Judith 16:13–16

Judith 16:13 — "I will sing to my God a new song" The canticle opens with a declaration of novelty. A "new song" (Hebrew shir ḥadash; cf. Ps 96:1; 149:1) in the biblical tradition is never merely a fresh composition—it signals a new saving act of God that demands a new response from His people. Judith's defeat of Holofernes is that new act: the deliverance of Israel through one faithful widow, a reversal of human expectation so total that only unprecedented praise can answer it. The divine titles pile up with deliberate force—"great and glorious, marvelous in strength, invincible"—each attribute drawn from Israel's hymnic treasury (cf. Ex 15:11; Ps 145:3). "Invincible" (Greek anikētos) is pointed: the Assyrian war machine, the most formidable military power of the ancient Near East, has been rendered helpless before the God of a lone woman. The irony is the canticle's central delight.

Judith 16:14 — "For you spoke, and they were made" The ground for God's invincibility is now revealed: He is the Creator who brings all things into being by speech and spirit alone. The verse is a compressed meditation on Genesis 1: God spoke ("Let there be…") and reality obeyed. The phrase "you sent out your spirit, and it built them" directly evokes the rûaḥ elohim hovering over the waters in Gen 1:2. The word translated "built" (ektisen in the LXX) also carries the connotation of founding or establishing—creation is not a random emanation but an ordered, intentional construction. The conclusion is absolute: "There is no one who can resist your voice." Holofernes could not resist it. No creature can. This is not merely a poetic flourish but a confession of faith in creatio ex nihilo and divine sovereignty over all created power—a sovereignty that grounds Israel's confidence against every oppressor.

Judith 16:15 — Mountains moved, rocks melted—but mercy for those who fear The imagery of cosmic instability before God's presence belongs to the tradition of theophany (cf. Ps 97:5; Mic 1:4; Na 1:5–6). Mountains "moved from their foundations" and rocks "melting as wax" are not apocalyptic predictions per se but hyperbolic expressions of a theological reality: before the manifest presence of YHWH, the most permanent features of the created order are nothing. Importantly, the verse does not end in terror. The adversative "But you are yet merciful to those who fear you" is the pivot of the entire canticle. Judith has experienced precisely this mercy—not the annihilating divine fire, but the sheltering hand of God over one who trusted Him. The Hebrew concept of ḥesed (covenant loving-kindness) underlies the Greek eleēmōn (merciful): this is not indulgent sentiment but the faithful, persevering love of a covenant God toward His own.

Judith 16:16 — The sacrifice that surpasses all offerings Here Judith reaches the canticle's moral and spiritual climax. No quantity of animal sacrifice—however perfectly executed according to Levitical law—can adequately honor a God who spoke the universe into being. "All the fat is very little for a whole burnt offering" is a deliberate understatement: the finest portion of the sacrificial animal, the part wholly consecrated to God (cf. Lev 3:16), is itself insufficient. What then does suffice? The fear of the Lord—that comprehensive biblical attitude of reverence, obedience, and trust before God. The one who "fears the Lord is great continually"—not momentarily great in a single heroic act, but permanently, habitually great. Judith herself is the living proof: her greatness lay not in military skill but in piety. This verse anticipates the prophetic critique of mere ritualism (cf. Is 1:11–13; Am 5:21–24; Ps 51:17) and points forward to the New Testament's theology of interior worship.

Catholic tradition illuminates this passage at several levels simultaneously.

Creation and the Holy Spirit. Verse 14's reference to God's sent-forth spirit building creation is a key Old Testament witness to what the Catechism of the Catholic Church (§291–292) calls the Trinitarian dimension of creation: "God creates by his Word…and by his Spirit." St. Basil the Great (On the Holy Spirit, §16) cited this verse-type to argue that the Spirit is not a creature but the very divine power by which all creatures subsist. Judith's canticle, read within Tradition, is thus implicitly Trinitarian—anticipating the full revelation of the Creator as Father, Word, and Spirit.

Creatio ex nihilo. The Fourth Lateran Council (1215) defined that God "created each creature from nothing" (ex nihilo), and this verse—"you spoke, and they were made"—is among Scripture's clearest testimonies to that doctrine. There is no pre-existent matter, no rival principle; the divine word alone is sufficient.

The sacrifice of fear and love. Verse 16 was influential in patristic and medieval reflection on the nature of sacrifice. St. Augustine (City of God X.5) defined a true sacrifice as "every work done to the end that we may cling to God in holy communion." The fear of the Lord—which CCC §1831 lists as the seventh gift of the Holy Spirit—is precisely this interior orientation toward God that makes every act of life a living sacrifice. St. Thomas Aquinas (ST II-II, q.19) taught that the fear of the Lord is not servile dread but filial reverence, the fitting response of a creature to its Creator and of a child to its Father. Judith's canticle thus prefigures St. Paul's exhortation to offer "your bodies as a living sacrifice, holy and acceptable to God" (Rom 12:1) and the teaching of Sacrosanctum Concilium (§48) that the faithful are to offer "not only through the hands of the priest but also together with him."

Mary as a type of Judith. The Fathers (cf. St. Jerome, Preface to Judith) saw Judith as a figure of the Virgin Mary—one woman through whose obedience and courage the Enemy is overcome. Judith's "new song" is thus a forerunner of the Magnificat, which also celebrates God's reversal of human power structures through the lowly, and which also grounds praise in God's mercy toward those who fear Him (Lk 1:50).

Contemporary Catholics live in a culture that quantifies worship—measuring it by the quality of the music, the length of the homily, the aesthetic of the liturgy. Judith's canticle issues a challenging correction: the currency of genuine worship is not production value but the fear of the Lord. For a Catholic today, this means honestly examining whether Sunday Mass attendance is accompanied by the inner posture Judith describes—awe before the Creator, trembling at the gap between human fragility and divine majesty, and humble trust in divine mercy. Verse 15 is especially bracing: the same God before whom mountains melt is the God who meets us at the altar. The proper response is neither casualness nor paralyzing dread but the reverent confidence of those who know themselves to be recipients of ḥesed—covenant mercy. Practically, these verses invite a daily renewal of the "new song": waking each morning with deliberate awareness that the universe exists because God spoke it, that His Spirit still sustains it, and that our lives are most fully offered to Him not in grand gestures but in continuous, humble, fear-filled trust.