The Form and Function of the Song of Moses (Deuteronomy 32:1-43)

Abstract

G. Ernest Wright has argued in Lawsuit of God: A Form-Critical Study of Deuteronomy 32 that the genre of the Song of Moses is that of a or rib.l This argument has been highly influential in subsequent research on the Song and is almost taken for granted by many now.2 But not all have followed Wright s analysis. A number of criticisms have been leveled, and it has instead been argued that the Song belongs the sphere of wisdom literature.3 In this article, I will examine Wright s analysis of the Song, which I find wanting in regard a number of features in the Song. I will show that the designation is only a partial description of the form and function of the Song, and I will argue that the Song evinces qualities of a number of different forms but that it broadly fits the category of a hymn. After demonstrating the hymnic elements that are found in the Song, I will conclude with some comments regarding the implications of these findings for the study of the Song. I. G. Ernest Wright s Analysis Wright first provides a structural analysis of the Song, dividing it into seven sections, acknowledging that his divisions are based on attempts to identify thought units.4 These sections are as follows: Section 1 Introduction (Deut 32:1-6) Section 2 Kerygma: Appeal mighty acts of God (vv. 7-14) Section 3 Indictment (vv. 15-18) Section 4 Sentence or penalty (vv. 19-29) Section 5 Poet's assurance of salvation (vv. 30-38) Section 6 The Word of YHWH confirming poet's hope (vv. 39-42) Section 7 Poet's final exhortation praise (v. 43) Based on this structure, Wright concludes that basic the Song is one distinguishable form which the psalmist has elaborated. This is the divine lawsuit, or rib.5 He argues that this pattern is central Deut 32:1-43 as shown by three things: the summons witnesses in v. 1, the indictment in vv. 15-18, and the judge's verdict in vv. 19-29.6 Wright then compares the Song Herbert B. Huffmon's outline of the form of the covenant rib, which is provided below. I. Description of the scene of judgment II. Speech of plaintiff A. Heaven and earth appointed judges B. Summons defendant (or judges) C. Address in second person the defendant 1. Accusation in question form defendant 2. Refutation of defendant's possible arguments 3. Specific indictment7 Wright makes two modifications of the analysis provided by Huffmon. First, he does not believe that heaven and earth function as judges in the lawsuit; rather, they are witnesses it.8 Second, he adds this outline one more section, in which God, or a prophet as his spokesperson, declares the sentence. Fitting the Song of Moses into this outline, we have the following: Most discussions of Wright's argument end at this point-which is unfortunate, since they miss one of the key steps in his argument: that within the Song of Moses there are a number of expansions the form of the covenant rib. These two expansions are found in v. 2 and in vv. 30-43. The first expansion is the wish of the poet in v. 2: my teaching fall as the rain; May my word distill as the dew, as rain upon grass, and as showers upon vegetation. Wright believes that by v. 2 the poet hints that the lawsuit form he uses is only an instructional device.9 This will be discussed further below. The second, lengthier expansion is the last thirteen verses of the Song. Wright views this as a hymnic section meant convey forgiveness the people after the lawsuit has been declared. These two expansions demonstrate Wright that, although the lawsuit form is the primary form of the Song, it is being used only as a didactic instrument through which the people confess their sin and receive absolution. II. Critique of Wright s Analysis One argument in particular of Wright's work has received criticism and should be reexamined here. …