Catholic Commentary
Introduction to the Song of the Sea
1Then Moses and the children of Israel sang this song to Yahweh, and said, “I will sing to Yahweh, for he has triumphed gloriously. He has thrown the horse and his rider into the sea.
Exodus 15:1 introduces Moses and the Israelites singing a hymn of praise to Yahweh immediately after their miraculous crossing of the Red Sea, marking the first formal communal act of worship in Scripture. This verse initiates the biblical tradition of sacred song and establishes liturgical prayer as the proper response to God's salvific deeds in history.
Salvation is not complete until the rescued break into song—the first act of God's free people is to sing together.
The Typological Sense
From the earliest centuries, the Church read the crossing of the Red Sea as a type of Baptism (1 Cor 10:1–2), and correspondingly the Song of the Sea as the song of the baptized. Just as Israel passed through the waters from slavery to freedom, so the Christian passes through the waters of Baptism from sin to new life. The Song of the Sea is therefore the prototypical baptismal canticle — the first song of the redeemed. This typology is not imposed from without; it is structurally embedded in the New Testament's use of the Exodus narrative.
Catholic tradition has accorded Exodus 15:1 and the Song of the Sea a singular liturgical and theological dignity. The Canticle of Moses is one of the great canticles of the Divine Office and is sung at the Easter Vigil, the summit of the liturgical year — a placement that is theologically exact: it is the song of the night when the Church's new members emerge from the baptismal waters, passing from death to life just as Israel passed through the Red Sea.
The Catechism of the Catholic Church explicitly references the Exodus as the central saving event of the Old Covenant (CCC §1221), prefiguring Christian Baptism. By situating the Song of the Sea immediately after this event, Scripture teaches that salvation always seeks expression in communal worship. The Church has always understood this: lex orandi, lex credendi — the law of prayer is the law of belief. What the Church sings, she believes; what she believes, she sings.
St. Ambrose of Milan, in his treatise De Sacramentis, explicitly identifies the crossing of the Red Sea with Baptism and the subsequent song with the Eucharistic and liturgical praise of the newly baptized. St. Origen, in his Homilies on Exodus, reads Moses as a type of Christ, the true leader of God's people through the waters of death into life, and the communal song as the Church's eternal doxology.
The Second Vatican Council's Sacrosanctum Concilium (§24) affirms that Sacred Scripture is of paramount importance in the Liturgy — and the Song of the Sea is perhaps the most vivid example: Scripture itself is liturgy. This verse teaches that true worship is the first and most natural response to salvation, and that it is always corporate, always verbal, and always directed to the living God.
For the contemporary Catholic, Exodus 15:1 raises a searching question: do I experience salvation as something that compels me to sing? The Israelites did not compose the Song of the Sea in calm reflection after years of theological study — they sang it in the immediate, trembling aftermath of rescue, with the bodies of their enemies still visible in the water. Their praise was visceral, spontaneous, and communal.
This challenges the modern tendency to keep faith private and interior. The Catholic is called to worship with the community — the Mass is not an audience with God for individuals who happen to share a building, but the corporate act of the Body of Christ, which is exactly what this verse depicts in embryonic form.
Practically: attend Mass not as an obligation to discharge but as the most natural thing a rescued person can do. Learn the canticles of the Liturgy of the Hours. When God acts in your life — in recovery from illness, in reconciliation after estrangement, in conversion — resist the temptation to be quietly grateful. Say it aloud, write it down, tell it to your community. The redeemed are singers.
Commentary
The Literal Sense
Exodus 15:1 is a narrative hinge between the dramatic crossing of the Red Sea (14:1–31) and the sublime poetry of the Canticle (15:1b–18). The verse itself performs a double function: it is simultaneously a prose introduction and the opening line of the song. The Hebrew construction — 'āz yāšîr Mōšeh ("then Moses sang") — is notable. The verb yāšîr is an imperfect form used with a past sense, a construction sometimes called the "prophetic imperfect" or waw-consecutive narrative past. Some ancient interpreters (notably the Talmud, Sanhedrin 91b, and later Christian commentators) read this imperfect as pointing forward: "then Moses will sing," hinting at a future, eschatological song — a liturgical voice that will not be silenced by death. This interpretive instinct would bear tremendous fruit in the Christian tradition.
"Moses and the children of Israel"
The communal dimension is essential. Moses does not sing alone; the entire bənê Yiśrāʾēl — the sons of Israel — join him. This is the first time in the Pentateuch that God's people pray together in a structured act of worship. The Exodus event (chapters 1–14) culminated in Israel's faith (14:31); now that faith becomes liturgy. The Church Fathers understood this transition as paradigmatic: authentic faith necessarily overflows into communal praise. The individual's salvation is never merely private; it is the property of the whole assembly.
"Sang this song to Yahweh"
The verb šîr (to sing) is here used for the first time in the entire Bible in connection with formal hymnic praise. This inaugurates the biblical tradition of sacred song — a tradition that will flow through the Psalter, the canticles of the prophets, and ultimately into the New Testament (Eph 5:19; Rev 5:9; 15:3). The object, laYHWH ("to Yahweh"), is critical: the song is directed to God, not merely about Him. This is the nature of liturgical prayer — it is address, not narration. The divine name Yahweh, the God of the covenant and the God of saving deeds, is invoked precisely as the One who has acted in history.
"And said"
The Hebrew wayyōʾmərû introduces direct speech, signaling that what follows is not a mere report of praise but the very words of praise themselves. The community's prayer is preserved verbatim — a feature of Scripture that the Catholic tradition regards as evidence of divine inspiration. God did not merely inspire the that Israel prayed; He inspired and preserved the of their prayer, offering them to every generation as a template for worship.