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Exodus 15:1

Adam Clarke
Bible Commentary

Then sang Moses and the children of Israel this song - Poetry has been cultivated in all ages and among all people, from the most refined to the most barbarous; and to it principally, under the kind providence of God, we are indebted for most of the original accounts we have of the ancient nations of the universe. Equally measured lines, with a harmonious collocation of expressive, sonorous, and sometimes highly metaphorical terms, the alternate lines either answering to each other in sense, or ending with similar sounds, were easily committed to memory, and easily retained. As these were often accompanied with a pleasing air or tune, the subject being a concatenation of striking and interesting events, histories formed thus became the amusement of youth, the softeners of the tedium of labor, and even the solace of age. In such a way the histories of most nations have been preserved. The interesting events celebrated, the rhythm or metre, and the accompanying tune or recitativo air, rendered them easily transmissible to posterity; and by means of tradition they passed safely from father to son through the times of comparative darkness, till they arrived at those ages in which the pen and the press have given them a sort of deathless duration and permanent stability, by multiplying the copies. Many of the ancient historic and heroic British tales are continued by tradition among the aboriginal inhabitants of Ireland to the present day; and the repetition of them constitutes the chief amusement of the winter evenings. Even the prose histories, which were written on the ground of the poetic, copied closely their exemplars, and the historians themselves were obliged to study all the beauties and ornaments of style, that their works might become popular; and to this circumstance we owe not a small measure of what is termed refinement of language. How observable is this in the history of Herodotus, who appears to have closely copied the ancient poetic records in his inimitable and harmonious prose; and, that his books might bear as near a resemblance as possible to the ancient and popular originals, he divided them into nine, and dedicated each to one of the muses! His work therefore seems to occupy the same place between the ancient poetic compositions and mere prosaic histories, as the polype does between plants and animals. Much even of our sacred records is written in poetry, which God has thus consecrated to be the faithful transmitter of remote and important events; and of this the song before the reader is a proof in point. Though this is not the first specimen of poetry we have met with in the Pentateuch, (see Lamech's speech to his wives, Genesis 4:23, Genesis 4:24; Noah's prophecy concerning his sons, Genesis 9:25-27; and Jacob's blessing to the twelve patriarchs, Genesis 49:2-27 (note)), yet it is the first regular ode of any considerable length, having but one subject; and it is all written in hemistichs, or half lines, the usual form in Hebrew poetry; and though this form frequently occurs, it is not attended to in our common printed Hebrew Bibles, except in this and three other places, (Deuteronomy 32, Judges 5, and 2 Samuel 22)., all of which shall be noticed as they occur. But in Dr. Kennicott's edition of the Hebrew Bible, all the poetry, wheresoever it occurs, is printed in its own hemistich form.

After what has been said it is perhaps scarcely necessary to observe, that as such ancient poetic histories commemorated great and extraordinary displays of providence, courage, strength, fidelity, heroism, and piety; hence the origin of Epic poems, of which the song in this chapter is the earliest specimen. And on the principle of preserving the memory of such events, most nations have had their epic poets, who have generally taken for their subject the most splendid or most remote events of their country's history, which either referred to the formation or extension of their empire, the exploits of their ancestors, or the establishment of their religion. Hence the ancient Hebrews had their Shir Mosheh, the piece in question: the Greeks, their Ilias; the Hindoos, their Mahabarat; the Romans, their Aeneid; the Norwegians, their Edda; the Irish and Scotch, their Fingal and Chronological poems; the Welsh, their Taliessin and his Triads; the Arabs, their Nebiun-Nameh (exploits of Mohammed) and Hamleh Heedry, (exploits of Aly); the Persians, their Shah Nameh, (book of kings); the Italians, their Gerusalemme Liberata; the Portuguese, their Lusiad; the English, their Paradise Lost; and, in humble imitation of all the rest, (etsi non passibus aequis), the French, their Henriade.

The song of Moses has been in the highest repute in the Church of God from the beginning; the author of the Book of The Wisdom of Solomon attributes it in a particular manner to the wisdom of God, and says that on this occasion God opened the mouth of the dumb, and made the tongues of infants eloquent; The Wisdom of Solomon 10:21. As if he had said, Every person felt an interest in the great events which had taken place, and all labored to give Jehovah that praise which was due to his name. "With this song of victory over Pharaoh," says Mr. Ainsworth, "the Holy Ghost compares the song of those who have gotten the victory over the spiritual Pharaoh, the beast, (Antichrist), when they stand by the sea of glass mingled with fire, (as Israel stood here by the Red Sea), having the harps of God, (as the women here had timbrels, Exodus 15:20;), and they sing the song of Moses the servant of God, and the song of the Lamb, the Son of God," Revelation 15:2-4.

I will sing unto the Lord - Moses begins the song, and in the two first hemistichs states the subject of it; and these two first lines became the grand chorus of the piece, as we may learn from Exodus 15:21. See Dr. Kennicott's arrangement and translation of this piece at the end of this chapter. See Clarke's note on Exodus 15:26.

Triumphed gloriously - גאה גאה כי ki gaoh gaah, he is exceedingly exalted, rendered by the Septuagint, Ενδοξως γαρ δεδοξασται, He is gloriously glorified; and surely this was one of the most signal displays of the glorious majesty of God ever exhibited since the creation of the world. And when it is considered that the whole of this transaction shadowed out the redemption of the human race from the thraldom and power of sin and iniquity by the Lord Jesus, and the final triumph of the Church of God over all its enemies, we may also join in the song, and celebrate Him who has triumphed so gloriously, having conquered death, and opened the kingdom of heaven to all believers.

Albert Barnes
Notes on the Whole Bible
Verses 1-18

With the deliverance of Israel is associated the development of the national poetry, which finds its first and perfect expression in this magnificent hymn. It was sung by Moses and the people, an expression which evidently points to him as the author. That it was written at the time is an assertion expressly made in the text, and it is supported by the strongest internal evidence. In every age this song gave the tone to the poetry of Israel; especially at great critical epochs of deliverance: and in the book of Revelation Exodus 15:3 it is associated with the final triumph of the Church.

The division of the song into three parts is distinctly marked: Exodus 15:1-5; Exodus 15:6-10; Exodus 15:11-18: each begins with an ascription of praise to God; each increases in length and varied imagery unto the triumphant close.

Exodus 15:1

He hath triumphed gloriously - Literally, He is gloriously glorious.

The horse and his rider - The word “rider” may include horseman, but applies properly to the charioteer.

Exodus 15:2

The Lord is my strength and song - My strength and song is Jah. See Psalm 68:4. The name was chosen here by Moses to draw attention to the promise ratified by the name “I am.”

I will prepare Him an habitation - I will glorify Him. Our Authorized Version is open to serious objection, as suggesting a thought (namely, of erecting a temple) which could hardly have been in the mind of Moses at that time, and unsuited to the occasion.

Exodus 15:3

A man of war - Compare Psalm 24:8. The name has on this occasion a special fitness: man had no part in the victory; the battle was the Lord‘s.

The Lord is his name - “Jah is His name.” See Exodus 15:2.

Exodus 15:4

Hath He cast - “Hurled,” as from a sling. See Exodus 14:27.

His chosen captains - See Exodus 14:7 note.

Exodus 15:5

As a stone - The warriors in chariots are always represented on the monuments with heavy coats of mail; the corslets of “chosen captains” consisted of plates of highly tempered bronze, with sleeves reaching nearly to the elbow, covering the whole body and the thighs nearly to the knee. The wearers must have sunk at once like a stone, or as we read in Exodus 5:10, like lumps of lead.

Exodus 15:7

Thy wrath - Literally, Thy burning, i. e. the fire of Thy wrath, a word chosen expressly with reference to the effect.

Exodus 15:8

The blast of God‘s nostrils corresponds to the natural agency, the east wind Exodus 14:21, which drove the waters back: on the north the waters rose high, overhanging the sands, but kept back by the strongwind: on the south they laid in massive rollers, kept down by the same agency in the deep bed of the Red Sea.

Exodus 15:9

The enemy said - The abrupt, gasping utterances; the haste, cupidity and ferocity of the Egyptians; the confusion and disorder of their thoughts, belong to the highest order of poetry. They enable us to realize the feelings which induced Pharaoh and his host to pursue the Israelites over the treacherous sandbanks.

Exodus 15:10

Thou didst blow with thy wind - Notice the solemn majesty of these few words, in immediate contrast with the tumult and confusion of the preceding verse. In Exodus 14:28, we read only, “the waters returned,” here we are told that it was because the wind blew. A sudden change in the direction of the wind would bring back at once the masses of water heaped up on the north.

They sank as lead - See the note at Exodus 15:5.

Exodus 15:11

Among the gods - Compare Psalm 86:8; Deuteronomy 32:16-17. A Hebrew just leaving the land in which polytheism attained its highest development, with gigantic statues and temples of incomparable grandeur, might well on such an occasion dwell upon this consummation of the long series of triumphs by which the “greatness beyond compare” of Yahweh was once for all established.

Exodus 15:13

Thy holy habitation - Either Palestine, regarded as the land of promise, sanctified by manifestations of God to the Patriarchs, and destined to be both the home of God‘s people, and the place where His glory and purposes were to be perfectly revealed: or Mount Moriah.

Exodus 15:14

The inhabitants of Palestina - i. e. the country of the Philistines. They were the first who would expect an invasion, and the first whose district would have been invaded but for the faintheartedness of the Israelites.

Exodus 15:15

The dukes of Edom - See Genesis 36:15. It denotes the chieftains, not the kings of Edom.

The mighty men of Moab - The physical strength and great stature of the Moabites are noted in other passages: see Jeremiah 48:29, Jeremiah 48:41.

Canaan - The name in this, as in many passages of Genesis, designates the whole of Palestine: and is used of course with reference to the promise to Abraham. It was known to the Egyptians, and occurs frequently on the monuments as Pa-kanana, which applies, if not to the whole of Palestine, yet to the northern district under Lebanon, which the Phoenicians occupied and called “Canaan.”

Exodus 15:17

In the mountain of thine inheritance - See Exodus 15:13.

Matthew Henry
Concise Bible Commentary
This song is the most ancient we know of. It is a holy song, to the honour of God, to exalt his name, and celebrate his praise, and his only, not in the least to magnify any man. Holiness to the Lord is in every part of it. It may be considered as typical, and prophetical of the final destruction of the enemies of the church. Happy the people whose God is the Lord. They have work to do, temptations to grapple with, and afflictions to bear, and are weak in themselves; but his grace is their strength. They are often in sorrow, but in him they have comfort; he is their song. Sin, and death, and hell threaten them, but he is, and will be their salvation. The Lord is a God of almighty power, and woe to those that strive with their Maker! He is a God of matchless perfection; he is glorious in holiness; his holiness is his glory. His holiness appears in the hatred of sin, and his wrath against obstinate sinners. It appears in the deliverance of Israel, and his faithfulness to his own promise. He is fearful in praises; that which is matter of praise to the servants of God, is very dreadful to his enemies. He is doing wonders, things out of the common course of nature; wondrous to those in whose favour they are wrought, who are so unworthy, that they had no reason to expect them. There were wonders of power and wonders of grace; in both, God was to be humbly adored.
Ellen G. White
God's Amazing Grace, 352.1

I will sing unto the Lord, for he hath triumphed gloriously. Exodus 15:1. AG 352.1

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Ellen G. White
Education, 162

The earliest song recorded in the Bible from the lips of men was that glorious outburst of thanksgiving by the hosts of Israel at the Red Sea: Ed 162.1

Great have been the blessings received by men in response to songs of praise. The few words recounting an experience of the wilderness journey of Israel have a lesson worthy of our thought: Ed 162.5

“They went to Beer: that is the well whereof the Lord spake unto Moses, Gather the people together, and I will give them water.” Numbers 21:16. “Then sang Israel this song: Ed 162.6

How often in spiritual experience is this history repeated! how often by words of holy song are unsealed in the soul the springs of penitence and faith, of hope and love and joy! Ed 162.8

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Ellen G. White
Patriarchs and Prophets, 288

Like the voice of the great deep, rose from the vast hosts of Israel that sublime ascription. It was taken up by the women of Israel, Miriam, the sister of Moses, leading the way, as they went forth with timbrel and dance. Far over desert and sea rang the joyous refrain, and the mountains re-echoed the words of their praise—“Sing ye to Jehovah, for He hath triumphed gloriously.” PP 288.2

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Ellen G. White
Evangelism, 496

A Soul-saving Instrumentality—The melody of song, poured forth from many hearts in clear, distinct utterance, is one of God's instrumentalities in the work of saving souls.—Testimonies For The Church 5:493 (1889). Ev 496.1

The Power of Song—As the children of Israel, journeying through the wilderness, cheered their way by the music of sacred song, so God bids His children today gladden their pilgrim life. There are few means more effective for fixing His words in the memory than repeating them in song. And such song has wonderful power. It has power to subdue rude and uncultivated natures; power to quicken thought and to awaken sympathy, to promote harmony of action, and to banish the gloom and foreboding that destroy courage and weaken effort. Ev 496.2

It is one of the most effective means of impressing the heart with spiritual truth. How often to the soul hard-pressed and ready to despair, memory recalls some word of God's—the long forgotten burden of a childhood song—and temptations lose their power, life takes on new meaning and new purpose, and courage and gladness are imparted to other souls!—Education, 167, 168 (1903). Ev 496.3

A Continual Sermon—These words [song of Moses] were repeated unto all Israel, and formed a song which was often sung, poured forth in exalted strains of melody. This was the wisdom of Moses to present the truth to them in song, that in strains of melody they should become familiar with them, and be impressed upon the minds of the whole nation, young and old. It was important for the children to learn the song; for this would speak to them, to warn, to restrain, to reprove, and encourage. It was a continual sermon.—Manuscript 71, 1897. Ev 496.4

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