JUDGES v.
The song of Deborah and Barak is twofold, the first portion, ending with the eleventh verse, a chant of rising hope and pious encouragement during the time of preparation and revival, the other a song of battle and victory throbbing with eager patriotism and the hot breath of martial excitement. In the former part God is celebrated as the Helper of Israel from of old and from afar; He is the spring of the movement in which the singer rejoices, and in His praise the strophes culminate. But human nature asserts itself after the great and decisive triumph in the vivid touches of the latter canto. In it more is told of the doings of men, and there is picturesque fiery exultation over the fallen. One might almost think that Deborah, herself childless, glories over the mother of Sisera in the utter desolation which falls on her when she hears the tidings of her son's defeat and death. Yet this mood ceases abruptly, and the song returns to Jehovah, Whose friends are lifted up to joy and strength by His availing help.
The main interest of the twofold song lies in its religious colour, for here the pious ardour of the Israel of the judges comes to finest expression. As a whole it is more patriotic than moral, more warlike than religious, and thus unquestionably reflects the temper of the time. What ideas do we find in it of the relation of Israel to God and of God to Israel, what conceptions of the Divine character? Jehovah is invoked and praised as the God of the Hebrews alone. He seems to have no interest in the Canaanites, nor compassion towards them. Yet the grandeur of the Divine forthgoing is declared in bold and striking imagery, and the high resolves of men are clearly traced to the Spirit of the Almighty. Duty to God is linked with duty to country, and it is at least suggested that Israel without Jehovah is nothing and has no right to a place among the peoples. The nation exists for the glory of its Heavenly King, to make known His power and His righteous acts. A strain like this in a war-song belonging to the time of Israel's semi-barbarism bears no uncertain promise. From the well-spring out of which it flows clear and sparkling there will come other songs, with tenderer music and holier longing,--songs of spiritual hope and generous desire for Messianic peace.
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1. The first religious note is struck in what may be called the opening Hallelujah, although the ejaculation, "Bless the Lord," is not, in Hebrew, that which afterwards became the great refrain of sacred song.
"For that leaders led in Israel, For that the people offered themselves willingly: Bless ye Jehovah."
Here is more than belief in Providence. It is faith in the spiritual presence and power of God swaying the souls of men. Has Deborah seen at last, after long efforts to rouse the careless people, one and another responding to her appeals and seeking her tent among the hills? Has she witnessed the vows of the chiefs of Issachar and Zebulun that they would not be wanting in the day of battle? Not to herself but to the God of Israel is the new temper ascribed. Jehovah, Who touched her own heart, has now touched many another. For years she had been aware of holier influences than came to her from the people among whom she lived. In secret, in the silence of the heart, she had found herself mastered by thoughts that none around her shared. She has well accounted for them. Jehovah has spoken to her, Jehovah caring still for His people, waiting to redeem them from bondage. And now, when her prophetic cry finds echo in other souls, when men who were asleep rise up and declare their purpose, especially when from this side and that companies of brave youths and resolute elders come to her--from the slopes of Carmel, from the hills of Gilead--the fire of hope in their eyes, how otherwise explain the upspringing of energy and devotion than as the work of the Spirit that has moved her own soul? To Jehovah is all the praise.