And Barak's part in
the work is depreciated in yet another way. Deborah summons him
to go not to the battle, but to the holy hill of Tabor, where
Jehovah will bring about what is further to happen; he, however,
objects to this, and insists that the prophetess herself shall go
with him. This is regarded as a caprice of unbelief, because the
prophetess is thought to have exhausted her mission when she
transmitted the command of the Deity to His instrument: she has
appeared for no end but to make it known through her prophecy that
Jehovah alone brings everything to pass. In the song this is
different. There Barak is not summoned against his will; on the
contrary, he has a personal motive for taking up arms: "Arise,
Barak; take captive thy captors, thou son of Ahinoam." And the
prophetess has not only to prophesy; she works in a more
psychological manner; she is part of the battle, and inflames with
her song the courage of the fighting battalions: "Awake,
Deborah, awake, sing the song!" /1/ Throughout these variations of
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1. Ver. 12 is a summons to begin the battle, and Deborah cannot
here be singing the song of triumph which celebrates its happy
issue.
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