4 Gregory T.K. Wong But before the structure of the Song of Deborah is examined, two important issues need to be briefly addressed. First, there is the issue of the song’s unity. Although some scholars consider portions of the song to be later additions for liturgical and other purposes (7) and have thus suggested excising those portions from the song for consideration, Vincent has highlighted the weakness of such an approach by pointing to the lack of unanimity regarding the precise scope of the alleged additions (8). In light of the speculative nature of such allegations of textual insertions, the unity of the song in its current form will be assumed in the following analysis. Second, there is also the issue concerning the approach to take in structural analysis. Admittedly, different approaches have been taken in the analysis of Judges 5, including some that are fully or partially based on syllable count, colon count, and other measures of meter and line length (9). Again, Vincent has highlighted some of the weaknesses of such metrical approaches, and his insights need not be repeated again (10). In the main, I find Vincent’s approach based on the use of explicit structural markers convincing, as I do his conclusions. Although there are differences between Vincent’s analysis and my own, to begin, I will first attempt to make my case for a possible polemical reading of Judges 5 based on Vincent’s analysis of the song’s structure. After that, modifications to Vincent’s analysis will be made to further substantiate my argument for an overall polemical reading of the song. At the outset, it should be pointed out that in his conclusion, Vincent has already noted that the Song of Deborah appears not merely to be a war/victory ballad or a hymn of praise to God, but also a text that pays tribute to those who did what they should and warns those who did not (11). This prominent and repeated juxtaposition of two opposing sets of actions and responses, subjected respectively to praise and censure within the song, suggests that a significant rhetorical (7) See, for example, J. BLENKINSOPP, “Ballad Style and Psalm Style in the Song of Deborah: A Discussion”, Bib 42 (1961) 62-69; J.A. SOGGIN, Judges (OTL; Philadelphia 21987) 95-96, B. LINDARS, Judges 1–5 (Edinburgh 1995) 218; LEVIN, “Das Alter”, 126-135. (8) M.A. VINCENT, “The Song of Deborah: A Structural and Literary Consideration”, JSOT 91 (2000) 63, n. 9. (9) See, for example, M.D. COOGAN, “A Structural and Literary Analysis of the Song of Deborah”, CBQ 40 (1978) 143-166. (10) VINCENT, “Song”, 66-68. (11) VINCENT, “Song”, 81.