Gregory T.K. Wong, «Song of Deborah as Polemic», Vol. 88 (2007) 1-22
Focusing on its rhetorical structure, this article argues that the Song of Deborah in Judg 5 may have been composed not so much primarily to celebrate a victory, but to serve as a polemic against Israelite non-participation in military campaigns
against foreign enemies. Possible implications of such a reading on the song’s relationship with the prose account in Judg 4 and its date of composition are also explored.
8 Gregory T.K. Wong
vv. 19-22 can also be seen as chiastically arranged to focus on the
participation of non-human elements to defeat the enemy:
A. Kings came for battle but they did not prevail (v. 19).
B. Forces in the heavenly realm (the stars) participated in battle (v. 20).
B’. Forces of nature (the Kishon River) also played a role (v. 21).
A’. The kings (their horses) retreated in chaos (v. 22).
Admittedly, what the stars represent and what role they play here
are unclear. While Craigie argues on the basis of Ugaritic parallels that
the stars may refer to a heavenly army getting involved in the battle
alongside the Israelites (20), Sawyer seems to regard the stars as part of
the natural realm as he sees the verse as possibly referring to a solar
eclipse that took place in 1131 BCE when Mercury, Venus, Mars, and
five other bright stars can be seen over the regions of Megiddo and
Taanach (21). But the most widely accepted view is to see the stars as
representing the source of rain, as is common in Canaanite mytho-
logy (22).
But regardless of how one understands this reference to the stars,
it is still possible to argue that even this brief and somewhat cryptic
account of the battle and its outcome functions as part of the polemic
against non-participation. For if even forces of nature are shown to be
participating in battle on YHWH’s side to defeat the enemy, then the
refusal of any Israelite tribe or city to participate would be seen as all
the more reprehensible and without excuse.
From the above five points, it seems clear that not only does the
refrain that introduces the two major sections of the song focus on the
theme of participation, the content and arrangement of material in the
bulk of the song in vv. 11d-24 also reflect a continuing emphasis on
participation versus non-participation.
(20) P.C. CRAIGIE, “Three Ugaritic Notes on the Song of Deborahâ€, JSOT 2
(1977) 33-38. For further discussion of Egyptian, Greek, and Mesopotamian
parallels where stars are seen as divine agents taking part in battle, see also M.
WEINFELD, “Divine Intervention in War and Ancient Israel and in the Ancient
Near Eastâ€, History, Historiography, and Interpretation. Studies in Biblical
Cuneiform Literatures (eds. H. TADMOR – M. WEINFELD) (Jerusalem 1984) 124-
131.
(21) J.F.A. SAWYER, “‘From Heaven Fought the Stars’ (Judges V 20)â€, VT 31
(1981) 88.
(22) See BLENKINSOPP, “Ballad Styleâ€, 73; J. GRAY, “Israel in the Song of
Deborahâ€, Ascribe to the Lord. Biblical and Other Studies in Memory of Peter C.
Craigie (eds. L. ESLINGER – G. TAYLOR) (JSOTSS 67; Sheffield 1988) 425, n. 9;
LINDARS, Judges, 268.