to‘rtinchi asrning oxiri va undan keyingi davrda topadi hamda Gotlar qo‘l ostidagi Rim imperiyasiga qilingan ana shu vayronkor bosqinlarni nazarda tutadi.” 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.

Smit birinchi karnayda ifodalangan butparast Rim ustidan Xudoning hukmining ramzi sifatida Alarikni ko‘rsatadi. Karnaylarning har biri o‘sha karnayni ifodalovchi tarixiy bir shaxsga ega; Alarik to‘rtinchi asr oxiridan boshlab birinchi karnayning kelishini ifodalaydi. Miller bu karnay Rim ustiga yakshanbaga rioya qilishni majburan joriy etish sababli keltirilganini ko‘ra olmas edi, chunki Miller yakshanbaga rioya qiluvchi edi. Smit ham bu haqiqatni ko‘zdan qochirdi, biroq Smit majburiy tarzda joriy etilgan birinchi yakshanba qonuni Konstantin tomonidan milodiy 321-yilda o‘rnatilganini tan oldi. Yakshanbaga rioya qilishni majburan joriy etish bilan bog‘liq payg‘ambarlik qoidasi doimo bir xil, chunki Xudo hech qachon o‘zgarmaydi, va bu qoida shundan iboratki, “milliy murtadlik ortidan milliy halokat keladi”. Alarik aynan Konstantin birinchi yakshanba qonunini chiqargan davrning o‘zida boshlangan milliy halokatning boshlanishini ifodalaydi.

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

Smit ikkinchi karnayni ko‘rsatib beradigan sakkizinchi oyatni iqtibos qilib keltirishda davom etadi, so‘ngra o‘z sharhini davom ettiradi:

> “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.

> “Konstantindan keyin Rim imperiyasi uch qismga bo‘lindi; shu bois, ‘odamlarning uchdan bir qismi’ va hokazo iboralari tez-tez uchraydi, bu esa qamchi ostida qolgan imperiyaning uchinchi qismiga ishoradir. Rim saltanatining bu bo‘linishi Konstantin vafot etganida uning uch o‘g‘li — Konstantsiy, Konstantin II va Konstans o‘rtasida amalga oshirilgan edi. Konstantsiy Sharqni egallab, o‘z qarorgohini imperiyaning poytaxti bo‘lgan Konstantinopolda o‘rnatdi. Ikkinchi Konstantin Britaniya, Galliya va Ispaniyani qo‘lida tutdi. Konstans esa Illirik, Afrika va Italiyani egalladi. (Qarang: Sabine’s Ecclesiastical History, 155-bet.) Bu mashhur tarixiy haqiqat haqida Elliott, Albert Barnesning Vah. 12:4 ga yozgan izohlarida keltirilganidek, shunday deydi: ‘Hech bo‘lmaganda ikki marta, Rim imperiyasi doimiy ravishda Sharqiy va G‘arbiy ikki qismga bo‘linishidan oldin, imperiyaning uch qismli bo‘linishi bo‘lgan. Birinchisi milodiy 311-yilda yuz bergan bo‘lib, o‘shanda u Konstantin, Litsiniy va Maksimin o‘rtasida bo‘lingan; ikkinchisi esa milodiy 337-yilda, Konstantin vafot etganida, Konstans va Konstantsiy o‘rtasida bo‘lgan.’” 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.

Rimning uch qismga bo‘lingani haqidagi tarixiy hodisa, shuningdek Smit iqtibos keltirgan tarixchilar tilga oladigan ikki qismga bo‘linish ham Zamonaviy Rimning uch karra ittifoqini aniqlab beruvchi Rim unsurlaridir; bu esa jamoat va davlatning qo‘shilishini ifodalovchi, ikki qismga bo‘lingan bir tuzilmani tashkil etadi. Smit davom etar ekan, u ikkinchi karnay bilan bog‘liq tarixiy shaxsni aniqlaydi.

> “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. . ..

> «Ikkinchi karnayning chalinishini tasvirlovchi tarix, ravshanki, dahshatli Genserik tomonidan Afrikaning, so‘ngra esa Italiyaning bosib olinishi va zabt etilishiga taalluqlidir. Uning fathlari asosan DENGIZGA OID edi; va uning zafarlari “go‘yo olov bilan yonayotgan ulkan bir tog‘ dengizga uloqtirilgandek” edi. Flotlarning to‘qnashuvini va dengiz bo‘yi qirg‘oqlarida urush keltiradigan umumiy vayronagarchilikni bundan yaxshiroq, hatto shunchalik ham yaxshi tasvirlay oladigan qanday timsol bo‘lishi mumkin? Bu karnayni sharhlashda, biz tijorat olamiga alohida ta’sir ko‘rsatadigan ayrim voqealarni izlashimiz lozim. Qo‘llangan ramz bizni tabiiy ravishda larzaga va g‘alayonlarga ishora izlashga yetaklaydi. Bashoratni qattiq dengiz urushidan boshqa hech narsa bajo keltira olmas edi. Agar dastlabki to‘rtta karnayning chalinishi Rim imperiyasining qulashiga hissa qo‘shgan to‘rtta muhim voqeaga taalluqli bo‘lsa, va birinchi karnay Alarik boshchiligidagi gotlarning talon-torojlariga ishora qilsa, unda bunda biz Rim qudratini larzaga solgan va uning qulashiga xizmat qilgan navbatdagi bosqinchilik harakatini tabiiy ravishda izlaymiz. Keyingi buyuk bosqin vandallar boshida turgan “dahshatli Genserik”niki edi. Uning faoliyati milodiy 428–468-yillar davomida yuz berdi. Bu buyuk vandal sarkardasining bosh qarorgohi Afrikada edi....»

> “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.

> “Bu jasur qaroqchi Rimning qulashida o‘ynagan muhim rol haqida janob Gibbon quyidagi e’tiborga molik so‘zlarni ishlatadi: ‘Rim imperiyasining vayron qilinishida Genserik nomi Alarik va Attila nomlari bilan teng martabaga loyiq bo‘lgan.’” 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:

Tarixchi Gibbonning dastlabki uch karnayning tarixiy ramzlarini ko‘rsatib bergan fikrini iqtibos qilgan holda, Smith Genseric ikkinchi karnay ekanini aniqladi va so‘ng Genseric “Alaric va Attila bilan teng martabaga loyiq edi”, dedi. Alaric — birinchi karnay, Genseric — ikkinchi, xun Attila esa o‘ninchi oyatda tilga olingan uchinchi karnay edi. Smith Genseric orqali ifodalangan ikkinchi karnay “428–468” yillar tarixini ifodalaganini ko‘rsatdi. So‘ngra Smith uchinchi karnayni aniqlaydigan o‘ninchi oyatni iqtibos qiladi va bayonini davom ettiradi:

> “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.

> “Ushbu parchani talqin qilish va qo‘llashda, biz Rim imperiyasining ag‘darilishiga olib kelgan uchinchi muhim voqeaga olib kelinamiz. Va bu uchinchi karnayning tarixiy ado bo‘lishini topishda, biz bir necha iqtiboslar uchun doktor Albert Barnsning Izohlaridan minnatdor bo‘lamiz. Bu Muqaddas Yozuvni sharhlashda, ushbu sharhlovchi aytganidek, zarurdirki, ‘alangali meteoraga qiyoslanishi mumkin bo‘lgan qandaydir bir sardor yoki jangchi bo‘lishi kerak; uning yo‘li g‘oyat porloq bo‘lar edi; u to‘satdan YONAYOTGAN yulduz kabi paydo bo‘lar, so‘ng nuri suvlarda o‘chgan yulduz kabi g‘oyib bo‘lar edi.’— Vahiy 8 ga Izohlar.”

> “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. . ..

> “Bu yerda ushbu karnayning Attilaning Rim hokimiyatiga qarshi olib borgan vayronkor urushlari va shiddatli bostirib kirishlariga, u o‘zining xunlar to‘dalari boshida turib amalga oshirgan hujumlariga ishora qilishi asos qilib olinadi....”

> “‘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.

> “‘Va yulduzning nomi Shuvoq deb ataladi [achchiq oqibatlarni anglatib].’ Bu so‘zlar — hatto bizning tarjimamizdagi tinish belgilari ham ko‘rsatganidek, oldingi oyat bilan yanada yaqinroq bog‘langan bo‘lib — bizni bir lahzaga Attilaning xarakteriga, u sababchi bo‘lgan yoki vosita bo‘lgan kulfatga va uning nomi uyg‘otgan dahshatga qaytaradi.

> “‘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.

> “‘To‘liq qirib tashlash va yo‘q qilib yuborish’ — u keltirgan falokatlarni eng yaxshi ifodalovchi iboralardir.” U o‘zini “Xudoning qamchisi” deb atagan edi.” 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.

Hun Attila timsolida ifodalangan uchinchi karnayning tarixi milodiy 441-yildan uning milodiy 453-yildagi o‘limigacha bo‘lgan davrni qamrab oladi. So‘ng Smith o‘n ikkinchi oyatni keltiradi; unda to‘rtinchi karnay taqdim etilib, barbarlar hukmdori Odoaker tasvirlanadi; bu yerda G‘arbiy Rimning uch karra ramziyligi quyosh, oy va yulduzlar orqali ifodalanadi. U ushbu uch ramzni “quyosh, oy va yulduzlar — chunki ular bu yerda shubhasiz ramzlar sifatida qo‘llangan — ayonki, Rim hukumatining buyuk yoritqichlarini, ya’ni uning imperatorlari, senatorlari va konsullarini anglatadi”, deb ta’riflaydi. Yepiskop Nyuton shunday deydi: “G‘arbiy Rimning so‘nggi imperatori Romul bo‘lib, masxara tariqasida u Augustulus, ya’ni ‘kichik Avgust’ deb atalgan edi.” G‘arbiy Rim milodiy 476-yilda quladi. Shunga qaramay, Rim quyoshi so‘ngan bo‘lsa-da, senat va konsullar davom etib turgan ekan, unga bo‘ysunuvchi yoritqichlar xira bo‘lsa ham porlashda davom etdi. Ammo ko‘plab fuqaroviy mag‘lubiyatlar va siyosiy taqdirning o‘zgarishlaridan so‘ng, nihoyat milodiy 566-yilda qadimgi hukumatning butun shakli ag‘darildi va Rimning o‘zi, dunyoning imperatrisasi bo‘lish maqomidan tushib, Ravennadagi Ekzarxga xiroj to‘laydigan nochor bir gersoglikka aylantirildi.” 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.

Bu yerda biz Rimning uch karra bo‘linishiga oid yana bir guvohlikni topamiz; bu bo‘linish zamonaviy Rimning uch karra birlashuvini oldindan ko‘rsatadi. Sharqiy Rim va imperator Konstantin bilan bu uch karra bo‘linish uning uch o‘g‘li orqali ifodalangan bo‘lsa, G‘arbiy Rimda esa bu ularning uch karra boshqaruv shakli edi. So‘ng Smit quyosh, oy va yulduzlar G‘arbiy Rimning qanday aniq tartibda qulatilganini ifodalashini ko‘rsatadi. U o‘z bayonini so‘nggi uchta karnayning quyidagi kirish so‘zi bilan yakunlaydi.

> “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.

> “Bu varvarlarning dastlabki bostirib kirishlari natijasida imperiya boshiga tushgan falokatlar qanchalik dahshatli bo‘lmasin, keyin keladigan falokatlarga qiyoslanganda ular nisbatan yengil edi. Ular Rim olamiga tez orada yog‘ilajak to‘fon oldidan tushadigan jala tomchilarining dastlabkilaridek edi, xolos. Keyingi uchta karnay esa, quyidagi oyatlarda bayon etilganidek, qayg‘u buluti bilan qoplangandir.

> “‘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.’

> “‘13-OYAT. Va men qaradim, osmonning o‘rtasidan uchib borayotgan bir farishtani ko‘rdim va eshitdim; u baland ovoz bilan shunday der edi: Yer yuzida yashovchilarning holiga voy, voy, voy bo‘lsin, hali karnay chaladigan uch farishtaning karnay ovozlari sababli.’”

> “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.

> “Bu farishta yetti karnaychi farishtalar qatoridan biri emas, balki shunchaki qolgan uch karnayning qayg‘u karnaylari ekanini e’lon qiluvchidir, chunki ularning sadosi ostida yuz beradigan voqealar yanada dahshatlidir. Shunday qilib, navbatdagisi, ya’ni beshinchi karnay, birinchi qayg‘udir; oltinchi karnay — ikkinchi qayg‘u; va yettinchisi, yetti karnaydan iborat ushbu qatorning so‘nggisi, uchinchi qayg‘udir.” Uriah Smith, Daniel and Revelation, 493.

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

Keyingi maqolada uch karnayga oid Voylar bilan davom etamiz.

> “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.

> “Imperatorlik Rimining ofatlari, uning qulashida, Rim imperatorsiz, konsulsiz va senatsiz qolguniga qadar, ularning eng so‘nggisigacha aytib berilgan edi. ‘Ravenna ekzarklari ostida Rim ikkinchi darajaga tushirildi.’ Quyoshning uchdan bir qismi, oyning uchdan bir qismi va yulduzlarning uchdan bir qismi zarbaga uchradi. Qaysarlar nasli G‘arb imperatorlari bilan barham topmadi. Rim, qulashi oldidan, imperatorlik hokimiyatining faqat bir qismigagina ega edi. Konstantinopol u bilan dunyo imperiyasini bo‘lishar edi. Va na gotlar, na vandallar hali ham imperatorlik shahri bo‘lib qolgan o‘sha shahar ustidan hukmronlik qildilar; uning imperatori, Konstantin tomonidan imperiya markazi ilk bor ko‘chirilganidan keyin, ko‘pincha Rim imperatorini o‘z tayinlagani va noibi sifatida tutar edi. Konstantinopolning taqdiri esa boshqa zamonlargacha saqlab qo‘yilgan va boshqa karnaylar orqali e’lon qilingan edi. Quyosh, oy va yulduzlarning hozircha faqat uchdan bir qismigina zarbaga uchragan edi.”

> “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.

> “To‘rtinchi Karnayning yakunlovchi so‘zlari G‘arbiy Imperiyaning kelajakdagi tiklanishini anglatadi: ‘Kunning uchdan bir qismi yorishmadi, xuddi shuningdek tun ham.’ Fuqaroviy hokimiyat nuqtayi nazaridan, Rim Ravennaga bo‘ysunib qoldi, Italiya esa Sharqiy Imperiyaning zabt etilgan viloyati bo‘ldi. Biroq, boshqa bashoratlarga ko‘proq tegishli bo‘lgan jihat sifatida, tasvirlarga sig‘inishni himoya qilish avvalo papaning va imperatorning ruhiy hamda dunyoviy hokimiyatlarini shiddatli to‘qnashuvga olib kirdi; va cherkovlar ustidan barcha hokimiyatni papaga berish orqali, Yustinian keyinchalik hukmdorlar yaratish qudratini o‘z zimmasiga olgan papalik ustunligini yuksaltirishga o‘z ko‘mak qo‘lini tutdi. Rabbimizning 800-yilida papa Karl Buyukka ‘Rimliklar Imperatori’ unvonini berdi.” —Keith. Bu unvon keyinchalik yana Fransiya qirolidan Germaniya qiroliga o‘tkazildi. Va imperator Frensis Ikkinchi tomonidan hatto shu xayoliy da’vo ham nihoyat va abadiy ravishda 1806-yil 6-avgustda rad etildi.” A. T. Jones, The Great Nations of Today, 54.

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