שמות, פרק ט״ו, פסוק א׳

The climax of the Exodus culminates in a spontaneous outpouring of gratitude. Having witnessed the miraculous splitting of the sea and arriving at a state of complete faith, the Israelites break into a song dedicated entirely to God. Unlike the victory anthems of other nations that glorify human kings or generals, Moses and the Israelites claim no credit for their triumph, directing all praise exclusively to God [קאסוטו, אברבנאל]. They did not sing the moment they left Egypt; rather, they waited until their deliverance was absolutely complete and their faith firmly established [העמק דבר, כלי יקר, אור החיים].

Although the event had already occurred, the narrative introduces the singing as an action about to happen. The primary approach among commentators views this forward-looking phrasing as a unique poetic device. By framing it this way, the narrator transports the audience to the exact moment the event unfolded, making it feel as though the singing is beginning right now [רמב״ן, אבן עזרא, שד״ל, רש״ר הירש]. Alternatively, this captures the thought process that preceded the physical act. The moment Moses witnessed the miracle, the joyous desire to sing welled up in his heart before he actually voiced it [רש״י, גור אריה, מזרחי]. Beyond the immediate context, this future orientation carries a profound promise, hinting at the resurrection of the dead and a new song that the Israelites are destined to sing in the times to come [רש״י, רבנו בחיי, תורה תמימה, כלי יקר].

Despite the immense size of the crowd, the act of singing is formulated as a singular action. This highlights a state of absolute unity, indicating that the Israelites sang together in perfect harmony, like a single individual with one heart, completely devoid of division [אור החיים, אלשיך]. Practically, Moses composed and led the anthem, while the people responded after him, likely repeating a set chorus [אבן עזרא, שד״ל, אברבנאל]. Interestingly, the song itself is framed in a feminine context. Just as a woman experiences the pains of childbirth, the Israelites would face further hardships in this world even after this joyous moment. This contrasts with the ultimate song of the future, which is traditionally conceptualized in the masculine, signifying a permanent end to suffering [כלי יקר, תולדות יצחק].

At the heart of the anthem is a powerful declaration of God's absolute superiority [רש״י, רמב״ן, רשב״ם]. The song repeats the theme of exaltation to draw a sharp contrast between human arrogance and divine greatness. The Egyptian horses were proud creatures, their riders felt superior atop them, and Pharaoh placed himself arrogantly above them all. God exalted Himself over all these boastful forces, delivering a punishment that perfectly mirrored their arrogance [רמב״ן, רבנו בחיי, תורה תמימה]. In some instances, God deliberately grants extra power and pride to the wicked purely so that their eventual downfall from such great heights will be all the more crushing [כלי יקר]. Furthermore, unlike human rulers who are often flattered with exaggerated virtues they do not possess, the repetition of God's greatness emphasizes that no matter how much praise we offer Him, His true majesty remains infinitely beyond our ability to express [רש״י].

The description of the Egyptian downfall focuses on the horse and its rider, a pairing that encapsulates the entire military hierarchy. God treated this massive army as a single entity, destroying it all at once [העמק דבר]. Miraculously, the horses and their riders were physically bound together during their destruction. The surging waters tossed them violently without separating them, ensuring they were judged and punished as one for their ruthless pursuit [רש״י, רבנו בחיי, דברי דוד]. The imagery of them being cast into the sea evokes the forceful motion of an arrow being shot from a bow [רש״י, רשב״ם, רלב״ג]. Although this description relies on ancient, rare terminology—a hallmark of biblical poetry used to infuse the text with majesty and beauty [שד״ל]—it vividly captures their chaotic movement in the water. The Egyptians were violently thrown high into the air before immediately plunging down into the darkest depths of the abyss [רש״י, רבנו בחיי].