Mark Leuchter, «'Why Tarry The Wheels of his Chariot?' (Judg 5,28): Canaanite Chariots and Echoes of Egypt in the Song of Deborah.», Vol. 91 (2010) 256-268
The closing verses of the Song of Deborah include a curious reference to chariotry (Judg 5,28) at a rhetorically potent moment in the poem. The present study examines the implications of the use of this image against the mythopoeic impulses in the poem, the larger historical background of early Israel's confrontations with Canaanite aggression in the 12th century BCE and the memory of Egyptian strategies of hegemony from the late Bronze Age. The effects of these memories and experiences leave profound impressions in the social and mythic matrices embedded in a broad spectrum of Biblical traditions.
260 MARK LEUCHTER
therefore not strictly utilitarian but resonates with sacral
significance, as her killing of Sisera is mythically expressed. It is
significant, then, that in both the Kishon and Yael passages, the
events being depicted are stressed through repetition; the Kishon is
“ mythologized †in a manner akin to Yael, ascribing to it additional
dimensions beyond the observable just as Yael’s killing of Sisera is
presented in multiple temporal dimensions. This accounts for the
K i s h o n ’ s unnatural depiction as a torrential force. As per
Ackerman’s observations, the river is removed from the realm of
plain history and woven into the realm of divine action and will.
The mythic patterning within the poem extends even further.
Deborah and Barak appear to be mythic personae cast as historical
figures within the drama of the poem. This is not to suggest that
historical individuals do not lay beneath the current presentation of
these figures, but it is notable that the relationship between
Deborah and Barak is unique within the book of Judges and indeed
within the entire Hebrew Bible. Deborah is depicted in the poem
as the chief religious authority of her day (Judg 5,7), but as the
poem implies (and as the later tradition in Judg 4 remembers her),
she does not head the battle herself (in contrast to the other
warrior-deliverers in the book of Judges). And though Barak is a
military leader akin to the other Judges, no other warrior has a
woman accompany him into battle; indeed, within the poem, Barak
appears as a lesser force than his female counterpart. The Deborah/
Barak relationship must be considered alongside Hab 3,5, which
describes the forces that accompany YHWH into divine battle:
Before him goes devastation (rbd)
And the fiery bolts (πçr) are at his feet (wylgrb)
The parallel between this imagery and that encountered in the
Song of Deborah (Judg 5,15) is nearly identical 13 :
And the princes of Issachar were with Deborah (hrwbd)
As was Issachar, so was Barak (qrb)
Into the valley they rushed forth at his feet (wylgrb)
For this connection, I am indebted to the insights of my former student
13
Caryn Amy King, who pointed this similarity out to me. See further CROSS,
Canaanite Myth, 102-103, M.S. SMITH, The Origins of Biblical Monotheism
(New York – Oxford 2001) 47, 68.