Judges 5:28-30

The Mother of Sisera. There is irony almost matchless irony in the closing lines of the poem, but it is not cruel mocking irony. The words were neither written, nor meant to be recited or sung, in a spirit of derision. Can any one read them now without emotions of pity and fear? With inimitable art, in the manner of the highest tragedy, the poet depicts a group of high-born, light-hearted women, upon whom is falling, unseen, the shadow of death. The scene in the harim of Sisera's palace the face at the lattice-window, the feverish waiting for the homecoming hero, the chiding of lingering chariot wheels, the questions of fretful impatience, the quick and confident rejoinders, the feeding of fancy with visions of conquest and spoil how vividly all this has been conceived! And, having painted his picture, the artist leaves it. A lesser poet, like the writer of a famous French war-song would have sent a messenger with the tidings that the hero was mort et enterré. Nothing of the kind happens here. That face is left at the lattice the face of a mother for ever waiting a son who never will return. [Perhaps we should adopt mg. in Judges 5:29; the mother, too anxious to accept the reassurance of her ladies keeps muttering her forebodings to herself a fine touch of nature. A. S. P.] With Judges 5:31, cf. Psalms 68:2 f; Psalms 92:9. It is assumed that, the enemies of Israel being Yahweh's enemies, the victory is a victory for Him; and it is remarkable that even thus early perhaps in the twelfth century B.C. those who serve Him, and fight His battles, are described not as those who fear Him but as those who love Him. Does not that fact explain everything?