Keluaran 15:1

The Song of Triumph

15:1 ¹ Then Moses and the Israelites sang ²  this song to the Lord. They said, ³ 

“I will sing ⁴  to the Lord, for he has triumphed gloriously, ⁵ 

the horse and its rider ⁶  he has thrown into the sea.

Keluaran 32:18

32:18 Moses ⁷  said, “It is not the sound of those who shout for victory, ⁸  nor is it the sound of those who cry because they are overcome, ⁹  but the sound of singing ¹⁰  I hear.” ¹¹ 

Keluaran 15:21

15:21 Miriam sang in response ¹²  to them, “Sing to the Lord, for he has triumphed gloriously; the horse and its rider he has thrown into the sea.” ¹³ 

Keluaran 15:2

15:2 The Lord ¹⁴  is my strength and my song, ¹⁵ 

and he has become my salvation.

This is my God, and I will praise him, ¹⁶ 

my father’s God, and I will exalt him.

[15:1]  ¹ sn This chapter is a song of praise sung by Moses and the people right after the deliverance from the Sea. The song itself is vv. 1b-18; it falls into three sections – praise to God (1b-3), the cause for the praise (4-13), and the conclusion (14-18). The point of the first section is that God’s saving acts inspire praise from his people; the second is that God’s powerful acts deliver his people from the forces of evil; and the third section is that God’s demonstrations of his sovereignty inspire confidence in him by his people. So the Victory Song is very much like the other declarative praise psalms – the resolve to praise, the power of God, the victory over the enemies, the incomparability of God in his redemption, and the fear of the people. See also C. Cohen, “Studies in Early Israelite Poetry I: An Unrecognized Case of Three Line Staircase Parallelism in the Song of the Sea,” JANESCU 7 (1975): 13-17; D. N. Freedman, “Strophe and Meter in Exodus 15,” A Light unto My Path, 163-203; E. Levine, “Neofiti I: A Study of Exodus 15,” Bib 54 (1973): 301-30; T. C. Butler, “‘The Song of the Sea’: Exodus 15:1-18: A Study in the Exegesis of Hebrew Poetry,” DissAb 32 (1971): 2782-A.

[15:1]  ² tn The verb is יָשִׁיר (yashir), a normal imperfect tense form. But after the adverb “then” this form is to be treated as a preterite (see GKC 314-15 §107.c).

[15:1]  ³ tn Heb “and they said, saying.” This has been simplified in the translation for stylistic reasons.

[15:1]  ⁴ tn The form is the singular cohortative, expressing the resolution of Moses to sing the song of praise (“I will” being stronger than “I shall”).

[15:1]  ⁵ tn This causal clause gives the reason for and summary of the praise. The Hebrew expression has כִּי־גָּאֹה גָּאָה (ki ga’oh ga’ah). The basic idea of the verb is “rise up loftily” or “proudly.” But derivatives of the root carry the nuance of majesty or pride (S. R. Driver, Exodus, 132). So the idea of the perfect tense with its infinitive absolute may mean “he is highly exalted” or “he has done majestically” or “he is gloriously glorious.”

[15:1]  ⁶ sn The common understanding is that Egypt did not have people riding horses at this time, and so the phrase the horse and its rider is either viewed as an anachronism or is interpreted to mean charioteers. The word “to ride” can mean on a horse or in a chariot. Some have suggested changing “rider” to “chariot” (re-vocalization) to read “the horse and its chariot.”

[32:18]  ⁷ tn Heb “he”; the referent (Moses) has been specified in the translation for clarity.

[32:18]  ⁸ tn Heb “the sound of the answering of might,” meaning it is not the sound of shouting in victory (U. Cassuto, Exodus, 418).

[32:18]  ⁹ tn Heb “the sound of the answering of weakness,” meaning the cry of the defeated (U. Cassuto, Exodus, 415).

[32:18]  ¹⁰ tn Heb “answering in song” (a play on the twofold meaning of the word).

[32:18]  ¹¹ sn See A. Newman, “Compositional Analysis and Functional Ambiguity Equivalence: Translating Exodus 32, 17-18,” Babel 21 (1975): 29-35.

[15:21]  ¹² tn The verb עָנָה (’ana) normally means “to answer,” but it can be used more technically to describe antiphonal singing in Hebrew and in Ugaritic.

[15:21]  ¹³ sn This song of the sea is, then, a great song of praise for Yahweh’s deliverance of Israel at the Sea, and his preparation to lead them to the promised land, much to the (anticipated) dread of the nations. The principle here, and elsewhere in Scripture, is that the people of God naturally respond to God in praise for his great acts of deliverance. Few will match the powerful acts that were exhibited in Egypt, but these nonetheless set the tone. The song is certainly typological of the song of the saints in heaven who praise God for delivering them from the bondage of this world by judging the world. The focus of the praise, though, still is on the person (attributes) and works of God.

[15:2]  ¹⁴ tn Heb “Yah.” Moses’ poem here uses a short form of the name Yahweh, traditionally rendered in English by “the LORD.”

[15:2]  ¹⁵ tn The word וְזִמְרָת (vÿzimrat) is problematic. It probably had a suffix yod (י) that was accidentally dropped because of the yod (י) on the divine name following. Most scholars posit another meaning for the word. A meaning of “power” fits the line fairly well, forming a hendiadys with strength – “strength and power” becoming “strong power.” Similar lines are in Isa 12:2 and Ps 118:14. Others suggest “protection” or “glory.” However, there is nothing substantially wrong with “my song” in the line – only that it would be a nicer match if it had something to do with strength.

[15:2]  ¹⁶ tn The word נָוָה (navah) occurs only here. It may mean “beautify, adorn” with praises (see BDB 627 s.v.). See also M. Dahood, “Exodus 15:2: ‘anwehu and Ugaritic snwt,” Bib 59 (1979): 260-61; and M. Klein, “The Targumic Tosefta to Exodus 15:2,” JJS 26 (1975): 61-67; and S. B. Parker, “Exodus 15:2 Again,” VT 21 (1971): 373-79.