Down to Earth But Heavenly Minded

What does Judges Chapter 5 mean?

The previous chapter uses a straightforward style to explain the story of Deborah and Barak. Through Deborah’s prophetic leadership (Judges 4:4–5) and the obedience of Barak (Judges 4:6–10), Israel defeated the Canaanites in a convincing victory (Judges 4:12–16). The enemy general, Sisera, fled and was ultimately killed by a nomad woman named Jael (Judges 4:17–21). This chapter contains the prophetess Deborah’s victory song about these events, told through poetic imagery, while adding detail and vibrant emotion to the same scenes from Judges chapter 4.

The song begins with a blessing for the Lord. That includes praise for God providing willing leaders and fighting men who offered themselves to join Barak in battle against the Canaanites. It is the Lord who gives victory through those who are willing to follow His lead (Judges 5:1–2).

Deborah directly addresses the defeated kings and princes of Canaan. Her song is not “to” them, but it is meant for them to hear. She sings this song to the Lord, the God of Israel. Hers is a taunt—a deliberate mocking and dismissing of the enemy—ensuring everyone knows that God brought about this victory. And, that this success has freed Israel from oppression to Canaan (Judges 5:3).

Next, Deborah’s song describes the Lord as active. He came to guide Israel as the nation moved from outside of the Promised Land to take action within its borders. This entry into Canaan was accompanied by miracles, signs, and wonders of many kinds (Deuteronomy 6:22–23). The references to natural events, such as earthquakes and storms, is likely a direct counter to the Canaanite religion, which thought of Baal as a deity of storms (Judges 5:4–5).

Deborah depicts the time of Sisera’s oppression (Judges 4:1–3) in dark terms. Likely due to the Canaanites’ iron chariots, major roads were all but deserted. Israel lacked even the tools to defend herself. Out of this hardship, Deborah was called as a prophetess of God (Judges 4:4–5). She describes herself as a “mother,” consistent with her leadership and role as a judge over the nation (Judges 5:6–8).

Despite the danger and a lack of equipment, the commanders of Israel willingly volunteered to join Barak in attacking Sisera and Canaan’s army. Deborah calls for all who hear her song to spread the story of this event. She mentions communal places, such as wells and springs, where people would be prone to meet. They must repeat the triumphs of the Lord and His villagers in Israel. She makes this call to rich and poor alike—including the tradesmen and merchants whose businesses would have been especially disrupted (Judges 5:9–11).

Israel’s path to victory began when the Lord “woke up” Deborah to give a message to Barak. He was commanded to raise an army. Willing leaders and fighters came from the tribes of Ephraim, Benjamin, Machir—a part of Manasseh— Zebulun, Issachar, and Naphtali. All willingly risked their lives (Judges 5:12–15).

However, Deborah also asks why the people of other tribes refused to come. She specifically calls out Reuben, Gilead—a part of Dan—and Asher. Reuben’s depiction as wavering strongly resembles a prediction given by Jacob on his deathbed (Genesis 49:3–4). These rebukes are rhetorical questions (Judges 5:16–18).

Despite the lack of support from some Israelites, the battle was won. On the battlefield, Deborah poetically claims that nature, itself, went to war against Sisera. Part of this is the River Kishon as swelling to a torrent. This swept the enemy away and would probably have turned the fields below mount Tabor into a muddy trap for chariots. That Deborah gave an urgent command to attack, just as Sisera’s men approached, suggests God arranged for the perfect combination of strategy and natural disaster to overwhelm the Canaanite forces (Judges 5:19–22).

In much stronger, more direct terms than were used for Israel’s tribes, Deborah curses a town called Meroz for not helping the Lord against the mighty Canaanites. This might have been an area though which Sisera fled (Judges 4:15, 17), but was not stopped or challenged (Judges 5:23).

Deborah boldly blesses Jael for cleverly killing Sisera after he ran from the battle and attempted to hide. The moment is depicted in this song using repeated phrases and an echoing style. This is something like a “slow-motion replay” used to profound effect. The song describes the moment in detail, lingering on the body of Sisera and his utterly humiliating defeat at the hands of a woman (Judges 5:24–27).

Next, the song turns to imagine the reaction of Sisera’s mother, as she waits for him at home. These details shed some light on Sisera’s reputation. His mother and other noble women assume he is so busy dividing up loot from battle that he’s running late. Part of that assumption seems to be the soldiers enjoying the women of Israel—crassly referred to as “wombs”—suggesting Sisera had a reputation for that kind of cruelty. The unspoken implication is that Sisera’s friends and family will soon learn the unthinkable has happened: he has been defeated and killed (Judges 5:28–30).

Finally, Deborah prays for God to bring similar defeat to all His enemies. She pleads for those who honor God to be strengthened, and become like the sun: bright, invincible, and powerful. The final phrase of the chapter returns to the typical narrative style of the book of Judges, noting that Deborah and Barak won forty years of peace in Israel (Judges 5:31).

As the start of the next chapter shows (Judges 6:1), Israel will then fall into the same cycle of sin and oppression seen before (Judges 2:11–19). This will bring about the next judge, Gideon, whose story takes up all of chapters 6, 7, and 8.

Chapter Context
Judges 5 follows the narrative-style account of the battle between Sisera and Barak, as instigated by the prophetess Deborah in chapter 4. This chapter is a song, poetically depicting the same series of events. Deborah describes Sisera’s defeat in battle, Jael’s bold killing of the cruel general Sisera, and the tears of his mother as she waits for him at home. The following chapter shows that Israel—once again—responds to this hard-won peace with another cycle of idolatry, sin, and oppression (Judges 6:1).

Verse by Verse

Verse 1. Then sang Deborah and Barak the son of Abinoam on that day:

The victory over Sisera and Jabin has been won for Israel by the Lord (Judges 4:22–24). Deborah (Judges 4:4–5) writes a song in celebration. This parallels the song sung by Moses and the people of Israel after their miraculous salvation at the Red Sea (Exodus 15:1–18). This verse reports that Deborah and Barak sang the song together. The original Hebrew makes it clearer that Deborah is the primary voice, while Barak is echoing her words. The verb used here for “sing” is feminine, while groups or men use a masculine form (Exodus 15:1; Ezra 3:11; Psalm 106:12).

The song tells highlights from the Lord’s defeat of the Canaanites in the form of poetry. It adds details from the more straightforward telling in the previous chapter. It also emphasizes Israel’s emotional responses to the awesome events of Israel’s day of salvation from Canaan.

Context Summary
Judges 5:1–11 begins a song composed by Deborah, the prophetess and judge of Israel (Judges 4:4–5). This segment introduces the troubles experienced by God’s chosen people leading up to their battle against Canaan. Though Israel had been blessed by God and His miracles when they came out of Egypt, the nation had fallen under oppression. As explained in the prior chapter (Judges 4:1–10), the people responded to Deborah’s call for action. What follows is a celebration of Israel’s victory against Sisera, Jabin, and the Canaanite army (Judges 4:12–16).

Verse 2. “That the leaders took the lead in Israel,that the people offered themselves willingly,bless the Lord!

Judges 5 is a song, composed by Deborah (Judges 4:4–5; 5:1) to commemorate victory over the Canaanites and Israel’s freedom from their rule. It reflects the facts of the previous chapter, but it also adds feeling and emotion.

The song begins by blessing the Lord for the actions of His people. It celebrates that their leaders did as they should: they led. As well, the people of Israel willingly volunteered to risk their lives to stand up to Israel’s enemy. Right from the start of the song, the Lord is given all credit—even for the willingness of His own people to make right choices.

In every nation and company and church committee, people still bless the Lord when leaders take the lead and lead well. They also praise God when those being led willingly volunteer their time and energy to contribute to the cause.

Verse 3. “Hear, O kings; give ear, O princes;to the Lord I will sing;I will make melody to the Lord, the God of Israel.

In this victory song (Judges 5:1), Deborah (Judges 4:4–5) and Barak (Judges 4:6) have blessed the Lord for the leadership of the leaders and the willing service of the people (Judges 5:2). Now they call to the kings and princes of the Canaanites, who have been defeated by the Lord. This could be seen as taunting a beaten enemy; to some extent, that’s exactly what it is. At the same time, Deborah’s song doesn’t mock them so she can extol the strength or virility of a victorious king. That familiar pattern was followed by the victory songs and stories of other nations during this era.

Rather, Deborah’s song declares she will sing to the Lord. She will make melody to the God of Israel. She wants the Canaanite kings to know that He is the one who ended their decades of oppressive rule over the people of Israel (Judges 4:1–3). Her bold declaration that the Lord, Yahweh, is the God of Israel stands out in the book of Judges. Even among the judges themselves, very few of God’s people so explicitly declare that Yahweh is Lord.

Verse 4. “Lord, when you went out from Seir,when you marched from the region of Edom,the earth trembledand the heavens dropped,yes, the clouds dropped water.

Deborah has announced her intention to sing to the Lord and to make melody to the God of Israel (Judges 5:1–3). This is part of a song celebrating God’s provision of victory over the Canaanites (Judges 4:22–24). Here, that song begins in earnest.

She pictures the Lord as a conquering king who moved from Seir and from the region of Edom. Scholars have long debated why Deborah mentions these places. Perhaps the best explanation is that she is showing the Lord is with Israel: He moved with them from outside the Promised Land into Canaan itself. This phrasing may have been a direct attack on the power of Baal. Baal was the most prominent false god worshiped by the Canaanites, as well as by Israelites during their seasons of rebellion. Deborah may be saying that Baal no longer reigns supreme over Canaan. The Lord has occupied the land.

Deborah adds that when the Lord marched from those other places and into Canaan, the earth trembled, and water poured from the clouds in the heavens. Baal was said to ride on the clouds to help his people in Canaan, but the God of Israel had truly brought rain from clouds to help His chosen ones. Many scholars point to verses 19–21 to suggest that God used a rainstorm to help His people defeat Sisera and his iron chariots (Judges 4:1–3).

Verse 5. The mountains quaked before the Lord,even Sinai before the Lord, the God of Israel.

Deborah is singing her song boldly to the Lord Himself (Judges 5:1–4). She is echoed by Barak and the people of Israel. She has described God as moving from outside of the land of Canaan into the land, bringing earthquakes and rainstorms with Him. This language likely was meant to directly counter the Canaanite false god, Baal, who was associated with storms. Now she refers to the quaking of Mount Sinai when the Lord came down to visit Moses and deliver the Law to Israel (Exodus 19:18).

Even mountains quake and tremble before the Lord, the God of Israel. Those who worship Baal could not say the same of him. God reigns as Lord over even the land of Canaan with real power that Baal could never deliver.

Verse 6. “In the days of Shamgar, son of Anath,in the days of Jael, the highways were abandoned,and travelers kept to the byways.

This chapter is a poetic song of victory, composed by the prophetess and judge, Deborah (Judges 4:4–5; 5:1). She has described the greatness of the Lord God (Judges 5:2–5). Now she describes the desperate times out of which she was raised up as a prophetess.

She describes the dark days of Shamgar (Judges 3:31). Shamgar was mentioned in a single verse at the end of Judges 3. Extraordinarily little detail is given about him, other than He was used by God to kill 600 Philistines at a crucial moment. This may have happened during or shortly after Ehud’s time as a judge over Israel. The description of Shamar as “son of Anath” might mean “servant of the goddess Anath,” suggesting he was a non-Israelite nevertheless used by God.

Another non-Israeli who was part of God’s plan is Jael, the wife of Heber, who deftly killed the Canaanite general Sisera while he slept in her tent (Judges 4:20–22). Deborah will describe her as “most blessed of women” for this act on Israel’s behalf (Judges 5:24).

It is telling that Deborah mentions the Lord’s use of two non-Israelites to save Israel. This reinforces Israel’s faithlessness to the Lord. It also demonstrates that God is the one who saves Israel by any means He so chooses.

Though these were bright spots, they came during a time when Israel, especially in the north, was cruelly oppressed. It was not safe for the people of the Lord—or, perhaps, for anyone—to be out on the highways. Sisera’s iron chariots likely had much to do with this threat (Judges 4:3). Instead, travelers during that time came and went by lesser-traveled roads to avoid danger.

Verse 7. The villagers ceased in Israel;they ceased to be until I arose;I, Deborah, arose as a mother in Israel.

Deborah (Judges 4:4–5; 5:1) has described the dark days in northern Israel when the Canaanites were oppressing the people. The major highways were abandoned because they were too dangerous. People traveled by backroads and little-known routes to get around while avoiding trouble (Judges 5:2–6). The feared iron chariots of Sisera would have been a dangerous menace on large roads (Judges 4:1–3).

This verse adds that “the villagers ceased.” Scholars debate the exact meaning of this phrase. One possibility is that those who lived in villages stopped traveling or working their fields for fear of harm (Judges 6:3–4, 11). Another option is that the people of local villages simply gave up—they “ceased”—and became unwilling to fight back against Canaanite oppression. Either way, the people of Israel suffered restrictions and lived in fear of Sisera and the Canaanites.

All of that began to change when Deborah rose to power in Israel. She describes her commissioning by the Lord to settle disputes as a judge over Israel. She was also a prophetess, delivering messages to His people through her. Deborah is not bragging; the purpose of her words is to show God’s ability to work through His chosen instruments. This song is still about the victory over Canaan secured by the Lord. God’s work through Deborah marked the end of His silence during the reign of the Canaanite conquerors.

Verse 8. When new gods were chosen,then war was in the gates.Was shield or spear to be seenamong forty thousand in Israel?

In this passage, Deborah’s song (Judges 5:1) mourns for the troubling period under the oppression of Sisera and the Canaanites (Judges 4:1–3). These are the days out of which God called her to be His spokesperson to Israel (Judges 4:4–5; 5:6–7).

This subjugation did not happen at random, or for no reason. Israel’s suffering happened when they chose to abandon the Lord God and serve new, false gods. Deborah describes Israel’s rejection of the Lord and worship of idols like Baal. That evil provoked God to subject His people to the Canaanites (Judges 2:12–15).

The inevitable consequence of Israel’s unfaithfulness was victory by the enemy: war, leading to defeat and enslavement of the people. In poetic language—likely exaggerated for effect—Deborah’s song says that for twenty years, there wasn’t a single implement of war to be found among 40,000 Israelites. The Canaanites had completely disarmed them and left the Lord’s people at their mercy.

Verse 9. My heart goes out to the commanders of Israelwho offered themselves willingly among the people.Bless the Lord.

Deborah has been singing (Judges 5:1) of the dark times during Israel’s cruelly oppressive captivity to Sisera and the Canaanites (Judges 5:6–7). In symbolic terms, she indicated there wasn’t a single military weapon found among 40,000 Israelites. Likely, this meant Israel’s armaments had been confiscated by the Canaanites or given up as the people despaired.

Now Deborah returns to the theme hinted at from the start of her song. The modern English phrase “my heart goes out” is mostly used as an expression of pity, or sympathy. In this case, Deborah means that her support—her love, her spirit, her approval—is for those leaders. Specifically, she means the commanders of Israel who volunteered to fight with Barak against the Canaanites. This was especially brave given that—at the time they were called—they didn’t have much in the way of shields or spears (Judges 5:8).

Once again, Deborah blesses the Lord for this circumstance. She credits God for the willingness of brave men to offer themselves for battle.

Verse 10. “Tell of it, you who ride on white donkeys,you who sit on rich carpetsand you who walk by the way.

In verse 3, Deborah had directly addressed the kings and princes of Canaan, telling them to listen as she sang her victory song to the Lord. This can be read as taunting after the Lord’s victory over Canaan—which, in a sense, it is (1 Kings 18:26–27). It is certainly meant to emphasize that the God of Israel defeated them.

Now she turns her eyes to the wealthy, perhaps thinking specifically of those who continued to go about their successful business, making money and enjoying life while Israel was being so cruelly oppressed. White or pale donkeys might have been more prized and more expensive. More likely, this refers to the ornate saddles and covers used by rich people. The wealthy could drape expensive rugs over their white donkeys and ride in both comfort and style. These merchants likely profited from Israel’s enslavement to the Canaanites. Another possible meaning for this reference is joy over the end of Canaan’s oppression, which would allow merchants to trade their goods once again (Judges 5:6).

Deborah also mentions those who walk by the way, not riding on donkeys. In this context, the reference is meant as a contrast: a reference to the poor. She means for people of all classes to distribute her song everywhere. She wants the fame of God’s victory over Canaan to spread.

Verse 11. To the sound of musicians at the watering places,there they repeat the righteous triumphs of the Lord,the righteous triumphs of his villagers in Israel. “Then down to the gates marched the people of the Lord.

Deborah has called out to the rich and the poor on the roadways to tell the story of her song (Judges 5:1), celebrating the Lord’s salvation of Israel from the Canaanites (Judges 4:12–16). Now she adds that they should tell it to the sound of the musicians or singers at the watering places.

Scholars say the exact meaning of this phrase is difficult to translate. Even so, there is no doubt about the intent. Places with easily accessible water were key points along roadways. Travelers would stop and rest there, trading news and telling stories. Entire communities would gather at these spots.

Deborah is telling those who hear her song to sing it themselves to others, to keep passing on the story of God’s victory everywhere they go. This is her distribution model for this amazing news in Israel. She tells her listeners to repeat the righteous triumphs of both the Lord and His villagers in Israel, meaning those who volunteered to follow Barak into battle against the Canaanites (Judges 4:10; 5:9).

This verse ends with a sentence introducing the next passage. Deborah celebrates those people of the Lord who willingly marched down from the hill country to do battle at the gates of their oppressors.

Verse 12. “Awake, awake, Deborah!Awake, awake, break out in a song!Arise, Barak, lead away your captives,O son of Abinoam.

So far, Deborah’s song has mostly been about who she is singing to, as well as the God she sings for (Judges 5:1, 4–5). She has just urged those who hear it to distribute the story of the Lord’s victory over the Canaanite oppressors. They should tell it wherever they go (Judges 5:10–11).

Here, the process of Israel’s redemption from Canaanite oppression is presented in poetic terms. The action is initiated by God’s call to Deborah and Barak. The Lord says to her, “Awake!” This brings in the idea of awareness: becoming conscious of God’s voice. Deborah is empowered as a prophetess to hear the words of God. The Lord tells her the moment has come to break out in song. In some ways, this “song” is the summons she extended to Barak (Judges 4:6–10); it’s also the God-given order she gave for Barak and his men to launch into battle (Judges 4:14). Either way, this beautiful metaphor depicts her role as the deliverer of God’s messages.

The message to Barak the deliverer, through Deborah the prophetess, is much clearer. She was called on to become aware, and to speak. Barak is told to act. His work begins with raising an army from among his countrymen. The call to lead away captives reverses what had been the status quo for twenty years in Israel (Judges 4:1–3). Barak was leading the Israelite “captives” into battle against their captors to become free people once again.

Context Summary
Judges 5:12–18 describes Deborah’s rise to power and her appeal for Israel to fight against their Canaanite oppressors (Judges 4:1–3). This passage includes praise for the tribes of Ephraim, Benjamin, Zebulun, Issachar, Naphtali, and parts of Manasseh. These tribes answered the call and joined the battle. Reuben, Gad, Dan, Asher, and other portions of Manasseh are criticized for failing to respond.

Verse 13. Then down marched the remnant of the noble;the people of the Lord marched down for me against the mighty.

The celebratory song of Deborah (Judges 5:1) now comes to the Israelite army which attained great victory over the Canaanites who had oppressed them for twenty years (Judges 4:1–3). Unlike the prior chapter (Judges 4:12–16), this is not a strict historical description. This is a song—poetry—focused on the triumph and feelings of the experience rather than specific details.

The prophetess has described in poetic terms how God empowered her to call Barak (Judges 5:12) to muster people from Israel to join him in battle against the Canaanites. She now celebrates how the survivors of Israel’s people marched against the mighty enemy. Some scholars understand “noble” to describe these volunteers, while others read this as a name for the “rich” and “upper class” Canaanites.

The picture is clear either way. Many Israelites died under the cruel oppression of the Canaanites. Those who answered Barak’s call to battle were survivors of that oppression. They were those left over, going to war against a vastly superior army. It’s possible the Israelites did not even have spears and shields (Judges 5:8).

Verse 14. From Ephraim their root they marched down into the valley,following you, Benjamin, with your kinsmen;from Machir marched down the commanders,and from Zebulun those who bear the lieutenant ‘s staff;

Deborah, in a song commemorating the Lord’s victory over the Canaanites (Judges 5:1), now describes the volunteers from the various tribes of Israel who offered themselves to follow Barak into battle. These are the people of the Lord who answered the call to come and fight.

In the previous chapter, Scripture described these events in a straightforward way, using prose instead of poetry. No mention was made of any tribes except Naphtali and Zebulun. Now it becomes clear that several tribes contributed to Barak’s sizable army (Judges 4:10).

Deborah first mentions the people of her own tribe, Ephraim. They marched down into the valley, either from the hill country where they lived or from Mount Tabor after the entire army had gathered there. Those of the tribe of Benjamin came next.

She also mentions a group of commanders from Machir. Machir was the name of Manasseh’s oldest son (Genesis 50:23); this likely means those occupying the western part of the territory of Manasseh. The volunteers from Zebulun follow next. Deborah describes these as the ones who carry the lieutenant’s staff. Apparently, both Machir and Zebulun contributed leaders or officers to the cause.

Verse 15. the princes of Issachar came with Deborah,and Issachar faithful to Barak;into the valley they rushed at his heels.Among the clans of Reubenthere were great searchings of heart.

Many groups sent men in response to Barak’s call for fighting men (Judges 4:10). Deborah’s song celebrates those communities (Judges 5:1, 14). She has mentioned willing fighters and leaders from Ephraim, Benjamin, Machir—part of the tribe of Manasseh—and Zebulun. Now she adds that “princes of Issachar” came with her. She also describes them as faithful to Barak, rushing into the valley from their mustering position on Mount Tabor at Barak’s heels. The picture created is of a bold and courageous group of fighters who were ready for action.

Next, Deborah’s song turns to address those tribes who did not participate in the battle. She will hold these to account for generations to come for their refusal to fight with Barak and the Lord against Israel’s oppressors.

This rebuke begins with the clans of Reuben. Rather than directly refusing to come or waiting too long, they are indecisive. The tribes never move beyond thinking into action, eventually sending no men into battle. This faltering, hesitant attitude matches the description given by Jacob when he prophesied over his sons on his deathbed (Genesis 49:3–4).

Verse 16. Why did you sit still among the sheepfolds,to hear the whistling for the flocks?Among the clans of Reubenthere were great searchings of heart.

Deborah’s song (Judges 5:1) has turned from praising tribes for their willing volunteers to questioning those who refused to join the cause against the Canaanites (Judges 5:13–15). She described the tribe of Reuben as wrestling with the decision, spending much time and energy thinking about what to do.

Her question to them, delivered in song, makes it clear they reached the wrong conclusion. Her question depicts Reuben’s tribe sitting in the middle of sheep pens, listening to the shepherd playing music on a pipe or flute. The implication can be taken one of two ways. One is that of men so comfortable where they are that they refuse to help others. The other suggestion is of men committed to protecting their own, with no concern for the flocks of other shepherds.

The repeated reference to Reuben’s pondering, dithering attitude likely means they deeply considered the issue before refusing to go. That would correspond to Jacob’s deathbed prediction about the tribe (Genesis 49:3–4). Alternatively, the Hebrew could be read to mean Reuben was completely resolved not to send anyone to this battle for any reason. Either way, Deborah’s song holds them accountable for making the wrong choice.

Verse 17. Gilead stayed beyond the Jordan;and Dan, why did he stay with the ships?Asher sat still at the coast of the sea,staying by his landings.

After a glorious defeat of Canaanite oppressors (Judges 4:14–16), the prophetess Deborah sings a song of praise to God (Judges 5:1). As part of the celebration, she praised tribes that participated in the battle (Judges 5:13–15), then moved to chastise those who failed to send any fighters, at all (Judges 5:16). The tribe of Reuben—predicted to be wavering as water (Genesis 49:3–4)—was scolded for sitting idly by like men among the sheep ignoring a call to action.

Now Deborah asks why the men of Gilead, a group including parts of the tribes of Gad and Manasseh, did not cross over the Jordan River from the east to come and help. Why did the people of Dan remain on the west coast with their ships and, presumably, their shipping business? Why did the people of Asher sit still by the Mediterranean coast near their landings?

To be clear, these tribes were far away from the battlefield. They were not nearly so close to the trouble as the other tribes. Yet Deborah’s song offers no excuse. The people of the Lord were fighting at the Lord’s command against the Lord’s oppressors, but these tribes remained engaged in their businesses and other occupations. Hundreds of generations later, Deborah’s song is still chastising them for their decision not to participate in God’s promised victory.

Verse 18. Zebulun is a people who risked their lives to the death;Naphtali, too, on the heights of the field.

Deborah’s celebratory song (Judges 5:1) has been holding four groups to account; these refused to send any men to fight a battle against the Canaanites (Judges 4:12–16). Named tribes or people included Reuben, Gilead—likely including parts of Gad and Manasseh—Dan, and Asher (Judges 5:13–17).

Now she acknowledges two more tribes who sent fighters for the cause. These, it seems, were the main forces recruited by Barak (Judges 4:10). She points out that the stakes were high, and the risk was great. The people of Zebulun risked their lives to join in, as did the volunteers from Barak’s home tribe of Naphtali (Judges 4:6). They were willing to die on the field of battle to stand with Barak, on behalf of the Lord, against Sisera and his fearsome iron chariots (Judges 4:1–3).

Scripture, through Deborah, praises their courage and faithfulness. The others were unwilling and refused to join. This clear answer and direct praise contrasts the lingering question hanging over the uninvolved tribes: “why?”

Verse 19. “The kings came, they fought;then fought the kings of Canaan,at Taanach, by the waters of Megiddo;they got no spoils of silver.

Deborah’s song (Judges 5:1) about God’s victory over the oppressors of Israel (Judges 4:1–3) finally arrives at the battle itself (Judges 4:12–16). Only Sisera, the commander of Canaan’s army, is mentioned in the previous chapter. Now, though, Deborah adds that the kings of Canaan fought alongside Sisera.

Jabin of the city of Hazor was the king over all the Canaanites. Lesser kings would have ruled over their own city-states under Jabin’s authority. These would have participated in the battle against the Israelites with the fighters from their own towns. This passage describes them gathering for the fight at a fortified city called Taanach. This was just southeast of Megiddo. Many famous battles have taken place on or near the plain of Megiddo, which some commentators have described as an ideally suited field of battle. Pivotal conflicts are yet to occur there, as well: Revelation 16:16 refers to the spot using a term which has come into English as Armageddon, which means “Mount Megiddo.”

The last line of this verse foreshadows Canaan’s defeat. The kings received no spoils of silver from this battle. One of the motivations for ancient soldiers in war was the loot that could be taken from the enemy if you were successful. These rewards would have included material possessions, such as silver, as well as human slaves and women to molest (Judges 5:30). The kings received no spoils because Canaan was utterly defeated.

Context Summary
Judges 5:19–23 recounts the battle briefly depicted in Judges 4:12–16. In poetic language, the passage indicates that Sisera’s Canaanite army was thoroughly defeated. While partly symbolic, this segment also suggests an unexpected flood as part of God’s plan for Israel’s victory. Meroz, likely a town that failed to aid their fellow Israelites, is cursed.

Verse 20. From heaven the stars fought,from their courses they fought against Sisera.

According to this part of a celebratory song (Judges 5:1), the kings of Canaan entered battle against vastly overmatched Israelites (Judges 4:12–13). The Canaanites approached on seemingly unbeatable iron chariots (Judges 4:1–3). It’s possible they held vastly superior numbers. The Israelites were under-armed (Judges 5:8) and under-trained, at best. It’s not surprising the Canaanites expected to collect great spoils from the Israelites.

As explained here, however, the Lord turned the tide of the battle before it even began. Deborah poetically describes the stars fighting from heaven against Sisera and his army. This reference suggests two things. First, God was considered to be the only One in control of the heavens; if “the stars fight” for Israel, it means the Lord is taking action on behalf of His people. She is not actually saying the stars did something in and of themselves, but instead uses poetry to communicate that all of creation was aligned to favor the Israelites.

Second, references such as this also imply something about nature. As the next verse shows, this might have been a major part of Barak’s victory over Sisera’s forces (Judges 4:14–16). Scholars suggest the heavens broke loose in a furious downpour of rain over the valley, flooding the usually tiny Kishon River. This would turn it into a torrent—a flash flood—sweeping away many men. It would also make the field a muddy mess, incapacitating heavy iron chariots.

Verse 21. The torrent Kishon swept them away,the ancient torrent, the torrent Kishon.March on, my soul, with might!

How did the vastly outmatched army of Israel ever defeat the overpowering force of Sisera’s Canaanite army with its 900 iron chariots (Judges 4:1–3; 14–16)? The short answer is that the Lord gave them the victory. Scripture often gives general answers without explaining exact mechanisms. In this case, the answer to “how” God enabled Israel’s victory might be given in this verse: through flood and mud.

The crucial battle took place near the Kishon River, which likely was a dry riverbed the day before the battle. But Deborah’s song implies an unseasonal downpour as the “stars [nature] fought…against Sisera” (Judges 5:21). The raging river is said to have swept some of the Canaanite fighters away. Others in chariots and on horses would have likely become stuck in the mud as the Kishon overflowed its banks. An army dependent on heavy chariots becomes vulnerable if the ground turns to muck and they can no longer move at speed.

This possibility is further encouraged by Deborah’s command for Israel’s troops to advance, leaving a position of advantage on the mountain, to attack the oncoming Canaanites (Judges 4:14). Her God-given insight into the exact moment needed to catch the floundering chariots would have turned the battle into a rout. Her command is echoed here, connected directly to the flooding of the river, giving Israel courage.

Verse 22. “Then loud beat the horses ‘ hoofswith the galloping, galloping of his steeds.

Deborah’s song (Judges 5:1) has described the suddenly flooded Kishon River sweeping away at least some of the Canaanite army (Judges 5:20–21). Scholars suggest the valley experienced an unseasonable flash flood, quickly becoming muddy, incapacitating the heavy iron chariots of war. The unbeatable Canaanites were likely stuck or retreating. The last chapter indicated, as well, that Deborah gave a sudden command for Israel to attack—leaving the security of high ground—with great urgency (Judges 5:14). Through God’s supernatural intervention in both ways, Israel’s army could have fallen on the Canaanites at the exact moment they were most vulnerable.

Here, Deborah imagines the sounds of hooves to the frenzy of the battlefield. This is either the sound of horses making a break away from the battle (Judges 4:15–16) or simply stomping around in a frenzy, unable to escape because of the conditions. The noise and chaos of that moment would have been intense.

Verse 23. “Curse Meroz, says the angel of the Lord,curse its inhabitants thoroughly,because they did not come to the help of the Lord,to the help of the Lord against the mighty.

The battle has been won (Judges 4:15–16). The Lord fought for Israel, apparently using the weather against the Canaanites (Judges 5:20–22). The result was an astounding upset. Israel has won the battle and will soon defeat King Jabin and Canaan completely (Judges 4:23–24).

Suddenly, Deborah’s song (Judges 5:1) turns to address another people who refused to join in the Lord’s battle against Canaan. She has already raised the question of why the people of various Israeli tribes sent no volunteers to the battle (Judges 5:15–17). Her rhetorical questions allowed their shame to linger, but she did not curse them. Meroz, however, is overtly cursed for their failure to render aid.

The location of Meroz is not known. It was apparently an Israelite town. In some way, its people refused to answer the call to fight against the Canaanites (Judges 4:10). Some scholars speculate that the people of Meroz made an alliance with Canaan against their fellow Israelites. Others suggest the people of Meroz failed to stop Sisera from escaping from the battle (Judges 4:17) when they had a chance.

Even worse, it is not Deborah but the “angel of the Lord” cursing Meroz. The phrase “angel of the Lord” is sometimes understood to be an Old Testament reference to Christ before He came to earth as Jesus. Either way, this harsh scolding comes directly from God.

Verse 24. “Most blessed of women be Jael,the wife of Heber the Kenite,of tent-dwelling women most blessed.

Having delivered a curse to the people of a town called Meroz, Deborah’s song now dispenses a blessing to Jael, the wife of Heber (Judges 4:11). She killed Sisera, the commander of the Canaanite army (Judges 4:17–21). That involved lulling the fleeing general into sleep, only to drive a wooden spike through his skull.

God’s providence—His ability to “provide” through an arrangement of events rather than by direct action—means He can use anything, even human evil, to accomplish good purposes. The previous chapter’s straightforward reporting offered no commentary on Jael’s deed. She was used by the Lord to kill Sisera, helping to rescue Israel from brutality (Judges 4:1–3). The initial account did not say whether what she did, itself, was good or bad. Was she a hero, striking down a brutal oppressor? Or was she a manipulative, betraying murderess? Deborah’s song does not hold back, pronouncing Jael to be the most blessed of tent-dwelling women.

Jael’s action cannot be judged appropriately without fully understanding its context. When Israel first approached the Promised Land of Canaan, God gave a dire command about the Canaanites who lived there. Because of the culture’s pervasive sin—including child sacrifice and sexual depravity—Israel was to utterly eliminate them from the land (Deuteronomy 20:16–17). This was not only to judge those nations for their evil (Deuteronomy 7:1–5; 9:4–5), but to prevent Israel from falling into their habits (Deuteronomy 20:18). The people’s failure to follow this command is what led to their cycle of sin and subjugation (Judges 2:10–19).

Sisera—the man ambushed and killed by Jael—had long been tormenting Israel. Verses later in Deborah’s song (Judges 5:1) imply he had a reputation for taking female captives (Judges 5:30). He was fleeing a battle to which God had called His people. Jael was not murdering for personal gain or out of ambition. She was taking advantage of an opportunity, to strike down a hated, wicked, dangerous enemy. She showed initiative that many in Israel failed to exhibit (Judges 5:15–17). Despite her husband Heber’s peace agreement with Jabin, Jael acted for the Lord and for the people of the Lord.

This is not a small blessing from one woman to another. Deborah speaks through this song as a prophetess (Judges 4:4–5) and representative of Yahweh. God Himself is blessing Jael for her action in killing Sisera. The crucial moment is depicted in poetic detail in the following verses.

Context Summary
Judges 5:24–31 completes a song of victory celebrating the defeat of the Canaanites (Judges 4:12–16). This especially notes the slaying of Sisera, Canaan’s general, by the woman Jael. Her brutally efficient methods were described in the prior chapter (Judges 4:17–21). Sisera’s death is given an especially dramatic, poetic treatment—the ancient written equivalent of a slow-motion sequence. The passage also imagines the surprise which will accompany Sisera’s death, depicting it from the view of his mother and servants. The song ends with a plea that God would extend the same defeat to all His enemies. The peace won by Barak and Deborah (Judges 4:4–7) will last forty years.

Verse 25. He asked for water and she gave him milk;she brought him curds in a noble ‘s bowl.

After explaining the great battle between Canaan and Israel, Deborah greatly slows the pace of the story in her song (Judges 5:1). This could be compared to the slow-motion sequences used in modern videos. The dramatic shift in time scale enhances the emphasis on that moment. Jael’s slaying of the cruel oppressor Sisera is put to music as the high point of Deborah’s victory song.

Another parallel to modern events is how the defeat of great enemies is celebrated in songs, movies, books, and other forms of art. Each generation has told detail-laden stories of the end of men like Adolf Hitler, the terrorist Osama bin Laden, or others. Sisera’s sudden death is both a sober event and a cause for relief. It’s rightly met with celebration for those who feared he would take more lives and harm more people (Judges 4:1–3; 5:30).

Deborah’s song reveals more of the significance of Jael’s response to Sisera’s request for water (Judges 4:19). Instead of merely giving him water to quench his thirst, she honored him—or so it seemed—with milk and curds presented to him formally in the bowl of a nobleman. She treated Sisera as a highly regarded official. This gave him every reason to trust her enough to open an opportunity for betrayal.

Verse 26. She sent her hand to the tent pegand her right hand to the workmen ‘s mallet;she struck Sisera;she crushed his head;she shattered and pierced his temple.

Deborah’s song (Judges 5:1) comes now to the moment of Sisera’s death (Judges 4:19–21). She packs in as many details as she can, using poetic language. Once Sisera was soundly asleep, Jael picked up the tools commonly used by nomadic women of her culture: heavy mallets and long wooden spikes. It’s likely Jael had driven these tent pegs into the ground thousands of times in her life.

One need not imagine the damage a skilled person could do with such tools; Deborah provides details. The general’s skull was shattered—through the soft part between the forehead, eyes, and ears. Jael didn’t strike a single fleeting blow and then run. She committed herself to slay the Canaanite leader. The prior chapter indicates she drove the pointed wooden spike through Sisera’s head and into the ground (Judges 4:21). There was no chance of survival or escape; the corpse was literally nailed in place when Barak arrived in pursuit (Judges 4:22).

Verse 27. Between her feethe sank, he fell, he lay still;between her feethe sank, he fell;where he sank,there he fell — dead.

This verse may be the most obviously lyrical in the chapter. This segment repeats key phrases in a rhythmic order. This pattern is something Bible scholars call “staircase parallelism.” Deborah’s song (Judges 5:1) is using poetry to capture the moment following the death of Israel’s cruel oppressor Sisera.

Separating the phrases in this poem clarifies the rhythm of the words:

“Between [Jael’s] feet

[Sisera] sank,

He fell,

He lay still;

Between her feet

He sank,

He fell;

Where he sank,

There he fell

—Dead“

This stylized repetition drives home the point. This is both a terror to God’s enemies and a joy to the people of Israel: the one who cruelly and ruthlessly mistreated us is truly dead. It’s not a rumor. You didn’t mishear the story. He is not coming back. The nightmare is over. Sisera is dead and killed by a woman!

Verse 28.”Out of the window she peered,the mother of Sisera wailed through the lattice:‘Why is his chariot so long in coming?Why tarry the hoofbeats of his chariots?’

The scene of Deborah’s song (Judges 5:1) suddenly switches. She declared Jael, the killer of Sisera (Judges 4:1–3), to be blessed for her canny actions (Judges 4:21–22). Then she poetically described the moment of the killing and the dead body of Sisera lying unresponsive on the floor. This took a form somewhat like a slow-motion replay: repeating and emphasizing the demise of Israel’s oppressor (Judges 5:27).

Without warning, the narrative of the song shifts to Sisera’s mother, imagining her waiting at home for her son to return from the battle. It’s natural to recoil, at first, at the thought of celebrating the reaction of a mother who has lost a soldier in combat. What Sisera’s mother says in the following verses, however, can inspire the opposite feeling. Sisera’s family was accustomed to him not only making misery for many Israeli mothers but terrorizing their women and others as well.

The image given here is of Sisera’s mother looking for him out the window while crying. In poetic style, she asks what’s taking him so long to return. She has not seen or heard from his traveling party. It’s a moment that an unfortunate number of mothers have experienced, waiting in vain for a child or husband to return from war. At the same time, Sisera had likely caused this scene to happen in the homes of many Israelite mothers over the previous two decades. Deborah’s song will show his mother little mercy. The following verses will imply that Sisera’s cruelty and oppression were truly despicable (Judges 5:29–30).

Verse 29. Her wisest princesses answer,indeed, she answers herself,

Deborah’s song (Judges 5:1) is nearing its end. She has recorded the Lord’s victory over the Canaanites (Judges 5:19–22) and the death of the general Sisera at the hand of a woman while he slept (Judges 5:24–27). Now, in a sense, Deborah celebrates the grief of Sisera’s mother as she waits for the son who will never return (Judges 5:28). The reason for this crowing is driven by Sisera’s long oppression of Israel (Judges 4:1–3) as well as details given in these verses. These indicate Sisera was not merely an oppressor, but an especially cruel and fearful one (Judges 5:30).

As depicted here, Sisera’s mother stands at the window, crying and looking for her son. She asks why she has not yet heard or seen his chariot. The other royal ladies express the same concern. Here, Deborah seems to sarcastically refer to these women as “wise,” as they are completely wrong in their assumption. In the next verse, the mother and princesses assume Sisera is late because he has so much captured loot to divide—including women, crassly referred to in the Canaanite city as “wombs.”

Verse 30. ‘Have they not found and divided the spoil? —A womb or two for every man;spoil of dyed materials for Sisera,spoil of dyed materials embroidered,two pieces of dyed work embroidered for the neck as spoil?’

Sisera was brutally killed by a woman named Jael as he slept (Judges 4:19–21; 5:24–27). As Deborah sings a celebration of Israel’s victory (Judges 5:1), she depicts Sisera’s mother fearfully wondering why her son is delayed. The other noble women—or, possible, Sisera’s harem—assure her he has so much loot and slaves to sort through that he’s running late. They imagine Sisera and his soldiers ransacking enemy camps and towns, perhaps, after routing the Israelites in battle.

The heartless description of what they will be taking is chilling—and partly reveals the Israeli perspective on Sisera’s cruelty. Concepts such as this might have been part of Jael’s motivation to mangle the general’s skull with a wooden spike (Judges 4:22). The reference to “a womb or two for every man” can imply the taking of captive wives in battle. However, the coarse language, and the context of a territory already under Canaanite control, suggest something even less savory. Deborah poetically imagines Sisera’s mother callously assuming the soldiers are enjoying—brutally—the defeated women of Israel. This has always been an all-too-common reality of war. To hear Sisera’s mother describe it so bluntly is meant, in part, to steal away sympathy for her.

Sisera’s mother is imagined assuming, just as arrogantly, that her son is sorting through massive plunder such as clothes and fabrics. It’s likely Sisera and his soldiers had taken such goods from the Israelites many times during their oppression of the previous twenty (Judges 4:1–3) years. Deborah’s song uses this reality to sharpen her focus on divine justice. This came through Israel’s victory and the death of Sisera at the hands of a woman while he slept helplessly.

Verse 31. “So may all your enemies perish, O Lord!But your friends be like the sun as he rises in his might.” And the land had rest for forty years.

Deborah’s victory song (Judges 5:1) ends with a prayer to the Lord. She returns to her emphasis that this triumph was God’s. He brought it about, from the deluge that flooded the river and rendered Sisera’s iron chariots helpless (Judges 5:19–22) to the grotesque way in which Sisera died at the hands of a woman used by the Lord to bring justice (Judges 5:24–27).

The prophetess (Judges 4:4–5) concludes by asking the Lord to bring such death to all His enemies. She doesn’t call them “her” enemies or even “Israel’s” enemies, but God’s enemies. He brings justice to those who stand opposed to Him. In the same way, she asks the Lord that those who honor Him be like the sun: rising in might, bringing heat and light while remaining untouchable.

Within Deborah’s words are echoes of God’s own covenant promises to Israel. These were made exclusively to that people, in that time. If they will remain His friends by doing what is right before Him, He will bless them. If they choose to rebel against Him and make themselves His enemies once more, He will bring suffering and death (Deuteronomy 30:15–18). Sadly, the next verse reveals the choice Israel will make, once more, to continue the downward spiral of the book of Judges (Judges 2:11–19).

The last phrase of this verse is not part of Deborah’s song. Rather, it’s the conclusion of this cycle in Israel’s history. After the defeat of Canaan, Sisera, and Jabin (Judges 4:1–3), Israel will see peace for an entire generation: forty years. Then the pattern will repeat (Judges 6:1).

End of Judges 5

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