Discovery BoxExodus 15:4-5 
Context15:4 The chariots of Pharaoh 1 and his army he has thrown into the sea,
and his chosen 2 officers were drowned 3 in the Red Sea.
15:5 The depths have covered them, 4
they went down to the bottom 5 like a stone.
Exodus 15:10
Context15:10 But 6 you blew with your breath, and 7 the sea covered them.
They sank 8 like lead in the mighty waters.
Exodus 15:19
Context15:19 For the horses of Pharaoh came with his chariots and his footmen into the sea,
and the Lord brought back the waters of the sea on them,
but the Israelites walked on dry land in the middle of the sea.”
Exodus 15:21
Context15:21 Miriam sang in response 9 to them, “Sing to the Lord, for he has triumphed gloriously; the horse and its rider he has thrown into the sea.” 10
1 tn Gesenius notes that the sign of the accusative, often omitted in poetry, is not found in this entire song (GKC 363 §117.b).
2 tn The word is a substantive, “choice, selection”; it is here used in the construct state to convey an attribute before a partitive genitive – “the choice of his officers” means his “choice officers” (see GKC 417 §128.r).
3 tn The form is a Qal passive rather than a Pual, for there is not Piel form or meaning.
4 tn The verb form is יְכַסְיֻמוּ (yÿkhasyumu) is the Piel preterite. Normally a vav (ו) consecutive is used with the preterite, but in some ancient poems the form without the vav appears, as is the case frequently in this poem. That such an archaic form is used should come as no surprise, because the word also uses the yod (י) of the root (GKC 214 §75.dd), and the archaic suffix form (GKC 258 §91.l). These all indicate the antiquity of the poem.
5 tn The parasynonyms here are תְּהֹמֹת (tÿhomot, “deep, ocean depths, deep waters”) and מְצוֹלֹת (mÿtsolot, “the depths”); S. R. Driver says properly the “gurgling places” (Exodus, 134).
6 tn “But” has been supplied here.
7 tn Here “and” has been supplied.
8 tn The verb may have the idea of sinking with a gurgling sound, like water going into a whirlpool (R. A. Cole, Exodus [TOTC], 124; S. R. Driver, Exodus, 136). See F. M. Cross and D. N. Freedman, “The Song of Miriam,” JNES 14 (1955): 243-47.
9 tn The verb עָנָה (’ana) normally means “to answer,” but it can be used more technically to describe antiphonal singing in Hebrew and in Ugaritic.
10 sn This song of the sea is, then, a great song of praise for Yahweh’s deliverance of Israel at the Sea, and his preparation to lead them to the promised land, much to the (anticipated) dread of the nations. The principle here, and elsewhere in Scripture, is that the people of God naturally respond to God in praise for his great acts of deliverance. Few will match the powerful acts that were exhibited in Egypt, but these nonetheless set the tone. The song is certainly typological of the song of the saints in heaven who praise God for delivering them from the bondage of this world by judging the world. The focus of the praise, though, still is on the person (attributes) and works of God.
