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and Eglon’s fat closed in over it
Eglon's obesity is mentioned to underscore the decadence and corruption of his reign. In ancient Near Eastern culture, obesity in a ruler could symbolize excess and indulgence, contrasting with the lean, oppressed Israelites. This detail also serves to highlight the miraculous nature of Ehud's victory, as it was not through conventional strength or military might but through cunning and divine intervention.

so that Ehud did not withdraw the sword from his belly
Ehud's decision not to retrieve the sword may indicate the urgency of his escape or the completeness of his mission. It also reflects the irreversible nature of God's judgment on Eglon. This act can be seen as a foreshadowing of the finality of divine justice, where once God's will is enacted, it is absolute and unchangeable.

And Eglon’s bowels emptied
This graphic detail serves to underscore the humiliation and total defeat of Eglon. In the cultural context, such a description would highlight the disgrace of the king, as bodily functions were often associated with shame. This moment also signifies the purging of evil and corruption from Israel, as Eglon's death leads to the liberation of the Israelites. Theologically, it can be seen as a type of Christ's ultimate victory over sin and death, where the enemies of God's people are utterly defeated.

“Even the handle sank in after the blade” (Judges 3:22).

• The statement underscores the force and determination with which Ehud carried out his mission of deliverance, echoing the theme of decisive action seen inExodus 2:11–12 when Moses struck down the Egyptian.

• God had empowered Ehud (Judges 3:15) just as He later empowered Samson (Judges 14:6); physical strength and courage are repeatedly presented as gifts from the LORD when He raises a deliverer (1 Samuel 17:45–47).

• The detail of the entire weapon disappearing highlights the completeness of the judgment against Eglon, comparable to the “thorough” overthrow of Pharaoh’s army in the Red Sea (Exodus 14:28).

• The narrative does not shy away from physical description; instead, it reinforces the idea that the oppressor’s own excess and pride become instruments of his downfall (Proverbs 16:18).

• The image calls to mindPsalm 73:6–9, where the arrogant are described as having “pride as their necklace” and “the imaginations of their hearts run wild.” Eglon’s literal corpulence mirrors spiritual arrogance.

• That the sword is swallowed by his body illustrates visually whatProverbs 11:5 states: “The righteousness of the blameless directs their path, but the wicked fall by their own wickedness.”

• Ehud’s refusal or inability to retrieve the sword indicates urgency; he prioritizes escape and the larger mission of rallying Israel (Judges 3:27) over personal property. Compare the haste of David when fleeing Saul (1 Samuel 20:38–40).

• The scene also fulfills God’s pattern of making a complete end of oppressors (Nahum 1:8). Ehud leaves the weapon behind because the victory is already assured; no additional striking is necessary, reminiscent of Joshua leaving the sun–standing miracle unfinished because the battle was won (Joshua 10:13–14).

• It reminds readers that deliverance often requires letting go of personal assets for a greater purpose (Luke 5:11;Matthew 19:29).

• This final detail signals death’s certainty. Just asJudges 7:22 uses vivid description of Midianite panic to prove God’s victory, so here the bodily evidence confirms that the tyrant is gone.

•Deuteronomy 32:35 says, “Vengeance is Mine; I will repay,” and the graphic outcome shows divine justice fulfilled without ambiguity.

• For Israel, the scene foreshadows future complete victories—like Sisera’s demise at Jael’s hand (Judges 4:21). God ensures His people know their oppressor will never rise again (Psalm 92:9–11).

Judges 3:22 uses striking physical detail to affirm God’s total, unmistakable judgment against an oppressor and to highlight Ehud’s Spirit-empowered courage. Every phrase—handle, fat, unwithdrawn sword, emptied bowels—demonstrates that the LORD’s deliverance is thorough, unassailable, and final, encouraging believers to trust His decisive intervention when He raises a deliverer for His covenant people.

So that he could not draw the dagger out.--Thus he had disarmed himself by the force of his own blow; but the original only says, "for he did not draw the dagger out."

And the dirt came out.--The meaning of this clause is excessively doubtful, because the Hebrew word rendered "dirt" (parsedonah) occurs here and here only. (1) Our E.V. follows the Chaldee and the Vulgate with the alternative rendering (2) "it came out at the fundament" (marg.),which is the view of Gesenius. The Jews were themselves uncertain of the meaning and even in Rabbi Tanchum's commentary we find that some understood it to mean (3) "he (Ehud) ran out into the gallery." (4) A fourth guess--that of the Syriac version--is, "he went out hastily." The LXX. omit it altogether, either because they thought that they were consulting propriety--a tendency which they constantly show--or because they could not rightly explain it. The resemblance of the wordparsedonahto the wordmisder?nah("porch"), in the next clause, is certainly in favour of its meaning some part of the house. Ewald renders it, "he rushed out into the gallery," which runs round the roof. He refers toEzekiel 42:5. To understand it more exactly, we should require to know the structure of the house. Following the analogy of other Eastern houses, as described by Shaw, it seems that Eglon'salijahwas a separate building (domation,Jos.), or part of a building, with one door opening on a balcony, and another on a private staircase and closet (Judges 3:24). It was aninnerroom, and its outer door communicated with the house.