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.

2145. 'He was sitting at the tent door' means the holiness which existed with Him at that time, namely the holiness of love, which is meant by 'as the day was getting warmer', dealt with in what follows next. This is clear from the meaning of 'a tent' as holiness, dealt with in 414, 1102, 1566. And for the reason why 'tents' meant forms of holiness, see the same paragraphs. Since the Lord at this time had the perception meant by the oak-groves of Mamre, which is a lower rational perception, yet more interior than that meant by the oak-grove of Moreh, dealt with in 1442, 1443, it is here represented and so is meant by his sitting at the tent door, that is, at the entrance to holiness. As regards perceptions being more interior or less interior, this may be illustrated from the perceptions which the most ancient people had. From these people I have heard that the more they were immersed in mere facts acquired from the objects of hearing and sight the lower their perceptions became; but the more they were raised up from them towards the celestial things of charity and love the more interior these perceptions became, as they were then closer to the Lord.