Exodus 15:19

Exo 15:19 For the horse of Pharaoh went in with his chariots and with his horsemen into the sea, and the LORD brought again the waters of the sea upon them; but the children of Israel went on dry [land] in the midst of the sea.

Ver. 19. For the horse of Pharaoh.] A good soul is altogether unsatisfiable in sanctifying God’s name, and setting forth his goodness. Should I do nothing else all the days of my life, said that martyr, yea, as long as the days of heaven shall last, but kneel on my knees and repeat David’s Psalms; yet should I fall infinitely short of what I owe to God. {a}

{a} Act. and Mon.

John Trapp, A Commentary or Exposition upon All the Books of the Old and New Testament (1647–1656) — public domain. Text from a community e-Sword module.

Exo_15:19-21

With timbrels and with dances.

Song, timbrel, and dance

The monuments reproduce this scene in all its parts. Separate choirs of men and women are represented on them, singing in alternate responses; the timbrel, or tambourine, is represented as the instrument of the women, as the flute is that of the men; and the playing of the tambourine, unaccompanied, as here, by other instruments, is represented in connection with singing and the dance. Further, it appears from the monuments that music had eminently a religious destination in Egypt, that the timbrel was specially devoted to sacred uses, and that religious dances were performed in the worship of Osiris. (E. C. Wines, D. D.)

In the tombs at Thebes timbrels, like Miriams, round and square, are seen in the bands of the women; while pipes, trumpets, sistrums, drums, and guitars are there in great abundance and variety; and harps, not much unlike the modern instrument, with varying numbers of strings up to twenty-two. (S. C. Bartlett, D. D.)

Cheering effect of music

Whilst the Federal army lay before the city of Richmond, the regimental bands were silent. When they began to retreat to Malvern, the troops marched through the acres of ripe grain, cutting off the tops and gathering them into their haversacks, being out of rations, as well as lame and stiff from marching. Orders were here given for the bands to strike up playing, and the effect on the dispirited men was almost magical as the patriotic airs were played. They seemed to catch new hope and enthusiasm, and a cheer went up from each regiment.

Serving God with a cheerful spirit

When the poet Carpani inquired of his friend Haydn how it happened that his church music was always so cheerful, the great composer made a most beautiful reply. I cannot, said he, make it otherwise; I write according to the thoughts I feel. When I think upon God, my heart is so full of joy that the notes dance and leap, as it were, from my pen; and since God has given me a cheerful heart, it will be pardoned me that I serve Him with a cheerful spirit.

The Biblical Illustrator, edited by Joseph S. Exell (c. 1880s–1900s) — public domain. Text from a community e-Sword module.

15:19-21 Miriam led the women in praise. In many ancient societies, men and women performed ceremonies separately. Women had special roles in ritual praise and lamentation.

Tyndale Open Study Notes — © Tyndale Open Resources, licensed CC BY-SA 4.0. Text via the HelloAO Bible API.

(19) This verse is parenthetic. It forms no part of the “Song of Moses.” Originally, perhaps, when that song was a separate document, it was appended as an historical comment, showing the occasion on which the poem was composed. When the records of Moses were collected—either by himself, towards the close of his life, or by Joshua—the addition was kept, although it had become unnecessary for the original purpose. As it stands, it emphasises the great fact of Israel’s final deliverance—the nucleus around which Exodus gathers itself.

A Bible Commentary for English Readers, edited by Charles John Ellicott (1878–1897) — public domain. Text from a community e-Sword module.

19. Probably an addition by the compiler who united together JE and P, emphasizing once again, in words adapted from Exo_14:23; Exo_14:28-29 (P), the great deliverance which the poem celebrated.

brought again] brought back. Cf. on Exo_14:26.

and the children of Israel, &c.] verbatim as Exo_14:29 a.

dry land] better, dry ground, to agree with Exo_14:22; Exo_14:29 a.

The Cambridge Bible for Schools and Colleges (gen. ed. J. J. S. Perowne; Cambridge University Press, 1878–1918) — public domain. Text from a community e-Sword module.

And Miriam the prophetess, the sister of Aaron,.... The same, it is highly probable, that is called the sister of Moses, Exo 2:3, her name Miriam is the same as Mary with us, and signifies bitterness; and, as the Hebrews (x) observe, had it from the bitterness of the times, and the afflictions the Israelites endured and groaned under when she was born; which is a much more probable signification and reason of her name than what is given by others, that it is the same with Marjam, which signifies a drop of the sea; from whence, they fancy, came the story of Venus, and her name of Aphrodite, the froth of the sea: Miriam was a prophetess, and so called, not from this action of singing, here recorded of her, for so all the women that sung with her might be called prophetesses, though sometimes in Scripture prophesying intends singing; but rather from her having a gift of teaching and instructing, and even of foretelling things to come; for the Lord spoke by her as well as by Moses and Aaron, and she, with them, were the leaders of the people of Israel, sent to them of the Lord, see Num 12:2, she is particularly called the sister of Aaron, though she was likewise the sister of Moses; the reason is, that being older than Moses, she was Aaron's sister before his, and having lived all her days with Aaron almost, and very little with Moses, was best known by being the sister of Aaron; and it is possible she might be his own sister by father and mother's side, when Moses was by another woman; however, it is said of her, she

took a timbrel in her hand; and all the women went out after her with timbrels and with dances; timbrels were a sort of drums or tabrets, which being beat upon gave a musical sound, somewhat perhaps like our kettledrums; and though dances were sometimes used in religious exercises, yet the word may signify another kind of musical instruments, as "pipes" or "flutes" (y), as it is by some rendered; and by the Syriac and Arabic versions, "sistrums"; which were musical instruments much used by the Egyptians, and from whom the Israelitish women had these; and as they were going to keep a feast in the wilderness, they lent them to them, it is very probable, on that account; otherwise it is not easy to conceive what use the Israelites could have for them, and put them to during their hard bondage and sore affliction in Egypt: now with these they went out of the camp or tents into the open fields, or to the shore of the Red sea, and sung as Moses and the men of Israel did: to this the psalmist seems to refer in Psa 68:25.

(x) Seder Olam Rabba, c. 3. p. 9. Dibre Hayamim, fol. 2. 2. (y) "cum fistulis", Junius & Tremellius, Piscator; "cum tibiis", Drusius; so Ainsworth.

John Gill's Exposition of the Whole Bible (1746–1763) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

For the horse ... - This verse does not belong to the hymn, but marks the transition from it to the narrative.

Albert Barnes' Notes on the Bible (1834–1885) — public domain. Text from a community e-Sword/MySword module.

For, &c. He is not tired with repeating this wonderful judgment, which gave him reason to hope that God would complete his work; and at the same time, give a sanction to his mission. If the most potent of the monarchs of the earth could so little withstand his power, what had he to fear from a few jarring clans of barbarians and shepherds? (Haydock)

George Leo Haydock (1774–1849), Haydock's Catholic Family Bible and Commentary, 1859 edition — public domain. Excludes Psalms (Douay-Rheims chapter numbering differs from Protestant) and Deuterocanonical books (Catholic canon only).

19. This verse is not a part of the song, but repeats the incident that was its occasion.

Daniel D. Whedon (gen. ed.), Commentary on the Old and New Testaments (1874–1909) — public domain. Text from a community e-Sword module.

Vers. 19-21. Sequel to the Song. The "sequel" treats of two quite separate masters.

1. It asserts, in verse 19, the historic groundwork of the song, reiterating ina condensed form the three principal facts of the presage already recorded in ch. 14.

1. Israel"s safe transit across the sea-bed;

2. the pursuit attempted by the Egyptian chariot-force; end

3. the return of the waters upon the pursuers by God"s providential action.

2. It relates, in verses 20 and 21, the part taken by Miriam in the recitationof the ode, which has been noticed in the "introduction" to the chapter.

The horse of Pharaoh, with his chariots, and with his horsemen. Rather, "with his chariots, and with his chariot men." Compare Exo_14:23. The Lord brought again the waters of the sea upon them. See Exo_14:26, Exo_14:27; and Exo_15:10. The waters did not merely return to their natural place when the east wind ceased to blow, but were "brought back" by miraculous power, and with abnormal rapidity.

The Pulpit Commentary (1880–1919), ed. H.D.M. Spence-Jones & Joseph S. Exell — public domain. Text from a community e-Sword module.

The Song of Miriam

v. 19. For the horse of Pharaoh went in with his chariots and with his horsemen into the sea, the historian implying, at this point, that Pharaoh, riding forward at the head of his army, was destroyed with all his host, Psa 136:15, and the Lord brought again the waters of the sea upon them; but the children of Israel went on dry land in the midst of the sea, in the bed which the sea ordinarily filled.

v. 20. And Miriam, the prophetess, the sister of Aaron, who from now on takes her place at the side of Aaron under the leadership of Moses, although she was endowed with prophetic gifts, took a timbrel, a tambourine, in her hand; and all the women went out after her with timbrels and with dances, in a stately, solemn religious dance, with marching and singing in unison.

v. 21. And Miriam answered them, she and her company chanted their refrain at the end of every verse, or stanza, as sung by Moses and the children of Israel, Sing ye to the Lord, for He hath triumphed gloriously, He has exalted His majesty; the horse and his rider hath He thrown into the sea. Cf v. 1. All the people, men and women, were thus engaged in the hymn of praise and thanksgiving, took part in the festival in honor of Jehovah, a fine example to the believers of all times.

Paul E. Kretzmann, Popular Commentary of the Bible (1921–1924) — public domain. Text from a community e-Sword module.

Miriam ... Aaron

Miriam was the older sister of Moses and Aaron. (See: How to Translate Names)

tambourine

This is a musical instrument like a small drum that also has pieces of metal around the side that make a sound when shaken. (See: Translate Unknowns)

he has triumphed gloriously

It can be stated explicitly over whom Yahweh triumphed. See how you translated this in Exodus 15:1. AT: "he has achieved a glorious victory over the army of Egypt" (See: Assumed Knowledge and Implicit Information)

The horse and his rider he has thrown into the sea

Miriam sang about God causing the sea to cover and drown the horse and rider as if God had thrown them into the sea. See how you translated this in Exodus 15:1. AT: "He has made the horse and rider drown in the sea" (See: Metaphor)

translationWords

Pharaoh

horse

chariot

prophet

Aaron

glory

unfoldingWord translationNotes — © Distant Shores Media and the Door43 World Missions Community, licensed CC BY-SA 4.0. Source: git.door43.org/Door43/en_tn.

כי בא סוס פרעה means WHEN [THE HORSES] CAME.

Rashi on the Tanakh — English translations: “The Judaica Press complete Tanach with Rashi, translated by A. J. Rosenberg” (CC BY 4.0); “Pentateuch with Rashi's commentary by M. Rosenbaum and A.M. Silbermann, 1929-1934” (public domain); “The Metsudah Tanach series, Lakewood, N.J” (CC BY 4.0); and “The Book of Joshua, Metsudah Publications, 1997” (CC BY 4.0). Text via Sefaria.

FOR THE HORSES OF PHARAOH WENT IN WITH HIS CHARIOTS AND WITH HIS HORSEMEN. Rabbi Abraham ibn Ezra said that this verse is also part of the Song, for Moses and the children of Israel were singing and saying: For the horses of Pharaoh went in with his chariots and with his horsemen into the sea, and the Eternal brought back the waters of the sea upon them while the children of Israel were walking on dry land in the midst of the sea, this being a miracle within a miracle. when the horses of Pharaoh went in, etc., He brought the waters upon them, and at the same time, the children of Israel walked on dry land.But this verse is not written in the style of the Song, nor is it in the style of prophecies! [Therefore, Ibn Ezra’s interpretation is not correct.] Instead, the verse is to be interpreted [as dating the Song]: Then sang Moses — when the horses of Pharaoh went in. Immediately on that day — not the following day or at some later time — [he sang this Song]. It may be that the sense thereof is as follows: Then Moses sang, when the horses of Pharaoh went into the sea and G-d brought back the waters of the sea upon them while the children of Israel were yet walking on dry land in the midst of it. Thus the verse relates that they said the Song while they were walking in the midst of the sea on dry land. Scripture further tells that it was then that Miriam the prophetess took the timbrel in hand and sang them the first verse of the Song that they, [i.e., the women], should sing after Moses and Israel.

Ramban (Nachmanides) on the Tanakh — English translation: “Commentary on the Torah by Ramban (Nachmanides). Translated and annotated by Charles B. Chavel. New York, Shilo Pub. House, 1971-1976” (CC BY 4.0). Text via Sefaria.