Catholic Commentary
Creation Convulsed: Sea and Mountains Flee Before God
3The sea saw it, and fled. The Jordan was driven back.4The mountains skipped like rams, the little hills like lambs.
Psalms 114:3–4 describes the sea fleeing and mountains skipping like rams in response to God's presence during the Exodus, using vivid imagery to portray all creation responding in awe and terror to the divine. These verses collapse the Red Sea crossing and Mount Sinai events into poetic expressions of God's overwhelming power over nature.
Creation itself recoils in terror before God—the sea flees, mountains dance—because his presence unmakes every obstacle that seems immovable to us.
Catholic tradition reads these two verses within its full fourfold hermeneutic, and each sense yields profound theological fruit.
Literally, the verses celebrate the Exodus — the paradigmatic act of divine redemption in the Old Testament — as an event that enrolled all of creation as a witness and participant. The Catechism teaches that the Exodus is the central saving event to which the entire Old Testament points (CCC §1334), and that it is only fully understood as a foreshadowing of the Paschal Mystery of Christ.
Typologically, the Fathers were unanimous in reading the parting of the Red Sea as a figure of Baptism. Saint Paul himself establishes this reading: "All were baptized into Moses in the cloud and in the sea" (1 Corinthians 10:2). Saint Ambrose in De Mysteriis develops this at length, teaching that the waters of Baptism "flee" from sin as the Red Sea fled from Israel, and that the newly baptized cross over from slavery to freedom. The Fifth Ecumenical Council of Constantinople and the Roman Rite's Easter Vigil liturgy both preserve this typology at the heart of Christian initiation.
Allegorically, Saint Augustine (Enarrationes in Psalmos) reads the fleeing sea as the proud human heart that, when confronted with the humility of the Incarnate God, is either shattered in repentance or hardened unto damnation — the same waters that save Israel drown Pharaoh. The mountains that skip are the prophets and patriarchs who, as the Letter to the Hebrews attests (Hebrews 11), leapt forward in anticipation of the fulfillment they would not live to see.
Morally and today, Pope Benedict XVI in Verbum Domini (§29) reminds us that the Psalms are not merely historical records but school of prayer, teaching us how creation itself speaks the language of adoration. These verses call the Catholic believer to recognize that no obstacle — no "sea" of suffering, no "mountain" of sin — can withstand the presence of God walking with his Church.
Contemporary Catholics live in a culture that has largely domesticated God — reducing him to a life coach, a cosmic therapist, or a benign bystander. Psalms 114:3–4 administer a bracing corrective. The God of the Exodus is not politely present; creation runs from him. Mountains do not quietly step aside — they leap like startled livestock.
This passage invites the Catholic to ask a pointed question in prayer: What in my life has grown immovable before God? What habits, attachments, or fears have become "mountains" that I assume will never shift? The psalmist insists they are not immovable — they only appear so until the Lord draws near. The spiritual practice encouraged here is the deliberate cultivation of what the tradition calls timor filialis — filial fear, the reverent awe of a child before a Father of incomprehensible majesty. This is not the fear that paralyzes but the fear that clears a path, the same awe that caused the sea to open and the mountains to dance. Concretely: pray these verses slowly before the Blessed Sacrament, naming your own "Red Seas" and "mountains," and ask for the grace to let them flee.
Commentary
Psalms 114:3 — "The sea saw it, and fled."
The brevity of this line is itself a rhetorical masterstroke. The psalmist collapses the parting of the Red Sea (Exodus 14:21–22) into a single, vivid image: the sea saw — and ran. The Hebrew verb for "fled" (nûs) is used elsewhere of soldiers routing in battle or criminals fleeing judgment. By applying it to the sea, the psalmist reverses the normal order of power. The Red Sea, which in the ancient Near Eastern imagination was a symbol of primordial chaos and overwhelming force — the enemy of Israel, the domain of Leviathan — is here reduced to a terrified fugitive. It does not simply part at a divine command the way a servant obeys an order; it flees, as though the very presence of the LORD walking with his people is unbearable to it.
The object of the sea's "seeing" is deliberately unstated, heightening the mystery. The full psalm reveals the antecedent only in verse 7: "Tremble, O earth, at the presence of the Lord." The sea fled at the presence of God himself, who was made manifest in the Exodus event. This is not merely a meteorological miracle; it is a theophany — a visible eruption of the divine into created history.
Psalms 114:4 — "The mountains skipped like rams."
This verse likely evokes two distinct events: the thundering of Mount Sinai during the giving of the Law (Exodus 19:18; the whole mountain quaked), and possibly the earthquakes of the Transjordan wilderness. The image of mountains skipping like rams — and the hills like lambs, as the verse continues — introduces an almost playful, pastoral simile that is startling in its tenderness. Where verse 3 speaks of terror and flight, verse 4 speaks of a kind of exuberant, creaturely joy-in-awe. The flock imagery evokes Psalm 23 and the shepherd God who leads his people; here the mountains themselves become part of the flock bounding at the approach of the Great Shepherd.
In Hebrew poetry, the pairing of sea and mountain is a merism — a literary device in which two extremes stand for the totality of creation. Sea represents horizontal, watery, formless expanse; mountains represent vertical, solid, immovable permanence. Together, they are shorthand for all of creation. Both extremes flee and skip before God: there is literally nowhere in the created order that can stand unmoved in his presence.
Typological and Spiritual Senses
The Fathers read the fleeing sea as a type of Baptism: the waters that destroyed Pharaoh's army are the same waters that bury sin in the baptismal font. Origen notes that what from Israel is precisely what the enemies of the soul. The skipping mountains prefigure the apostles and prophets — those "mountains" of the Church who leap for joy at the Incarnation, as Elizabeth's child leaped in her womb (Luke 1:41). The anagogical sense looks to the Last Day, when the created order will again be convulsed by the final, definitive presence of God (Revelation 20:11).