← Judges

On the Hebrew text. The Hebrew follows the Masoretic Text in the Leningrad tradition, as represented by standard diplomatic editions in their main wording; distinctively copyrighted critical apparatus is not reproduced. Versification follows the MT.

The Book of Judges (MT) — Interlinear Summary

A consolidated companion to the Masoretic-Text Judges data set: each chapter rendered as a six-tier Hebrew reverse-interlinear (Hebrew · gloss · parsing · syntax · semantic force · lexical note), with per-verse discourse analysis and a chapter argument-outline.

This document gathers, for each annotated chapter, the theme, the argument outline (the outline movements authored into each data file), and the textual / exegetical note (the text_note of each file, with the shared critical-text preface removed since it is stated once above). Judges traces the darkening spiral between Joshua and the monarchy — apostasy, oppression, outcry, and deliverance repeating through Deborah, Gideon, Jephthah, and Samson, down to the days when 'there was no king in Israel; each man did what was right in his own eyes.' The Hebrew follows the Masoretic Text in the Leningrad tradition (Westminster Leningrad Codex / OSHB); distinctively copyrighted apparatus is not reproduced, and Hebrew (MT) versification is used throughout.

Scope. 21 chapters · 618 verses · 9,905 annotated words.

After Joshua: The Pattern Set (1–3)

Judges 1 — שפטים 1

Theme. After Joshua, Israel inquires of YHWH and wins real victories — Bezek, Jerusalem, Hebron — but unified conquest gives way to fragmented tribal initiative. Judah cannot clear the valley's iron chariots; Benjamin, Ephraim, Manasseh, Zebulun, Asher, Naphtali, and Dan settle for coexistence, labor, or retreat. Judges opens where obedience already falls short.

Outline.

Textual note. The Hebrew follows the Masoretic Leningrad Codex/OSHB stream; BHS/BHQ apparatus is not reproduced. Judges 1 preserves several notable cruxes. At v.8 Jerusalem is struck and burned by Judah, yet v.21 reports the Jebusite still dwelling there with Benjamin 'to this day' — a tension the MT holds without harmonizing, likely reflecting divergent source traditions about the city. Verses 12-15 retell the Caleb-Othniel-Achsah episode almost verbatim from Joshua 15:16-19, a deliberate doublet at the seam between the books. At v.18 the MT credits Judah with capturing Gaza, Ashkelon, and Ekron, but the LXX reads negatively here ('did not take possession'), aligning better with v.19's own qualification and the historical persistence of Philistine power in these cities — a genuine crux with no clean resolution. Verse 27 preserves a minor scribal duplication: the consonantal text carries both a defective Kethiv (ישב) and the fuller Qere (יֹשְׁבֵי) for 'inhabitants of Dor,' left standing side by side. The tribal failure-catalogue (vv.27-36) closely parallels and likely draws on Joshua 17:11-13's list of Manasseh's unconquered cities. Versification follows the MT throughout.

Judges 2 — שפטים 2

Theme. Judges 2 supplies the book's theological engine: the angel's indictment at Bochim, Joshua's death closing the conquest generation, and the generation that knew neither YHWH nor his work (v. 10) together generate the recurring cycle — apostasy, anger, oppression, a raised-up judge, relapse — each round sinking lower than the last.

Outline.

Textual note. The chapter is a composite unit built from at least three originally distinct materials, sutured by the narrator into the book's programmatic frame. Verses 6-9 repeat Joshua 24:28-31 almost verbatim, a recognized doublet whose seams the MT preserves rather than smooths — most famously the burial site תִּמְנַת חֶרֶס ('Timnath-heres', v. 9) against Joshua's תִּמְנַת סֶרַח ('Timnath-serah', Josh 19:50; 24:30), the same three consonants (ח-ר-ס/ס-ר-ח) transposed, a long-debated scribal-inversion crux with no consensus resolution (metathesis, dialectal variant, or deliberate avoidance of a sun-toponym have all been proposed). The angel-at-Bochim scene (vv. 1-5) and the cyclical paradigm (vv. 11-19) are each self-contained units bracketing the retrospect, joined by the hinge verse 10 ('another generation... who did not know YHWH'). The MT gives at least three distinct rationales for Israel's incomplete possession of the land across the book's opening chapters: judgment for covenant-breaking (2:20-21), pedagogical testing (2:22; cf. 3:4), and preventing the land from lying desolate before Israel's population could fill it (3:1-2) — this chapter voices the first two without harmonizing them into a single explanation. Versification follows the MT throughout.

Judges 3 — שפטים 3

Theme. Judges 3 puts the book's cycle to work: the remaining nations serve as both war-school and covenant test (vv.1-6), Othniel embodies the paradigm judge in miniature (vv.7-11), and Ehud's richly ironic assassination of Eglon and rout of Moab supplies the book's first sustained narrative (vv.12-30) — closing with the one-verse enigma of Shamgar (v.31).

Outline.

Textual note. This chapter's Hebrew preserves several of the book's most debated textual cruxes. וַיֵּצֵא הַפַּרְשְׁדֹנָה (v.22) contains a hapax legomenon whose sense is genuinely disputed — proposals include 'the excrement came out,' 'it (the blade) came out at the rear/anus,' and 'he (Ehud) went out to the vestibule/porch'; no reading commands consensus, and this annotation treats the crux honestly rather than forcing a decision. הַפְּסִילִים 'near Gilgal' (vv.19, 26) is similarly ambiguous between 'the carved images/idols' and 'the quarried/hewn stones,' a place-name whose exact referent is unrecoverable with certainty. The chapter also contains several rare or unique terms: גֹּמֶד (v.16, a short cubit/span measure), מְקֵרָה (vv.20, 24, the 'cool chamber'), מִסְדְּרוֹן (v.23, 'vestibule'), and מַלְמַד הַבָּקָר (v.31, 'ox-goad') — none elsewhere in the Hebrew Bible, each requiring judgment calls informed by cognate evidence and context rather than parallel usage. Cushan-rishathaim's title (v.8), 'Cushan of double wickedness, king of Aram of the two rivers,' is widely regarded as a satirical construction rather than a preserved historical name. Versification follows the MT throughout; the chapter divides cleanly into the remaining-nations unit (1-6), Othniel (7-11), Ehud (12-30), and Shamgar (31), with no major variation from LXX versification.

Deborah, Gideon, and the Early Judges (4–8)

Judges 4 — שפטים 4

Theme. Judges 4 tells the sixth oppression-and-deliverance cycle: Israel's evil delivers them to Jabin of Hazor and his commander Sisera's nine hundred iron chariots. Deborah the prophetess-judge commissions Barak against Sisera at the Kishon; her prophecy that a woman will win the day's glory is fulfilled not by her but by Jael, who kills Sisera with a tent peg.

Outline.

Textual note. Judges 4 is textually stable in the Leningrad Codex, but holds real cruxes worth flagging, not smoothing over. Most consequential: Jabin king of Canaan/Hazor reappears after Joshua 11 already records Hazor's burning and a King Jabin's death there (Josh 11:1, 10-11); the MT gives no explanation — new dynasty, stock throne-name, or conquest-tradition doublet are all possible, and this note leaves the question open. Verse 11's toponym is doubled in the Leningrad Codex itself: an unpointed בצענים stands beside pointed בְּצַעֲנַנִּים, apparently preserving a defective and a fuller spelling of the Zaanannim of Josh 19:33 side by side, not a simple copyist slip. אֵשֶׁת לַפִּידוֹת (v.4) is deliberately ambiguous: לַפִּידוֹת may be a husband's name, otherwise unattested, or the plural 'torches/flames,' yielding 'woman of torches' — notably the one judge introduced without a father's name. שְׂמִיכָה (v.18, 'rug, covering') is a hapax legomenon of disputed sense. The chapter's feminine wayyiqtols for Deborah and Jael, and the rare infinitive-absolute durative idiom of v.24 (הָלוֹךְ וְקָשָׁה), are preserved and explained in the syntax layer rather than normalized into ordinary prose.

Judges 5 — שפטים 5

Theme. Judges 5 is the Song of Deborah: archaic victory poetry answering the prose of chapter 4. Deborah and Barak sing the theophany from Seir, the dark days when caravans ceased, the tribal roll of those who came and those who stayed, the stars and the Kishon fighting Sisera, the curse on Meroz and the blessing on Jael, and the savage irony of Sisera's mother at the window — closing with an imprecation on YHWH's enemies and forty years' rest.

Outline.

Textual note. The Song of Deborah is among the oldest extended poems in the Hebrew Bible, and the MT preserves a densely archaic, often elliptical diction whose cruxes are genuine rather than scribal accidents. Several readings are flagged rather than smoothed. בִּפְרֹעַ פְּרָעוֹת (v.2) is read here as 'when leaders led,' in parallel with the people's volunteering; the rival etymology from פָּרַע 'let hair hang loose' (cf. Num 5:18) remains live. שַׁקַּמְתִּי (v.7) is the MT's שֶׁ + קַמְתִּי 'until I arose'; the widely proposed שַׂרְתִּי 'I arose as prince/I led' is an emendation, not the received text. לָחֶם שְׁעָרִים (v.8, H3901 not H3899) is 'war at the gates,' not 'bread.' יָרַד (vv.13) is tagged by OSHB as רָדָה (H7287) 'to rule,' but the consonants are identical with יָרַד (H3381) 'to go down,' which the parallel יָרְדוּ of v.14 and the descent to the gates in v.11 favor — this annotation translates 'went down' while keeping the OSHB Strong's number. מְחַצְּצִים / מַשְׁאֲבִים (v.11) are taken as those who divide water at the watering-places (the contextual pair); 'archers' is the older alternative for מחצצים. רֶחֶם רַחֲמָתַיִם (v.30) is the poem's harshest line: 'a womb, two wombs' as captive women counted among spoil. Meroz (v.23) is otherwise unknown. Versification follows the MT throughout; the narrative superscription (v.1) and the forty-year rest (v.31b) frame the song in the book's cycle formula.

Judges 6 — שפטים 6

Theme. Judges 6 opens Gideon's cycle: Midianite raids reduce Israel to mountain dens, a prophet indicts the people for not listening, and the messenger of YHWH finds Gideon beating wheat in a winepress. The call, the fire-sign under the oak, the night destruction of Baal's altar (and the name Jerubbaal), the Spirit's clothing, and the two fleece tests together move a hidden youngest son toward the battle that chapter 7 will fight.

Outline.

Textual note. Judges 6 is textually stable in the Leningrad tradition, with a few well-known cruxes left standing. The speaker of the Ophrah scene shifts without ceremony from מַלְאַךְ יְהוָה (vv.11–12, 20–22) to יְהוָה himself (vv.14, 16, 23, 25) — the MT does not harmonize messenger and deity, and this annotation does not either. אַלְפִּי (v.15) is 'my thousand/clan,' the Manassite military division, not merely 'my family.' Verse 25's two-bull command (פַּר הַשּׁוֹר … וְפַר הַשֵּׁנִי שֶׁבַע שָׁנִים) is awkward: some read a single seven-year-old bull; the MT names two, and v.26, 28 use 'the second bull' as the offering. אֵלָה (v.11) is the oak/terebinth at Ophrah, a known sacred tree-site. יְרֻבַּעַל (v.32) is a folk etymology from רב 'contend'; the name may historically mean 'May Baal contend/be great,' inverted here against Baal. רוּחַ יְהוָה לָבְשָׁה (v.34) is the Spirit 'wearing' Gideon as a garment, a rare idiom (cf. 1 Chr 12:19; 2 Chr 24:20). Versification follows the MT throughout.

Judges 7 — שפטים 7

Theme. Judges 7 is the night YHWH saves by three hundred. The host is twice too many; the fearful leave, the kneelers leave, and a barley-loaf dream in the enemy's mouth gives Gideon the courage the fleece could not. Horns, jars, and torches do the first work; YHWH sets sword against neighbor, and Ephraim takes Oreb and Zeeb at the fords.

Outline.

Textual note. Several local cruxes in Judges 7 are left visible. הַר הַגִּלְעָד (v.3) as the place from which the fearful 'fly' sits awkwardly in a Jezreel setting; proposals include a textual slip for Gilboa or a traditional formula. The lapping test (vv.5–6) is not perfectly aligned: v.5 contrasts tongue-lapping like a dog with kneeling, while v.6 counts those who lap 'with their hand to their mouth' as the 300. צְלִיל לֶחֶם שְׂעֹרִים (v.13) is a 'loaf/round of barley bread' tumbling — peasant fare as the omen against Midianite tents. Place-names of the flight (Beth-shittah, Zererah/Zeredah, Abel-meholah, Tabbath) and of the kills (Rock of Oreb, Winepress of Zeeb, Beth-barah) are preserved as the MT gives them. Versification follows the MT.

Judges 8 — שפטים 8

Theme. Judges 8 is Gideon's aftermath: Ephraim is soothed with a proverb, Succoth and Penuel are punished for refusing bread, Zebah and Zalmunna die by Gideon's own hand, kingship is refused in words and compromised in an ephod, and after forty years' rest Israel forgets both YHWH and the house of Jerubbaal — leaving Abimelech named and waiting.

Outline.

Textual note. Judges 8 carries several historical-geographical and lexical cruxes. Succoth and Penuel are Transjordan towns of Jacob's story (Gen 32–33); their officials' question uses כַּף, 'palm,' the same idiom as 6:13–14. Karkor, Nobah, Jogbehah, and the 'ascent of Heres' are mapped as the MT gives them. שַׂהֲרֹנִים (vv.21, 26) are moon-crescents, camel-ornaments of Midianite royalty. The 1,700-weight of gold earrings (v.26) is a round inventory, 'besides' the rest of the royal kit. The ephod (v.27) is not described as a vestment only; set up in Ophrah it functions as a cult-object Israel 'whored after.' Abimelech's name (v.31) means 'my father is king,' set against v.23's refusal. Baal-berith (v.33) is Shechem's 'Baal of the covenant,' the local god of chapter 9. Versification follows the MT.

Abimelech to Jephthah (9–12)

Judges 9 — שפטים 9

Theme. Judges 9 is kingship as fratricide. Abimelech buys Shechem with Baal-berith silver, slaughters Gideon's seventy sons, and is crowned at the oak; Jotham's buckthorn fable from Gerizim names the fire that will eat both sides. God sends an evil spirit, Shechem is salted, a woman at Thebez ends the king, and the curse arrives.

Outline.

Textual note. Judges 9 is a long, relatively stable narrative with a few local cruxes. Beth-millo (v.6, 20) is likely Shechem's acropolis/citadel. The oak of the מַצֵּב (v.6) is a standing-stone sanctuary. אָטָד (vv.14–15) is the buckthorn/bramble, not a fruit tree — the point of the fable. בְּתָרְמָה (v.31) is often read 'in Tormah' or 'secretly' (תָּרְמָה). צְרִיחַ (vv.46, 49) is a crypt/hold of El-berith / Baal-berith. The millstone at Thebez (v.53) is an upper millstone (פֶּלַח רֶכֶב); Abimelech's request that a man kill him (v.54) does not undo the narrator's credit to the woman. Versification follows the MT.

Judges 10 — שפטים 10

Theme. Judges 10 is the hinge from Abimelech to Jephthah: Tola and Jair hold a quiet generation, then Israel serves every neighboring god and is crushed eighteen years by Ammon and the Philistines. YHWH refuses to save, they put away the foreign gods, his soul is shortened over their misery, and Gilead looks for a man to begin the fight.

Outline.

Textual note. The minor-judge notices (vv.1–5) use the same spare formula as 12:8–15. Havvoth-jair (v.4) is a toponym already in Num 32:41; Deut 3:14. The idolatry list (v.6) is the book's longest. מָעוֹן (v.12) is 'Maon'; some versions read Midian. וַתִּקְצַר נַפְשׁוֹ (v.16) is 'his soul was shortened' — divine impatience of compassion, not caprice. Versification follows the MT.

Judges 11 — שפטים 11

Theme. Judges 11 is Jephthah the outcast made head: a prostitute's son fetched from Tob, a legal embassy that Ammon will not hear, a Spirit-given victory bought with a vow, and a daughter who comes out with tambourines. The narrator does not unsay the vow.

Outline.

Textual note. Several cruxes are left standing. Chemosh (v.24) is Moab's god, named here to an Ammonite king; whether this is diplomatic loosening, a tradition that mixed the two, or a jab, the MT does not explain. The vow (vv.30–31, 39) is a burnt-offering vow (הַעֲלִיתִהוּ עוֹלָה); readings that make the daughter a perpetual virgin rather than a sacrifice must work against that wording, and this annotation does not replace the narrator's 'he did to her his vow.' תַּנּוֹת (v.40) is 'to recount/lament.' Three hundred years (v.26) is Jephthah's figure for Israel's occupation. Versification follows the MT.

Judges 12 — שפטים 12

Theme. Judges 12 is Ephraim's second quarrel, now lethal: Gilead holds the fords, Shibboleth unmasks the fugitive, and forty-two thousand fall. Jephthah's six years end, and Ibzan, Elon, and Abdon restore the minor-judge quiet.

Outline.

Textual note. שִׁבֹּלֶת / סִבֹּלֶת (v.6) is the classic dialect test; the MT preserves both pronunciations. עָרֵי גִלְעָד (v.7) is plural 'cities of Gilead' as the burial site — odd for one man; some Greek witnesses name a single town. Ibzan's Bethlehem (v.8) is not specified as Judah's or Zebulun's. Elon/Aijalon (vv.11–12) play on the same consonants. Versification follows the MT.

Samson (13–16)

Judges 13 — שפטים 13

Theme. Judges 13 is Samson's nativity: a barren Danite woman, a messenger whose name is Wonderful, a Nazirite from the womb who will only begin to save, and the Spirit already stirring between Zorah and Eshtaol.

Outline.

Textual note. The messenger/YHWH overlay of ch. 6 returns. נְזִיר אֱלֹהִים מִן־הַבֶּטֶן (v.5) is Nazirite status from birth, unlike Num 6's voluntary term. פֶּלִאי (v.18) is 'wonderful.' יָחֵל לְהוֹשִׁיעַ (v.5) 'he shall begin to save' already limits Samson's work. Versification follows the MT.

Judges 14 — שפטים 14

Theme. Judges 14 is Samson's Timnite marriage as YHWH's occasion: a lion torn, honey from the eater, a riddle plowed out of him by his wife, and thirty Ashkelonites dead for a change of clothes.

Outline.

Textual note. Timnah (v.1) is on the Philistine border. The riddle (v.14) depends on knowledge only Samson has; 'plow with my heifer' (v.18) is the proverb of the leak. Seventh-day timing in vv.15, 17–18 is slightly crowded in the MT. Versification follows the MT.

Judges 15 — שפטים 15

Theme. Judges 15 is reprisal in harvest: foxes in the grain, Judah handing Samson over, a thousand at Lehi with a jawbone, and water from the rock he named.

Outline.

Textual note. Lehi (לחי, 'jawbone') is both place and weapon. The poem in v.16 puns חמור. הַמַּכְתֵּשׁ (v.19) is a mortar-hollow. Twenty years (v.20) is restated at 16:31. Versification follows the MT.

Judges 16 — שפטים 16

Theme. Judges 16 is the end of Samson: Gaza's gates, Delilah in Sorek, the Nazirite secret sold, eyes put out, and a last prayer that drops Dagon's house — more dead in his death than in his life.

Outline.

Textual note. Delilah (v.4) is not called a Philistine; the lords pay her. The three false tests echo 15:13's new ropes. מורה (v.17) restates 13:5. Dagon (v.23) is named as Philistine god. The 'one of two eyes' revenge (v.28) is a grim arithmetic. Versification follows the MT.

No King in Israel (17–21)

Judges 17 — שפטים 17

Theme. Judges 17 opens the 'no king' appendix: Micah's cursed silver becomes an image, a private shrine, and a hired Levite — each man doing what is right in his eyes.

Outline.

Textual note. Micah/Micayehu (vv.1, 4) varies by name-form. Eleven hundred silver (v.2) matches Delilah's price (16:5). פֶּסֶל וּמַסֵּכָה (v.3) is a carved image and a molten one. מִלֵּא יָד (v.5, 12) is the ordination idiom. Versification follows the MT.

Judges 18 — שפטים 18

Theme. Judges 18 is Dan's migration: spies blessedly lodged at Micah's shrine, a quiet city slaughtered, and a stolen image served by a Mosaic grandson until the exile.

Outline.

Textual note. Laish/Leshem is Dan's northern city (Josh 19:47). v.30's מנשה with a suspended nun is widely read as Moses (משה); the Kethiv both hides and keeps the scandal. 'Exile of the land' (v.30) may be 734 or 722. Shiloh (v.31) dates the cult beside the sanctuary. Versification follows the MT.

Judges 19 — שפטים 19

Theme. Judges 19 is Gibeah's night: a Levite, a delayed departure, a square with no host but a sojourner, and an outrage that Genesis 19 placed in Sodom, now done in Benjamin. Twelve pieces go through Israel.

Outline.

Textual note. The story is a deliberate echo of Genesis 19, with the outrage now inside Israel. וַתִּזְנֶה (v.2) may mean sexual infidelity or simple departure; the MT stands. 'House of YHWH' (v.18) as the Levite's destination is a crux (Shiloh?). Versification follows the MT.

Judges 20 — שפטים 20

Theme. Judges 20 is civil war over Gibeah: Israel as one man, Benjamin unyielding, two days of Israelite dead, then an ambush, a city in smoke, twenty-five thousand fallen, and six hundred left on a rock.

Outline.

Textual note. The numbers are huge and internally tense (vv.15, 35, 44–47). The ark and Phinehas (vv.27–28) place the tale in a priestly early frame. Place-names (Baal-tamar, Maareh-geba, Gidom, Rimmon) are given as the MT has them. The battle report is partly doubled (vv.35–36 and 36–46). Versification follows the MT.

Judges 21 — שפטים 21

Theme. Judges 21 is the aftermath of the civil war: an oath that forbids wives to Benjamin, a ḥerem on Jabesh-gilead, a raid on Shiloh's dances, and the last line of the book — no king, each man doing what is right in his own eyes.

Outline.

Textual note. The chapter is a legal-and-ritual scramble to keep a tribe alive without breaking an oath. Jabesh-gilead's later bond with Benjamin/Saul (1 Sam 11; 31) is already seeded. The Shiloh feast (v.19) is located with unusual precision. The closing refrain (v.25 = 17:6) frames the whole appendix. Versification follows the MT.