By Alexander Altmann (ed.)
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Extra info for Biblical Motifs. Origins and Transformations
Exodus 15 : 15) heard (cf. Exodus 15:14) and melted with fear (cf. Exodus 15 : 15). Incidentally, there is no hint of the sea drying up, or of a path through the sea, in Exodus 15. These are later accretions, probably arising precisely from the ritual crossing of Jordan. 59. The major spring festival of Gilgal, later at Shiloh, and the major fall festival of Shechem, later Bethel, are thus variant covenant festivals of old sanctuaries which at different times played a role as central sanctuary of the league.
We read e n p a TOD 1X33, in tenth-century orthography s n p a TD η Nia. 53. Cf. W. F. Albright, "The Oracles of Balaam," Journal of Biblical Literature, 63: 207-233 (1944), for a discussion of the date and interpretation of these texts. 54. The term is nawê, which in the early period is used of the tent shrine. 55. On this point, see Cross and Freedman, "The Song of Miriam," pp. 233-240, and notes to the text. 56. The reference must be to the crossing of Jordan, but as in the Gilgal cult, this crossing symbolized the escape at the Red Sea.
T o these may be added the old fragment in the Song o f Habakkuk 3 : 3 - 1 5 ; Numbers 23: 2 2 - 2 4 ; 24: 8 - 9 , 5 3 and, o f course, Exodus 15:13: Thou didst faithfully lead The people whom thou didst deliver. Thou didst guide in thy might To thy holy encampment. 54 The relation of this motif, the march of Conquest, to the early Israelite cultus has been insufficiently studied. C. It rehearses the story o f the Exodus in a primitive f o r m , 5 5 the march o f Conquest (13-18), and after the "crossing over," 5 6 the arrival at the sanctuary (verses 13, 17).