Exodus 15:1

The Song of Triumph

15:1 ¹ Then Moses and the Israelites sang ²  this song to the Lord. They said, ³ 

“I will sing ⁴  to the Lord, for he has triumphed gloriously, ⁵ 

the horse and its rider ⁶  he has thrown into the sea.

Exodus 15:21

15:21 Miriam sang in response ⁷  to them, “Sing to the Lord, for he has triumphed gloriously; the horse and its rider he has thrown into the sea.” ⁸ 

Jude 1:1-2

Salutation

1:1 From Jude, ⁹  a slave ¹⁰  of Jesus Christ and brother of James, ¹¹  to those who are called, wrapped in the love of ¹²  God the Father and kept for ¹³  Jesus Christ. 1:2 May mercy, peace, and love be lavished on you! ¹⁴ 

Psalms 51:15

51:15 O Lord, give me the words! ¹⁵ 

Then my mouth will praise you. ¹⁶ 

Psalms 71:8

71:8 I praise you constantly

and speak of your splendor all day long. ¹⁷ 

Revelation 18:20

18:20 (Rejoice over her, O heaven,

and you saints and apostles and prophets,

for God has pronounced judgment ¹⁸  against her on your behalf!) ¹⁹ 

[15:1]  ¹ sn This chapter is a song of praise sung by Moses and the people right after the deliverance from the Sea. The song itself is vv. 1b-18; it falls into three sections – praise to God (1b-3), the cause for the praise (4-13), and the conclusion (14-18). The point of the first section is that God’s saving acts inspire praise from his people; the second is that God’s powerful acts deliver his people from the forces of evil; and the third section is that God’s demonstrations of his sovereignty inspire confidence in him by his people. So the Victory Song is very much like the other declarative praise psalms – the resolve to praise, the power of God, the victory over the enemies, the incomparability of God in his redemption, and the fear of the people. See also C. Cohen, “Studies in Early Israelite Poetry I: An Unrecognized Case of Three Line Staircase Parallelism in the Song of the Sea,” JANESCU 7 (1975): 13-17; D. N. Freedman, “Strophe and Meter in Exodus 15,” A Light unto My Path, 163-203; E. Levine, “Neofiti I: A Study of Exodus 15,” Bib 54 (1973): 301-30; T. C. Butler, “‘The Song of the Sea’: Exodus 15:1-18: A Study in the Exegesis of Hebrew Poetry,” DissAb 32 (1971): 2782-A.

[15:1]  ² tn The verb is יָשִׁיר (yashir), a normal imperfect tense form. But after the adverb “then” this form is to be treated as a preterite (see GKC 314-15 §107.c).

[15:1]  ³ tn Heb “and they said, saying.” This has been simplified in the translation for stylistic reasons.

[15:1]  ⁴ tn The form is the singular cohortative, expressing the resolution of Moses to sing the song of praise (“I will” being stronger than “I shall”).

[15:1]  ⁵ tn This causal clause gives the reason for and summary of the praise. The Hebrew expression has כִּי־גָּאֹה גָּאָה (ki ga’oh ga’ah). The basic idea of the verb is “rise up loftily” or “proudly.” But derivatives of the root carry the nuance of majesty or pride (S. R. Driver, Exodus, 132). So the idea of the perfect tense with its infinitive absolute may mean “he is highly exalted” or “he has done majestically” or “he is gloriously glorious.”

[15:1]  ⁶ sn The common understanding is that Egypt did not have people riding horses at this time, and so the phrase the horse and its rider is either viewed as an anachronism or is interpreted to mean charioteers. The word “to ride” can mean on a horse or in a chariot. Some have suggested changing “rider” to “chariot” (re-vocalization) to read “the horse and its chariot.”

[15:21]  ⁷ 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.

[15:21]  ⁸ 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.

[1:1]  ⁹ tn Grk “Judas,” traditionally “Jude” in English versions to distinguish him from the one who betrayed Jesus. The word “From” is not in the Greek text, but has been supplied to indicate the sender of the letter.

[1:1]  ¹⁰ tn Though δοῦλος (doulos) is normally translated “servant,” the word does not bear the connotation of a free individual serving another. BDAG notes that “‘servant’ for ‘slave’ is largely confined to Biblical transl. and early American times…in normal usage at the present time the two words are carefully distinguished” (BDAG 260 s.v.). At the same time, perhaps “servant” is apt in that the δοῦλος of Jesus Christ took on that role voluntarily, unlike a slave. The most accurate translation is “bondservant” (sometimes found in the ASV for δοῦλος), in that it often indicates one who sells himself into slavery to another. But as this is archaic, few today understand its force.

[1:1]  ¹¹ sn Although Jude was half-brother of Jesus, he humbly associates himself with James, his full brother. By first calling himself a slave of Jesus Christ, it is evident that he wants no one to place stock in his physical connections. At the same time, he must identify himself further: Since Jude was a common name in the 1st century (two of Jesus’ disciples were so named, including his betrayer), more information was needed, that is to say, brother of James.

[1:1]  ¹² tn Grk “loved in.” The perfect passive participle suggests that the audience’s relationship to God is not recent; the preposition ἐν (en) before πατρί (patri) could be taken as sphere or instrument (agency is unlikely, however). Another possible translation would be “dear to God.”

[1:1]  ¹³ tn Or “by.” Datives of agency are quite rare in the NT (and other ancient Greek), almost always found with a perfect verb. Although this text qualifies, in light of the well-worn idiom of τηρέω (threw) in eschatological contexts, in which God or Christ keeps the believer safe until the parousia (cf. 1 Thess 5:23; 1 Pet 1:4; Rev 3:10; other terms meaning “to guard,” “to keep” are also found in similar eschatological contexts [cf. 2 Thess 3:3; 2 Tim 1:12; 1 Pet 1:5; Jude 24]), it is probably better to understand this verse as having such an eschatological tinge. It is at the same time possible that Jude’s language was intentionally ambiguous, implying both ideas (“kept by Jesus Christ [so that they might be] kept for Jesus Christ”). Elsewhere he displays a certain fondness for wordplays; this may be a hint of things to come.

[1:2]  ¹⁴ tn Grk “may mercy and peace and love be multiplied to you.”

[51:15]  ¹⁵ tn Heb “open my lips.” The imperfect verbal form is used here to express the psalmist’s wish or request.

[51:15]  ¹⁶ tn Heb “and my mouth will declare your praise.”

[71:8]  ¹⁷ tn Heb “my mouth is filled [with] your praise, all the day [with] your splendor.”

[18:20]  ¹⁸ tn On the phrase “pronounced judgment” BDAG 567 s.v. κρίμα 4.b states, “The OT is the source of the expr. κρίνειν τὸ κρ. (cp. Zech 7:9; 8:16; Ezk 44:24) ἔκρινεν ὁ θεὸς τὸ κρίμα ὑμῶν ἐξ αὐτῆς God has pronounced judgment for you against her or God has pronounced on her the judgment she wished to impose on you (HHoltzmann, Hdb. 1893 ad loc.) Rv 18:20.”

[18:20]  ¹⁹ tn Grk “God has judged a judgment of you of her.” Verse 20 is set in parentheses because in it the saints, etc. are addressed directly in the second person.