(4.) The fourth mode of divine manifestation was that which is described as commencing at this junc- ture, and which continued with more or less uniformity through the rest of his career. Immediately after the catastrophe of the worship of the calf, and apparently in conseiiuence of it, ]Mosos removed the chief tent out- side the camp, and invested it with a sacred character under the name of " the Tent or Tabernacle of the Con- gregation" (xxxiii, 7). This tent became henceforth the chief scene of his communications with God. He left the camp, and it is described how, as in the expec- tation of some great event, all the people rose up and stood every man at his tent door, and looked — gazing after Closes initil he disappeared within the tent. As he disappeared the entrance was dosed bciiind liim by the cloudy iiillar, at the sight of which the peojde pros- trated themselves (xxxiii, 10). Tlic connnunications
within the tent are described as being still more inti- mate than those on the mountain. "Jehovah spaije unto Moses face to face, as a man speaketh unto his friend" (xxxiii, 11). He was apparently accompanied on these mysterious visits by his attendant Hoshea (or Joshua), who remained in the tent after his master had left it (xxxiii, 11). All the revelations contained in the books of Leviticus and Numbers seem to have been made in this manner (Lev. i, 1; Numb, i, 1).
It was during these communications that a peculiar- ity is mentioned which apparently had not been seen before. It was on his final descent from Mount Sinai, after his second long seclusion, that a si)lendor shone on his face, as if from the glory of the divine Presence. It is from the Vulgate translation of "ray" ("i"ip), "cornu- iam habens faciem," that the conventional representa- tion of the horns of Moses has arisen. See Zeiliicli, JJe radiante Mosis facie (Gera, 1764). The rest of the story is told so differently in the different versions that both must be given. (1.) In the A.V. and most Protestant versions Closes is said to wear a veil in order to hide the splendor. In order to produce this sense, the A.V. of Exod. xxxiii, 34 reads, " and [till] Moses had done speaking with them" — and other versions, " he had put on the veiL" (2.) In the Sept. and the Vulgate, on the other hand, he is said to put on the veil, not during, but after, the conversation with the people — in order to hide, not the splendor, but the vanishing away of the splen- dor ; and to have worn it till the moment of his return to the divine Presence in order to rekindle the light there. With this reading agrees the obvious meaning of the Hebrew words, and it is this rendering of the sense which is followed by Paul in 2 Cor. iii, 13, 14, where he contrasts the fearlessness of the apostolic teaching with the concealment of that of the O. T. : " We have no fear, as Closes had, that our glory will pass away."
(5.) There is another form of the prophetic gift in which Moses more nearly resembles the later prophets, namely, as a write?: We need not here determine (what is best considered under the several books which bear his name, Pextatkith, etc.) the extent of his au- thorship, or tlie period at which these books were put together in their present form. He is also traditionally connected with tlic first draft at least of the book of Job (q. v.). Eupolemns (Euseb. Prcrp. Ei: ix, 26) makes him the author of letters. But of this the Hebrew nar- rative gives no indication. There are two portions of the Pentateuch, and two only, of which the actual n-rit- ing is ascribed to Moses: 1st, the second edition of the Ten Commandments (Exod. xxxiv, 28); 2d, the regis- ter of the stations in the wilderness (Numb, xxxiii, 1). But it is clear that the proplietical office, as represented in the history of Moses, included the poetical form of composition which characterizes the Jewish prophecy generally. These poetical utterances, whether connect- ed with Moses by ascription or by actual authorship, enter so largely into the fidl Biblical conception of his character that they must here be mentioned.
[1.] "The song which Closes and the children of Is- rael sung" (after the jiassage of the Kcd Sea. Exod. xv, 1-19). It is uncpiestionably the earliest written account of that event; and, although it may have been in part, according to the conjectures of Ewald and Bunscn, adapted to the sanctuary of (ierizim and Shiloh. yet its framework and ideas are essentially ^losaic. It is prob- ably this song to which allusion is made in Kev. xv, 2, 3: "They stand on the sea of glass mingled with fire . . . and sing the song of Jloses, the servant of (Jod."
[2.] A fragment of a war-song against Amalck (Exod. xvii, 16) :
" As the hand is on the throne of Jehovah, So will Jehovah war with Am:dek From gcnciation to generation."
[3.] A fragment of a lyrical burst of indignation (Exod. xxii, 18) :
MOSES
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MOSES
" Not.the voice of them that shout for mastery, Nor the voice of them that cry for being overcome, But the uoise of them that sing do I hear."