Mark Leuchter, «Eisodus as Exodus: The Song of the Sea (Exod 15) Reconsidered.», Vol. 92 (2011) 321-346
This study continues a line of inquiry from the author’s previous essay regarding the 12th century BCE battle traditions embedded in the Song of Deborah (Judg 5) as the basis for a nascent Exodus ideology surfacing in the Song of the Sea (Exod 15). Exod 15 is identified as developing an agrarian ideal into a basis for national identity: Israel’s successful struggles against competing Canaanite military forces echoing earlier Egyptian imperial hegemony is liturgized into a myth where YHWH defeats the Egyptian foe and then settles his own sacred agrarian estate.
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334 MARK LEUCHTER
the colors of cosmic metaphor already in Judg 5, where features of the
ancient Canaanite combat myth were infused into the poem’s picture
of society and warfare 52. However, it is only with Exod 15 that these
concepts are lifted from historical contexts and expressed in purely
mythic terms, where specific individuals and events are eschewed
and replaced with an atemporal scheme and a lack of specific geo-lo-
cales 53. This contrasts significantly with Judg 5, which makes very
clear the geographic and socio-economic specifics of Israel’s tribes
and clans on the one hand and the centrality of named individuals
(Yael, Sisera, Shamgar, Deborah, Barak). Exod 15 avoids this by
speaking in the abstract about YHWH’s cosmic might and its interna-
tional scope, a common and indeed essential feature of Israel’s cultic
recitations 54. Nevertheless, by evaluating its tropes we may see how
the ideology and experiences behind Judg 5 were made mythic. From
the outset of the poem, the author speaks in the language of symbol-
ism and archetype:
I will sing of YHWH, for he is highly exalted;
Horse and his rider (wbkrw sws) he has thrown into the sea (My) (Exod
15,1)
In the language of the poem, it is YHWH exclusively who dom-
inates over the enemy. The image of the enemy is none other than
that of a chariot rider recalling Egyptian domination, and a later
line in the poem confirms that this is the intended image:
Pharaoh’s chariots (h(rp tbkrm) and his armies he cast into the sea
(My) (Exod 15,4)
Egypt, 148, that Exod 15 is a southern/Judahite composition. The southern
and south-eastern regions he notes therein were familiar territories for cara-
van clans of Kenite-Midianite origin, whose influence is felt early on within
the central highlands. See especially L.E. STAGER, “Forging an Identity: The
Emergence of Ancient Israelâ€, The Oxford History of Biblical Israel, 107-
108; J.D. SCHLOEN, “Caravans, Kenites and Casus Belli: Enmity and Alliance
in the Song of Deborahâ€, CBQ 55 (1993) 30-38.
52
LEUCHTER, “Canaanite Chariotsâ€, 267-268.
53
Nations are named, of course, in Exod 15,14-15, though these nations
are mentioned in the abstract, and no particulars regarding topography, city
names, population centers or territories are offered.
54
CROSS, CMHE, 140-144.