Serach, daughter of Asher, is mentioned by name twice in the Torah—in the list of Jacob’s descendants who go down to Egypt and in the census in Numbers—without any details about her life. As a reward for breaking the news to Jacob that Joseph is still alive, the Midrash grants her immortality, gives her a key role during the exodus, and identifies her as the wise woman during King David’s reign.

In an existential crisis, the author of Psalm 77 is so incapacitated by his troubles that he struggles to speak. He attempts to bring to mind past memories of God’s kindness, but God has changed and is no longer manifest in his life. In an unexpected turn, the psalmist focuses on Israel’s memory of the Sea crossing at the Exodus. How does this meditation help him move from despair to hope?

Sisera asks for water, Yael gives him milk (Judges 4:19), and then she kills him. Is Yael a foreign “killer woman” or an “aid of YHWH” and his people?

The Dead Sea Scrolls elaborate on Miriam’s leadership role and personal history.

The description of Deborah as a judge and prophetess is brief, but through her speeches and actions, and in contrast with other characters, she emerges as a prophet modeled after Moses.

When the Egyptians pursue Israel into the wilderness, Moses tells the Israelites to “stand by and witness the deliverance which YHWH will work for you today” (Exodus 14:13). YHWH brings panic upon the enemy, as he does in the battle of Gibeon and the war against Sisera. This is J’s story of Israel’s escape, hidden in the biblical accounts of the escape by the sea.

The Amalekites in most of the Bible are unremarkable; they are just one of the several tribes which Israel battles. Why then do Exodus and Deuteronomy present them as Israel’s ultimate enemy, whom YHWH has commanded to wipe out?

Biblical Antiquities, circa 1^st cent. C.E., retells the story of Judges 4–5. It expands the maternal imagery of Deborah and Yael, develops the character of Sisera’s mother, and adds sexual innuendo to Yael’s interactions with Sisera.

The Book of Joshua describes Israel waging a military campaign against Jericho and other southern cities. The Song of the Sea (Exodus 15), on the other hand, depicts Israel crossing the Jordan, and YHWH bringing them directly to a temple.

The Hyksos, the West Semitic rulers of northern Egypt in the late 16th century B.C.E., are the biblical Pharaohs and their lower-class subjects, the Hebrews. Here is the history behind the exodus.

Miriam and the Israelite women echo briefly the famous Song of the Sea sung earlier in Exodus 15… or do they? A closer examination reveals a more prominent role for Miriam and provides information about women as musical performers using song, dance, and drums in ancient Israel.

The Song of Deborah in Judges 5 is similar to both Arabic qaṣīdā poetry and ancient Egyptian epic poetry. How should we categorize it? Is it like the former, and composed orally by a bard, or like the latter, and composed by a royal scribe?

The Canaanite city of Hazor was destroyed in the Late Bronze Age. When the Israelites resettled the city in the Early Iron Age, they placed standing stones in three different places on the destroyed remains. What were these stones meant to signify?

In Numbers 20, when the Israelites are without water, God tells Moses to get water from a stone, which he does by striking it, and is punished. Yet in Exodus 17, Moses does the same thing and the story ends positively. What is the relationship between these two accounts? Remarkably, R. Joseph Bekhor Shor says that they are two accounts of the same story.

Exodus 16 and Numbers 11 each describe God miraculously bringing quail to the hungry Israelites in the wilderness. What is the relationship between these two accounts?

Moses gives several instructions to the Israelites concerning manna: How it should be gathered, prepared, consumed, and preserved, and what to do with it on Shabbat. The phrasing and details of these instructions are Moses’ creative elaboration of God’s original laconic command.

Why do the Israelites name their first stop Marah “Bitter Waters,” if the story is about how Moses miraculously made the water sweet?

Does the Reed Sea pursue the Egyptians?

The Torah implores us to remember and teach the exodus, yet surprisingly, some biblical passages seem unaware of this event and describe an alternative tradition: God found Israel in the wilderness.

When Moses instructs the people to eat the manna on Shabbat, he emphasizes “today,” “today,” “today.” Is this repetition just Priestly literary style or is it meant to tell us that Shabbat begins in the morning, and not the evening like Pesach and Yom Kippur?

The oldest layer of the exodus story has the Egyptian people, panicked by the plague of darkness, force the Israelites out under the king of Egypt’s nose. The story is later revised to credit the exodus to God's smiting the firstborn sons, and then drowning Pharaoh and his army in the sea. The final, Priestly editor added his signature theological innovation: God forces Pharaoh to give chase by hardening his heart.

The evidence for the Levites leaving Egypt and the introduction of YHWH into Israel.

The Song of the Sea begins with defeat of the Egyptians and ends with YHWH’s enthronement in His temple. Comparison with the Epic of Baal and Enuma Elish clarify the genre and purpose of such hymns, and a striking parallel with Solomon’s prayer in 1 Kings 8 offers a clue to the original context of this ancient song.

The hidden polemic in the Torah’s note that “Israel did not escape by way of the Philistine coastal route”

Ten observations about the Song of the Sea and what it is really about.

According to the Torah: Does God split the sea? Do the Israelites cross it? What is the wind for? Where are the Egyptians when they drown?

The Canaanite general Sisera is killed by Yael in her tent but in an older version of the story, he died in battle at the hands of the Israelite general, Barak. The story was revised as part of a broader theme in Judges, to weaken the image of male military heroes through women and give the power to God.

Egyptian records and archaeological findings shed light on the toponyms (place names) that appear in the exodus account: Ramesses, Pithom, Pi-Hahiroth, Baal-Zephon, Migdol, Sukkot, and Yam Suf.

The Song of Deborah (Judges 5) is often seen as an ancient text, perhaps one of the oldest in the Tanach, but analysis of its language and contents suggests that it is a later Deuteronomistic composition.

Weighing the historicity of the exodus story entails more than addressing the lack of archaeological evidence.

The biblical portrait of Miriam can leave the modern reader with a lingering bitterness, but a closer reading highlights her prophetic role, and her willingness to challenge the social norms and pursue an alternative, redemptive course.

The opening of the wilderness-wandering story in Exodus uses the Leitwort נ-ס-ה to underline the process of reciprocal testing between Israel and God as preparation for the Sinai event. This testing parallels that of the wilderness-wandering story in Numbers, which uses the Leitworter נ-ס-ע and נ-ש-א to underline the process of preparation Israel goes through before entering the land.

Does the Song of the Sea in Exodus 15 tell a different story about an escape from the Egyptians than the account of the splitting of the sea in Exodus 14?

Ancient interpreters contemplated the substance of manna, a food that traverses the chasm between divine and mundane realms, falling from heaven to be consumed on earth. In kabbalistic thought, the Zohar presents manna as granting the desert generation an embodied experience of knowledge of God; such an opportunity is available to mystics in everyday eating and through birkat ha-mazon (Grace after Meals).

Splitting the Sea, Manna from Heaven, and defeating Amalek.