Judges 5 28

Judges 5:28 kjv

The mother of Sisera looked out at a window, and cried through the lattice, Why is his chariot so long in coming? why tarry the wheels of his chariots?

Judges 5:28 nkjv

"The mother of Sisera looked through the window, And cried out through the lattice, 'Why is his chariot so long in coming? Why tarries the clatter of his chariots?'

Judges 5:28 niv

"Through the window peered Sisera's mother; behind the lattice she cried out, 'Why is his chariot so long in coming? Why is the clatter of his chariots delayed?'

Judges 5:28 esv

"Out of the window she peered, the mother of Sisera wailed through the lattice: 'Why is his chariot so long in coming? Why tarry the hoofbeats of his chariots?'

Judges 5:28 nlt

"From the window Sisera's mother looked out.
Through the window she watched for his return, saying,
'Why is his chariot so long in coming?
Why don't we hear the sound of chariot wheels?'

Judges 5 verses

Judges 5 28 Meaning

Judges 5:28 dramatically shifts focus from the victorious Israelites to the anticipated, yet ultimately thwarted, return of Sisera from the perspective of his mother. It poignantly portrays her intense anxiety and impatient longing for her son, Sisera, the Canaanite commander. She stands at her window, questioning why his chariots, the symbols of his power and impending triumph, have not yet arrived, reflecting a desperate hope that will soon be shattered by the grim reality of his death. The verse highlights the stark contrast between human expectation and divine sovereignty.

Judges 5 28 Context

Judges 5, known as the Song of Deborah and Barak, is an ancient Hebrew poem celebrating Israel's decisive victory over the Canaanite forces led by King Jabin and his commander Sisera. This chapter recounts the events detailed in Judges 4 from a poetic, triumphant perspective, emphasizing God's role in delivering His people. The verse is a powerful moment of dramatic irony within the victory song. It abruptly shifts the narrative from the battlefield and the righteous women of Israel (Deborah and Jael) to the domestic scene of Sisera’s mother and her wealthy Canaanite ladies. This shift humanizes the enemy, paradoxically deepening the sense of divine justice. While Israel celebrates, the enemy's kin awaits a return that will never happen, adding a poignant contrast to the overall jubilant tone of the song. The historical context includes the loose confederacy of Israelite tribes facing significant oppression from the technologically superior Canaanites, whose formidable chariots (perhaps with iron fittings) posed a major threat in the flatlands.

Judges 5 28 Word analysis

• Out of the window she looked (בְּעַד הַחַלּוֹן נִשְׁקְפָה - be'ad ha-challon nishqəp̄â):

  • בְּעַד הַחַלּוֹן (be'ad ha-challon): "Through the window." This detail is vivid, placing Sisera's mother physically in a specific domestic space. It suggests her personal anticipation and an isolated view of the world from which she hopes to see triumph. Windows, in ancient Near Eastern homes, often faced inward or were high, but this suggests one offering a view, possibly for surveying activity.
  • נִשְׁקְפָה (nishqəp̄â): "She looked out/leaned out." Derived from the root shqf, implying an intense, yearning gaze, not just a casual look. It's often used for a watchman looking, or for someone peering over a ledge, highlighting eagerness, anticipation, or even anxiety. The verbal form here signifies sustained action.

• and cried out, (וַתְּיַבֵּב - wat'yabbēb):

  • וַתְּיַבֵּב (wat'yabbēb): "And she cried out/wailed." From the root ybb, this is not a casual speech but an intense vocalization, suggesting a lament or desperate cry. It reflects deep emotional distress and increasing frustration. It carries a sense of an agonized sound.

• "Why is his chariot so long in coming? (מַדּוּעַ בֹּשֵׁשׁ רִכְבּוֹ לָבוֹא - maddūaʿ bōšēš rik’bô lāḇô’):

  • מַדּוּעַ (maddūaʿ): "Why?" A question born of impatience, perplexity, and mounting fear.
  • בֹּשֵׁשׁ (bōšēš): "Is delayed/is tarrying so long." From the root b-sh-sh, meaning to tarry, linger, be late. The reduplicated middle consonant (piel conjugation) intensifies the action, implying an unacceptable, prolonged delay. Her anxiety escalates with each moment of tardiness.
  • רִכְבּוֹ (rik’bô): "His chariot." Singuler here but refers to his war machine, symbolic of his military strength and authority. Chariots were the pinnacle of military technology in the Bronze and Iron Ages, providing speed and immense offensive power.
  • לָבוֹא (lāḇô’): "To come." The expected action that fails to materialize.

• Why tarry the hoofbeats of his chariots?" (מַדּוּעַ הִתְקַהַק פַּעֲמֵי מֶרְכְּבוֹתָיו - maddūaʿ hitqahēq paʿamê merkbôṯāyw):

  • מַדּוּעַ (maddūaʿ): "Why?" Repetition of the "why" question intensifies her distress and incredulity.
  • הִתְקַהַק (hitqahēq): "Do they delay/do they tarry." From the root q-h-q, also meaning to delay, hold back. This verb has a slightly different nuance than bōšēš, perhaps implying a stuttering or halting movement. The combination emphasizes her obsession with the delay, from both sight and sound. It speaks of the slow, reluctant movement, the absence of the quick, victorious return she yearns for.
  • פַּעֲמֵי מֶרְכְּבוֹתָיו (paʿamê merkbôṯāyw): "The hoofbeats of his chariots." Shifting from the singular "chariot" to plural "chariots" and focusing on their "hoofbeats." This highlights her auditory expectation – the anticipated rumbling sound of many returning chariots, a victorious and impressive procession. It paints a picture of great wealth and military might associated with Sisera. The sound of hooves was a signal of an army's approach or retreat; here, its absence or delay is acutely noted.

• Words-group Analysis:

  • "Out of the window she looked, and cried out,": Establishes the scene of intense personal agony and longing. The woman's anxious posture and distressed outcry are foregrounded, showing her emotional state building with each passing moment. This forms a dramatic literary device to create suspense and heighten the coming reveal of Sisera’s defeat.
  • "Why is his chariot so long in coming? Why tarry the hoofbeats of his chariots?": The rhetorical questions reveal a mother's profound ignorance of her son's fate and her reliance on symbols of human strength. The double question emphasizes her growing impatience and a chilling foreboding of what might be implied by such an extraordinary delay. This is peak dramatic irony, as the audience knows Sisera is already dead, having been killed by Jael. Her expectations of his grand return with abundant plunder (alluded to in the following verse) underscore the completeness of God's victory and the ironic destruction of the enemy's might.

Judges 5 28 Bonus section

The scene with Sisera’s mother is often considered a masterstroke of ancient Hebrew poetry, using literary parallelism (the two rhetorical questions are similar but shift focus from chariot's appearance to sound of hoofbeats), and personification (the chariots are "tarrying"). It vividly portrays the internal monologue of the enemy, providing a nuanced contrast to the song’s overall theme of triumph. This unexpected interlude allows the Song of Deborah to articulate not only Israel’s deliverance but also the profound personal cost of the Canaanite defeat, without ever compromising the message of God’s absolute victory. This type of detailed "behind the scenes" peek into the enemy's domestic life is rare in biblical narrative, making it exceptionally powerful for emphasizing the totality of the reversal of fortune and divine justice.

Judges 5 28 Commentary

Judges 5:28 serves as a striking moment of dramatic irony within the Song of Deborah. By transporting the listener from the triumphant battlefield to the anxious domestic sphere of the defeated commander’s mother, the song amplifies the extent of Israel’s divine deliverance. Sisera's mother's vain hope for her son's glorious return, accompanied by the clatter of many chariots laden with spoils, vividly contrasts with the reality: her son lies dead, not at the hand of a mighty warrior, but a seemingly defenceless woman. Her poignant lament, expressed through rhetorical questions and a wail, underscores the tragic fall of human pride and military prowess when set against God's sovereign power. This scene does not invite pity for Sisera’s mother but rather highlights the completeness and cosmic scope of God’s victory. The imagery of delayed chariots—symbols of strength—serves as a stark reminder that human might, when arrayed against God’s plan, is ultimately impotent and brought to naught.