1 Then Moses and the Israelites sang this song to the Lord. They said, “I will sing to the Lord, for he has triumphed gloriously, the horse and its rider he has thrown into the sea. 2 The Lord is my strength and my song, and he has become my salvation. This is my God, and I will praise him, my father’s God, and I will exalt him. 3 The Lord is a man of war10— the Lord is his name. 4 The chariots of Pharaoh and his army he has thrown into the sea, and his chosen officers were drowned in the Red Sea. 5 The depths have covered them; they went down to the bottom like a stone.
6 Such purity characterizes the people who seek his favor, Jacob’s descendants, who pray to him. (Selah) 7 Look up, you gates. Rise up, you eternal doors. Then the majestic king will enter. 8 Who is this majestic king? The Lord who is strong and mighty. The Lord a mighty man in battle. 9 Look up, you gates. Rise up, you eternal doors. Then the majestic king will enter. 10 Who is this majestic king? The Lord of Heaven’s Armies. He is the majestic king. (Selah)
Notes and References
"... The psalm is an antiphonal liturgy used in the autumn festival. The portion of the Psalm in verses 6(7)-10, at least, has its origins in the procession of the Ark to the sanctuary at its founding, celebrated annually in the cult of Solomon and perhaps even of David. On this there can be little disagreement. But how are we to understand its archaic phrases? The prosodie form is intriguing: after a verse introducing the strophe, we have a series of so-called tricóla, four in number, with elaborate repetitive parallelism. This style is characteristic of the earliest stratum of ancient Yahwistic poetry and is familiar from Ugaritic poetry. We may see reflected in this liturgy the reenactment of the victory of Yahweh in the primordial battle and his enthronement in the divine council or, better, in his newly built (cosmic) temple. Such an interpretation assumes a Canaanite myth and ritual pattern standing behind the Israelite rite reflected in the Psalm. This Canaanite "pattern" can be described tersely as follows: Yamm, deified Sea, claimed kingship among the gods. The council of the gods assembled, and, informed of Yamm's intentions to seize the kingship and take Ba'l captive, made no protest. They were cowed and despairing, sitting with heads bowed to their knees. Ba'l rises, rebukes the divine assembly, and goes forth to war. In the (cosmogonie) battle, he is victorious, and he returns to take up kingship. Presumably he returned to the assembled gods and appeared in glory, and the divine council rejoiced. In a later text, Ba'l's temple, symbolic of his new sovereignty, is completed, and the gods sit at banquet celebrating. Ba'l is king. Similarly, in Tablet VI of the Babylonian Creation Epic, Marduk, after battling the primordial ocean, Tiämat, and creating the universe, receives from the gods a newly constructed temple where the gods sit at banquet celebrating his kingship. Psalm 24: 6-10 can be fitted into this pattern, provided we assume that it was modified somewhat in the Israelite context ..."
Cross, Frank Moore “The Divine Warrior in Israel's Early Cult” in Alexander Altmann (ed.) Biblical Motifs: Origins and Transformations (pp. 11-30) Harvard University Press, 1966
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