Exodus 15:20 Komentář

In this chapter, I. Israel looks back upon Egypt with a song of praise for their deliverance. Here is, I. The song itself (v. 1-19). 2. The solemn singing of it (Exo 15:20, Exo 15:21). II. Israel marches forward in the wilderness (Exo 15:22), and there, 1. Their discontent at the waters of Marah (Exo 15:23, Exo 15:24), and the relief granted them (Exo 15:25, Exo 15:26). 2. Their satisfaction in the waters of Elim (Exo 15:27).

INTRODUCTION TO EXODUS 15 This chapter contains the song of Moses, and of the children of Israel, on the banks of the Red sea; in which they celebrate their passage through it, the destruction of Pharaoh and his host in it, and the glory of the divine perfections displayed therein, interspersed with prophetic hints of things future, Exo 15:1 which same song was sung by the women, with Miriam at the head of them, attended with timbrels and dances, Exo 15:20, an account is given of the march of the children of Israel from the Red sea to the wilderness of Shur, and of the bitter waters found at Marah, which occasioned a murmuring, and of their being made sweet by casting a tree into them, Exo 15:22 when they were told by the Lord, that if they would yield obedience to his commandments, they should be free from the diseases the Egyptians had been afflicted with, Exo 15:26, and the chapter is concluded with their coming to Elim, where they found twelve wells of water, and seventy palm trees, and there encamped, Exo 15:27.

And Miriam answered them,.... The men, for the word is masculine; that is, repeated, and sung the same song word for word after them, as they had done, of which a specimen is given by reciting the first clause of the song: sing ye to the Lord; which is by way of exhortation to the women to sing with her, as Moses begins the song thus: "I will sing unto the Lord": for he hath triumphed gloriously; the horse and his rider hath he thrown into the sea; See Gill on Exo 15:1, the manner of their singing, according to the Jews (z), was, Moses first said, "I will sing", and they said it after him. (z) T. Hieros. Sotah, fol. 20. 3. T. Bab. Sotah, fol. 30. 2.

“The prophetess Miriam took.…” How did she become a prophetess? Either, like Isaiah’s wife, she had the honorary title of prophecy, although she was not a prophetess, or because she was just a woman.

This reminds us that the prophetess, Miriam, immediately after the crossing of the sea, took a dry, tuneful “tambourine in her hand” and led a chorus of women. Perhaps by the tambourine Scripture means to suggest the virginity of the first Mary, who was, I think, the prototype of Mary the mother of God. For as the tambourine produces a loud sound, having no moisture in it and being quite dry, so also virginity is clear and noised abroad and has nothing in itself of the life-preserving moisture of this life.

And Miriam taking the timbrel led the dances with maidenly modesty. But consider whom she was then prefiguring. Was she not a type of the church, who as a virgin with unstained spirit joins together the religious gatherings of the people to sing divine songs?

This is what Moses sang and the sons of Israel with him, what Miriam the prophetess sang and the daughters of Israel with her. It is what we too now should sing, whether it means men and women or means our spirit and our flesh. “Those who belong to Christ Jesus,” you see, as the apostle says, “have crucified their flesh with its passions and desires.” This can be suitably understood in the drum which Miriam took to accompany this song: flesh, you see, is stretched over wood to make a drum. So they learn from the cross how to accompany in confession the sweet strains of grace.

This name is related to prophecy and salutary to those reborn. It is the badge of virginity, the glory of purity, the indication of chastity, the sacrificial gift of God, the height of hospitality, the sum total of sanctity. Rightly therefore is this motherly name that of the mother of Christ.

Moses and the Israelites sing a song of praise to God for their late deliverance, in which they celebrate the power of God, gloriously manifested in the destruction of Pharaoh and his host, Exo 15:1; express their confidence in him as their strength and protector, Exo 15:2, Exo 15:3; detail the chief circumstances in the overthrow of the Egyptians, Exo 15:4-8; and relate the purposes they had formed for the destruction of God's people, Exo 15:9, and how he destroyed them in the imaginations of their hearts, Exo 15:10. Jehovah is celebrated for the perfections of his nature and his wondrous works, Exo 15:11-13. A prediction of the effect which the account of the destruction of the Egyptians should have on the Edomites, Moabites, and Canaanites, Exo 15:14-16. A prediction of the establishment of Israel in the promised land, Exo 15:17. The full chorus of praise, Exo 15:18. Recapitulation of the destruction of the Egyptians, and the deliverance of Israel, Exo 15:19. Miriam and the women join in and prolong the chorus, Exo 15:20, Exo 15:21. The people travel three days in the wilderness of Shur, and find no water, Exo 15:22. Coming to Marah, and finding bitter waters, they murmur against Moses, Exo 15:23, Exo 15:24. In answer to the prayer of Moses, God shows him a tree by which the waters are sweetened, Exo 15:25. God gives them statutes and gracious promises, Exo 15:26. They come to Elim, where they find twelve wells of water and seventy palm trees, and there they encamp, Exo 15:27.

And Miriam the prophetess - We have already seen that Miriam was older than either Moses or Aaron: for when Moses was exposed on the Nile, she was a young girl capable of managing the stratagem used for the preservation of his life; and then Aaron was only three years and three months old, for he was fourscore and three years old when Moses was but fourscore, (see Exo 7:7); so that Aaron was older than Moses, and Miriam considerably older than either, not less probably than nine or ten years of age. See Clarke's notes on Exo 2:2. There is great diversity of opinion on the origin of the name of Miriam, which is the same with the Greek Μαριαμ, the Latin Maria, and the English Mary. Some suppose it to be compounded of מר mar, a drop, (Isa 40:15), and ים yam, the sea, and that from this etymology the heathens formed their Venus, whom they feign to have sprung from the sea. St. Jerome gives several etymologies for the name, which at once show how difficult it is to ascertain it: she who enlightens me, or she who enlightens them, or the star of the sea. Others, the lady of the sea, the bitterness of the sea, etc. It is probable that the first or the last is the true one, but it is a matter of little importance, as we have not the circumstance marked, as in the case of Moses and many others, that gave rise to the name. The prophetess - הנביאה hannebiah. For the meaning of the word prophet, נביא nabi, see the note on Gen 20:7. It is very likely that Miriam was inspired by the Spirit of God to instruct the Hebrew women, as Moses and Aaron were to instruct the men; and when she and her brother Aaron sought to share in the government of the people with Moses, we find her laying claim to the prophetic influence, Num 12:2 : Hath the Lord indeed spoken only by Moses? Hath he not Spoken Also By Us? And that she was constituted joint leader of the people with her two brothers, we have the express word of God by the Prophet Micah, Mic 6:4 : For I brought thee up out of the land of Egypt - and I sent before thee Moses, Aaron, and Miriam. Hence it is very likely that she was the instructress of the women, and regulated the times, places, etc., of their devotional acts; for it appears that from the beginning to the present day the Jewish women all worshipped apart. A timbrel - תף toph, the same word which is translated tabret, Gen 31:27, on which the reader is desired to consult the note. See Clarke's note on Gen 31:27. And with dances - מחלת mecholoth. Many learned men suppose that this word means some instruments of wind music, because the word comes from the root חלל chalal, the ideal meaning of which is to perforate, penetrate, pierce, stab, and hence to wound. Pipes or hollow tubes, such as flutes, hautboys, and the like, may be intended. Both the Arabic and Persian understand it as meaning instruments of music of the pipe, drum, or sistrum kind; and this seems to comport better with the scope and design of the place than the term dances. It must however be allowed that religious dances have been in use from the remotest times; and yet in most of the places where the term occurs in our translation, an instrument of music bids as fair to be its meaning as a dance of any kind. Miriam is the first prophetess on record, and by this we find that God not only poured out his Spirit upon men, but upon women also; and we learn also that Miriam was not only a prophetess, but a poetess also, and must have had considerable skill in music to have been able to conduct her part of these solemnities. It may appear strange that during so long an oppression in Egypt, the Israelites were able to cultivate the fine arts; but that they did so there is the utmost evidence from the Pentateuch. Not only architecture, weaving, and such necessary arts, were well known among them, but also the arts that are called ornamental, such as those of the goldsmith, lapidary, embroiderer, furrier, etc., of which we have ample proof in the construction of the tabernacle and its utensils. However ungrateful, rebellious, etc., the Jews may have been, the praise of industry and economy can never be denied them. In former ages, and in all places even of their dispersions, they appear to have been frugal and industrious, and capable of great proficiency in the most elegant and curious arts; but they are now greatly degenerated.

SONG OF MOSES. (Exo. 15:1-27) 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.

Miriam the prophetess--so called from her receiving divine revelations (Num 12:1; Mic 6:4), but in this instance principally from her being eminently skilled in music, and in this sense the word "prophecy" is sometimes used in Scripture (Ch1 25:1; Co1 11:5). took a timbrel--or "tabret"--a musical instrument in the form of a hoop, edged round with rings or pieces of brass to make a jingling noise and covered over with tightened parchment like a drum. It was beat with the fingers, and corresponds to our tambourine. all the women went out after her with timbrels and with dances--We shall understand this by attending to the modern customs of the East, where the dance--a slow, grave, and solemn gesture, generally accompanied with singing and the sound of the timbrel, is still led by the principal female of the company, the rest imitating her movements and repeating the words of the song as they drop from her lips.