CHAPTER XXV
THE SONG AND BLESSING OF MOSES
(A). The Song of Moses
Deut. xxxii.
Critics have debated the date, authorship, and history of this song. For the present purpose it is sufficient, perhaps, to refer to the statement on these points in the note below.[130]
But in discussing the meaning and contents of the song the differences referred to cause no difficulties. On any supposition the time and circumstances, whether assumed as present, or actually and really present to the prophet's mind, can clearly be identified as not earlier than those of the Syrian wars. Accepted as dealing with that time, this poem takes its place among the Psalms of that period. Its subject is a very common one in Scripture: the goodness of Yahweh to His people, and their unfaithfulness to Him; His grief at their rebellion; His punishment of them by heathen oppressors; and His turning in love to them, along with His destruction of the nations who had prematurely triumphed over the people of God. Practically this is the burden of all the prophecies, as indeed it may be said to be the burden of the whole Book of Deuteronomy itself. Here it is stated and elaborated with great poetic skill; but in the main, the essential thought, there is little that has not already been elucidated.
As regards form the poem is among the finest specimens of Hebrew literary art which the Old Testament contains. Every verse contains at least two parallel clauses of three words or word-complexes each, and the parallelism in the great majority of instances is of the "Synonymous" kind; that is to say, "the second line enforces the thought of the first by repeating, and as it were echoing it in a varied form."[131] But into this as a foundation there is wrought a great deal of pleasing variation. The two-clause verses are varied by single instances or couplets or triplets of four-clause verses; while in two cases, at the emphatic end of sections, in vv. 14 and 39, the rare five-clause verse is found. Further, the synonymous parallelism is relieved by occasional appearances of the "synthetic" parallelism, in which "the second line contains neither a repetition nor a contrast to the thought of the first, but in different ways supplements and completes it,"[132] e.g. vv. 8, 19, and 27.
The contents of the song are in every way worthy of the origin assigned to it, and higher praise than that it is impossible to conceive. Beginning with a fine exordium calling upon heaven and earth to give ear, the inspired poet expresses the hope that his teaching may fall with refreshing and fertilising power upon the hearts of men, for he is about to proclaim the name of Yahweh, to whom all greatness is to be ascribed. In vv. 4 ff. the character and dealings of Yahweh are set over against those of the people:—
"The Rock! His deeds are perfect,
For all His ways are judgment;
A God of faithfulness and without falsity,
Just and upright is He."