1 Give ear, you heavens, and I will speak. Let the earth hear the words of my mouth.
*Minor differences ignored. Grouped by changes, with first version listed as example.
Give ear, O ye heavens. Moses commences in a strain of magnificence, lest the people should disdain this song with their usual pride, or even reject it altogether, being exasperated by its severe censures and reproaches. For we well know how the world naturally longs to be flattered, and that no strain can be gratifying to it unless it tickles and soothes the ear with praise. But Moses here not only inveighs bitterly against the vices of the people, but with the utmost possible vehemence stigmatizes their perverse nature, their utterly corrupt morals, their obstinate ingratitude, and incorrigible contumacy. Moreover, he desired that these accusations, whereby he rendered their name detestable, should daily echo from their tongues; and thus they became still more offensive. It was, therefore, requisite that their impatience should be bridled, as it were, in order that they might patiently and humbly receive these just reproofs, however severe they might be. If, therefore, they should repudiate this song, or should turn a deaf ear to it, he declares at the outset that heaven and earth would be witnesses of their prodigious obtuseness; nay, he turns and addresses himself to heaven and earth, and thus signifies that it was worthy of the attention of all creatures, even although they were without intelligence or feeling. For it is a hyperbolical mode of expression, when he assigns the faculty of hearing, and being instructed, to the senseless elements; just as Isaiah, when he would intimate that he found none to give heed to him amongst the whole people, in like manner appeals to the heavens and the earth, and even summons them to bear witness to the prodigious iniquity, that there should be less of intelligence amongst the whole people than in oxen and asses. (Isaiah 1:2, 3.) For it is but a meager exposition, which some give of these words, that they are used, by metonymy, for angels and men. [1]
1 - See ante, on Deuteronomy 4:26, [39]vol. 3, p. 269, and [40]note.
Song of Moses
If Deuteronomy 32:1-3 be regarded as the introduction, and Deuteronomy 32:43 as the conclusion, the main contents of the song may be grouped under three heads, namely,
(1) Deuteronomy 32:4-18, the faithfulness of God, the faithlessness of Israel;
(2) Deuteronomy 32:19-33, the chastisement and the need of its infliction by God;
(3) Deuteronomy 32:34-42, God's compassion upon the low and humbled state of His people.
The Song differs signally in diction and idiom from the preceding chapters; just as a lyrical passage is conceived in modes of thought wholly unlike those which belong to narrative or exhortation, and is uttered in different phraseology.
There are, however, in the Song numerous coincidences both in thoughts and words with other parts of the Pentateuch, and especially with Deuteronomy; while the resemblances between it and Ps. 90: "A Prayer of Moses," have been rightly regarded as important.
The Song has reference to a state of things which did not ensue until long after the days of Moses. In this it resembles other parts of Deuteronomy and the Pentateuch which no less distinctly contemplate an apostasy (e. g. Deuteronomy 28:15; Leviticus 26:14), and describe it in general terms. If once we admit the possibility that Moses might foresee the future apostasy of Israel, it is scarcely possible to conceive how such foresight could be turned to better account by him than by the writing of this Song. Exhibiting as it does God's preventing mercies, His people's faithlessness and ingratitude, God's consequent judgments, and the final and complete triumph of the divine counsels of grace, it forms the summary of all later Old Testament prophecies, and gives as it were the framework upon which they are laid out. Here as elsewhere the Pentateuch presents itself as the foundation of the religious life of Israel in after times. The currency of the Song would be a standing protest against apostasy; a protest which might well check waverers, and warn the faithful that the revolt of others was neither unforeseen nor unprovided for by Him in whom they trusted.
That this Ode must on every ground take the very first rank in Hebrew poetry is universally allowed.
On the inimitable excellence of this ode much has been written by commentators, critics, and poets - and it is allowed by the best judges to contain a specimen of almost every species of excellence in composition. It is so thoroughly poetic that even the dull Jews themselves found they could not write it in the prose form; and hence it is distinguished as poetry in every Hebrew Bible by being written in its own hemistichs or short half lines, which is the general form of the Hebrew poetry; and were it translated in the same way it would be more easily understood. The song itself has suffered both by transcribers and translators, the former having mistaken some letters in different places, and made wrong combinations of them in others. As to the translators, most of them have followed their own fancy, from good Mr. Ainsworth, who ruined it by the most inanimate rhyming version, to certain latter poets, who have cast it unhallowedly into a European mould. See the observations at the end of the chapter, Deuteronomy 32:52.
Give ear, O ye heavens - Let angels and men hear, and let this testimony of God be registered both in heaven and earth. Heaven and earth are appealed to as permanent witnesses.
Give ear, O ye (a) heavens, and I will speak; and hear, O earth, the words of my mouth.
(a) As witness of this people's ingratitude.
Give ear, O ye heavens, and I will speak; and hear, O earth,
the words of my mouth. This song is prefaced and introduced in a very grand and pompous manner, calling on the heavens and earth to give attention; by which they themselves may be meant, by a "prosopopaeia", a figure frequently used in Scripture, when things of great moment and importance are spoken of; and these are called upon to hearken, either to rebuke the stupidity and inattention of men, or to show that these would shed or withhold their influences, their good things, according to the obedience or disobedience of Israel; or because these are durable and lasting, and so would ever be witnesses for God and against his people: Gaon, as Aben Ezra observes, by the heavens understands the angels, and by the earth the men of the earth, the inhabitants of both worlds, which is not amiss: and by these words of Moses are meant the words of the song, referred to in Deuteronomy 31:29; here called his words, not because they were of him, but because they were put into his mouth, and about to be expressed by him, not in his own name, but in the name of the Lord; and not as the words of the law, which came by him, but as the words and doctrines of the Gospel concerning Christ, of whom Moses here writes; whose character he gives, and whose person and office he vindicates against the Jews, whom he accuses and brings a charge of ingratitude against for rejecting him, to which our Lord seems to refer, John 5:45; the prophecies of their rejection, the calling of the Gentiles, the destruction of the Jews by the Romans, and the miseries they should undergo, and yet should not be wholly extirpated out of the world, but continue a people, who in the latter days would be converted, return to their own land, and their enemies be destroyed; which are some of the principal things in this song, and which make it worthy of attention and observation.
Moses begins with a solemn appeal to heaven and earth, concerning the truth and importance of what he was about to say. His doctrine is the gospel, the speech of God, the doctrine of Christ; the doctrine of grace and mercy through him, and of life and salvation by him.
MOSES' SONG, WHICH SETS FORTH THE PERFECTIONS OF GOD. (Deuteronomy. 32:1-43)
Give ear, O ye heavens; . . . hear, O earth--The magnificence of the exordium, the grandeur of the theme, the frequent and sudden transitions, the elevated strain of the sentiments and language, entitle this song to be ranked amongst the noblest specimens of poetry to be found in the Scriptures.
The Song of Moses. - In accordance with the object announced in Deuteronomy 31:19, this song contrasts the unchangeable fidelity of the Lord with the perversity of His faithless people. After a solemn introduction pointing out the importance of the instruction about to be given (Deuteronomy 32:1-3), this thought is placed in the foreground as the theme of the whole: the Lord is blameless and righteous in His doings, but Israel acts corruptly and perversely; and this is carried out in the first place by showing the folly of the Israelites in rebelling against the Lord (Deuteronomy 32:6-18); secondly, by unfolding the purpose of God to reject and punish the rebellious generation (Deuteronomy 32:19-23); and lastly, by announcing and depicting the fulfilment of this purpose, and the judgment in which the Lord would have mercy upon His servants and annihilate His foes (Deuteronomy 32:34-43).
The song embraces the whole of the future history of Israel, and bears all the marks of a prophetic testimony from the mouth of Moses, in the perfectly ideal picture which it draws, on the one hand, of the benefits and blessings conferred by the Lord upon His people; and on the other hand, of the ingratitude with which Israel repaid its God for them all. "This song, soaring as it does to the loftiest heights, moving amidst the richest abundance of pictures of both present and future, with its concise, compressed, and pictorial style, rough, penetrating, and sharp, but full of the holiest solemnity, a witness against the disobedient nation, a celebration of the covenant God, sets before us in miniature a picture of the whole life and conduct of the great man of God, whose office it pre-eminently was to preach condemnation" (O. v. Gerlach). - It is true that the persons addressed in this ode are not the contemporaries of Moses, but the Israelites in Canaan, when they had grown haughty in the midst of the rich abundance of its blessings, and had fallen away from the Lord, so that the times when God led the people through the wilderness to Canaan are represented as days long past away. But this, the stand-point of the ode, is not to be identified with the poet's own time. It is rather a prophetic anticipation of the future, which has an analogon in a poet's absorption in an ideal future, and differs from this merely in the certainty and distinctness with which the future is foreseen and proclaimed. The assertion that the entire ode moves within the epoch of the kings who lived many centuries after the time of Moses, rests upon a total misapprehension of the nature of prophecy, and a mistaken attempt to turn figurative language into prosaic history. In the whole of the song there is not a single word to indicate that the persons addressed were "already sighing under the oppression of a wild and hostile people, the barbarous hordes of Assyrians or Chaldeans" (Ewald, Kamphausen, etc.).
(Note: How little firm ground there is for this assertion in the contents of the ode, is indirectly admitted even by Kamphausen himself in the following remarks: "The words of the ode leave us quite in the dark as to the author;" and "if it were really certain that Deuteronomy was composed by Moses himself, the question as to the authenticity of the ode would naturally be decided in the traditional way." Consequently, the solution of the whole is to be found in the dictum, that "the circumstances which are assumed in any prophecy as already existing, and to which the prophetic utterances are appended as to something well known (?), really determine the time of the prophet himself;" and, according to this canon, which is held up as "certain and infallible," but which is really thoroughly uncritical, and founded upon the purely dogmatic assumption that any actual foreknowledge of the future is impossible, the ode before us is to be assigned to a date somewhere about 700 years before Christ.)
The Lord had indeed determined to reject the idolatrous nation, and excite it to jealousy through those that were "no people," and to heap up all evils upon it, famine, pestilence, and sword; but the execution of this purpose had not yet taken place, and, although absolutely certain, was in the future still. Moreover, the benefits which God had conferred upon His people, were not of such a character as to render it impossible that they should have been alluded to by Moses. All that the Lord had done for Israel, by delivering it from bondage and guiding it miraculously through the wilderness, had been already witnessed by Moses himself; and the description in Deuteronomy 32:13 and Deuteronomy 32:14, which goes beyond that time, is in reality nothing more than a pictorial expansion of the thought that Israel was most bountifully provided with the richest productions of the land of Canaan, which flowed with milk and honey. It is true, the satisfaction of Israel with these blessings had not actually taken place in the time of Moses, but was still only an object of hope; but it was hope of such a kind, that Moses could not cherish a moment's doubt concerning it. Throughout the whole we find no allusions to peculiar circumstances or historical events belonging to a later age. - On the other hand, the whole circle of ideas, figures, and words in the ode points decidedly to Moses as the author. Even if we leave out of sight the number of peculiarities of style (ἅπ. λεγόμενα), which is by no means inconsiderable, and such bold original composite words as לא־אל (not-God, Deuteronomy 32:21; cf. Deuteronomy 32:17) and לא־עם (not-people, Deuteronomy 32:21), which might point to a very remote antiquity, and furnish evidence of the vigour of the earliest poetry, - the figure of the eagle in Deuteronomy 32:11 points back to Exodus 19:4; the description of God as a rock in Deuteronomy 32:4, Deuteronomy 32:15, Deuteronomy 32:18, Deuteronomy 32:30, Deuteronomy 32:31, Deuteronomy 32:37, recalls Genesis 49:24; the fire of the wrath of God, burning even to the world beneath (Deuteronomy 32:22), points to the representation of God in Deuteronomy 4:24 as a consuming fire; the expression "to move to jealousy," in Deuteronomy 32:16 and Deuteronomy 32:21, recalls the "jealous God" in Deuteronomy 4:24; Deuteronomy 6:15; Exodus 20:5; Exodus 34:14; the description of Israel as children (sons) in Deuteronomy 32:5, and "children without faithfulness" in Deuteronomy 32:20, suggests Deuteronomy 14:1; and the words, "O that they were wise," in Deuteronomy 32:29, recall Deuteronomy 4:6, "a wise people." Again, it is only in the Pentateuch that the word גּדל (greatness, Deuteronomy 32:3) is used to denote the greatness of God (vid., Deuteronomy 3:24; Deuteronomy 5:21; Deuteronomy 9:26; Deuteronomy 11:2; Numbers 14:19); the name of honour given to Israel in Deuteronomy 32:15, viz., Jeshurun, only occurs again in Deuteronomy 33:5 and Deuteronomy 33:26, with the exception of Isaiah 44:2, where it is borrowed from these passages; and the plural form ימות, in Deuteronomy 32:7, is only met with again in the prayer of Moses, viz., Psalm 90:15.
O heavens, O earth - You lifeless and senseless creatures, which he calls upon partly to accuse the stupidity of Israel, that were more dull of hearing than these: and partly as witnesses of the truth of his sayings and the justice of God's proceedings against them.
*More commentary available at chapter level.