GASB Forever

This is what I've been writing for the past 6 days.

The subject of women and sexuality in written history raises complex and intriguing questions in light of history’s social and cultural mores. Such is the case in the narrative of Deborah, Barak, Sisera and Jael in Judges 4. In addition to a textual and hermeneutical examination of this prose, the author will also provide scholarly views on several of the surrounding controversies in this narrative. While the reversal of gender roles is not the functional purpose of the narrative, it is a fascinating theme worth examining.

Chapter 4 begins by updating the reader on the moral condition of Israel. Once again, they have turned away from God and have suffered oppression as a result. The oppressor in this case is King Jabin of Canaan. Much speculation surrounds the identity of King Jabin. Joshua 11 mentions a battle against a King Jabin of Hazor, yet the victor is Joshua, not Barak. Lindars mentions the suggestion by certain scholars that the narrative in Joshua 11 and Judges 4 are the same event.[1] Another theory suggests Jabin as a common royal name.[2] Whatever the case, King Jabin has risen up against the Israelites, who eventually cry out for deliverance from God.

The narrative differs from previous stories by not explicitly pointing to a savior that God raises up following the oppression of Israel. The reader then assumes that Deborah, the first name given after the description of King Jabin’s oppression, is the savior.[3] However, the reader is soon introduced to Barak, the military leader of the Israelites. Is this the intended deliverer? The reader has a difficult time deciding, since Deborah prophesies about the victory’s honor going to a woman, who is later revealed to be Jael. In the end, it is she who triumphs over Sisera. While most scholars cannot agree which of the three is the main deliverer, Amit argues that the structure of the narrative ultimately points to the Lord as deliverer.[4] Evidence of this appears at the end of the prose in verse 23, “On that day God subdued Jabin, the Canaanite king, before the Israelites” (NIV).

Deborah is introduced in verses 4 and 5 as a prophetess and judge, although the latter title is restricted to the literal sense of the word, as Deborah would hear court-like cases and disputes.[5] The name Deborah literally means “bee,” but also resembles the Hebrew words “speak” and “word,”[6] descriptive of Deborah’s role as a prophetess. The phrase “wife of Lappidoth” can also be translated as “woman of torches” or “woman of lightning.”[7] Some scholars consider this translation more than coincidental, considering that Barak’s name means “lightning.” Whether or not Lappidoth was the actual husband of Deborah is speculative, since his name is not mentioned in the rest of the narrative. Perhaps even more interesting is Pseudo-Philo’s description of Deborah as a ruler and avenger for wrongs against women.[8]

The issue of Deborah’s gender in an overwhelming patriarchal society has intrigued readers and scholars for many years. Matthews points out that it was not uncommon for post-menopausal woman to serve as an elder in Old Testament times.[9] However, Deborah’s interaction with Barak appears to strongly contradict the traditional gender roles.

In verses 6 and 7, Deborah rises to her roles by summoning Barak to battle against General Sisera, the leader of King Jabin’s army. Considering verse three’s description of Jabin’s army, this summons was not small feat. King Jabin had 900 iron chariots, an obvious technological advantage over the Israelites, who were still under the late Bronze Era.[10]

Barak replies in verse 8, “If you go with me, I will go; but if you don’t go with me, I won’t go.” His response’s lack of details leaves the interpretation of his words in much ambiguity. The traditional explanation portrays Barak as fearful; however, there are other possibilities for his hesitance. Barak’s response can also be interpreted as lack of trust in the oracle and concern for his army, or as a sign of Barak’s respect and desire for divine presence in battle.[11] Whatever the reason, Deborah agrees to accompany him, but explains that because of his decision, the battle’s honor (Sisera’s capture) will go to a woman. While there remains disagreement as to Deborah’s tone, it probably has a sense of chastisement for Barak’s reluctance.

Deborah’s response continues to run the theme of reversed gender roles; Barak was the military leader, and the obvious person to receive honor for a victorious battle. Deborah’s prophecy takes that honor from Barak and gives it to, of all people, a woman. It is not difficult, then, to see this prophecy as symbolically emasculating for Barak. Since no other woman has entered the story, the reader likely assumes that Deborah is the woman. Several parallels exist between Deborah and Jael and the ancient the goddesses Anath and Astarte.[12] In this way, the narrator continues the anticipation and drama of the story as it reaches its climax.

In verse 10, Barak summons ten thousand[13] men from Naphtali and Zebulun. Verses 11-16 describe the battle at Kishon, where, through divine intervention, the army of Sisera is defeated by the army of Israel. However, the battle is not the story’s climax, as readers will discover. In verse 17, a character named Jael appears. Her husband, Heber the Kenite, has been introduced to the reader in verse 11. The reader discovers that Sisera and Heber are on good terms. Sisera, who has fled his lost battle, comes to Jael’s tent on foot looking for sanctuary.

In verse 18, Jael welcomes Sisera to her tent, evoking the first of many sexual imageries. According to Fewell and Gunn, a woman’s tent was considered symbolic of her body, since a man rarely entered it without sexual purposes.[14] In verse 19, Sisera asks Jael for a drink of water. This request has sexual overtones, as water was another symbol of sexuality.[15] Instead of water, Jael gives Sisera milk and covers him (also highly sexual in nature). Verse 20 is both comical and foretelling, as Sisera instructs Jael to stand watch at the tent, and if asked, “Is there a man here?” to respond “No.” In this way, Sisera undermines his own masculinity and, while he does not realize it, fortells his future demise at the hands of a woman.

In verse 21, Jael becomes the image of a warrior, as she takes a tent peg and drives it into Sisera’s head, killing him. Many scholars have noted the irony of the “reverse rape” of a woman penetrating a man; others have gone so far as to identify the tent peg as a phallic symbol.[16] Jael is triumphant over Sisera and now the fulfillment of Deborah’s prophecy. It should [17]be noted that Matthews tends to agree with the view that the Jael narrative is a separate addition to the story of Deborah and Barak.

Here the reader may stop and wonder, “Where is Heber?” While the text does not provide the exact whereabouts of Jael’s husband, it would be highly unlikely that Heber would be near Jael’s tent during Sisera’s visit. Thus, the defeat of Sisera has come solely at the hands of not just a woman, but a Gentile woman.

One of the controversies surrounding Jael’s murder concerns the numerous critics of Jael’s violations of Near Eastern hospitality. It was customary for guests seeking sanctuary to be protected by their hosts. However, as Matthews convincingly points out, it was Sisera who committed the initial and greater infractions of hospitality customs.[18] First, he enters Jael’s tent, not her husband Heber’s, as was customary. Second, he made requests of Jael by asking for water and instructing her to stand guard at the tent, violating the rules that guest may not make requests of their host.

Finally, Jael’s actions can be justified when seen as self-defense, as the rules of hospitality were forgone if the host was in danger. Sisera’s presence likely provoked images of warriors capturing women as sexual objects, as was common during the time. Furthermore, Jael was acting in accordance to words spoken by a prophetess of God by defeating the military leader of Israel’s enemy.

Another highly debated topic is the relation of the song in chapter 5 to the prose in chapter 4. Moore was the first to theorize that Judges 5 was written at a much earlier date than chapter 4.[19] Some noted scholars have dated the poem as one of the oldest manuscripts in the Old Testament, citing its archaic form and style. In addition, Halpern leads other scholars in his opinion that the Judges 4 narrative was based entirely from the poem in chapter 5. However, as Zvi Brettler points out, the textual variances concerning which tribes actually participating in battle raise doubts to this theory.[20] Judges 4 mentions only Naphtali and Zebulun, while Judges 5 includes Ephraim, Benjamin, Issachar, and Manasseh as the faithful tribes while Reuben, Gilead, Dan and Asher are portrayed as the reluctant or refusing tribes.[21]

Often when approaching a text, getting the correct answers and insights depends on the readers’ ability to ask the right questions. The military victory is not truly the result of the actions of man (or woman) but rather the actions of God. What actions does the author of these passages ascribe to God? The text makes it clear that it is God who orchestrated the battle between Sisera and Barak, and caused supernatural events to bring the Israelites victory.

God answers Israel’s cry for help in a mighty way. However, some of the pieces on the chessboard don’t feel like doing what they are told to do. Despite human unwillingness, God moves the necessary pieces to bring about His will. Because of the unwillingness though, God uses unlikely and unconventional players to finish the story. God chooses, as seen throughout the Bible, unlikely people. Women, Gentiles, even children are not out of bounds for Him.

If this narrative had been written today, who would play these roles? Drug addicts, homeless, homosexual or other such unpopular folk would likely be featured characters. This characteristic of God, the willingness to get His hands dirty, shows what kind of God He is. God’s incarnational qualities are exhibited in these mundane details. Who God casts to play lead surprises many people. What kind of God would cast a woman to play such an integral role in such a complex play?

The way we understand the God of Israel changes the way we relate to the God of the New Testament. As we approach our spiritual lives, it should not come as a surprise when God uses atypical figures to continue his work in the world. The question we must ask ourselves is: Are we willing to let God take control of our lives in a similar way? The narrative of Judges 4 speaks profound truth to believers today, if we would only trustfully listen and obey.

[1]Barnabas Lindars, Judges 1-5 (Edinburgh: T&T Clark, 1995), 166.

[2]Dennis T. Olson, The Book of Judges (Nashville: Abingdon Press, 1998), 113.

[3]Victor Amit, “Judges 4: Its Contents and Form,” JSOT 39 (1987): 90.

[4]Ibid.

[5]Terry L. Brensinger Believers Church Bible Commentary: Judges (1999): 63-4.

[6]J. Clinton McCann, Judges (Louisville: John Knox, 2004): 51.

[7]Ibid.

[8]Gale A. Yee, “By the Hand of a Woman: the Metaphor of the Woman Warrior in Judges 4,” Semeia 61 (2001): 117-8.

[9]Victor H. Matthews Judges and Ruth (Cambridge: Cambridge University Press, 2004), 64.

[10]Ibid, 64.

[11]J. Clinton McCann, Judges (Louisville: John Knox, 2002), 52.

[12]Robert G. Bowling, “Deborah.” In Anchor Bible Dictionary. (New York: Doubleday, 1992): 113.

[13]Lindars notes that ten thousand men was a traditional, not literal, figure in folk literature, 187.

[14]Danna N. Fewell, and David M. Gunn. “Controlling Perspectives: Women, Men, and the Authority of Violence in Judges 4 & 5,” JAAR 58 (1990): 392.

[15]Ibid, 392

[16]Ibid, 394.

[17]Matthews, 72.

[18]Matthews, 70-3.

[19]March Zvi Brettler, The Book of Judges (London: Routledge, 2002), 62

[20]Ibid, 75.

[21]Olson, NIB, 788.

Posted by TKP at 5:07 PM