The four Qumran manuscripts of the Reworked Pentateuch, dating from the second half of the first century BCE, are considered as an intermediary stage between a re-edited version of the Bible-using synonyms, additions and omissions or changing the word order-and a traditional text enriched with interpretation. The most striking example is the enlarged Song of Miriam. At Exodus 15:22 we read: "Sing to the Lord for he has triumphed gloriously; horse and rider he has thrown into the sea." 

However, in the Reworked Pentateuch we have a longer poem in which this opening is followed by seven more lines which are incompletely preserved: ". . . you have despised . . . For pride . . . You are great, a saviour . . . The hope of the enemy has perished and . . . They have perished in the mighty waters, the enemy . . . And lifts up to their height. You have given [a r]ansom . . . he who acts proudly . . ."

Considering the length of similar scriptural songs, those of Moses (Exodus 15:1-17), Deborah (Judges 5:2-31) and Hannah (1 Samuel 2:1-10), it is most unlikely that Miriam's inspiration dried up after a single verse. In the mind of the scribe the extra lines represented the authentic continuation of the poem, omitted from the traditional Bible. In short, the Reworked Pentateuch should be classified as a revised text of scripture rather than as interpretation.

The Temple Scroll from Cave 11 is considered by some as a sample of Reworked Pentateuch, though it can also be defined as a work of interpretation or a substitute composition for the traditional Jewish Law, the Qumran Torah. Generally dated to the mid-second century BCE, it is probably pre-sectarian, but its close links to the Qumran Damascus Document and to the sect's liturgical calendar suggests that it was adopted and adapted by the Dead Sea community.