Exodul 15:1

Romanian Cornilescu Translation

Atunci Moise şi copiii lui Israel au cîntat Domnului cîntarea aceasta. Ei au zis: ,,Voi cînta Domnului, căci Şi -a arătat slava: A năpustit în mare pe cal şi pe călăreţ.

Bible Verse Review
  from Treasury of Scripure Knowledge

Then: Judges 5:1-31, 2 Samuel 22:1-51, Psalms 106:12, Psalms 107:8, Psalms 107:15, Psalms 107:21, Psalms 107:22, Isaiah 12:1-6, Isaiah 51:10, Isaiah 51:11, Revelation 15:3

for: Exodus 15:21, Exodus 14:17, Exodus 14:18, Exodus 14:27, Exodus 18:11, Colossians 2:15

Reciprocal: Exodus 14:13 - see the Exodus 32:18 - but the Numbers 21:17 - sang Deuteronomy 1:30 - according 1 Samuel 2:1 - my mouth 2 Chronicles 20:26 - blessed Nehemiah 9:11 - their persecutors Job 39:19 - the horse Psalms 18:1 - in the day Psalms 28:7 - with Psalms 32:7 - songs Psalms 66:3 - How terrible Psalms 66:6 - there Psalms 68:35 - terrible Psalms 76:6 - At thy Psalms 95:1 - sing Psalms 105:43 - gladness Psalms 108:1 - I will Psalms 124:1 - The Lord Isaiah 12:5 - Sing Isaiah 30:29 - Ye shall Isaiah 33:5 - The Lord Isaiah 38:9 - writing Isaiah 42:13 - as a mighty Isaiah 48:20 - with a voice Jeremiah 2:2 - the kindness Jeremiah 51:21 - General Hosea 2:15 - she shall sing Habakkuk 3:13 - wentest Zechariah 14:3 - as Luke 19:37 - the whole Acts 13:17 - and with Hebrews 11:29 - General

Gill's Notes on the Bible

Then sang Moses and the children of Israel this song unto the Lord,.... Which is the first song recorded in Scripture, though no doubt before this time songs of praise were sung to the Lord; the people of God having occasion in all ages more or less to sing his praises. The Jews n speak of ten songs, the first of which was sung by Adam, when his sins were forgiven him, and this song of Moses is the second; though sometimes they say o, from the creation of the world to the standing of Israel by the Red sea, we do not find that ever any man sung a song but Israel; God created the first man, but he sang no song: however, this is the first on record, and is a typical one; Moses the composer of it, and who bore a principal part in it, and was the deliverer of the people of Israel, was a type of Christ, the Redeemer of his church: and Israel that joined with him in it, and were the persons delivered, were typical of the spiritual Israel of God redeemed by Christ; and the deliverance here celebrated bore a great resemblance to the redemption wrought out by him; and Christ, the Angel of the Lord, that went before the Israelites through the Red sea, and fought for them, is the principal person concerned in it, and who is meant by the Lord throughout the whole of it, and to whom it is sung; and a song upon a similar occasion to this will be sung in the latter day, upon the destruction of spiritual Egypt, or antichrist, and is called the song of Moses and the Lamb in allusion to it, Revelation 15:3 The Jews p say, this shall be sung at the time, when the wicked shall perish out of the world, and observe that it is not written שר, "then sung", but

ישיר, "then shall sing", c. Moses had reason to sing, since God had heard his prayer, and had done him honour before the people, and he was both an instrument of and a sharer in the salvation wrought and the children of Israel had reason to sing, inasmuch as they were a people chosen of God, and distinguished by him; were redeemed from bondage, called out of Egypt, and now saved out of the hands of their enemies, who were all destroyed, and they brought safely through the Red sea, and landed on firm ground. And the time when they sung this song was then, when they had passed through the sea on dry land; and when they had seen the Egyptians their enemies dead on the sea shore; and when they were in a proper frame of spirit to sing, when they had taken notice of and considered what great and wonderful things the Lord had done for them, and their minds were suitably impressed with a sense of them; when they were in the exercise of the graces of the fear of God, and faith in him, and which is necessary to the performance of all religious duties, and particularly this of singing the praises of God:

and spake, saying, I will sing unto the Lord: that went before them in a pillar of cloud and fire; who had led them safely through the Red sea, and troubled and destroyed the host of the Egyptians; even the same Jehovah, who has undertook the salvation of his people, is become the author of it, and to whom the song of redeeming grace is due:

for he hath triumphed gloriously; over Pharaoh and all the Egyptians, the enemies of Israel, as Christ has over sin, in the destruction of it by his sacrifice, and over Satan, and his principalities and powers, when he spoiled them on the cross, and over death the last enemy, and all others; over whom he has made his people more than conquerors, through himself: or, "in excelling he excels" q; all the angels of heaven, in his name, and nature, relation, and office; and all the sons of men, even the greatest among them, being King of kings, and Lord of lords; in the wonderful things done by him, no such achievements having ever been wrought by any of them: or, "in magnifying, he is magnified" r; appears to be what he is, great in his nature, perfections, and works; and to be magnified, or declared to be great, and extolled as such by all that know and fear him;

the horse and his rider hath he thrown into the sea; the horses and horsemen of Pharaoh; and which is not amiss allegorically applied, by Tertullian s, to the world and the devil; the world is the horse, and the rider the devil; that being under his power and direction, he being the god of it, and working effectually in it; spurring and exciting the men of it to every sinful lust and pleasure; and may be put for all the spiritual enemies of God's people, especially their sins; which are cast by the Lord into the midst of the sea, never to be seen and remembered any more, and which is to them matter of a song of praise and thanksgiving.

n Targum in Cant. i. 1. o Shemot Rabba, sect. 23. fol. 107. 3. p Tikkune Zohar, correct. 10. fol. 20. 2. q גאה גאה "excellendo excelluit", Piscator. r "Magnificando magnificatus est", Pagninus, Montanus, Vatablus. s Contr. Marcion, l. 4. c. 20.

Barnes' Notes on the Bible

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 Psalms 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 Psalms 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 Psalms 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.

Clarke's Notes on the Bible

CHAPTER XV

Moses and the Israelites sing a song of praise to God for their

late deliverance, in which they celebrate the power of God,

gloriously manifested in the destruction of Pharaoh and his host, 1;

express their confidence in him as their strength and protector, 2, 3;

detail the chief circumstances in the overthrow of the Egyptians, 4-8;

and relate the purposes they had formed for the destruction of God's

people, 9,

and how he destroyed them in the imaginations of their hearts, 10.

Jehovah is celebrated for the perfections of his nature and his

wondrous works, 11-13.

A prediction of the effect which the account of the destruction

of the Egyptians should have on the Edomites, Moabites, and

Canaanites, 14-16.

A prediction of the establishment of Israel in the promised land, 17.

The full chorus of praise, 18.

Recapitulation of the destruction of the Egyptians, and the

deliverance of Israel, 19.

Miriam and the women join in and prolong the chorus, 20, 21.

The people travel three days in the wilderness of Shur, and find no

water, 22.

Coming to Marah, and finding bitter waters, they murmur against

Moses, 23, 24.

In answer to the prayer of Moses, God shows him a tree by which the

waters are sweetened, 25.

God gives them statutes and gracious promises, 26.

They come to Elim, where they find twelve wells of water and

seventy palm trees, and there they encamp, 27.

NOTES ON CHAP. XV

Verse Exodus 15:1. 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 labour, 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 4:23-24; Noah's prophecy concerning his sons, Genesis 9:25-27; and Jacob's blessing to the twelve patriarchs, Genesis 49:2-27, and the notes there,) 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 32:1-43; Judges 5:1-31; and 2 Samuel 22:1-51), 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 AEneis; 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 Wisdom 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; Wisdom 10:21. As if he had said, Every person felt an interest in the great events which had taken place, and all laboured 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. Exodus 15:26; Exodus 15:26.

Triumphed gloriously — כי גאה גאה 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.