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.
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“ WHY TARRY THE WHEELS CHARIOT ? †(JUDG 5,28)
OF HIS
The depiction of Deborah and Barak follows the ancient
warrior myth behind Hab 3,5. Perhaps the later historiographer’s
note that Deborah’s is a “woman of flames†(twdypl tça in Judg
4,4) echoes this association, maintaining in the narrative account
the balance between rbd and πçr on the level of myth expressed in
the poem. To a degree, the myth has been adjusted: not only is
Barak’s name an adjustment from the mythic figure of πçr, but a
further distinction is found in the fact that rather than πçr rushing
forth at the feet of the divine warrior (as in Hab 3,5), it is the
Israelite militia that rushes forth at Barak’s feet.
Nevertheless, this is but another indication of the poet’s
predilection for symbolic discourse, and just as myth is “brought
down †into a more tangible topographical context (such as with the
Kishon), so also may physical, geographic and social topoi be
elevated into mythic archetypes and symbols. The mention of
lowland Canaanite urban regions (Taanach, Megiddo) should be
viewed in this light, for both locales symbolize the cultures against
which nascent Israel defined itself, and which continued to cause
allergic cultural reactions in later periods as well. Thus rather than
seeing the poem as a recounting of a single, decisive battle, the
rhetorical strategy deployed by its author suggests instead a
meditation on collective memories regarding ongoing clashes
between highland Israel and its lowland Canaanite neighbors 14, as
well as residual tensions between the tribes that were expected to
bond together under the banner of common cause. These memories
are given mythic weight, making clear that the poem reifies a set
of cultural values that were sustained broadly within highland
village culture.
With this in mind, we may turn to the symbolic dimensions of the
image of Sisera’s chariot — the sudden mention of which must be
viewed in a similar light. In the preceding late Bronze Age the urban
Canaanite kings and their agents had close contact with the Egyptian
administrative presence, and served as proxies to the Pharaohs in
maintaining Egyptian interests throughout the region 15. In the early
Iron Age, with the echoes of a collapsed (or collapsing) Egyptian
This dovetails with BRETTLER’s (Book of Judges, 69) observations
14
regarding the poem as a pre-war rallying cry.
C. HIGGINBOTHAM, “Elite Emulation and Egyptian Governance in
15
Ramesside Canaanâ€, Tel Aviv 23 (1996) 154-169.