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CARMEN MARIS ALGOSI: AN EXEGETICAL STUDY OF EXODUS 15:1-18



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CARMEN MARIS ALGOSI AN EXEGETICAL STUDY OF EXODUS 15 1 18 by Robert V McCabe Jr Submitted in partial fulfillment of requirements for the degree of Master of Theology in Grace Theological Seminary May 1981 Carmen Maris Algosi An Exegetical Study of Exodus 15 1 18 Robert V McCabe Jr Th M February 20 1980 Professors Fowler and Zemek The literature of the ancient Near East has given the invitation for a conservative interpreter to do an exegetical study of Exodus 15 1 18 The purpose of this thesis was to use the historical grammatical hermeneutic to examine the interpretative problems in this pericope of Hebrew poetry The problems focused upon the interpreter s hermeneutical approach the interpretation of key terms the examination of some of the textual problems and an analysis of the important syntactical elements in the Song of the Reed Sea The usage of form criticism and tradition history as an hermeneutical approach was examined in reference to the critical interpretative considerations It was demonstrated that the title Song of Miriam was affected by a traditiohistorical hermeneutic It was observed that the usage of the form critical and traditio historical approach in answering the question about unity way not built upon objective proof but rather it was built of evolutionary presuppositions Mosaic authorship was defended n light of the themes shared both in this song and the other books of the Pentateuch A conservative date in the fifteenth century B C was confirmed by a number of philological arguments The genre of this song has also been affected by form criticism Five of the most prominent explanations of the Gattungen were examined and it was concluded that Exodus 15 1 18 may have had a number of literary types and hence it is an enigma for form critical purposes It was also demonstrated that the traditio historical interpretation of the setting has divorced Exodus 15 1 18 from its historical setting The salient point of the strophic structure is the refrains



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