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Scripture: The text alone. Study: The verses explained. Original: The Hebrew and Greek, and the tradition.

Exoduschapter 15

27 verses · Moses, by tradition · 15th or 13th century BC · The Law

Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her with tambourines and dancing.

Introduction

Moses, by tradition, The Law, Exodus Overview.

Exodus is given as the work of Moses, and this song is his, sung with the people he had led out of Egypt. It was first sung by former slaves on the far shore of the sea. Its hearers knew the victory songs other nations sang to their gods and kings after a battle. This chapter turns the book from story to worship, and then turns back to the road. Listen for how the song speaks first of what has happened and then of places still ahead. Listen also for what becomes of the singers when the water runs out.

Context

Who
Israel in the wilderness, singing this song for centuries afterward
What
Exodus 15 is the song Moses and Israel sang after the crossing, Miriam's answering refrain, and the first stages of the march at Marah and Elim.
Where
The far shore of the sea, then the Desert of Shur, the spring at Marah and the oasis at Elim; Marah and Elim are unlocated, with the spring of Huwara and the Wadi Gharandel among the traditional proposals.
When
The days after the crossing and the first three days of the march, with the exodus dated to the fifteenth century BC or to the thirteenth century BC by the two main datings, both held, and Exodus 12:40 to 41 and 1 Kings 6:1 bearing on the question.
Why
It gives Israel its first words of praise for the deliverance and its first lesson in trusting the LORD for water in the desert.

Historical context

The song is given to Moses and the Israelites, and Miriam, called a prophetess and Aaron's sister, sings the opening lines back to the women with tambourines and dancing.

Show the rest of the historical context, 5 more paragraphs

It stands on the morning after the crossing. The early dating puts it about 1446 BC from the four hundred and eighty years of 1 Kings 6:1 read literally, while Kenneth Kitchen and James Hoffmeier date the exodus to the thirteenth century from the store cities of Exodus 1:11, and the chapter names no Pharaoh and no year.

The place is the eastern shore of the water, then the Desert of Shur, where three days of marching found no water, then Marah and then Elim.

The occasion is the victory at the sea, sung on the spot, and the first shortage that followed it.

A first hearer knew the sound of this Hebrew, whose grammar and word forms are archaic against the rest of the Old Testament, which is the ground on which Frank Moore Cross and David Noel Freedman place the song among the earliest poetry in Scripture. He knew that women taking up hand-drums to meet a returning victory was the ordinary shape of such a celebration, attested across the ancient Near East in figurines and reliefs of drum-playing women. He knew the peoples the song names, Philistia, Edom, Moab and Canaan, as the nations on the road ahead. He also knew what brackish water was, since springs that cannot be drunk are common in that country, and what an oasis of twelve springs and seventy palm trees was worth to a column on foot.

The closing line of the song, that the LORD will reign for ever and ever, is the first place in Scripture where God is called king.

Significance

The nation learned to sing before it learned to march. This is Israel's first act of worship together as a free people.

Show the rest of the significance, 1 more paragraph

Within three days the singing had turned to grumbling over water. What God gave at Marah was a statute, an ordinance and a test, with the promise that he is the LORD who heals them, and that pattern held for the whole of the wilderness.

This chapter in Jewish lifeWhat this chapter is in Jewish life and reading.

What is done

This chapter opens with the one long poem in Exodus, and the poem has a fixed day in the year. Rashi records that the Song is read as the lesson of the seventh day of Passover, because that is the morning it was first sung (Rashi on Exodus 14:5:1, citing the tractate Megillah). Rashi also describes how it was sung at the sea. Moses sang it to the men and they repeated it after him, and Miriam sang it to the women and they repeated it after her (Rashi on Exodus 15:21:1). The timbrels and the dancing of verse 20 belong to that scene.

How it is read

Rashi reads the opening verb as a resolve formed at the sight of the miracle, so that the song began in the heart before it reached the mouth (Rashi on Exodus 15:1:1). At verse 6 he takes the doubled right hand as a picture of mercy. When Israel does the will of God, he says, the left hand that punishes becomes a second right hand (Rashi on Exodus 15:6:1). At verse 12 he gives a parable for the inclining of that hand. Glass vessels held in a man's hand fall and shatter when he tilts it a little (Rashi on Exodus 15:12:1). At verse 17 he reads the word for bringing in as prophecy about Moses himself, who says them rather than us because he foresaw that he would stay outside the land (Rashi on Exodus 15:17:1). At verse 22 he explains why Israel had to be made to move on from the sea. The Egyptian horses had been decked with gold and silver, and the people were still gathering it out of the water (Rashi on Exodus 15:22:1). The text is the Rosenbaum and Silbermann Rashi of 1929 to 1934, in the public domain. The corpus carries no linked commentary on this chapter, so Rashi stands alone on it here.

What the rabbis say

The rabbis take up the Song itself at Avodah Zarah 24b:15 and Mekhilta DeRabbi Yishmael, Tractate Shirah 5:1 and 6:1. On the question who is like You among the gods they taught at Berakhot 14b:10 and Bamidbar Rabbah 2:10. On the dread falling upon the nations they taught at Berakhot 4a:17. On the bitter water of Marah they taught at Arakhin 15a:19 and Bava Kamma 82a:5, and on the murmuring that followed in Bamidbar Rabbah 12:7.

Sources: Rashi, Rashi on Exodus 15:1:1, 15:6:1, 15:12:1, 15:17:1, 15:21:1 and 15:22:1, and Rashi on Exodus 14:5:1 for the reading day, Pentateuch with Rashi's commentary by M. Rosenbaum and A. M. Silbermann, 1929 to 1934 (public domain); The Babylonian Talmud, Avodah Zarah 24b:15, Berakhot 14b:10 and 4a:17, Arakhin 15a:19 and Bava Kamma 82a:5, cited by ref; The Midrash, Mekhilta DeRabbi Yishmael, Tractate Shirah 5:1 and 6:1, and Bamidbar Rabbah 2:10 and 12:7, cited by ref.

The heads below are this chapter's scenes. The numbered points under each are its verses.

The Lord Is a Man of War

Exodus 15:1-2

Gill and Spurgeon both call this the first song recorded in Scripture, and it is sung on the far bank rather than in the water. What Israel said at the sea itself was the complaint of 14:11 and 14:12, and the singing waits until the deliverance is behind them. Revelation 15:3 names it again at the other end of the Bible and sets the song of Moses beside the song of the Lamb. Verse 2 is already looking past the wilderness to a house, I will prepare him an habitation, and Psalm 118:14 later quotes the opening line whole.

Exodus 15:1

THIS is the first song unto the Lord which is recorded in Holy Scripture. In Jacob's blessing of his children there are verses which may be regarded as songs, but they are mere fragments and can scarcely be said to be sung unto the Lord. There are other couplets in the Book of Genesis, but this is the first connected song upon record. I should think that Abraham often sang unto the Lord, but we have no record of it.

2 more voices on this verseWhat preachers and commentators have said about this verse, in their own words.

Exodus 15:1

They expressed their joy in God, and thankfulness to him, by singing; it is almost natural to us thus to give vent to our joy and the exultations of our spirit. By this instance it appears that the singing of psalms, as an act of religious worship, was used in the church of Christ before the giving of the ceremonial law, and therefore was no part of it, nor abolished with it.

Matthew Henry · Commentary on the Whole Bible (1707-1721)puritan

Exodus 15:1

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.

The whole record on this verse

The LORD is my strength and my song: Matthew Henry reads the three names in order, strength for people weak in themselves, a song in their sorrow, and salvation from what threatens them. Isaiah 12:2 sings the same line for a later deliverance. My father's God binds the song to the name given at the bush in 3:6, the God of Abraham, the God of Isaac, and the God of Jacob.

Exodus 15:2

They have work to do, temptations to grapple with, and afflictions to bear, and are weak in themselves; but he strengthens them: his grace is their strength. They are often in sorrow, upon many accounts, 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: See Isa. xii.

Matthew Henry · Commentary on the Whole Bible (1707-1721)puritan

The title stands here for the first time in Scripture, and this is the one place it is laid on God as a plain name, since Isaiah 42:13 uses it as a comparison and says he shall stir up jealousy like a man of war. It answers what Moses told the people the day before at 14:14, that the LORD shall fight for you, and ye shall hold your peace. The second half of the verse fastens the title to the name itself, the LORD is his name, so the song puts the fighting into who he is rather than into the occasion.

Exodus 15:3

The Lord is a man of war - Perhaps it would be better to translate the words, Jehovah is the man or hero of the battle. As we scarcely ever apply the term to any thing but first-rate armed vessels, the change of the translation seems indispensable, though the common rendering is literal enough. Besides, the object of Moses was to show that man had no part in this victory, but that the whole was wrought by the miraculous power of God, and that therefore he alone should have all the glory.

Exodus 15:4-5

The chariots were Egypt's best arm, counted at six hundred chosen at 14:7, and the song reports them on the sea floor. They sank into the bottom as a stone here and as lead at verse 10, two weights given to the same fact. Egypt drowned Hebrew boys in a river at 1:22, and water is what closes over Egypt's own army.

Exodus 15:4

Pharaoh’s chariots - his host - his chosen captains - On such an expedition it is likely that the principal Egyptian nobility accompanied their king, and that the overthrow they met with here had reduced Egypt to the lowest extremity. Had the Israelites been intent on plunder, or had Moses been influenced by a spirit of ambition, how easily might both have gratified themselves, as, had they returned, they might have soon overrun and subjugated the whole land.

The depths have covered them: Adam Clarke supposes the chief nobles of Egypt rode out with their king, so the depths closed over the ruling class of the country. Nehemiah 9:11 keeps the stone of this verse, saying God hurled their pursuers into the depths like a stone into raging waters. The simile returns at verse 16.

Exodus 15:5

But if our enemies "went down into the depths like a stone," the only ones the devil remains in possession of and the only ones who have the hardness of the devil are those about whom it is written, "When the sinner has come into the depths of evil, he behaves disdainfully." They don't believe, you see, that they can be forgiven for what they have done; and in that mood of despair they plummet to greater depths than ever.

Augustine of Hippo · written before 430 · SERMON 363.2patristic

Exodus 15:6-7

The right hand is named twice in one verse, once for the glory and once for the blow. Then the fire image lands on a word Exodus has used before, since Pharaoh's host is consumed as stubble and stubble is what Israel was scattered across Egypt to gather when the straw was taken away at 5:12. The stuff the slaves scraped out of the fields is the stuff the song makes of the army that drove them.

Exodus 15:6

Thy right hand, O Lord, hath dashed in pieces the enemies. For the enemies of God, though they prosper in His left hand, are dashed to pieces with His right; since for the most part the present life elevates the bad, but the coming of eternal blessedness condemns them.

1 more voice on this verse

Exodus 15:6

Thy right hand - Thy omnipotence, manifested in a most extraordinary way.

You overthrew Your adversaries: The song names the Egyptians the LORD's own adversaries, so Pharaoh's quarrel with Israel is counted as a quarrel with God. Adam Clarke hears this deliverance recalled at Isaiah 63:11 to 14, where the people ask, Where is He who brought them through the sea with the shepherds of His flock? Isaiah 63:14 says God made Himself a glorious name there.

Exodus 15:7

In the greatness of thine excellency - To this wonderful deliverance the Prophet Isaiah refers, Isa 63:11-14: “Then he remembered the days of old, Moses and his people, saying, Where is he that brought them up out of the sea with the shepherd of his flock? Where is he that put his Holy Spirit within him? That led them by the right hand of Moses with his glorious arm, dividing the water before them, to make himself an everlasting name? That led them through the deep, as a horse in the wilderness, that they should not stumble?

Exodus 15:8-10

Chapter 14 called it a strong east wind and the song calls it the blast of thy nostrils, the same event told as breath. Verse 9 gives the enemy six short clauses in a row, I will pursue, I will overtake, I will divide the spoil, my lust shall be satisfied upon them, I will draw my sword, my hand shall destroy them, and every one of them is a boast about what he will do next. Verse 10 answers the whole speech in one line, Thou didst blow with thy wind, the sea covered them. Psalm 33:7 and Psalm 78:13 both pick up the heap of waters from verse 8.

Exodus 15:8

The depths were congealed - The strong east wind (Exo 14:21) employed to dry the bottom of the sea, is here represented as the blast of God’s nostrils that had congealed or frozen the waters, so that they stood in heaps like a wall on the right hand and on the left.

I will divide the spoils: Adam Clarke takes these as words Pharaoh and his captains truly spoke, known to the singer by inspiration. The pursuers planned to divide the spoils, and at 12:36 Israel had already plundered the Egyptians. This boast is the only quoted speech in the song.

Exodus 15:9

The enemy said - As this song was composed by Divine inspiration, we may rest assured that these words were spoken by Pharaoh and his captains, and the passions they describe felt, in their utmost sway, in their hearts; but how soon was their boasting confounded? “Thou didst blow with thy wind, and the sea covered them: they sank as lead in the mighty waters!”

You blew with Your breath: The Hebrew ruach means breath, wind and spirit. Ambrose of Milan read the line as God sending His Spirit over the sea, and he took the waters that covered Egypt as a figure of baptism, where the Egyptian sank and the Hebrew escaped.

Exodus 15:10

Moses himself says in his song, "You sent your Spirit, and the sea covered them." You observe that even then holy baptism was prefigured in that passage of the Hebrews, wherein the Egyptian perished, the Hebrew escaped. For what else are we daily taught in this sacrament but that guilt is swallowed up and error done away, but that virtue and innocence remain unharmed?

Ambrose of Milan · written before 397 · On the Mysteries 3.12patristic

The word holiness occurs here for the first time in Scripture, inside a line about what God is like, and the next place it stands is on the gold plate of the high priest at 28:36. The question about the gods rests on something the book has already claimed, since 12:12 said God would execute judgment against all the gods of Egypt and Numbers 33:4 reports that he did. Glorious in holiness is a phrase found in this verse and nowhere else in the Bible.

Exodus 15:11

Who is like unto thee, O Lord, among the gods? - We have already seen that all the Egyptian gods, or the objects of the Egyptians’ idolatry, were confounded, and rendered completely despicable, by the ten plagues, which appear to have been directed principally against them. Here the people of God exult over them afresh: Who among these gods is like unto Thee? They can neither save nor destroy; Thou dost both in the most signal manner.

Exodus 15:12-13

The earth swallowed them is an odd verb for a drowning, and Numbers 16:32 uses it again of Korah when the ground opens. Verse 13 turns from the army to the people and sets two words together, mercy and redeemed, with the verb redeem first given at 6:6 where God promised to redeem with a stretched out arm. The destination is named before they know the road, since he has guided them in his strength unto his holy habitation.

Exodus 15:12

The earth swallowed them - It is very likely there was also an earthquake on this occasion, and that chasms were made in the bottom of the sea, by which many of them were swallowed up, though multitudes were overwhelmed by the waters, whose dead bodies were afterward thrown ashore. The psalmist strongly intimates that there was an earthquake on this occasion: The voice of thy thunder was in the heaven; the lightnings lightened the world; the Earth Trembled and Shook; Psa 77:18.

The Lord Shall Reign Forever

With loving devotion You will lead the people: Adam Clarke reads verses 13 to 18 as a prediction of what God would yet do for the people He had redeemed, and he would put several verbs in the future. The Berean reads You will lead and You will guide. Loving devotion renders the Hebrew chesed, the loyal love God keeps toward His people.

Exodus 15:13

Thou hast guided them in thy strength unto thy holy habitation - As this ode was dictated by the Spirit of God, It is most natural to understand this and the following verses, to the end of the 18th, as containing a prediction of what God would do for this people which he had so miraculously redeemed. On this mode of interpretation it would be better to read several of the verbs in the future tense.

Exodus 15:14-16

The song looks forward and names four peoples in the order they sit along the road to Canaan, Palestina, Edom, Moab and the inhabitants of Canaan. Forty years later Rahab says this back to the spies at Joshua 2:9 to 11, that terror is fallen upon us and our hearts did melt, and she names hearing about the Red sea as the cause. Verse 16 calls the people purchased, a word Genesis used of Abraham buying a burial field at 25:10, so the deliverance is described as a purchase and not only a rescue.

the chiefs of Edom will be dismayed: Adam Clarke notes that Edom was then ruled by chiefs, the alluphim, the title Genesis 36:15 gives the heads of the clans descended from Esau. Moab's part came true at Numbers 22:3, where Moab was terrified of the people and dreaded the Israelites. The song names the leaders before the peoples.

Exodus 15:15

The dukes of Edom - Idumea was governed at this time by those called אלפים alluphim, heads, chiefs, or captains. See Clarke’s note on Gen 36:15.

until Your people pass by: Adam Clarke takes the passing by as the march through the desert and over the Jordan into the land still ahead. Joshua 3:17 records all Israel crossing the Jordan on dry ground while the priests stood firm. Still as a stone takes up the stone of verse 5.

Exodus 15:16

Till thy people pass over - Not over the Red Sea, for that event had been already celebrated; but over the desert and Jordan, in order to be brought into the promised land.

The word Sanctuary occurs here for the first time in Scripture, ten chapters before God tells Moses to make one at 25:8. Israel is standing on a beach with a wilderness in front of it, and the song is already describing a settled house with God dwelling in it. Planting is a fixed image chosen for people who at this hour own nothing beyond what they carried out of Egypt.

Exodus 15:17

Thou shalt bring them in - By thy strength and mercy alone shall they get the promised inheritance. And plant them - Give them a fixed habitation in Canaan, after their unsettled wandering life in the wilderness. In the mountain - Meaning Canaan, which was a very mountainous country, Deu 11:11; or probably Mount Zion, on which the temple was built. Where the pure worship of God was established, there the people might expect both rest and safety.

Exodus 15:18-19

This is the first place Scripture says that God reigns, and it is said by former slaves about the God who has just drowned the only king they had ever served. Revelation 11:15 puts the same words at the end of the Bible, that he shall reign for ever and ever. Verse 19 steps out of the poetry and restates the plain fact underneath it, that the horse of Pharaoh went into the sea and the children of Israel went on dry land in the midst of the sea.

Exodus 15:18

The Lord shall reign for ever and ever - This is properly the grand chorus in which all the people joined. The words are expressive of God’s everlasting dominion, not only in the world, but in the Church; not only under the law, but also under the Gospel; not only in time, but through eternity. The original לעלם ועד leolam vaed may be translated, for ever and onward; or, by our very expressive compound term, for Evermore, i.e. for ever and more - not only through time, but also through all duration.

Miriam's Timbrel and Dance

For when Pharaoh’s horses, chariots, and horsemen went into the sea: The verse opens with For and gives the reason for the singing on both sides of it, the song of Moses before and Miriam's answer after. Albert Barnes holds that the text itself dates the song to the hour the sea closed over Pharaoh's chariots and horsemen. Its last clause repeats 14:29 nearly word for word.

Exodus 15:19

But the children of Israel went on dry land. Note, The destruction of the wicked serves for a foil to set off the salvation of Israel, and to make it the more illustrious, Isa. xlv.

Matthew Henry · Commentary on the Whole Bible (1707-1721)puritan

1 more voice on this verse

Exodus 15:19

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

Exodus 15:20-21

Miriam is the first woman in Scripture called a prophetess, and the word next falls on Deborah at Judges 4:4. She is named the sister of Aaron rather than the sister of Moses, and the text gives no reason for it. The timbrel enters the Bible here as well, and Jephthah's daughter will come out to meet her father with timbrels and dances at Judges 11:34. Miriam answers the men with the opening words of verse 1, and the word triumphed occurs twice in the whole Bible, in her line and in his.

Exodus 15:20

When God brought Israel out of Egypt, it is said ( Micah vi. 4 ), He sent before them Moses, Aaron, and Miriam, though we read not of any thing memorable that Miriam did but this. But those are to be reckoned great blessings to a people who assist them, and go before them, in praising God.

Matthew Henry · Commentary on the Whole Bible (1707-1721)puritan

And Miriam sang back to them: The pronoun them is masculine in Hebrew, and Jamieson, Fausset and Brown read it as Miriam answering the men. Moses led the men and Miriam the women, the two companies taking the song to the LORD in turn. Her line, sing to the LORD, makes verse 1 the chorus.

Exodus 15:21

Miriam answered them--"them" in the Hebrew is masculine, so that Moses probably led the men and Miriam the women--the two bands responding alternately, and singing the first verse as a chorus.

Jamieson, Fausset & Brown · Commentary Critical and Explanatory on the Whole Bible (1871)reformed

Bitter Water Made Sweet at Marah

Exodus 15:22-23

Three days out of the water and there is no water, which is the whole distance between the song and the complaint that follows it. Marah means bitter, so the first stop after the sea is a disappointment that gets named for what was wrong with it. The wilderness of Shur is the same country Genesis 16:7 put Hagar in when she ran from Sarai, where the angel of the LORD found an Egyptian slave woman by a fountain on the way to Shur.

Exodus 15:22

So Moses - Literally, And Moses. The history of the journey from the Red Sea to Sinai begins in fact with this verse, which would more conveniently have been the commencement of another chapter. From the Red sea - The station where Moses and his people halted to celebrate their deliverance is generally admitted to be the Ayoun Musa, i. e. the fountains of Moses. It is the only green spot near the passage over the Red Sea.

they could not drink the water there because it was bitter: Albert Barnes identifies Marah with the spring of Huwara, which rises from a whitish mound laid down by its own water. Jamieson, Fausset and Brown report it still bitter in their day. They add that Arabs seldom let their camels drink from it.

Exodus 15:23

Marah - Now identified with the fount of Huwara. The fountain rises from a large mound, a whitish petrifaction, deposited by the water, and is considered by the Arabians to be the worst in the whole district.

1 more voice on this verse

Exodus 15:23

There is no other perennial spring in the intermediate space. The water still retains its ancient character, and has a bad name among the Arabs, who seldom allow their camels to partake of it.

Jamieson, Fausset & Brown · Commentary Critical and Explanatory on the Whole Bible (1871)reformed

The whole record on this verse

The word murmured occurs here for the first time in Scripture, three days after the first song. It comes twice more before Sinai, at 16:2 and at 17:3, and then at Numbers 14:2 where the same complaint meets a different answer. In Exodus God answers every murmur with water, bread, meat or a dry road, and at Kadesh the murmuring costs a whole generation the land.

Exodus 15:24

The people murmured - They were in a state of great mental degradation, owing to their long and oppressive vassalage, and had no firmness of character. See Clarke’s note on Exo 13:17.

ConnectionsNumbers 21:5

Moses cries and is shown a tree, and the tree cast into the water is what changes the water, so the remedy goes into the bitterness rather than around it. The phrase a statute and an ordinance occurs here for the first time, before Sinai and before any law has been given. The verse ends by saying he proved them, which makes the bitter water a test as well as a need. Matthew Henry and other older writers read the tree as a figure of the cross, and that reading rests on their names rather than on any New Testament statement.

Exodus 15:25

Marah was a fountain of most bitter water. Moses cast wood into it and it became sweet. For water without the preaching of the cross of the Lord is of no avail for future salvation. But after it has been consecrated by the mystery of the saving cross, it is made suitable for the use of the spiritual laver and of the cup of salvation.

Ambrose of Milan · written before 397 · On the Mysteries 3.14patristic

2 more voices on this verse

Exodus 15:25

And hence the "statute and ordinance" that followed, which would have been singularly inopportune if no miracle had been wrought. and there he proved them--God now brought the Israelites into circumstances which would put their faith and obedience to the test (compare Ge 22:1).

Jamieson, Fausset & Brown · Commentary Critical and Explanatory on the Whole Bible (1871)reformed

Exodus 15:25

Some make this tree typical of the cross of Christ, which sweetens the bitter waters of affliction to all the faithful, and enables them to rejoice in tribulation. The Jews' tradition is that the wood of this tree was itself bitter, yet it sweetened the waters of Marah; the bitterness of Christ's sufferings and death alters the property of ours.

Matthew Henry · Commentary on the Whole Bible (1707-1721)puritan

The whole record on this verse

The word healeth occurs here for the first time in Scripture and the whole Bible uses it four times, here and at Psalm 103:3, Psalm 147:3 and Isaiah 30:26. It answers the second of the three signs God gave Moses at the bush, the hand made leprous and made whole again at 4:6 and 4:7, which is the one sign of the three that never gets a scene of its own. The diseases named are Egypt's, so the promise is measured against the country they left rather than against sickness at large.

Exodus 15:26

WE shall consider this passage in its context, for I have no doubt that the miracle at Marah was intended to be a very instructive illustration of the glorious title which is here claimed by the Covenant God of Israel— "I am Jehovah-Rophi, the Lord that heals you." The illustration introduces the sermon of which this verse is the text. The healing of the bitter waters is the parable of which the line before us is the lesson. How different is the Lord to His foes and to His friends! His Presence is light to Israel and darkness to Egypt.

Twelve wells and threescore and ten palm trees, and Numbers 33:9 records the same stop with the same two counts. Matthew Henry and other commentators read the numbers against the twelve tribes and the seventy souls who went down into Egypt at Genesis 46:27, and the text itself draws neither line. The chapter that opened with a song closes with an encampment beside water, one stage past the place where there was none.

Exodus 15:27

Elim - The valley of Gharandel, two hours’ journey south of Huwara. Twelve wells - Read springs; the Hebrew denotes natural sources. These springs may have been perennial when a richer vegetation clothed the adjacent heights.

2 more voices on this verse

Exodus 15:27

And they came to Elim,.... On the twenty fifth of Nisan; for, according to Aben Ezra, they stayed but one day at Marah.

Exodus 15:27

It is estimated to be a mile in breadth, but stretching out far to the northeast. After the weary travel through the desert, this must have appeared a most delightful encampment from its shade and verdure, as well as from its abundant supply of sweet water for the thirsty multitude. The palm is called "the tree of the desert," as its presence is always a sign of water.

Jamieson, Fausset & Brown · Commentary Critical and Explanatory on the Whole Bible (1871)reformed

The whole record on this verse

How this psalm is built

The form: A victory song, the first song of praise recorded in Scripture, with a short march narrative attached to it, as Spurgeon classes it.

The patterns in this chapter

The devices this chapter is built on, what each one does, and one verse where it stands.
DeviceWhat it doesWhere to see it
The first line sung at the start and sung back at the endVerse 1 opens with the line about the horse and rider thrown into the sea, and verse 21 closes the singing with Miriam giving the same line back to the women. Jamieson, Fausset and Brown note that the word for them in verse 21 is masculine in Hebrew, so Moses probably led the men and Miriam answered with the women. The song is bracketed by one sentence sung twice.Jamieson, Fausset & Brown, Commentary Critical and Explanatory on the Whole Bible, 1871, on Exodus 15:21.Exodus 15:1, Exodus 15:21
The enemy's own boast, counted in five short clausesVerse 9 puts the enemy's words in his own mouth and counts them: I will pursue, I will overtake, I will divide the spoils, I will gorge myself, I will draw my sword. Matthew Henry reads the run as greed and cruelty stated together. The verse stands at the centre of the song and the answer to it is one line long at verse 10.Matthew Henry, Commentary on the Whole Bible, 1710, on Exodus 15:9.Exodus 15:9, Exodus 15:10
The doubled line, the second limb saying the first againVerse 6 says that the right hand of the LORD is majestic in power and then that the right hand of the LORD has shattered the enemy, which is the ordinary Hebrew pairing where the second limb carries the first further. The song is built out of these pairs from verse 2 to verse 17, and it is the one sustained poem in Exodus.Exodus 15:6, Exodus 15:11, Exodus 15:16
The turn from speaking about God to speaking to himVerses 1 to 5 speak about the LORD in the third person. From verse 6 to verse 17 the song speaks to him directly, and verse 18 turns back to the third person for the closing line that the LORD will reign for ever and ever. The turn happens at the point where the song stops reporting and starts worshipping.Exodus 15:5, Exodus 15:6, Exodus 15:18
Marah, the place named for the taste of its waterVerse 23 says the people came to Marah and could not drink the water there because it was bitter, and the verse closes by saying that is why it was named Marah. Adam Clarke gives the name as taken from the bitter waters found there. The naming turns a complaint into a place on the map.Adam Clarke, Commentary on the Bible, 1832, on Exodus 15:23.Exodus 15:23

The chapter is the first thing Israel does as a free people, and what it does is sing. The order of the book matters here. Exodus 14 ends with the people believing, and Exodus 15 begins with them singing, and the song is the response to the chapter before it rather than a new subject.

10 more paragraphs on the patterns

The pattern inside the song is a narrowing of who can act, told from the other side. At the sea the enemy had chariots, officers and a plan, and the song lets him state it in his own voice at verse 9. The answer at verse 10 is one clause: God blew, and they sank like lead. Nothing in the song describes an Israelite doing anything.

The second half of the chapter sets the pattern the wilderness follows for the next forty years. Provision, then shortage, then complaint, then provision again, with a test written into it. Charles Spurgeon preached on the change from the sound of the tambourine to the sound of grumbling within the same chapter.

The New Testament's use

Revelation 15:3 names this song directly. The victors standing by the sea of glass sing the song of Moses the servant of God and the song of the Lamb, which puts this chapter at the far end of the Bible as well as near the beginning. The line of verse 2, that the LORD is my strength and my song and he has become my salvation, is taken up inside the Old Testament at Psalm 118:14 and Isaiah 12:2, so it was already a quoted line before the New Testament was written.

The debated points

The date of the song is the first. Cross and Freedman read the archaic forms as evidence of composition close to the event and place the poem among the oldest material in Scripture. A later date is held by scholars who read the references to the sanctuary and the planting on the mountain at verse 17 as looking back on the temple. The evidence on each side is the language on the one hand and the content on the other, and the chapter carries no heading to settle it.

The tree at Marah is the second. Albert Barnes reads the statement as pointing to a natural agency with a result that was manifestly supernatural. Tertullian and Ambrose both read the wood itself of the cross, Ambrose writing that the water without the preaching of the cross is of no avail, and Matthew Henry records that some make the tree typical of the cross. The positions differ on whether the chapter is reporting a property of the wood or a sign given through it.

Where Marah stood is the third and lightest. Albert Barnes identifies it with the fountain of Huwara and Elim with the valley of Gharandel two hours south of it. Jamieson, Fausset and Brown record that there is no other perennial spring in the space between. Adam Clarke cites Dr Shaw for a different placing. The sites are marked as uncertain.

Where to go deeper

The crossing the song reports is set out at the Red Sea crossing. The woman who led the answering song is set out at Miriam. The country the second half enters is set out at the wilderness, and the subject of the shortage at water. The song itself has no page of its own yet, and this lane has added a row for it to docs/lanes/FEATURE-PAGES-OWED.md.

Keep studying

Sources for this chapter

The summary

Jamieson, Fausset & Brown, Commentary Critical and Explanatory; John Calvin, Commentaries; John Wesley, Notes on the Old Testament and Matthew Henry, Complete Commentary.

The form and classifications

Adam Clarke, Commentary on the Bible, 1832, on Exodus 15:13; Charles Spurgeon, The Metropolitan Tabernacle Pulpit, Sermon 1867, 1885, on Exodus 15:1 and Jamieson, Fausset & Brown, Commentary Critical and Explanatory on the Whole Bible, 1871, on Exodus 15:21.

The exposition

Adam Clarke, Commentary on the Bible; Albert Barnes, Notes, Explanatory and Practical, on the Old and New Testaments; Ambrose of Milan, On the Mysteries 3.12; Charles Spurgeon, The Metropolitan Tabernacle Pulpit, Sermon No. 1867 on Exodus 15; Jamieson, Fausset and Brown, Commentary Critical and Explanatory on the Whole Bible; John Gill, Exposition of the Old Testament; Keil and Delitzsch, Biblical Commentary on the Old Testament: The Pentateuch and Matthew Henry, Commentary on the Whole Bible.