Song of Deborah as Polemic 11 This suggests, therefore, that v. 14-15c and v. 15d-17 are constructed as parallel and contrasting panels (27). In fact, given that vv. 23-24 also seems to represent two parallel and contrasting panels in which a non-participating city is twice cursed while a participating individual is twice blessed, a case can be made that these two pairs of panels are structurally related. The fact that vv. 14-17 first mention the participating tribes and then the non- participating tribes, whereas the order is reversed in vv. 23-24 suggests that the two pairs of panels may constitute elements of a larger chiastic structure (28). But if so, what is one to do with v. 18? Is it possible to detach it from the tribal roll call that immediately precedes and take the verse as belonging with what immediately follows in vv. 19-22? Granted, such an option is hardly ever entertained, but a closer examination reveals that it is not without merit. To begin, although v. 18 is almost universally seen as part of the tribal roll call, a closer look reveals that there is a slight difference in emphasis between vv. 14-17 and v. 18. Following immediately after vv. 11d-13, where the recounting of the victories of YHWH and His people begins with the tribes going down to the gates to join Deborah and Barak, the initial focus of vv. 14-17 seems to be on the pre-battle arrival of the various tribes from their respective regions. This can be seen in the use of the ˆm preposition with three of the four tribes in v. 14, and in the repetition of dry, which seems to provide a link back to vv. 11.13, where those heading out to battle first went down and gathered at the city gates. In v. 15a-c, further movement towards battle is detected as Issachar is described not only as being with Deborah and (27) Incidentally, this understanding of vv. 14-15c and vv. 15d-17 as parallel panels would constitute a strong argument against the view of BLENKINSOPP, “Ballad Style”, 71-72, that vv. 15d-16 was originally an independent taunt-song that was only later inserted into the original war ballad. (28) If this understanding has merit, then it would effectively undermine the argument of VINCENT, “Song”, 70, that the song consists of three main sections. For although VINCENT considers Judg 5,23-31 to be a third main section, arguing that, like the previous two sections, its opening is also marked by the presence of the root ˚rb in v. 24, it is clear that the pronouncement of blessing on Jael is significantly different from the call to bless YHWH in v. 2 and v. 9. In fact, given the strength of Vincent’s earlier argument for v. 2 and v. 9 being refrains, and the fact that the cursing of Meroz and blessing of Jael seem intricately connected to the ongoing focus on participation versus non-participation, there is excellent reason to see the song as simply consisting of two main sections, each marked by a refrain at the section’s opening.