士師記 5

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1 那時,底波拉和亞比挪菴的兒子巴拉作歌,

2 因為以色列中有軍長率領,百姓也甘心犧牲自己,你們應當頌讚耶和華

3 啊,要子啊,要側耳而!我要向耶和華;我要歌頌耶和華以色列的

4 耶和華啊,你從西珥出來,由以東地行走。那時地震漏,雲也落雨。

5 耶和華的面就震動,西乃耶和華以色列的面也是如此。

6 在亞拿之子珊迦的時候,又在雅億的日子,大道無人行走,都是繞道而行。

7 以色列中的官長停職,直到我底波拉興起,等我興起作以色列的母。

8 以色列人選擇新,爭戰的事就臨到城。那時,以色列四萬人中豈能見盾牌槍矛呢?

9 傾向以色列的首領,他們在民中甘犧牲自己。你們應當頌讚耶和華

10 白驢的、繡花毯子的、行的,你們都當傳揚!

11 在遠離弓箭響聲打之處,人必述說耶和華的作為,就是他治理以色列的作為。那時耶和華的到城

12 底波拉啊,興起!興起!你當興起,興起,唱歌。亞比挪菴的兒子巴拉啊,你當奮興,擄掠你的敵人。

13 那時有餘剩的貴冑和百姓一同下來;耶和華降臨,為我攻擊勇士。

14 本在亞瑪力人的地,從以法蓮來的;便雅憫在民中跟隨。有掌權的從瑪吉來;有持杖檢點民的從西布倫來;

15 以薩迦的首領與底波拉同來;以薩迦怎樣,巴拉也怎樣。眾人都跟隨巴拉衝下平原;在流便的溪水旁有中定志的。

16 你為何在羊圈內群中吹笛的聲音呢?在流便的溪水旁有中設謀的。

17 基列人安居在約但河外。但人為何等在上?亞設人在口靜,在港口安居。

18 西布倫人是拚命敢的;拿弗他利人在田野的處也是如此。

19 爭戰。那時迦南在米吉多旁的他納爭戰,卻未得擄掠

20 宿從上爭戰,從其軌道攻擊西西拉。

21 基順古把敵人沖沒;我的靈啊,應當努力前行。

22 那時壯馳驅,踢跳,奔騰。

23 耶和華的使者:應當咒詛米羅斯,大大咒詛其中的居民;因為他們不幫助耶和華,不幫助耶和華攻擊勇士。

24 願基尼人希百的妻雅億比眾婦人多得福氣,比住帳棚的婦人更蒙福祉。

25 西西拉求,雅億他奶子,用寶貴的盤子奶油

26 雅億左拿著帳棚的橛子,右拿著匠人的錘子,擊打西西拉,打傷他的,把他的鬢角打破穿通。

27 西西拉在他前曲身仆倒,在他前曲身倒臥;在那裡曲身,就在那裡死亡。

28 西西拉的母親從窗戶裡往外觀看,從窗櫺中呼叫說:他的戰車為何耽延不呢?他的車輪為何行得慢呢?

29 聰明的宮女安慰他(原文是回答他),他也自言自語地說:

30 他們莫非得財而分?每人得了一兩個女子?西西拉得了彩衣為擄物,得繡花的彩衣為掠物。這彩衣兩面繡花,乃是披在被擄之人頸項上的。

31 耶和華啊,願你的仇敵都這樣滅亡!願你的人如日頭出現,光輝烈烈!這樣,國中太平四十年。

  

Exploring the Meaning of 士師記 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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