Literary Devices – Shemot 15/0

Literary Devices – Shemot 15

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Structure

Prof. Cassuto suggests that the song of the sea can be divided into three strophes, each ending with a celebration of Hashem's supremacy, formulated with a poetic doubling.¹ The division is further marked by the fact that the  penultimate verse² of each stanza contains a comparison of the drowning Egyptians to either stone or lead. The poem would be divided as follows:³

• Verses 1-6: Introduction
• Verses 7-11: Details of the Miracle
• Verses 12-end:  Wish for Future Salvation⁴

Wordplay and Alliteration There are several examples of wordplay in the song:

Examples

• גאה – The word “גאה” in verse 1 has the double meaning of “has triumphed” and “has surged”.⁵  This forms a play on words, as Hashem triumphs by engulfing His enemies in surging waters.⁶ 
• רמה – Amos Hakham⁷ suggests that it is possible that the word “רמה” (hurled) is used here due to its associations with the root “רום” (to raise / be exalted), often paired with the word “גאה”.‎⁸  Here, “רמה” ironically has the opposite meaning of רם and גאה.
• Rising and falling – The Song at the Sea contains language that describes heights and depths, illustrating the reversal of the Egyptians’ fortunes and the sovereignty of Hashem. Hashem is described as exalted (verses 1, 2, 7) and the water is described as piled up and as standing like a wall (verse 8), whereas the Egyptians are described as plunging to the depths of the sea (verses 1, 4, 5, 10). Even words that refer to the doomed enemy sometimes have an ironic association with rising up, like רמה (hurled) in verse 1 which sounds like "רום" (to raise or exalt)  and קמיך  (enemies) in verse 7, which relates to the root "קום" (to get up).
• Alliteration of "א" – Almost every word of the first half of verse 9 begins with the letter "א", meaning:"I will", (אָמַר אוֹיֵב אֶרְדֹּף אַשִּׂיג אֲחַלֵּק שָׁלָל ). The alliteration reflects the content of the verse, highlighting Paroh's arrogance and self confidence in his victory.

Articles The following articles contain general discussion of wordplay in Tanakh:

• See Wordplay in Biblical Hebrew: An Eclectic Collection, by Gary A. Rendsburg, for exploration of various forms of Biblical wordplays.
• See Wordplay in Ancient Near Eastern Texts, by Scott B. Noegel, for a book-length treatment of the range of permutations of wordplays in Tanakh and in other Ancient Near Eastern texts.

Character Titles

¹ See verses 6, 11, and 16. In each case the verse opens, diverges to mention the subject or to elaborate upon it, and then doubles the opening before finishing the thought, as in verse 6: "יְמִינְךָ י"י נֶאְדָּרִי בַּכֹּחַ יְמִינְךָ י"י תִּרְעַץ אוֹיֵב".  This specific type of poetic doubling is noted by Rashbam as being a common phenomenon; see his (and Rashi's) comments on verse 6 for other examples. Cf. R. D"Z Hoffmann who suggests that the Song of the Sea is responsive; Moshe sings each stanza and the nation replies with these poetic doublings.

² In the third strophe, the imagery is found slightly earlier in the stanza.

³ One might alternatively divide the song into two halves, verses 1-12 which speak of the current miraculous salvation and verses 13-end which speak of future redemption.

⁴ One weakness of this division is that verse 12 appears to still be speaking of the miracle at the sea, and one would have expected it to be part of the second stanza. See Robert Alter, The Hebrew Bible: A Translation with Commentary (New York, 2019), who suggests that this verse acts as a segue, mentioning the "earth" (rather than sea) as swallowing the Egyptians to draw the reader into the theme of this last stanza, that of the promised land.

⁵ See, for example, its usage in  Yechezkel 47:5 and Tehillim 89:10 to refer to surging waters.

⁶ See Robert Alter, The Hebrew Bible: A Translation with Commentary (New York, 2019).

⁷ See Da'at Mikra (Jerusalem, 1991): 264.

⁸ See, for example Yeshayahu 2:12.