Parshat Beshalach6 min read

God Asked Israel for a Song Before the Sea Split

The army filled the rear. The sea filled the front. Israel stood in the wet sand, looking for a crack that was not death.

Curated by Arthur · Told by Maggid ·
Table of Contents
  1. Clefts of Water
  2. Let Me Hear Your Voice
  3. The Song Before the Path
  4. A Bundle of Myrrh Between the Staves
  5. Smoke After Song

The army filled the rear. The sea filled the front. Israel stood shadowed in the recesses, in danger of being flushed into the deep and destroyed. On that strip of shore the nation looked like a dove: small, pressed, searching for a crack that was not death.

God Asked Israel for a Song Before the Sea Split Click for full size

Clefts of Water

God did not open the water first. First He asked for a face and a voice. "My dove, in the clefts of the rock, in the covert of the cliff, show me your appearance, let me hear your voice" (Song of Songs 2:14).

"Stand and see the salvation of the Lord," Moses cried (Exodus 14:13). Seeing was not enough. Heaven wanted sound from the pressed birds before the walls of water rose. Some wanted to throw themselves into the sea. Some wanted to return to Egypt. Some wanted to fight. The address gathered them into one flock. Dove, not factions. One Beloved speaking to one people in a rock's crack between two deaths.

The shore at night stank of fear-sweat and wet wool. Infants cried. Men argued tactics. Women packed dough that would not have time to rise. Into that noise the Song put a dove, a soft bird-name for a people who felt anything but soft.

Let Me Hear Your Voice

Show me your appearance meant form ranks, lift faces, stop vanishing into separate schemes of drowning, surrender, or war. Let me hear your voice meant the future song of the sea had to begin as a present willingness to trust. Moses' "stand and see" was not passivity. It was the posture that made salvation visible instead of missed while everyone was busy inventing private exits.

The dove had to coo while the hawk was still diving. Chariot wheels still ground sand. Faith was demanded in the trap, not after the path. Heaven asked for the song before there was dry ground to stand on and sing it.

The Song Before the Path

Then the sea split. Then the song that had been requested in terror became the song performed in dry mud. "Then Moses and the children of Israel sang" (Exodus 15:1). "For your voice is pleasant," the Beloved had said, and this was the pleasantness: a trapped throat opening while the army was still on the sand.

They pointed with a finger at the walls of water and said, "This is my God and I will glorify Him" (Exodus 15:2). Appearance and voice both, as asked. The last Egyptian horse sank. Infants who had cried in a key that had no theology were carried across on dry ground, and the dove stopped shaking long enough to be called beloved without irony.

Cause and effect ran backward and forward at once. Heaven heard the voice it asked for across water that had not yet opened, and then opened the water because the voice had been given.

A Bundle of Myrrh Between the Staves

Centuries later, in a Temple that remembered the same Beloved, the house of Avtinas kept the craft of the sacred incense. Master perfumers of the priestly line, they mixed eleven spices until smoke rose as a column. Some of the spices were foul alone. They were sweet only in the blend.

"A bundle of myrrh is my beloved to me, that lies between my breasts. A cluster of henna in the vineyards of Ein Gedi" (Song of Songs 1:14). The cloud of incense on Yom Kippur was confined between the two staves of the Ark, the way the verse puts the bundle between the breasts. Moses had already listed stacte, onycha, galbanum, and pure frankincense under his hand (Exodus 30:34). From those words the count of eleven was drawn, and the house of Avtinas guarded the rest of the recipe so the camp's nearness would have a smell that was not blood alone.

The smoke rose in a column until the rafters, then spread and descended like a cluster of henna. Hakofer, the henna, as it atones, mekhaper, for the iniquities of Israel. The Beloved who had asked for a dove's voice at the sea now received a scent carefully weighed by a family that would not share every secret of the blend.

Smoke After Song

At the sea the proof was sound. In the Temple the proof was smell. A song from a trapped throat. Smoke from hands that knew exact weights. Egypt's army could not answer a dove. The nations could not copy Avtinas' measure. The Holy One kept asking for something only the pressed beloved could give: voice under pressure, fragrance under law.

Salvation opened a path. Worship kept a path warm after the army had drowned. Children who never saw the sea still smelled the incense. Memory traveled by nose and ear when eyes grew tired of reading plagues. Walls of water had stood like rock clefts. Smoke now stood like a ladder. Between them the people learned they were not only rescued. They were addressed, requested, answered, and scented into ongoing nearness.

The last careful grain of spice was weighed on a priestly scale. Somewhere between that grain and the drowned horse, the dove that had cooed in the clefts was still being called beloved, on ordinary hours, in a room of blue and purple curtains, while smoke climbed and spread and came down.


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The texts behind this telling. Some cards carry a translation of the source; others are our own retelling of it, and each card says which. Every card links out to the original.

Shir HaShirim Rabbah 2:14Shir HaShirim Rabbah

Retold in our words. Read the original at the link below.The Sefaria Midrash Rabbah, 2022 · CC-BY

The ancient rabbis certainly knew that feeling. And they found it mirrored in one of the most dramatic moments in the Torah: the splitting of the Red Sea.

In Shir HaShirim Rabbah, a collection of rabbinic interpretations of the Song of Songs, we find a beautiful reading of that pivotal moment. Rabbi Elazar focuses on the verse, "My dove, in the clefts of the rock..." (Song of Songs 2:14). He connects it directly to the Israelites standing at the edge of the sea, the Egyptian army bearing down on them.

The scene. The Israelites are, quite literally, "shadowed in the recesses of the sea," as Rabbi Elazar puts it. They're trapped. Between a rock and a very watery place. As the text says, they were in danger of being "flushed into the sea and destroyed."

So, what happens next? God, of course, intervenes. But how do the Israelites respond? This is where the interpretation gets really interesting.

The verse continues, "Show me your appearance, let me hear your voice..." Rabbi Elazar interprets this as God's call to the Israelites at that moment of crisis. "Show me your appearance" becomes a call to action, echoing the words of Moses: “Stand and see the salvation of the Lord” (Exodus 14:13).

But it's not just about seeing. It's about speaking, about voicing their faith. "Let me hear your voice," God says, and this is understood as the song they will sing after their salvation, the Shirat Hayam, the Song of the Sea: “Then Moses and the children of Israel sang…” (Exodus 15:1).

That song, that expression of gratitude and awe, is what makes their appearance truly lovely.

Rabbi Elazar draws a fascinating connection here using a play on words. The verse says, “And your appearance [marekh] is lovely.” He links marekh to the Hebrew word marin, meaning "pointing." He suggests that the beauty of their appearance lies in the act of pointing with a finger and declaring, “This is my God and I will glorify Him!” (Exodus 15:2). image: a sea of people, united in joy and relief, pointing towards the heavens, acknowledging the miracle they've witnessed. That's a powerful picture of faith in action.

It's not just enough to be saved. It's about recognizing the source of that salvation and expressing our gratitude, our amazement. The act of pointing, of declaring, "This is my God," transforms a moment of desperation into a moment of profound connection.

Remember that even in the darkest of times, there's always the possibility of a miracle. And remember to raise your voice, to sing your song of gratitude, to point and declare: "This is my God!"

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Shir HaShirim Rabbah (chapter/verse reference unresolved; pre-import artifact 14:3)Shir HaShirim Rabbah

Retold in our words. Read the original at the link below.The Sefaria Midrash Rabbah, 2022 · CC-BY

Ever catch a whiff of something amazing and wonder, "What is that?" Our senses are powerful doorways to memory and meaning. And in ancient Jewish tradition, few things were as powerfully evocative as the incense used in the Temple. The scent wasn't just pleasant; it was a direct line to the Divine.

Shir HaShirim Rabbah, a rabbinic commentary on the Song of Songs, to uncover some fragrant secrets about that incense. Specifically, we'll be exploring verse 1:14, "A bundle of myrrh is my beloved to me, that lies between my breasts. A cluster of henna in the vineyards of Ein Gedi." What could a love poem have to do with Temple incense? More than it first appears!

Rabbi Yoḥanan, in Shir HaShirim Rabbah, interprets the verse in light of the Avtinas family. The house of Avtinas was a priestly family renowned for their expertise in preparing the incense for the Temple. Think of them as the master perfumers of their day! The Mishnah (the earliest code of rabbinic law) in Shekalim (5:1) hints at their importance. The verse, "A bundle of myrrh," Rabbi Yoḥanan suggests, alludes to one of the eleven spices included in the sacred blend.

Rabbi Huna digs deeper, referencing (Exodus 30:34), where God instructs Moses to "Take spices for you [stacte and onycha and galbanum; spices and pure frankincense; each part shall be equal]." He ingeniously counts the words and phrases to arrive at the number eleven. "Spices for you," two; "stacte, onycha, and galbanum," five; "each part shall be equal," another five; and "pure frankincense," one. From this careful parsing, the sages deduced that these eleven spices were the key to the perfect incense.

The commentary continues, "Lying between my breasts, as it was confined between the two staves of the Ark." The burning incense on Yom Kippur (the Day of Atonement) created a cloud that filled the Holy of Holies, specifically contained within the space between the Ark's staves, according to Matnot Kehuna.

Then comes the phrase "A cluster of henna [eshkol hakofer]," which the Rabbis connect with atonement (mekhaper) for Israel's sins. Rabbi Yitzḥak describes the incense rising like a column before spreading out like a cluster. He also connects the word hakofer to atonement. We even see a connection to (Leviticus 16:13), "The incense cloud will cover." But what does it mean to "cover?" David gives us a clue in (Psalms 85:3): "You forgave the iniquity of Your people; You covered all their sins." The incense, therefore, wasn't just a pleasant aroma; it was a symbol of divine forgiveness.

Finally, we arrive at "In the vineyards of Ein Gedi." This phrase is linked to the covenant God made with Abraham in (Genesis 15:18). The Rabbis see a connection to the sacrifices Abraham's descendants would offer. Rabbi Levi, quoting Rabbi Ḥama, even suggests that Abraham had "ruminations" after his victory over the four kings. He worried that another person might surpass his good deeds, threatening the covenant. God reassured him, saying, "Fear not, [Abram,] I am your shield" (Genesis 15:1). God promised to raise up protectors and righteous people from Abraham's line.

The commentary goes even further, interpreting "Eshkol" as a man who embodies all aspects of Torah – Bible, Mishnah, Talmud, Tosefta, and aggadot (stories). He is the "hakofer," the one who atones for Israel's sins. It's a powerful image of leadership and responsibility.

Another interpretation offered by Ben Gezira sees Eshkol as a reference to God Himself, the One in whom everything exists. Hakofer then becomes the One who renounced the other nations and acknowledged Israel. This idea is illustrated by the war of Yehoshafat in II Chronicles 20, where God aided Yehoshafat against Moab and Ammon.

Rabbi Levi bar Zekharya makes a final, poignant observation. If God, even in this world where He is described as "a consuming fire, a zealous God" (Deuteronomy 4:24), can renounce the nations and acknowledge Israel, how much more so in the future, when He will be like dew for Israel (Hosea 14:6)?

So, what does this all mean? It means that a simple verse about perfume and vineyards is actually a tradition of interconnected ideas about atonement, covenant, and divine love. It shows how deeply the Rabbis explored scripture, finding layers of meaning that resonate even today.

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