Baruch J. Schwartz, The Song at the Sea: What Does it Celebrate?, TheTorah.com
The historical horizon of the hymn, the dramatic period in Israel’s history that this sublime Song celebrates, thus extends well beyond the time of the Exodus and the deliverance at the Sea. The Song indeed begins with the miraculous, terrifying annihilation of Egypt’s elite forces, devoting to it a full twelve verses. But it then goes on to recount subsequent events. It telescopes the journey through the wilderness, focusing on Israel’s unimpeded progress to, and conquest of, the land of Canaan, and it climaxes in the building of the Temple on God’s holy mountain.
The victory at the Sea is therefore the Song’s starting-point, but it is not its object. The Song is not a hymn of thanksgiving offered at the moment of Israel’s salvation at the Sea but rather a celebration of God’s providential lovingkindness, from that time until the present day. The present day, obviously, cannot be earlier than the latest event mentioned: the establishment of God’s Temple on His holy mountain in Canaan, centuries after the time of Moses. The hymn thus celebrates God’s enthronement in His permanent abode, His Temple in Jerusalem, which, for the poet, is the climax and goal of Israel’s election and redemption, the most wondrous stages of which are described in retrospect.
Numerous translators, and quite a number of commentaries from all periods, have obscured this fact. They have done so by interpreting verses 13–19 as though they spoke of events still in progress or yet to come. . . . Those familiar with Biblical Hebrew grammar and style, however, will immediately recognize that this is impossible. In biblical poetry, the imperfect (or prefixed) form of the verb very often indicates actions completed in the past. That this is the case here can be demonstrated conclusively. . . .
Linguistically then, there is no justification for reading the Song as if it celebrated the miracle at the Sea as an event that had just taken place and looked forward to Israel’s future progress. The recent event that the Song celebrates is the building of the Temple, presented as the culmination of a process of uninterrupted divine providence that began with the Exodus. Of course, translators and commentators who have concealed this have not done so because of any deficiency in their command of Biblical Hebrew. Rather, the notion that the Torah might contain passages that refer explicitly to events well after the time of Moses as though they belonged to the distant past was simply unthinkable.
The implication, that portions of the Torah did not even exist in Moses’ time and could not have been written by him, was unimaginable. And so it fell to critical scholars to realize that the author of this portion of the Torah’s narrative evidently embedded in his account of the events surrounding the Exodus a poem – most likely not of his own creation – originally designed for a different purpose entirely: to mark the completion of God’s earthly dwelling-place, the Jerusalem Temple.
Critical scholars have taken their cue on this and similar matters from Abraham ibn Ezra who, in the twelfth century, laid down two iron-clad rules about validity in interpretation: first, that no interpretation that fails to meet the rigorous demands of Hebrew grammar is admissible; second, that no author, not even a prophet, indeed not even God, speaks or writes in the past tense of events that have not yet taken place. Ibn Ezra thus admitted that certain passages in the Torah date from, and pertain to, time periods long after the lifetime of Moses and therefore could not have been written by him – even at God’s own bidding. And while Ibn Ezra did not include the Song at the Sea among the passages he so identified, it is through our own unfailing adherence to the principles of intellectual integrity on which he insisted that we are able to gain a new appreciation for the Song at the Sea – both in its original role and in its eventual incorporation within the Torah narrative.