The Song of the Sea: Exodus 15:1-18, 20-21
As the Sunday Psalm Studies continue, we will be focusing on a number of the Psalms that have regularly been considered among the oldest, the most ancient Hebrew songs and poems preserved in the Scriptures. These Psalms have, for the most part, already been examined in the prior studies (as well as in other notes and articles on this site); now it is time to subject them to a closer and more detailed analysis.
In this regard, the Psalm with which we will begin—the Song of the Sea (<Y`h^ tr^yv!, Exodus 15:1-18ff), sometimes also called the “Song of Moses” (or even the “Song of Miriam”)—was discussed in an earlier set of notes, and that prior exegesis will be incorporated into the current expanded study. It is natural that my own views and approach regarding the Song would change somewhat over time, as new observations and insights emerge. In addition, I will be engaging much more extensively with modern scholarship on the Song, though (hopefully) without overburdening the reader in the process. A particular number of the most relevant (and useful) commentaries and studies will be cited regularly by shorthand abbreviation (usually last name of the scholar, followed by page number); as is customarily the case in the exegetical notes and studies on this site, such abbreviations are provided at the bottom of each article.
Introduction to the Song
The issue of the dating of the Song, and its status as one of the oldest Scriptural poems, remains contested and in dispute. Indeed, in spite of the apparent antiquity of the Song (at various points) and its attribution (within the narrative) to Moses and Miriam and the Israelite people of the time, a number of scholars in the late 19th and early 20th century, were inclined to view the Song as a relatively late production—viz., from the exilic or (early) post-exilic period. See, for example, the articles by A. Bender (“Das Lied Exodus 15”, Zeitschrift für die alttestamentliche Wissenschaft [ZAW] 23 [1903], pp. 1-48) and P. Haupt (“Moses’ Song of Triumph”, American Journal of Semitic Languages [AJSL] 20 [1904], pp. 149-72). The situation changed notably in the second half of the 20th century in the wake of the pioneering studies by F. M. Cross and D. N. Freedman (along with, and following, the work of W. F. Albright), who treated the Song as an early Israelite poem from the pre-monarchic period (13th-11th century B.C.); their analyses exercised a considerable influence over an entire generation of scholars, and an early date for the Song came to be recognized (and even assumed) by many commentators.
Now, in recent decades, the pendulum has swung back, and increasingly scholars are viewing the Song as a much later (exilic or post-exilic) work. One of the first modern commentators to provide extensive arguments for a post-exilic (e.g., c. 450 B.C.) date is Martin L. Brenner in his 1991 monograph The Song of the Sea: Exodus 15:1-21 (Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft [BZAW] 195). And yet, there are still scholars who accept a relatively early date for the Song, as stemming from the premonarchic or early Kingdom-period (12th-10th century B.C.); see, for example, the dissertation-monograph by Brian D. Russell (The Song of the Sea: The Date of Composition and Influence of Exodus 15:1-21 [2007]), or the commentary by G. I. Davies (A Critical and Exegetical Commentary on Exodus 1-18, 2 vols., International Critical Commentary [ICC]). There is thus a considerable divergence of opinion as to the age of the Song, even with regard to objective linguistic evidence such as vocabulary, syntax, poetic conventions and distinctive style.
In any event, the dating of ancient Hebrew poetry is itself fundamentally difficult and problematic. There are number of factors and reasons for this difficulty. To begin with, poetic conventions and traditions can persist for centuries, over many generations, and it is much more likely for archaic features of the language to be preserved in poetry than in prose. The main reason for this is that poetry, with its specific stylized and formal aspects, is less likely to be ‘modernized’ over time. To the extent that the Exodus narratives (and/or their underlying traditions) derive from the premonarchic period (even back to the 13th century and the time of Moses), they have surely been developed, adapted, and modernized during the course of transmission. It is primarily in the early poetry that the older language (and literary/poetic style) has been preserved. This, however, creates certain text-critical problems in our study of the poems. Over time, copyists become less familiar with the older language and style, and there are signs that archaic features in the poetry were misunderstood and (at times) mistakenly ‘corrected’ or given an inaccurate pointing. While we cannot always be sure that transmission errors have taken place, the possibility must be considered in any proper critical study of the text.
At the same time, a poet from a later period may intentionally utilize archaic (or archaic-sounding) elements for a specific literary-dramatic, theological, or other purpose. Indeed, a number of commentators who favor a relatively late date for the Song would explain the apparent ancient/archaic features as learned and artificial ‘archaisms’, so as to fit the Mosaic setting of the narrative. To this we may add the relative lack of evidence for comparison, when attempting to judge the date of a Psalm or other Scriptural poem on linguistic grounds; often there are simply too few occurrences (in the surviving material) of a particular word, phrase, idiom, or syntactical-poetic convention for a definitive determination. All of these factors complicate the situation and hinder our ability to make assessments for the date of many ancient Hebrew poems that are anything more than tentative (at best).
The Song’s age/date also relates to other literary- and compositional-critical questions, among which two of the most prominent are: (1) the relationship of the Song to the narrative setting and framework of chapters 14-15, and (2) the relationship of the Song to the shorter ‘Song of Miriam’ in vv. 20-21. These and other issues will be discussed at various points in the exegetical notes, and again (in further detail) as part of a concluding study. With regard to the second of the two stated questions, it may be worth briefly noting three interpretive models (cf. the summary by Zenger, p. 453f):
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- Verse 21 represents a refrain for the Song, which may have been sung after each verse or strophe/stanza; this would be in accord with how the narrative framework presents the matter—viz., the principal Song sung by Moses and the men, with the response sung (with dancing) by Miriam and the women.
- Vv. 20-21 provide a shorthand reference to the Song, including just the opening lines; this quotation was part of the older narrative, to which was added a full/expanded form of the Song, specifically associated with Moses (rather than Miriam) as befits the overall narrative context.
- The Song itself represents a secondary expansion of the shorter ‘Song of Miriam’ (vv. 20-21), building upon the earlier song (v. 1) and expounding it (vv. 4ff) with an additional section (vv. 13-17) dealing with the settlement of the Israelite people (in the land of Canaan).
There can be little doubt that Song is closely related to the narrative framework of chapters 14-15, with the crossing of the Sea episode being narrated in chapter 14, and the parallels between narrative and poem will be discussed throughout the notes. This conjunction of a battle narrative followed by a poem/ode celebrating victory is similar to the situation in Judges 4-5 (cf. the essay by Alan J. Hauser, “Two Songs of Victory: A Comparison of Exodus 15 and Judges 5”, Directions in Biblical Hebrew Poetry, ed. Elaine R. Follis [1997], pp. 265-84). There are also contemporary parallels from ancient Egypt, such as in the chronicles of the 13th century Pharaohs Rameses II (against the Hittites) and Merenptah (against the Libyans). However, as Sarna (pp. 75-76) notes, the Egyptian accounts celebrate the accomplishments of a human king (Pharaoh), while in the Exodus narrative it is the victories of God (YHWH) as Sovereign that are to be praised.
Structure/Outline
When it comes to the poetic structure of the Song there is little agreement, beyond the recognition of a broad two-part historical division—(i) episode at the Reed Sea (vv. 1-12), and (ii) exodus and settlement of the people (vv. 13-18). Any finer division of the Song into stanzas/strophes or verses has proven difficult, with a variety of approaches having been made by commentators toward segmenting and delineating the poem.
For this study, I have adopted a four-stanza division, with the following basic format: (a) hymnic YHWH praise-verse, followed by (b) an expository stanza recounting what YHWH has done on behalf of His people. This format itself may be seen as developing out of the initial call to praise in v. 1 (cf. also v. 21): YHWH hymn (v. 1a), His deeds on behalf of Israel (v. 1b). The stanzas are comparable in size/length, but otherwise irregular, with only the central two stanzas (vv. 7-10, 12-16) evincing a metrically similar strophic pattern (cf. especially the study by Freedman, pp. 187-227).
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- Opening praise (v. 1b)
with additional YHWH-hymn (v. 2) - Stanza 1 (vv. 3-5)
- YHWH-verse (v. 6)
- Stanza 2 [Strophe I] (vv. 7-10)
- YHWH-verse (v. 11)
- Stanza 3 [Strophe II] (vv. 12-16a)
- YHWH-verse (v. 16b)
- Stanza 4 (v. 17)
- Closing praise (v. 18)
- Opening praise (v. 1b)
At the same time, I am inclined to follow Freedman in recognizing a distinct concentric-chiastic structure to the Song. The core of the Song—viz., the central pair of strophic stanzas—is framed by the three YHWH-verses (vv. 6, 11, 16b). The central position of the second YHWH-verse (v. 11) is indicated by its expanded form—including a third couplet (v. 11c) that departs from the repetitive parallelism of the verse-pattern. Here is an outline of the Song’s concentric structure:
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- Opening praise (vv. 1b-2)
- Outer Stanza—Reed Sea event (vv. 3-5)
- YHWH-verse (v. 6)
- Inner Stanza—Reed Sea event (vv. 7-10)
- Central YHWH-verse (v. 11)
- Inner Stanza—Exodus/Settlement (vv. 12-16a)
- Inner Stanza—Reed Sea event (vv. 7-10)
- YHWH-verse (v. 16b)
- YHWH-verse (v. 6)
- Outer Stanza—Exodus/Settlement (v. 17)
- Outer Stanza—Reed Sea event (vv. 3-5)
- Closing praise (v. 18)
- Opening praise (vv. 1b-2)
Metrically, the Song generally employs a short 2-beat couplet (bicolon) format. This meter is established in the opening praise of v. 1 and is repeated throughout the YHWH-verses. The stanzas also utilize a 2+2 meter, punctuated by longer 3-beat lines (sometimes at the close of a strophe). In the text as we have it, the meter is not consistent. When approaching such situations in early Hebrew poetry, many commentators are inclined to emend the text whenever possible, to restore a more consistent rhythm—based on the fair assumption that the poem would originally have been sung according to a more regular, consistent (performable) rhythm. Such emendation and reconstruction must be approached with great care and caution; I must admit that I am not inclined to reconstruct the text of the Song as aggressively as Cross, for example, does.
Narrative Introduction
The Song is set within the context of the prose narrative through the introductory notice of verse 1a:
“Then Moše sang—and (with him the) sons of Yisrael—this song to YHWH. And he said (this), saying:”
The statement indicates that the Song is in response to the actions of YHWH in delivering the people of Israel from the Egyptian forces (narrated in chapter 14). The nature-miracle at the “Reed Sea” ([Ws-<y~) is the occasion for praising God and serves as the basis for the opening praise (v. 1b) and the first half of the Song as a whole.
Opening Praise (vv. 1b-2)
Verse 1b
“(Come,) I will sing to YHWH,
for rising, He has risen high!
(The) horse and its ride
He has hurled in(to) the Sea!”
Muilenburg (p. 238) refers to this opening praise as a “hymnic introit”, which is fitting. Like many of the Scriptural Psalms, it is essentially a call to praise, whereby the Psalmist speaks on behalf of the people (i.e., the congregation). The imperfect verb form (hr*yv!a*) has jussive/cohortative force (“[come,] let me…” [i.e., “let us…”]); the Targum and Syriac versions do, indeed, render as a plural verb (“let us sing…”, “we would sing…”). Cross prefers to emend the text here to a simple imperative (Wryv!, “sing!”), which tightens the rhythm and matches the opening of the parallel song in verse 21 (and is supported by the Samaritan Pentateuch [causal imperative]); he may be correct in terms of the earliest/original form of the poem. The first-person formulation matches the beginning of the Song of Deborah (Judg 5:3) and likewise occurs with some frequency in the Psalter (e.g., 89:2[1]; 101:1; 108:2[1]); Muilenburg also cites the Nikkal poem from Ugarit (’ašr nkl w’eb…).
The expression hw`hl^ (with the prefixed preposition l), also occurring in the narrative introduction (v. 1a), can mean “unto YHWH” or “with regard to YHWH” (i.e., “about/concerning YHWH”), and a few commentators (e.g., Freedman, Propp, Davies) opt for the latter, particularly since the Song is indeed about what YHWH has done. This may be supported by the parallel in Judges 5:3; note also the occurrence in Exod 14:3, where yn@b=l! clearly means “about/regarding the sons of (Israel)” rather than “to the sons of (Israel), cf. Davies, p. 324f.
As noted above, the primary meter for the Song is established in these first two couplets (2-beat, 2+2). The terse, staccato-like rhythm and repetitive parallelism are typical of Canaanite poetry of the period (as glimpsed, for example, in the 14th-13th century poetic texts from Ugarit).
The second line utilizes the common Semitic convention of doubling a verb for emphasis, thereby intensifying its force. Usually this is done by adding a cognate infinitive, creating a syntax which is most difficult to render literally in English. Here an approximate translation would be “rising, he has risen”, with a doubling of the root hag (“be high, raise high”). Though the root is relatively common (including references to YHWH’s greatness and exaltation), occurrences of the verb itself are actually rare (just five other instances in the Hebrew Scriptures). The active sense of the Qal stem suggests that the reference is to YHWH having raised Himself in might against the enemies of Israel; at the same time, it indicates a call to exalt YHWH (in praise), because He Himself is exalted. The initial particle yK! (rendered “for”) provides the reason why YHWH is to be praised, following a traditional syntax that occurs relatively often in the praise-Psalms (see esp. at the beginning of Psalms, e.g., 106:1; 107:1; 117:1f; 118:1).
The second couplet declares succinctly the victory of God in battle, defeating the Egyptian forces who threatened His people. It summarizes the powerful nature-miracle that occurred at the Reed Sea (as recorded in the tradition), which the Song develops more descriptively in the subsequent stanzas (to be discussed). The Masoretic texts reads obk=r) (“its rider”), which might give one the mistaken impression that it refers to one riding the horse, instead of the person riding in the chariot drawn by the horse. Whether or not Cross (cf. also Uzschneider/Oswald) is correct that the original text is better vocalized as bk#r# (“ride”, cf. 14:18, 23, oBk=r!, “his ride”), the reference is clearly to the chariot-ride (and the soldier/officer[s] riding in it)—cf. Jer 17:25; 51:21; Hag 2:22, and the various occurrences of the verb bkr in the context of mounting a chariot (Gen 41:43; 1 Kings 18:45, etc., cited by Propp, p. 510). If the reference were actually to the rider of a horse (i.e., cavalry), then it would certainly be anachronistic to the setting of the poem (cf. Davies, pp. 325-6); Brenner (pp. 82ff) assumes that it is the rider of a horse that is meant, and cites the point in support of a late (post-exilic) date for the Song.
The verb hm*r*, elsewhere refers to the shooting of arrows from a bow (Jer 4:29; Ps 78:9); thus, one may speak of YHWH “shooting” (i.e., thrusting, propelling) the Egyptian chariots into the sea (cf. Russell, p. 16; Propp, p. 511).
Verse 2a
“My strength and my protection (is) YH(WH),
and He has come to be salvation for me!”
As Cross/Freedman (p. 243) notes, the pair of couplets in verse 2 have a longer 3-beat (3+3) meter which, if original, seems to anticipate the 3-beat lines at the close of strophes/stanzas in vv. 5, 8b, and 14. Cross himself (p. 127) is inclined to treat v. 2a as a secondary addition, a traditional praise-couplet that is also found in Psalm 118:14 and Isa 12:2. Brenner (pp. 54-60ff) makes much of these parallels in support of a late (post-exilic) date for the Song. It may well be that those two texts are quoting from the earlier Song, as Propp suggests (p. 511).
Verse 2 reaffirms the praise that is due to YHWH. It is his strength and might that have led to the victory. There is almost certainly an intentional contrast between the Egyptians’ reliance upon military technology (chariotry) and Israel’s reliance upon the power of God (cf. Psalm 20:8[7]; Isa 31:1; 36:9). The word hrmz, parallel with zu (“strength”), should be understood as deriving from a separate root rmz with a similar meaning (“be strong, brave”, etc). The comparable ¼mr in Ugaritic is used in a military context (for armed troops, etc), which is very much appropriate here; cf. Cross/Freedman (p. 243), Propp (p. 512f), Davies (p. 327). This root zmr/¼mr occurs frequently in Semitic names, going back to the Mari texts (Zimri-lim, etc). As this root generally dropped out of use in Hebrew, it is easy to see how copyists might have mistaken it here for the more common root rmz meaning “make music”. It thus can also be cited in support of an early date for the Song.
The form trmz (apparently without a first person singular suffix [y-]) can be explained several ways (cf. Freedman, p. 200): (i) the suffix on the prior noun zu (“strength”) does double-duty (“my strength and [my] protection”); (ii) the yod (y) at the beginning of the next word does double-duty, making it unnecessary to write a second y for the suffix; (iii) in the early spelling the word would have been written without a vowel letter (i.e., T!r^m=z]w+) and a vestige of this older orthography has been preserved. Quite likely, we are dealing with a combination of (ii) and (iii); that a suffix is intended on both nouns is supported by the balanced syllable count (7:7) for the couplet that is produced as a result.
The double-use of a prefixed l preposition—hu*Wvyl! yl!—can be a bit tricky to translate. In English, we would probably say “as salvation for me”, but perhaps more literally, “(as a source) for salvation to me” (Freedman, p. 200, literally renders “[belonging] to me for salvation”); for poetic concision I have slanted the translation a bit, “He has come to be salvation for me”. For this terminology, cf. 2 Sam 10:11; Psalm 118:21.
Note the alliterative assonance in all three word pairings of the couplet: (i) ‘āzzî wezimratî, (ii) Yāh wayhî, (iii) lî lîšû‘â.
For more on v. 2a see the articles by S. B. Parker, “Exodus XV 2,” Vetus Testamentum [VT] 20 (1970), pp. 358-59, and M. L. Barre, “‘My Strength and My Song’ in Exodus 15.2”, The Catholic Biblical Quarterly [CBQ] 54 (1992), pp. 623-37.
Verse 2b
“This (is) my Mighty (One) and I will exalt Him,
Mighty (One) of my father, and I will lift Him high!”
This is a straightforward 3-beat couplet with clear parallelism. It repeats the identification—so vital to the early Exodus narratives—of YHWH with both: (a) the Creator °E~l (“Mighty [One]”) and (b) the God (°E_lœhîm, “Mightiest [One]”) worshiped by the ancestors of Israel as Creator and Protector.
The verbs hwn and <wr are in parallel; the latter means “be high” (cf. hag in v. 1b, above), so, for this reason, a second hWn root (II) with a comparable meaning is assumed, rather than hWn (I), “wander, journey (toward a destination/abode)”. Based on the noun hw#n` (from hwn I, cf. verse 13), a Hiphil form of hwn (I) might mean “make/establish a dwelling”. However, it seems better to connect the form here with han (“be/make beautiful”), or, alternately, with Arabic nawwaha (“raise, elevate, exalt”); cf. Propp (p. 514), Davies (p. 328). The second verb form (of <Wr Polel, “make/lift high”) unusually includes an energic n before the Wh– suffix (cf. GKC §58i,k). Freedman (p. 200) argues that the w-particles on both verbs are emphatic, not conjunctive—i.e., “(whom) indeed I exalt…indeed I lift high!”
The final line of v. 2 is longer than the first three, with 11 syllables rather than 7. Cross/Freedman (p. 243f) would address this irregularity, by interchanging the verbs of lines 3 and 4, respectively, which produces a balanced (9:9) couplet. Freedman (p. 201f) himself would allow for the unbalanced couplet as a legitimate instance of poetic variation. Indeed, the longer line is fitting for the close of the poetic section (vv. 1b-2).
The first Stanza (vv. 3-5) will be discussed in Part 2 of this Study.
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- References marked “Cross” above (and throughout these notes) are to Frank Moore Cross, Canaanite Myth and Hebrew Epic: Essays in the History and Religion of Israel (Harvard University Press: 1973).
- Those marked “Cross/Freedman” are to Frank Moore Cross and David Noel Freedman, “The Song of Miriam”, Journal of Near Eastern Studies 14 (1955), pp. 237-50. This is a revised version of a chapter from their earlier dissertation, published in idem, Studies in Ancient Yawhistic Poetry, Society of Biblical Literature [SBL] Dissertation Series (1975), pp. 31-45.
- Those marked “Freedman” are to David Noel Freedman, Pottery, Poetry and Prophecy: Collected Essays on Hebrew Poetry (Eisenbrauns: 1980): (1) pp. 131-66, “Early Israelite History in the Light of Early Israelite Poetry” (originally published in Unity and Diversity, ed. H. Goedicke & J. J. M. Roberts [1975]); (2) pp. 179-86, “The Song of the Sea” (originally published in 1968); (3) pp. 187-228, “Strophe and Meter in Exodus 15” (originally published in A Light Unto My Path, ed. H. N. Bream, R. D. Heim, C. A. Moore [1974]).
- Those marked “Muilenburg” are to James Muilenburg, “A Liturgy on the Triumphs of Yahweh”, in Studia Biblica et Semitica Theodoro Christiano Vriezen … dedicata (1966), pp. 233-51.
- Those marked “Zenger” are to Erich Zenger, “Tradition und Interpretation in Exodus 15 1–21”, in Congress Volume: Vienna, 1980 Vetus Testamentum [VT] Supplements 32 (Brill: 1981), pp. 452-83.
- Those marked “Brenner” are to Martin L. Brenner, The Song of the Sea: Exodus 15:1-21, Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft [BZAW] 195 (De Gruyter: 1991).
- Those marked “Russell” are to Brian D. Russell, The Song of the Sea: The Date of Composition and Influence of Exodus 15:1-21 (Dissertation, 2002), also published as a monograph (Studies in Biblical Literature 101 [Peter Lang, Inc.: 2007]).
- Those marked “Davies” are to G. I. Davies, A Critical and Exegetical Commentary on Exodus 1-18, 2 vols., International Critical Commentary [ICC] (T&T Clark: 2020).
- Those marked “Utzschneider/Oswald” are to Helmut Utzschneider and Wolfgang Oswald, Exodus 1–15, (English version, trans. Philip Sumpter), International Exegetical Commentary on the Old Testament (Kohlhammer: 2015).
- Those marked “Propp” are to William H. C. Propp, Exodus 1-18, Anchor Bible [AB], vol. 2 (1999).
- Those marked “Sarna” are to The JPS Torah Commentary: Exodus twm?, commentary by Nahum M. Sarna (Jewish Publication Society: 1991).