rule. The primary passage Exo 15:11 (cf. Psa 68:25) shows that בּקּדשׁ is not to be rendered “in the sanctuary” (lxx ἐν τῷ ἁγίῳ), but “in holiness” (Symmachus ἐν ἁγιασμῷ). Holy and glorious in love and in anger. God goes through history, and shows Himself there as the incomparable One, with whose greatness no being, and least of all any one of the beingless gods, can be measured. He is האל, the God, God absolutely and exclusively, a miracle-working (עשׂה פלא, not עשׂה פלא cf. Gen 1:11)[1]
God, and a God who by these very means reveals Himself as the living and supra-mundane God. He has made His omnipotence known among the peoples, viz., as Exo 15:16 says, by the redemption of His people, the tribes of Jacob and the double tribe of Joseph, out of Egypt, - a deed of His arm, i.e., the work of His own might, by which He has proved Himself to all peoples and to the whole earth to be the Lord of the world and the God of salvation (Exo 9:16; Exo 15:14). בּזרוע, brachio scil. extenso (Exo 6:6; Deu 4:34, and frequently), just as in Psa 75:6, בּצוּאר, collo scil. erecto. The music here strikes in; the whole strophe is an overture to the following hymn in celebration of God, the Redeemer out of Egypt.
Verses 16-19
When He directed His lance towards the Red Sea, which stood in the way of His redeemed, the waters immediately fell as it were into pangs of travail (יחילוּ, as in Hab 3:10, not ויּחילו), also the billows of the deep trembled; for before the omnipotence of God the Redeemer, which creates a new thing in the midst of the old creation, the rules of the ordinary course of nature become unhinged. There now follow in Psa 77:18, Psa 77:19 lines taken from the picture of a thunder-storm. The poet wishes to describe how all the powers of nature became the servants of the majestic revelation of Jahve, when He executed judgment on Egypt and delivered Israel. זרם, Poel of זרם (cognate זרב, זרף, Aethiopic זנם, to rain), signifies intensively:
- ↑ The joining of the second word, accented on the first syllable and closely allied in sense, on to the first, which is accented on the ultima (the tone of which, under certain circumstances, retreats to the penult., נסוג אחור) or monosyllabic, by means of the hardening Dagesh (the so-called דחיק), only takes place when that first word ends in ה- or ה-, not when it ends in ה-.)
