Exodus 15:21
And Miriam sang back to them: "Sing to the LORD, for He is highly exalted; the horse and rider He has thrown into the sea."
Sermons
Present GratitudeG.A. Goodhart Exodus 15:1-21
Song of Moses and the LambH.T. Robjohns Exodus 15:1-21
The Song of Moses and of the LambJ. Orr Exodus 15:1-20, 21
The Results of Deliverance to God's PeopleJ. Urquhart Exodus 15:3-21
Cheering Effect of MusicExodus 15:19-21
Serving God with a Cheerful SpiritExodus 15:19-21
Song, Timbrel, and DanceE. C. Wines, D. D., S. C. Bartlett, D. D.Exodus 15:19-21
Woman's Part in the Song of TriumphD. Young Exodus 15:20, 21
In the history of Israel, we are called on to observe woman coming forward, not continuously, but every now and then, to show how real is her share in the lot of Israel She has had that share in suffering, being consumed with anxiety as to the fate of her offspring. (Ch. 1.) She has had it in ministration, - Jochebed, Miriam and Pharaoh's daughter, being combined in the work - un-conscious ministration towards the fitting of Moses for his great work. Whatever may be said of women speaking in the Church, we here behold them joining, in the most demonstrative way, in the public praises of Jehovah. The blessing by the lied Sea was one which went down to that common humanity which underlies the great distinction of sex. But it was also a very special blessing to women. Trials, such as had come to Jochebed when Moses was born, were to cease. Woman would have her own trials in the time to come - the pangs of childbirth, the cares of offspring, and all a mother's peculiar solicitudes; but it was a great deal to have the special curse of bondage in Egypt removed. Then there would be deep thankfulness for the escape of the first-born; a feeling, too, of self-congratulation that they had been obedient in slaying the lamb and sprinkling the blood, and had thus escaped the blow which had fallen heavily on so many homes in Egypt. All these considerations would lead up to and prepare for the final outburst of praise and triumph. And so, if women consider still, they will be both astonished and profoundly grateful because of all that God in Christ Jesus has done for them. They have gained not only according to their simple share in humanity, but according to their peculiar relation towards man. If it be true, that Eve fell first, dreadfully have all her daughters suffered since. As belonging to this fallen world, woman is now in a double subjection. In her creation she was to be subordinate to man, and if she had stood, and he had stood, then what glory and blessedness would have come to both! But when man became the slave of sin, she became doubly slave, as being now linked to one who had himself the servile spirit. What had been subordination in Eden became servitude outside of it. He who is himself the abject slave of passion and selfishness makes woman his slave, so that in addition to all that comes through her own sin as a human being there is the misery that comes through her having got into a wrong relation to man. Hence the peculiar hideousness of a bad woman, a Jezebel or a Herodias. Hence, too, through the work of redemption we get the peculiar beauty of the good woman. Whence should we have got those types of saintly women which beam from the pages of Scripture and Christian biography, save for that great work one stage of which is celebrated in this song? - Y.







With timbrels and with dances.
The monuments reproduce this scene in all its parts. Separate choirs of men and women are represented on them, singing in alternate responses; the timbrel, or tambourine, is represented as the instrument of the women, as the flute is that of the men; and the playing of the tambourine, unaccompanied, as here, by other instruments, is represented in connection with singing and the dance. Further, it appears from the monuments that music had eminently a religious destination in Egypt, that the timbrel was specially devoted to sacred uses, and that religious dances were performed in the worship of Osiris.

(E. C. Wines, D. D.)In the tombs at Thebes timbrels, like Miriam's, round and square, are seen in the bands of the women; while pipes, trumpets, sistrums, drums, and guitars are there in great abundance and variety; and harps, not much unlike the modern instrument, with varying numbers of strings up to twenty-two.

(S. C. Bartlett, D. D.)

Whilst the Federal army lay before the city of Rich. mend, the regimental bands were silent. When they began to retreat to Malvern, the troops marched through the acres of ripe grain, cutting off the tops and gathering them into their haversacks, being out of rations, as well as lame and stiff from marching. Orders were here given for the bands to strike up playing, and the effect on the dispirited men was almost magical as the patriotic airs were played. They seemed to catch new hope and enthusiasm, and a cheer went up from each regiment.

When the poet Carpani inquired of his friend Haydn how it happened that his church music was always so cheerful, the great composer made a most beautiful reply. "I cannot," said he, "make it otherwise; I write according to the thoughts I feel. When I think upon God, my heart is so full of joy that the notes dance and leap, as it were, from my pen; and since God has given me a cheerful heart, it will be pardoned me that I serve Him with a cheerful spirit."

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