Exodus 17 — The Mister Translation
⚠ The figure in red on the right is AARON, not Hur — easy to get backward, since Hur is the one on the left, in dark robes, still gripping his own staff. Millais painted this at what critics call a turning point in his career, working the canvas over repeatedly (‘scraping and repainting the surface’) to get the exhaustion right. Contemporary critic F. G. Stephens praised exactly that choice: the painting sets ‘the unyielding and steadfast willpower of Moses’ against ‘the physical and emotional exhaustion of his companions’ — an old man's raw, aged flesh doing the work, not a triumphant hero. Some readers of the painting have noted the raised, outstretched arms as an unmistakable echo of crucifixion imagery, suffering and victory painted as the same gesture. Millais gives no glimpse of the battle itself — only three men on a hill, watching what their own held-up arms are deciding.
Translator’s Notes
Rephidim, and a murmur this book has already used once
Rephidim is the last stop before Sinai, and its name may mean “supports” or “resting places” — fittingly, since it is where Aaron and Hur will physically SUPPORT Moses’ arms later in this same chapter (v12), a small echo the text does not comment on.
⚠ “Grumbled” (v3) is the identical Hebrew root, lun, that fell nine times across last chapter — the people who were just fed daily bread from heaven are thirsty again within what the text implies is days, and reach for the same word. The split repeats too: KJV and ASV keep the older “murmured,” while NIV and ESV both modernize to “grumbled” — for the same reason noted there: a plain word repeated is a drumbeat, not decoration.
A test named twice, in two different words
Moses asks ‘why do you TEST Jehovah?’ (v2, nissah) before a drop of water has moved — the accusation precedes the miracle. The same staff that turned the Nile to blood (7:20) now strikes a rock instead of a river, pulling water out of stone instead of poisoning a lifeline; the text seems to want the same object doing an opposite thing.
⚠ The place-name lands twice, in two different roots: Massah (massah, from nissah, TESTING) and Meribah (merivah, from riv, STRIFE, the very verb v2 used — ‘why do you STRIVE with me’). One event, one place, and a name built from both charges at once: the people tested God, and quarreled with Moses, and the map remembers both. The location recurs — Numbers 20 tells an almost identical story at a DIFFERENT Meribah, late in the wilderness years, which costs Moses entry into the land.
The first Joshua, and a man named for a bridge
⚠ This is Joshua’s first appearance anywhere in the Bible — introduced with no genealogy, no backstory, already trusted enough to command troops while Moses climbs a hill. His name at this point is likely still HOSHEA (‘he saves’); Moses renames him YEHOSHUA, folding in the divine name, only later (Numbers 13:16). This chapter uses the later name a chapter early, which is either the narrator writing with hindsight or this translation’s source text harmonizing forward — the Torah is not perfectly consistent about when the switch happens.
Hur appears for the first time here too, promoted straight to the summit with Aaron and never explained; later tradition (not the text itself) makes him Miriam’s husband and Caleb’s father. He is left in charge of the camp, with Aaron, the next time Moses goes up a mountain (24:14) — the same two names, the same job.
A battle that runs on an image, not a strategy
No tactics are described — no flanking, no formation. The chapter states the mechanism bluntly and lets it stand: hand up, Israel wins; hand down, Amalek wins. ⚠ Whether the raised hand is meant as intercession, as a rallying signal the troops could see, or simply as a visible sign that the outcome runs through Jehovah and not through Joshua’s sword arm is not settled by the text — v13 gives Joshua the sword-work outright (‘overwhelmed Amalek... with the edge of the sword’) in the very next verse, so the chapter does not read the hand as replacing the fighting, only as deciding it.
Moses sitting on a stone while two men hold his arms up is a small, almost embarrassing physical detail for a text this compressed to keep — proof, maybe, that fatigue and leadership are not opposites here.
A command to write, aimed at a man not yet a leader
“Write this... and recite it in the ears of Joshua” is Israel’s first recorded command to preserve an event in writing specifically so that it will still be known later — read TO Joshua rather than written BY him, since he is a battlefield commander here, not yet the man who will lead the conquest. The sentence God wants preserved is total: Amalek’s memory utterly blotted out, worded as a promise that outlasts any single battle. Deuteronomy 25:17-19 later turns this into formal law — remember what Amalek did, and do not forget — collapsing memory and command into the same instruction.
A hapax legomenon in the very last line
“Jehovah is my banner” (v15, nes) names the altar after the very image v16 may or may not be quoting. ⚠ The Hebrew of v16 is genuinely among the hardest in the Torah: kes, translated here ‘throne,’ occurs EXACTLY ONCE in the entire Hebrew Bible. Lexicographers are divided on whether it is a contracted spelling of kisse (throne) or a scribal slip for nes (banner) — the very word the altar was just named for, one verse earlier. KJV and ASV take the sentence in a third direction entirely, reading it as an oath — ‘the LORD hath sworn’ — following an old interpretive tradition rather than the bare consonants. NIV makes Amalek the subject, ‘hands were lifted up against the throne of the LORD’; ESV leaves it as a bare exclamation, ‘a hand upon the throne of the LORD!’, unresolved as to whose hand. This translation follows the consonantal text as most literally as English allows and lets the ambiguity stand rather than picking a side the Hebrew itself will not settle.
Notes on this translation
Decisions. V16 is left deliberately unresolved — ‘a hand upon the throne of Yah’ — rather than smoothed into any one of the shelf’s three competing readings (oath, banner, or bare image), since the Hebrew word itself is a hapax legomenon lexicographers do not agree on. Lun (v3) again rendered grumbled, matching Exodus 16’s choice, to keep the repetition of the same word across chapters visible rather than varied for style.
⚠ A note on order: Exodus stands on these pages at chapters 1–17, and 20. Exodus 18–19 and 21–40 remain the open sequence.