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Exo_15:1-21
I will sing unto Jehovah, for he is highly exalted;
The horse and his rider hath he thrown into the sea.
2My strength and my song is Jah, and he hath become my salvation.
He is my God, and I will glorify him,
My father’s God, and I will exalt him.
3Jehovah is a man of war, Jehovah is his name.
4Pharaoh’s chariots and his host hath he cast into the sea;
And his choicest captains were plunged into the Red Sea.
5The floods cover them, they went down into the depths like a stone.
6Thy right hand, Jehovah, glorious in strength,
Thy right hand, Jehovah, dasheth enemies in pieces.
7And in the greatness of thy majesty thou overthrowest thy foes;
Thou sendest out thy wrath, it consumeth them as stubble.
8And with the blast of thy nostrils the waters were heaped up;
Fixed like a dam were the waters,
The floods were congealed in the heart of the sea.
9Said the enemy: I will pursue, overtake, divide spoil;
My lust shall be sated with them;
I will draw my sword, my hand shall destroy them.
10Thou blewest with thy breath, the sea covered them;
They sank like lead into the mighty waters.
11Who is like unto thee, Jehovah, among the gods?
Who is like unto the, glorious in holiness,
Fearful in praises, doing wonders?
12Thou stretchedst out thy right hand, the earth swalloweth them.
13Thou leddest forth in thy mercy the people that thou hast redeemed;
Thou guidedst them by thy power unto thy holy habitation.
14Peoples heard, they tremble;
Anguish took hold of the inhabitants of Philistia.
15Then the chiefs of Edom were dismayed;
The mighty ones of Moab—trembling taketh hold of them;
All the inhabitants of Canaan melted away.
16Fear and dread fall upon them;
By the greatness of thine arm they are still as a stone;
Till thy people pass over, Jehovah,
Till the people pass over whom thou hast purchased.
17Thou shalt bring them in, and plant them in the mountain of thine inheritance,
The place which thou hast made for thy dwelling, Jehovah,
The sanctuary, Lord, which thy hands have established.
18Jehovah shall reign for ever and ever.
19For the horse [horses] of Pharaoh went in with his chariots and with his horsemen into the sea, and Jehovah brought again [back] the waters of the sea upon them; but the children of Israel went on dry land in the midst of the sea.
20And Miriam the prophetess, the sister of Aaron, took a [the] timbrel in her hand; and all the women went out after her with timbrels and with dances. 21And Miriam answered [responded to] them, Sing ye to Jehovah, for he hath triumphed gloriously [is highly exalted]; the horse and his rider hath he thrown into the sea.
[Exo_15:5. éְëַñְéֻîåּ is a peculiar form, îåּ for îåֹ (only here), and éְëַñְéåּ for éְëַñּåּ , as not unfrequently in pause. The A. V. here as in several cases afterwards in this chapter, quite neglects the alternation of tenses. The Imperfect is best rendered by our present.—Tr.].
[Exo_15:6. Here too the force and life of the original require the present tense; the statement is general rather than specific. àåֹéֵá , being without the article, may be understood collectively.—Tr.].
The passage through the Red Sea, as a fundamental fact of the typical kingdom of God, reaches in its relations through all the Holy Scriptures, referring backwards to the deluge, and forwards to Christian baptism, and finally to the last judgment; and so the echoes of this song of Moses extend through all the Scriptures. Preliminary to it are the poetic passages of Genesis and the blessing of Jacob; following it, after some epic passages, comes the parting song of Moses with his blessings, Deuteronomy 32, 33. Two grand companion-pieces, following this, Deborah’s song of triumph, and David’s song of deliverance (2 Samuel 22; Psalms 18), introduce the poetry of the Psalms, in which the key-note, struck by Moses’ song, is heard again. Comp. Psalms 77, 78, 105, 106, 114. Finally mention is made again of the song of Moses at the close of the New Testament; its notes resound forward as the typical song of triumph of the people of God even into the next world, Rev_15:3.
As to the historical originality of the song in this place, three opinions may be specified. According to the older view, represented especially by Kurtz and Sack, the song is wholly Mosaic. According to the modern, critical view, represented especially by Knobel (Bunsen regards the song of Moses and Miriam as including Exo_15:1-3; V. 2, p. 147), the song belongs to a later period. He says that, according to Exo_15:17, it cannot have originated before the times of David and Solomon, for which view he adduces also the phrase ùָׁìִéùׁ , Exo_15:4; but adds that in its peculiarity it certainly belongs to an old period. This statement involves a rather distinct contradiction. Heek (Introd. I. p. 303) assumes that the song in its original form was genuinely Mosaic, i.e., “that a genuinely Mosaic song lies at the foundation, but later, as used by the people, received some addition, or was in general somewhat worked over.” This assumption does not contradict in principle the spirit of biblical theology; for the collection of the Psalms shows that within the sphere of revelation such reconstructions have taken place. Vid.Psalms 14; Psalms 53. Yet as to the facts in the case before us, we need to look more carefully. Even Exo_15:13, considered as a triumphant prophetic anticipation, may be regarded as original. The holy dwelling-place stands in Moses’ mind all complete, after the further shore of the Red Sea has been happily reached; whilst the scholastic spirit cannot see the holy dwelling-place till the tabernacle or even the temple is a finished fact. But letting this verse pass, without challenge, as an interpolation, and even also the second half of Exo_15:17, which as a whole seems even to contain contradictory elements, yet the following verses correspond excellently to the occasion. For fear of the Philistines the circuitous way through the Sinaitic desert was commanded; consequently it would accord with psychological laws that the Philistines next to the Egyptians should be first in the thoughts of the people. With this is connected the second thought. The direction now taken would bring them into collision with Edom and Moab, and finally with Canaan: to this fact corresponds the joyous presentiment that Jehovah, by this great fact, has prepared the way for the deliverance of His people to the end. It is characteristic that the scholastic spirit throws into the scale the questionable use of an archæological term ( ùָׁìִéùׁ ), in opposition to the internal leading features of the song, which every way suits the Mosaic period. Thus, here nothing is said of Jehovah’s righteousness, but the idea of His holiness here for the first time comes distinctly out, Exo_15:11. This accords with the demands of internal biblical sequence: first, the El-elyon [Most High God] of the primeval times and of Melchizedek; then the El-shaddai [God Almighty], the miracle-working God of Abraham; then Jehovah the Holy One in the age of Moses. Also the prayer in Exo_15:16 and, in part, Exo_15:17 [rendered by Lange jussively, “Let fear … fall,” etc.], prove that Israel was still on the journey.
Analysis of the Song.—“The song may be divided into three strophes increasing successively in length, of which each one begins with the praise of Jehovah and ends with a description of the overthrow of the Egyptian host, Exo_15:2-18” (Keil). Knobel, however, makes the first strophe consist of Exo_15:1-3 (Jehovah as the lofty hero); the second, Exo_15:4-11 (as the highest God); the third, Exo_15:12-18 (as the King of Israel). Sack divides still differently. The festive, subjective mood which produces the song (the introduction or foundation) is properly set off by itself in Exo_15:2. Also Exo_15:3-8 may be taken together as a magnifying of Jehovah’s heroism (which here makes up for Israel’s unfitness for warfare) as displayed against Pharaoh. Then comes the contrast presented in the enemy’s defiance and defeat, Exo_15:9-10. Thence follows the conclusion, that Jehovah is Israel’s God, exalted above all the gods (religions) of the heathen, Exo_15:11-13. To this is appended the celebration of the terrifying effect of this achievement of Jehovah on the heathen people; according to Sack, from Exo_15:14 to Exo_15:18. We regard Exo_15:17-18 as a concluding prayer belonging by itself.
Especially is to be noticed here the relation of the following words. Evidently Miriam here institutes the antiphony, and that in the simplest and most natural form. This moment might be called the birth of the theocratic antiphony. It corresponds to the position of females, that the song is very short, the refrain of the song of Moses, but ennobled by the sound of timbrel and by the dance, in which Miriam is the representative of the women, as Moses of the men.
Exo_15:1-2. Jehovah’s exploit; Israel’s song. òֹæ , “Strength, might; not praise and glory” (Keil). But that strength which the poet experiences, that which becomes in him a fountain of song, is his inspiration. Jah, concentration of the name Jehovah, perhaps a more familiar form of the awe-inspiring name.
Exo_15:3-8. Jehovah as a warlike hero in contrast with Pharaoh.—A man of war.—As such he had become Israel’s consolation and reliance by his annihilation of Egypt’s dreadful military power, which Israel alone could not have resisted. Thy right hand, Jehovah (Exo_15:6) does not form a contrast with what is said of Jehovah as a man of war, but is a further celebration of the warlike power of Jehovah as displayed against his foes.
Exo_15:9-10. Pharaoh, Jehovah’s enemy, as the persecutor of His people, in his arrogance, in contrast with Jehovah.—I will pursue.—The spirit of the eager enemy is pictured in a masterly way by the incomplete sentences following one another without the copula.—They sank (plunged). öָìֲìåּ is translated by Knobel: “they whirled.” But lead falling upon water does anything but whirl around. Keil translates öָìַì here “sank into the depths,” referring to öåּìָä and îְòåּìָä , the abyss of the sea, and alleging that lead cast into water can neither whir nor whirl. Yet it might cause the peculiar sound of water designated by the words dash, splash, etc. The question might be asked, whether a new picturesque expression would not be preferable to the repetition of the thought of Exo_15:5. But this is decided by the consideration that they did not fall upon the water, but the water came over them.
Exo_15:11-13. Jehovah therefore has shown Himself to be the God of His people Israel.—Who is like unto thee.—The germ of the name Michael. Jehovah appears here as the exalted God of God’s people, before whom the gods (the heathen—and anti-Christian—forms of religion) cannot stand.—Who is like unto thee, again in fine repetition, for now Jehovah is celebrated as He who glorifies Himself (or is glorified) in holiness. He is made glorious by His holiness, by the august distinction of His personality from all hostile elements, of His people from the Egyptians by the waters of the Red Sea, of His light from darkness. The passage through the Red Sea has made manifest the holiness of Jehovah, who henceforward through His revelation will sanctify His people, as was first typically promised by the deluge; comp. Psa_77:14 [13].—Fearful in praises.—The obscure expression ðåֹøָà úְäִìֹּú means not only summe venerandus, but also that “man, because God performs fearful miracles, can sing to Him praises worthy of his wonderful deeds only with fear and trembling” (Keil). But can one sing praises with fear and trembling? Yet songs of praise themselves may disseminate fear and terror in the kingdom of darkness; at any rate, Jehovah can reveal His dreadfulness so as to call forth songs of praise from His people.—Doing wonders.—The notion of the miraculous likewise here first appears more marked, as that of something new and extraordinary, which through God’s creative power transcends the extraordinary phenomena of the ancient natural world.—Only a stretching out of His hand, and the earth swallows them up. The words, says Keil, have nothing more to do with the Egyptians, but with the enemies of the Lord in general, since the Egyptians were swallowed by the sea. But the contrast is between God’s outstretched hand in heaven and the absolute subordination of the whole earth, which certainly includes the sea.—In thy mercy.—Here the notion of grace becomes more definite in connection with the typical deliverance.—Unto thy holy habitation.——See above. According to Knobel, this expression indicates that the song was composed at a later period. Noticeable is the expression ðְåֵä ÷ֹãֶùׁ . The Red Sea being the boundary-line between Egypt and God’s people, the region or pasture ( ðָåֶä ) of holiness began on the other shore of the sea. Keil refers the phrase to Canaan, the leading of the people into that land being now pledged to them, so that the expression, like many others, would have to be understood in a prophetic sense.
Exo_15:14-16. The terrifying effect of this exploit of Jehovah among the heathen.—Even the singers at the Red Sea could proclaim this effect as an accomplished fact. Rumors of wars and victories even in the East circulate rapidly, and the facts, through the reports, assume an imposing form. Vid.Jos_2:9; Jos_9:9. The ramification of this effect is entirely in accordance with the plan of the journey, comp. Num_20:18 sqq.; Exo_21:4; Deu_2:3; Deu_2:8. See above.—Still asa stone.— ãָּîַí may mean either to stand still, or to be rigid and silent. We regard the first sense as the more probable. As Israel must march among the stones of the wilderness, so he wishes also to march through the nations clean to his goal. To this refers also the two-fold òַãÎéַòֲáֹø [“pass over”], which Knobel refers to the crossing of the Jordan—a proof of the degree of senselessness to which modern criticism can attain in its prejudices.
Exo_15:17-18. Concluding prayer and doxology.—A part of Exo_15:17, as an original conclusion, could not be at all dispensed with.—Thou shalt bring them in.—According to Knobel, the futures are preterites (!); according to Keil, they should not be read as wishes, but as simple predictions. Predictions in reference to Jehovah’s actions!—In the mountain of thine inheritance.—According to Knobel, this is the mountain-region of Canaan; according to Keil, the mountain which Jehovah had chosen, by the offering of Isaac (Genesis 22), as his dwelling-place, his sanctuary, Psa_78:54. There is no ground for regarding this expression as a vaticinium post eventum; it seems, however, also very one-sided to refer the prophecy directly to the definite locality of the sanctuary on Moriah. How long the tabernacle first stood in Shiloh, how often the ark changed its place! In symbolical language a mountain is a secure height on which the people of Israel, Jehovah’s possession, gained a firm lodgment. The centre of this mountain is, on the one hand, the dwelling-place of Jehovah; on the other, the sanctuary of the Lord ( àָãֹðָé ) for His people. The brief concluding sentence forms a worthy close; a simple expression of unlimited confidence: Jehovah shall reign for ever and ever.
Exo_15:19-20. Transition to the antiphony of Miriam.—The horses of Pharaoh.—Keil understands that Pharaoh rode on his horse in front of the army. But this is neither ancient nor modern custom. Moreover, ñåּí evidently refers to chariots and horsemen.—The prophetess.—“Not ob poeticam et musicam facultatem (Rosenmüller), but on account of her prophetic gifts” (Keil). It is not well to distinguish the two kinds of endowment within the theocracy so sharply, in so far, that is, as the question of endowment is concerned.—The sister of Aaron.—So in Num_12:1-6, where, together with Aaron, she takes sides against Moses. According to Kurtz, she is so called because she was co-ordinate with Aaron, but subordinate to Moses. She stood, as the leader of Jewish women, appropriately by the side of the future conductor of the religious service. According to the New Testament, it was also customary to name younger children after the older ones (e.g. Judas of James).—The timbrel in her hand.—The taber, tambourine.—And with dances.—Here first appears the religious dance, introduced by Miriam with religious festivities, but probably not without Aaron’s influence. The frequent occurrence of this dance is seen from a concordance.
Exo_15:21. Sing ye to Jehovah.—From this derives the antiphony in the Old Testament and New Testament, e.g.Jdg_11:34; 1Sa_18:6; 1Sa_21:11; 1Sa_29:5. Is not the occasion great enough in itself, that the orgin of the antiphony should have been looked for in Egypt? For the rest, vid. on the ancient Egyptian female dancers with tambourines, Keil, Archäologie, § 137, Note 8.
Footnotes:
[For convenience sake the translation of this song is given without indicating in what particulars it differs from that of the A. V.—Tr.].
[Exo_15:1. There seems to be no warrant for the rendering of the A. V.: “He hath triumphed gloriously.” ðָּàָä , in the other three passages (Job_8:11; Job_10:16; Eze_47:5) in which it is used, has clearly the meaning “rise,” “grow large.” The adjective âֵּàֶä means “high,” or “high-minded,” “proud.” The renderings of the LXX. and Vulg., are better than that of the A. V., viz., ἐíäüîùò ãὰñ ἐíäüîáóôáé , and “gloriose enim magnificatus est.”—Tr.].
[Exo_15:5. éְëַñְéֻîåּ is a peculiar form, îåּ for îåֹ (only here), and éְëַñְéåּ for éְëַñּåּ , as not unfrequently in pause. The A. V. here as in several cases afterwards in this chapter, quite neglects the alternation of tenses. The Imperfect is best rendered by our present.—Tr.].
[Exo_15:6. Here too the force and life of the original require the present tense; the statement is general rather than specific. àåֹéֵá , being without the article, may be understood collectively.—Tr.].
[Where áַּ÷ֹּãֶùׁ , the same expression which in Exo_15:11 is rendered “in holiness.” is in the A. V. incorrectly rendered “in the sanctuary.”—Tr.].
[According to some, the word here, rendered “dances” really denotes a musical instrument used in connection with dunces. So, e.g., Prof. Marks in Smith’s Bible Dictionary, Am. Ed., p. 538.—Tr.].