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The old man whom we have known so long dies singing. All men should die so; all men may so die; God is not sparing in His gift of song or privilege of music; music was in His purpose long before speech; all things are to end in a great song. There are songs without words; there is singing without articulate and audible voice: we may sing with the spirit and with the understanding. Blessed are they who, before going up to Nebo to die, sing in the valley, and, so to say, pass out of sight with their singing robes around them; to this end we are invited in Christ, and in Christ this is the only possible end — namely, triumph, song; the rapture of expectancy and, the inspiration of hope. The song was to be a "witness" for God "against" the children of Israel — say, rather, as between Himself and the children of Israel. Witness does not always imply accusation; it quite as frequently implies confirmation, approval. It embodies in itself a sure testimony, strong because of its indisputableness. Moses wrote the song "the same day." We speak of our efforts of genius and the time required for the elaboration of this or that attempt to serve the sanctuary; but if you can write a song at all you can write it at once. Herein the great French poet's dictum is true: said one to Victor Hugo, "Is it not difficult to write, epic poetry?" "No," said the great genius of his day — "no, easy or impossible." What are the characteristics of a great song?

1. The first most noticeable characteristic of this song is that it is intensely theological. The keyword is GOD — in His majesty, in His compassion, in His righteousness, in His tears — God is a species of incarnation thousands of years before the event of Bethlehem.

2. Another characteristic of the song is its broad human history. Read the thirty-second chapter from end to end, and you will find it a record of historical events. Facts are the pedestals on which we set sculptured music. We must know our own history if we would know the highest religious arguments, and apply with unquestionable and beneficent skill great Christian appeals. The witness must be in ourselves: we must know, and taste, and feel, and handle of the Word of Life, and live upon it, returning to it as hunger returns to bread and thirst flies swiftly to sparkling fountains. When you are doubtful as to religious mysteries, read your own personal record: when metaphysics are too high or too deep, peruse facts, put the pieces of your lives together, see how they become a shape — a house not made with hands, a temple fashioned in heaven. The days are not to be detached from one another, they are to be linked on and held in all the symbolism and reality of their unity.

3. Hence, another characteristic of the song is its record of providence. God found Jacob "in a desert land, and in the waste howling wilderness; He led him about," etc.; and then comes all the detail of providential care and love, and all the sublime appeal arising out of the undisputed goodness of God. We do not need providence to be proved by wordy argument, for we ourselves are living illustrations of God's nearness, and greatness, and love. We must never give up this arm of our panoply; this weapon is a weapon strong and keen; we must in the use of it testify what we have seen and known, and we must magnify God by facts that have occurred within the limits of our own observation and experience. Every Christian man is a miracle; every Christian life is a Bible; every devout experience is a proof of the possibility of inspiration.

4. The song is also accusatory: "Jeshurun waxed fat, and kicked; thou art waxen fat," etc. When a song accuses, how terrific is the indictment! Who expects a song to double back upon the singer and accuse him of ingratitude, presumption, or forgetfulness? Our hymns are witnesses for us and against us; our very music has some plain things to tell us; even in song we do not escape justice. The songs of the Bible are not mere sentiments melodised and turned into a species of aesthetic luxury: Bible songs are Bible theology, Bible statutes, Bible precepts, Divine interventions and providences.

(J. Parker, D. D.)

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KJV: Moses therefore wrote this song the same day, and taught it the children of Israel.

WEB: So Moses wrote this song the same day, and taught it the children of Israel.