It is curious that the philistines are not mentioned under that name on any of the early Egyptian monuments.
They may perhaps be the Purusaia of the time of Rameses ), and everything like abject fear of Israel had passed sway.
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The event made the expression used peculiarly appropriate.
, etc.), but never surpassed, the poet gives the final result of all God's providential and temporary arrangements, to wit, the eternal establishment of his most glorious kingdom.
The joint-singing by Moses and "the children of Israel" implies the previous training of a choir, and would seem to show that the Israelites remained for some days encamped at the point which they had occupied on quitting the bed of the sea. Literally, "My strength and song is Jah." The name Jah had not previously been used.
It is commonly regarded as an abbreviated form of Jehovah, and was the form generally used in the termination of names, as Abijah, Ahaziah, Hezekiah, Zedekiah, Mount Moriah, etc.
Then began the second strophe or stanza of the ode. No doubt, if these terms are meant to be taken literally, the miracle must have been one in which "the sea" (as Kalisch says) "giving up its nature, formed with its waves a firm wall, and instead of streaming like a fluid, congealed into a hard substance." But the question is, are we justified in taking literally the strong expressions of a highly wrought poetical description? This verse is important as giving the animus of the pursuit, showing what was in the thoughts of the soldiers who flocked to Pharaoh's standard at his call—a point which had not been previously touched.
It is, in the main, expansive and exegetical of the preceding stanza, going into greater detail, and drawing a contrast between the antecedent pride and arrogance of the Egyptians and their subsequent miserable fall. Kalisch rightly regards verses 6 and 7 as containing "a general description of God's omnipotence and justice," and notes that the poet only returns to the subject of the Egyptians in verse 8. It is remarkable as a departure from the general stately order of Hebrew poesy, and for what has been called its "abrupt, gasping" style.