Exodus 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.
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(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.

15:1-21 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.For the horse ... - This verse does not belong to the hymn, but marks the transition from it to the narrative. CHAPTER 15

Ex 15:1-27. Song of Moses.

1. Then sang Moses and the children of Israel—The scene of this thanksgiving song is supposed to have been at the landing place on the eastern shore of the Red Sea, at Ayoun Musa, "the fountains of Moses." They are situated somewhat farther northward along the shore than the opposite point from which the Israelites set out. But the line of the people would be extended during the passage, and one extremity of it would reach as far north as these fountains, which would supply them with water on landing. The time when it was sung is supposed to have been the morning after the passage. This song is, by some hundred years, the oldest poem in the world. There is a sublimity and beauty in the language that is unexampled. But its unrivalled superiority arises not solely from the splendor of the diction. Its poetical excellencies have often drawn forth the admiration of the best judges, while the character of the event commemorated, and its being prompted by divine inspiration, contribute to give it an interest and sublimity peculiar to itself.

I will sing unto the Lord, for he hath triumphed gloriously—Considering the state of servitude in which they had been born and bred, and the rude features of character which their subsequent history often displays, it cannot be supposed that the children of Israel generally were qualified to commit to memory or to appreciate the beauties of this inimitable song. But they might perfectly understand its pervading strain of sentiment; and, with the view of suitably improving the occasion, it was thought necessary that all, old and young, should join their united voices in the rehearsal of its words. As every individual had cause, so every individual gave utterance to his feelings of gratitude.

No text from Poole on this verse.

For the horse of Pharaoh went in with his chariots and with his horsemen into the sea,.... Meaning not that particular and single horse on which Pharaoh was carried, but all the horses of his that drew in his chariots, and all on which his cavalry was mounted; these all went into the Red sea, following the Israelites thither: these words are either the concluding part of the song, recapitulating and reducing into a compendium the subject matter of it; or are a reason why Moses and the children of Israel sung it; or else they are to be connected more strictly with the preceding verse, and give a reason why the Lord reigns over his people for ever; because he has destroyed their enemies, and delivered them out of their hands:

and the Lord brought again the waters of the sea upon them; after he had divided them, for the Israelites to pass through them, he caused them to close again, and to fall upon the Egyptians and cover and drown them:

but the children of Israel went on dry land in the midst of the sea; which was a very wonderful thing, and was a just and sufficient reason for singing the above song to the Lord, see Exodus 14:29.

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.
19. Probably an addition by the compiler who united together JE and P, emphasizing once again, in words adapted from Exodus 14:23; Exodus 14:28-29 (P), the great deliverance which the poem celebrated.

brought again] brought back. Cf. on Exodus 14:26.

and the children of Israel, &c.] verbatim as Exodus 14:29 a.

dry land] better, dry ground, to agree with Exodus 14:22; Exodus 14:29 a.

Verses 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 in a condensed form the three principal facts of the presage - already recorded in ch. 14. -

(a) Israel's safe transit across the sea-bed;

(b) the pursuit attempted by the Egyptian chariot-force; end

(c) 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 recitation of the ode, which has been noticed in the "introduction" to the chapter. Verse 19. - The horse of Pharaoh, with his chariots, and with his horsemen. Rather, "with his chariots, and with his chariot men." Compare Exodus 14:23. The Lord brought again the waters of the sea upon them. See Exodus 14:26, 27; and Exodus 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. Exodus 15:19In the words "Pharaoh's horse, with his chariots and horsemen," Pharaoh, riding upon his horse as the leader of the army, is placed at the head of the enemies destroyed by Jehovah. In Exodus 15:20, Miriam is called "the prophetess," not ob poeticam et musicam facultatem (Ros.), but because of her prophetic gift, which may serve to explain her subsequent opposition to Moses (Numbers 11:1, Numbers 11:6); and "the sister of Aaron," though she was Moses' sister as well, and had been his deliverer in his infancy, not "because Aaron had his own independent spiritual standing by the side of Moses" (Baumg.), but to point out the position which she was afterwards to occupy in the congregation of Israel, namely, as ranking, not with Moses, but with Aaron, and like him subordinate to Moses, who had been placed at the head of Israel as the mediator of the Old Covenant, and as such was Aaron's god (Exodus 4:16, Kurtz). As prophetess and sister of Aaron she led the chorus of women, who replied to the male chorus with timbrels and dancing, and by taking up the first strophe of the song, and in this way took part in the festival; a custom that was kept up in after times in the celebration of victories (Judges 11:34; 1 Samuel 18:6-7; 1 Samuel 21:12; 1 Samuel 29:5), possibly in imitation of an Egyptian model (see my Archologie, 137, note 8).
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