שמות, פרק ט״ו, פסוק כ׳

Following the men's song at the splitting of the sea, the women step forward to honor God through a unique blend of song, music, and movement. Led by Miriam, this moment highlights the extraordinary spiritual standing of the Israelite women. It was their enduring faith that paved the way for the redemption from Egypt, and at the sea, they too were rewarded with a direct revelation of the Divine Presence.

Miriam is identified as a prophetess, a title understood in several ways. The primary approach among commentators is that she was genuinely gifted with the Holy Spirit, having foretold the birth of Israel's savior long before Moses was even born [רש"י, מלבי"ם, אלשיך]. Others suggest that the biblical term for a prophet can also describe a master of song, music, and divine praise [רשב"ם, שד"ל, חזקוני]. Alternatively, some believe her prophecy ignited at that very moment by the sea, as all the women achieved a profound spiritual elevation and a prophetic vision of God [כלי יקר, ביאור יש"ר].

She is distinctly introduced as the sister of Aaron, rather than Moses. The most common explanation is that this simply reflects the biblical convention of identifying family members by the eldest brother [רשב"ם, שד"ל, קאסוטו]. However, this phrasing also serves to honor Aaron, who was absent from the earlier song of the men [רמב"ן, רבנו בחיי, צאינה וראינה]. On a spiritual level, linking her to Aaron indicates that her prophetic abilities mirrored his, while remaining distinct from the unmatched level of Moses [העמק דבר, ביאור יש"ר, קונטרס חיבה יתירה]. It also points back to the specific era when her prophetic journey began, a time when she was solely Aaron's sister, prior to the birth of Moses [רש"י, תורה תמימה].

Miriam takes up a tambourine, a simple percussion instrument made of stretched skin over a wooden or metal hoop [שד"ל, ביאור שטיינזלץ]. The very presence of these instruments reveals an astonishing level of faith. The righteous women were so entirely confident that God would perform miracles for them that they prepared musical instruments well in advance, carrying them out of the Egyptian bondage [רש"י, מלבי"ם]. Playing these instruments served to awaken deep joy, a necessary condition for prophecy and the Holy Spirit to rest upon a person [כלי יקר, אלשיך]. From a practical perspective of modesty, the loud, rhythmic beating also helped mask the voices of the women, ensuring their singing would not be heard by the men [צאינה וראינה, פרדס יוסף].

Led by a deeply respected figure, the women gather to sing in their own separate group, reflecting an ancient tradition of celebrating triumphs through communal women's song [שד"ל]. Their joy actually surpassed that of the men. Having suffered the bitterness of slavery more intensely, their response to freedom was far more explosive, bursting forth in song, music, and movement [חומש קה"ת]. They celebrated with what are traditionally understood as circle dances, typical of victory festivities [רש"ר הירש]. Some scholars, however, suggest that these were not dances at all, but rather additional round, ringing metal instruments [שד"ל, קאסוטו, ביאור שטיינזלץ]. Beyond the physical celebration, there is a profound spiritual lesson hidden in the Hebrew term for these dances, which shares a root with the word for forgiveness. This conveys that whenever a person experiences a miracle and responds with a song of praise to God, they are granted complete forgiveness for all their past wrongs [כלי יקר, שפתי כהן].