士师记 5

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1 那时,底波拉和亚比挪?的儿子巴拉作歌,

2 因为以色列中有军长率领,百姓也甘心牺牲自己,你们应当颂赞耶和华

3 啊,要子啊,要侧耳而!我要向耶和华;我要歌颂耶和华以色列的

4 耶和华啊,你从西珥出来,由以东地行走。那时地震漏,云也落雨。

5 耶和华的面就震动,西乃耶和华以色列的面也是如此。

6 在亚拿之子珊迦的时候,又在雅亿的日子,大道无人行走,都是绕道而行。

7 以色列中的官长停职,直到我底波拉兴起,等我兴起作以色列的母。

8 以色列人选择新,争战的事就临到城。那时,以色列四万人中岂能见盾牌枪矛呢?

9 倾向以色列的首领,他们在民中甘牺牲自己。你们应当颂赞耶和华

10 白驴的、绣花毯子的、行的,你们都当传扬!

11 在远离弓箭响声打之处,人必述说耶和华的作为,就是他治理以色列的作为。那时耶和华的到城

12 底波拉啊,兴起!兴起!你当兴起,兴起,唱歌。亚比挪?的儿子巴拉啊,你当奋兴,掳掠你的敌人。

13 那时有馀剩的贵胄和百姓一同下来;耶和华降临,为我攻击勇士。

14 本在亚玛力人的地,从以法莲来的;便雅悯在民中跟随。有掌权的从玛吉来;有持杖检点民的从西布伦来;

15 以萨迦的首领与底波拉同来;以萨迦怎样,巴拉也怎样。众人都跟随巴拉冲下平原;在流便的溪水旁有中定志的。

16 你为何在羊圈内群中吹笛的声音呢?在流便的溪水旁有中设谋的。

17 基列人安居在约但河外。但人为何等在上?亚设人在口静,在港口安居。

18 西布伦人是拚命敢的;拿弗他利人在田野的处也是如此。

19 争战。那时迦南在米吉多旁的他纳争战,却未得掳掠

20 宿从上争战,从其轨道攻击西西拉。

21 基顺古把敌人冲没;我的灵啊,应当努力前行。

22 那时壮驰驱,踢跳,奔腾。

23 耶和华的使者:应当咒诅米罗斯,大大咒诅其中的居民;因为他们不帮助耶和华,不帮助耶和华攻击勇士。

24 愿基尼人希百的妻雅亿比众妇人多得福气,比住帐棚的妇人更蒙福祉。

25 西西拉求,雅亿他奶子,用宝贵的盘子奶油

26 雅亿左拿着帐棚的橛子,右拿着匠人的锤子,击打西西拉,打伤他的,把他的鬓角打破穿通。

27 西西拉在他前曲身仆倒,在他前曲身倒卧;在那里曲身,就在那里死亡。

28 西西拉的母亲从窗户里往外观看,从窗棂中呼叫说:他的战车为何耽延不呢?他的车轮为何行得慢呢?

29 聪明的宫女安慰他(原文是回答他),他也自言自语地说:

30 他们莫非得财而分?每人得了一两个女子?西西拉得了彩衣为掳物,得绣花的彩衣为掠物。这彩衣两面绣花,乃是披在被掳之人颈项上的。

31 耶和华啊,愿你的仇敌都这样灭亡!愿你的人如日头出现,光辉烈烈!这样,国中太平四十年。

  

Exploring the Meaning of 士师记 5      

Napsal(a) Rev. Julian Duckworth

Judges 5: The Song of Deborah.

This chapter is a song of victory, describing the events of Judges 4 in poetic and exuberant language. Throughout, there is a sense of exhorting the people to turn to the Lord and praise Him for the victory. Singing this kind of song was a customary way for Israel to rejoice after a major victory.

The spiritual meaning of singing has to do with our overall joy and affection for spiritual things: joy for what is true, for the Word, and for everything about the Lord. Affection is not merely knowing spiritual truths; it is our heart’s response to them, which goes far beyond words.

This is why the lyrics of sacred songs such as Judges Chapter 5 are very eloquent and passionate. They are not simply an account of what took place, but more an outburst of praise and gratitude in recounting the story. We experience the same inner ‘music’ when our heart feels a deep spiritual affection, and is stirred up with praise to the Lord. Just as Deborah and Barak sang after a battle, our songs of gratitude will generally be felt after the Lord delivers us from a period of temptation during regeneration (see Swedenborg’s work, Arcana Caelestia 8265).

The song itself frequently acknowledges the Lord’s part in Israel’s victory:

In verse 4: “Lord, when you went out from Seir, when you marched from the field of Edom.”

In verse 11: “There they shall recount the righteous acts of the Lord for his villagers in Israel.”

And in verse 13: “Then the Lord came down for me against the mighty.”

These references serve to remind us that everything is the Lord’s doing. We must do what is good as though our actions make the difference, but we are to affirm that the Lord brings about all that is good. This acknowledgement allows us to act from free will, while still understanding the spiritual truth that all goodness comes from the Lord (Arcana Caelestia 9193).

This is emphasized through the song whenever Deborah praises her own actions, as well as those of Barak and Jael. For example:

In verse 7: “Village life ceased in Israel until I, Deborah, arose, a mother in Israel.”

In verse 12: “Awake, awake, Deborah! Awake, awake, sing a song! Arise, Barak, and lead your captives away, O son of Abinoam!”

And in verses 24-27, when Jael receives full praise for her actions.

Another theme in the song is a lament over those tribes which did not come to the aid of Israel, although only Issachar and Zebulun were called to battle. A town called Meroz is roundly cursed for failing to help. The name ‘Meroz’ comes from a verb meaning “to withdraw” or “to hide” (see Swedenborg’s work, Heaven and Hell 18). This lament reminds us that our intentions to serve the Lord and to fight our spiritual battles can be hindered by our own divided wills.

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