As I noted earlier today, I have re-(but not totally)reversed my opinion on Miryam’s place in G’ulah. For the first part of this discussion, go here.
The idea proposed by Reconstructionist liturgy was compelling one, achieving what I would call a noble end, but the means, despite what I may have said a couple of weeks ago has always felt just a tad lacking to me. To give credit where credit is due, the discussion in the comments on Part I of this saga between me and elf’s DH directly resulted in the following new idea.
The problem that elf’s DH pointed out at great length is that, although it is not a direct quote, the line in question (which introduces Mi Chamochah) is a direct reference and messing with it seemed to muddy the story given to us by the Torah. However, following, Shirat Hayam, there is a description of Miryam, drum in hand (where did this tambourine idea come from? tof definitely means drum in Hebrew), leading the women in a refrain of the first line of the song already sung by Mosheh and the men.
So I give you the following idea: Instead of attributing to Miryam lines that we don’t know that she sang, we attribute to her a line, new to Mi Chamochah, but true to the text, which we know she did sing from the p’shat of the text.
Between “Nora t’hilot oseh feleh” and the following closing part of Mi Chamochah, I insert the following: “Miryam the prophet, drum in hand, and all the women sang a song, singing: ‘Shiru lAdonai ki ga’oh ga’ah.”
מִי כָּמֹכָה נֶאְדָּר בַּקֹּֽדֶשׁ,
נוֹרָא תְהִלֹּת, עֹֽשֵׂה פֶֽלֶא.
מִרְיָם הַנְּבִיאָה, תֹּף בְּיָדָהּ,
וְכָל־הַנָּשִׁים לְךָ עָנוּ שִׁירָה
וְאָמְרוּ שִׁירוּ לַאדוני כִּֽי גָאֹה גָּאָה