I'll go find it.
ETA: it's behind a paywall, and it isn't archived anywhere obvious.
It's not real long:
The seventh day of Passover is the day of the splitting of the Red Sea. A week has passed since the Exodus from Egypt began. The Israelites have stopped on the banks of the sea, with the Egyptians in close pursuit. Moses turns to God in supplication, but God shifts all responsibility back to his shoulders: "Wherefore criest thou unto Me? Speak unto the children of Israel, that they go forward. And lift thou up thy rod, and stretch out thy hand over the sea, and divide it; and the children of Israel shall go into the midst of the sea on dry ground" (Exodus 14:15-16 ). It is solely up to Moses whether the sea will be riven. When this occurs, the Torah states: "And Moses stretched out his hand over the sea; and the Lord caused the sea to go back by a strong east wind all the night, and made the sea dry land, and the waters were divided" (Exod. 14:21 ).
The subject of this verse is switched midway through: While in the initial part, Moses stretches out his arm, it is God who actually causes the sea to recede, thanks to the strong wind. So who has split the sea - Moses or God? Did Moses split it with God's help or did God do so with the help of Moses' outstretched arm? Does God need Moses' outstretched arm to split the sea?
In this mid-verse replacement of the subject, our sages identify a textual gap in the verse itself - one that must be bridged with the help of a midrash (Mekilta Beshalach, Vayehi 5 ). The following explication of this midrash appears in Daniel Boyarin's inspiring "Intertextuality and the Reading of the Midrash" (Indiana University Press, 1990 ), in a chapter entitled, "The Sea Resists: Midrash and the (Psycho )Dynamics of Intertextuality":
"'And Moses stretched out his hand over the sea' (Exodus 14:21 ). The Sea began to resist him. Moses said, 'In the Name of the Holiness,' but it did not yield. The Holiness, Blessed be He, revealed Himself; the Sea began to flee, as it says, 'The Sea saw it and fled' (Psalms 114:3 ). Its mashal [parable]; to what is the matter similar? To a king of flesh and blood, who had two gardens, one inside the other. He sold the inner one, and the purchaser came to enter, but the guard did not allow him. He [i.e., the purchaser] said to him, 'In the name of the king,' but he did not yield. He showed him the signet, but he did not yield until the king came. Once the king came, the guard began to flee. He said, 'All day long I have been speaking to you in the name of the king and you did not yield. Now, why are you fleeing?' He said, 'Not from you am I fleeing, but from the king am I fleeing.'
"Similarly, Moses came and stood at the sea. He said to him [i.e., the sea], 'In the name of the Holiness,' and it did not yield. He showed him the rod, and it did not yield, until the Holiness, Blessed be He, revealed Himself in His glory. The sea began to flee, as it is said, 'The Sea saw it and fled' (Psalms 114:3 ). Moses said to him, 'All day long I have been speaking to you in the name of the Holiness, Blessed be He, and you did not submit. Now, "what has happened to you, O Sea, that you flee?"' (Psalms 114:5 ). He answered him, 'Not from before you am I fleeing, son of Amram, but "from before the Master, tremble Earth [progenitor of the Earth], from before the God of Jacob"' (Psalms 114:7 )."
In order to explain the gap in the verse, the midrash applies the principle, "Divrei ha-Torah aniyim bemakom echad va'ashirim bemakom aher - "In some places in the Torah the text is sparse, and in others it is rich." The midrash in effect inserts chapter 114 of Psalms into the gap. As a result, both the chapter and the complex text can be read in a new light. This chapter depicts what happens "When Israel came forth out of Egypt": "The sea saw it, and fled; the Jordan turned backward. The mountains skipped like rams, the hills like young sheep" (114:3-4 ). Nature itself becomes highly agitated in the presence of the Israelites' departure from Egypt. The narrator asks nature the reason for the great excitement: "What aileth thee, O thou sea, that thou fleest? thou Jordan, that thou turnest backward? Ye mountains, that ye skip like rams; ye hills, like young sheep?" (114:5-6 ). Nature replies: "Tremble, thou earth, at the presence of the Lord, at the presence of the God of Jacob; Who turned the rock into a pool of water, the flint into a fountain of waters" (Psalms. 114:7-8 ). This event takes place when Israel departs Egypt; however, the sea flees and the hills dance in the presence of God himself.
The midrash places Psalm 114 in a specific historical context, essentially turning it into a dialogue between Moses and the sea - a dialogue that occurs between the moment Moses stretches out his arm and that when God bursts forth onto the scene in order to complete the task. Moses wants to split the sea as God has instructed, but the sea resists him, presenting itself as an independent being that is not prepared to be riven by a mere mortal, even not "in the name of God." But when God himself appears, the sea becomes frightened and flees in his presence. The Psalms' anonymous narrator is identified in the midrash as Moses, who asks, "[W]hat has happened to you, O Sea, that you flee?"
The sea's response is given a new interpretation: Not only does it disclose its fear when confronting God but also, primarily, it declares a total absence of fear when facing Moses. In the personification performed by the midrash, the sea is presented as a primordial god who bursts forth from the sea and stands up for his rights; the midrash creates a miniature "reconstruction" of the universal myth of the hydromachia : the struggle between the god of heaven and the god of the sea. The sea's flight is the closing scene in this tale, and the mythologization of the biblical story explains the meaning of the above-mentioned gap in the text.
However, the midrash goes beyond explaining the three-way relationship between God, Moses and the sea. God is compared to a king who has two gardens. The event that generates the drama here is the sale of the inner garden. According to the parable, reaching the latter is the goal of the Israelites' journey through the wilderness, while the sea is the outer garden that is not sold to them. The second part of the parable reverses the sea's personified image, transforming the triangular relationship into a dialogue between Moses and God, in which God speaks in two different voices.
The command that God issues to the Israelites - to leave Egypt and journey to Canaan - represents two contradictory wishes, both of them God's. While God is the master of nature and thus master of the sea as well, nature apparently has the right to stand up for itself. On the other hand, God wants to enable Moses and the Israelites to reach the inner garden. This internal struggle - between God's loyalty to his people and his loyalty to nature - is succinctly expressed in the dialogue between Moses and the sea, and is also conveyed by the contradiction in the text. For a single moment, the options are evenly balanced and the Exodus from Egypt is represented as a breathtaking theistic psychosis.
The moment of decision, when God himself emerges and faces the sea and when the sea flees and is riven, is a formative one in humanity's mythological history. It is a moment when nature, compared in the parable to the outer garden, is sold to man - not in order for man to "dress [or work] it and ... keep it" (Genesis 2:15 ). Rather instead it becomes man's property. Thus it is decided that man is not nature: Man is given precedence over nature, and the sea itself is simply the way to God's inner garden.
The seventh day of Passover is the festival of the splitting of the Red Sea and is also commonly regarded as the festival of redemption. If this first redemption is constructed, in the view of our sages, on powerful mythological foundations, one can only imagine how the final redemption will be built.
The seventh day of Passover is the festival of the splitting of the Red Sea and is also commonly regarded as the festival of redemption.
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John