And Miriam sang to them: “Sing to the LORD, for he has triumphed gloriously; the horse and his rider he has thrown into the sea.”
English Standard Version (ESV)
The text suggests Miriam wasn't just singing, but was answering the men's song, likely in a call-and-response or antiphonal style. This highlights how women were active participants and leaders in this moment of communal worship and celebration, not just passive listeners.
And Miriam sang to them: “Sing to the LORD, for he has triumphed gloriously; the horse and his rider he has thrown into the sea.”
English Standard Version (ESV)
Following Moses' powerful song of deliverance after the miraculous parting of the Red Sea, Miriam the prophetess leads the Israelite women in a responsive singing. This verse captures Miriam's part in this antiphonal praise, likely a repetition or a refrain echoing the men's song, celebrating God's glorious victory over Pharaoh's pursuing army. It highlights the communal and gender-inclusive nature of their worship as they collectively acknowledge God's mighty power.
Ever felt like singing your own praise, only to be called to join in a larger chorus? Miriam's song isn't just a solo; it's a vibrant response, a key part of a bigger, unfolding worship.
The song of Exodus 15 isn't sung by one person alone. While Moses and the men begin with powerful declarations of God's might (Exodus 15:1), Miriam and the women pick up the theme, echoing and expanding upon it.
The Call and Response
Notice the word "answered" in verse 21. This suggests a dialogue, a back-and-forth between the men and women, or perhaps between the leaders and the congregation. It highlights that worship isn't passive; it's active and communal. God's great acts of salvation are meant to be declared by His people, together.
A Unified Voice
Miriam leads the women in singing a portion of the song, possibly a refrain or a response to what the men sang. This shows that God's deliverance is for all His people, and all should participate in celebrating it. The "masculine" pronoun used when referring to who Miriam answered doesn't mean she only sang to men, but rather that the song was a unified, communal act, with different groups responding to each other.
What does it truly mean to triumph gloriously? Miriam's song points to a victory so complete, so decisive, that it demands nothing less than awe-filled praise.
The core of Miriam's song is the declaration: "for he has triumphed gloriously; the horse and his rider he has thrown into the sea." This isn't just about winning a battle; it's about God's absolute, undeniable victory over His enemies.
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God's Unrivaled Power
Pharaoh's mighty army, with its horses and chariots, represented insurmountable power to the fleeing Israelites. Yet, God, with a single act, utterly destroyed them. This highlights God's supreme authority and power over all earthly forces. No adversary, no matter how formidable, can stand against Him.
A Foundation for Faith
This glorious triumph serves as a powerful reminder and assurance for the people of Israel. It's a foundational event that underpins their trust in God as they journey toward the Promised Land. They can face future challenges knowing the God who "threw the horse and his rider into the sea" is with them.
Understand the original words
YHWH · Hebrew Proper Noun
The personal, covenantal name of God revealed to His people, signifying His self-existence, eternal nature, and faithfulness to His promises.
ga'ah ga'ah · Hebrew Verb
To be lifted up, exalted, or to achieve a complete and decisive victory, often used in Scripture to describe God’s sovereign triumph over His enemies.
This verse comes alive in the immediate aftermath of the Red Sea miracle. Miriam's song isn't just a reflection; it's a communal, celebratory response that solidifies the event in the people's memory and faith, marking a pivotal moment of national identity and divine intervention.
~1446 BC
The Exodus from Egypt
After centuries of slavery, the Israelites, led by Moses, are miraculously delivered from Egypt under God's mighty hand. This event is the foundational narrative of their identity as God's chosen people.
~1446 BC— this verse
Crossing the Red Sea
God parts the Red Sea, allowing the Israelites to escape the pursuing Egyptian army. As the Israelites cross on dry ground, Pharaoh's army follows, only to be engulfed by the returning waters.
~1446 BC
The Song of the Sea
Following the miraculous deliverance at the Red Sea, Moses and the Israelites sing a song of praise to God, celebrating His triumph and power. This is the context for Miriam's response.
~1446 BC
Miriam's Response and Song
Miriam, as a prophetess and leader of the women, leads them in a responsive song, echoing the victory and praising God for His glorious triumph over the Egyptians.
~1446 BC
Wilderness Journey Begins
Having escaped Egypt, the Israelites begin their journey through the wilderness towards the Promised Land, facing new challenges and relying on God's provision and guidance.
This passage describes women singing and dancing in a similar celebratory fashion after a victory, highlighting the communal and festive nature of praise.
Psalm 105:5This verse directly echoes Miriam's song by calling on people to remember and exalt the wonderful works of the Lord, connecting the Exodus event to ongoing remembrance and praise.
Revelation 15:3This New Testament passage describes a heavenly choir singing the 'song of Moses and the song of the Lamb,' directly linking the victory at the Red Sea to Christ's ultimate triumph over sin and death.
Judges 5:1This chapter contains Deborah's song of victory, which shares the triumphant and exultant spirit of Miriam's song, showcasing how Israel's women often led praise after God's deliverance.
cambridgeExodus 15:21: "And Miriam answered them, Sing ye to the LORD, for he hath triumphed gloriously; the horse and his rider hath he thrown into the sea."
21 . answered ] The word means (note the ל ), answered antiphonally in song , even if,—as some think, connecting it with the Arab. ghanâ ( Lex. 777a),—it does not mean simply sang (comp. Numbers 21:17 b; and esp. 1 Samuel 18:7 ; 1 Samuel 21:11 ; 1 Samuel 24:5 [where the same word is rendered, ‘sing one to another’]). them ] The pron. is masc., so…
calvinExodus 15:11-21: "Who is like unto thee, O LORD, among the gods? who is like thee, glorious in holiness, fearful in praises, doing wonders?"
Thou shalt bring them in, and plant them in the mountain of thine inheritance, in the place, O Lord, which thou hast made for thee to dwell in; in the Sanctuary, O Lord, which thy hands have established.
Introduces eos et plantabis eos in monte haereditatis tuae, in loco quem praeparasti, Jehova, ut sedeas. Sanctuarium, Domine, stabilierunt manus…
The text suggests Miriam wasn't just singing, but was answering the men's song, likely in a call-and-response or antiphonal style. This highlights how women were active participants and leaders in this moment of communal worship and celebration, not just passive listeners.
Following Moses' powerful song of deliverance after the miraculous parting of the Red Sea, Miriam the prophetess leads the Israelite women in a responsive singing. This verse captures Miriam's part in this antiphonal praise, likely a repetition or a refrain echoing the men's song, celebrating God's glorious victory over Pharaoh's pursuing army. It highlights the communal and gender-inclusive nature of their worship as they collectively acknowledge God's mighty power.
Following Moses' powerful song of deliverance after the miraculous parting of the Red Sea, Miriam the prophetess leads the Israelite women in a responsive singing. This verse captures Miriam's part in this antiphonal praise, likely a repetition or a refrain echoing the men's song, celebrating God's glorious victory over Pharaoh's pursuing army. It highlights the communal and gender-inclusive nature of their worship as they collectively acknowledge God's mighty power.
"And Miriam sang to them:
“Sing to the LORD, for he has triumphed gloriously;
the horse and his rider he has thrown into the sea.”" — The text suggests Miriam wasn't just singing, but was *answering* the men's song, likely in a call-and-response or antiphonal style. This highlights how women were active participants and leaders in…
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Last reviewed October 2026