nsequences to the furthest future.

/iv. Deborah's Song./ This also is arranged for a Chorus of Men, led by
Barak, and a Chorus of Women, led by Deborah. It is in Antique Rhythm
(above, page 242). Its structure is antiphonal as between Men, Women,
and the two combined. The structure is further elaborated by
'interruption' [passages printed in italics], where the singers
encourage one another.

To appreciate the matter of the song it should be compared with the
description of the incident in plain historic prose (Judges, chapter
iv). It is not difficult to make out from this narrative (1) that Heber
the Kenite, Jael's husband, was acting as a spy against his allies of
Israel, and betraying their movements to the tyrant. Jael's act was
treachery in retaliation for the treachery on the other side by her
husband. This explains the exultation over her deed in Deborah's Song.
(2) This treachery of Heber had upset the plans of Deborah and Barak:
helpless against the iron chariots, their only hope had been to assemble
secretly on the heights of Kedesh and attempt a surprise. But while the
army of Sisera, warned by Heber, were awaiting them on the plains of
Esdraelon, a sudden thunder storm with rain (commemorated in the Song)
converted the whole plain into a morass. The army of Barak fell on the
foe while their horses were struggling in the mud, and extirpated them
at a blow.

/V. David's Lament./ This simple elegy is cast in quatrain stanzas. Its
only elaboration is an augmenting refrain. This beautiful refrain seems
to rest for its effect upon the bringing together of two ideas, like a
crescendo and decrescendo in music: How are the mighty fallen! This
fragmentary refrain as it appears at the beginning is enlarged at the
passage from the section on Saul to that on Jonathan, and still further
enlarged at the close of the whole.

/vi. David's Song of Victory./ This is in Antique Rhythm: its structure
is 'strophic' (above, page 243). There is an introduction and
conclusion, and three unequal strophes: the first pictures the
deliverance, the second meditates on the principle involved (deliverance
of the righteous), the third extends the confidence thus produced to the
whole past and future. The most notable artistic effect is the sudden
change at the prayer of the afflicted one: all nature is convulsed as
the Almighty rushes to the rescue.

/vii. The Bride's Reminiscences./ This is introduced as an example of
the Lyric Idyl