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Public-domain commentary
Matthew Henry
From his Commentary on the Whole Bible. Henry comments on passages, not single verses — this entry covers 2 Samuel 6:1–5. His two-level outline is real structure in the source text, so it is rendered as structure.
We have not heard a word of the ark since it was lodged in Kirjath-jearim, immediately after its return out of its captivity among the Philistines (Sa1 7:1, Sa1 7:2), except that, once, Saul called for it, Sa1 14:18. That which in former days had made so great a figure is now thrown aside, as a neglected thing, for many years. And, if now the ark was for so many years in a house, let it not seem strange that we find the church so long in the wilderness, Rev 12:14. Perpetual visibility is no mark of the true church. God is graciously present with the souls of his people even when they want the external tokens of his presence. But now that David is settled in the throne the honour of the ark begins to revive, and Israel's care of it to flourish again, wherein also, no doubt, the good people among them had been careful, but they lacked opportunity. See Phi 4:10.
I.Here is honourable mention made of the ark.
Because it had not been spoken of a great while, now that it is spoken of observe how it is described (Sa2 6:2): it is the ark of God whose name is called by the name of the Lord of hosts that dwelleth between the cherubim, or at which the name, even the name of the Lord of hosts, was called upon, or upon which the name of the Lord of hosts was called, or because of which the name is proclaimed, the name of the Lord of hosts (that is, God was greatly magnified in the miracles done before the ark), or the ark of God, who is called the name (Lev 24:11, Lev 24:16), the name of the Lord of hosts, sitting on the cherubim upon it. Let us learn hence,
1.To think and speak highly of God. He is the name above every name, the Lord of hosts, that has all the creatures in heaven and earth at his command, and receives homage from them all, and yet is pleased to dwell between the cherubim, over the propitiatory or mercy-seat, graciously manifesting himself to his people, reconciled in a Mediator, and ready to do them good.
2.To think and speak honourably of holy ordinances, which are to us, as the ark was to Israel, the tokens of God's presence (Mat 28:2), and the means of our communion with him, Psa 27:4. It is the honour of the ark that it is the ark of God; he is jealous for it, is magnified in it, his name is called upon it. The divine institution puts a beauty and grandeur upon holy ordinances, which otherwise have no form nor comeliness. Christ is our ark. In and by him God manifests his favour and communicates his grace to us, and accepts our adoration and addresses.
II.Here is an honourable attendance given to the ark upon the removal of it.
Now, at length, it is enquired after, David made the motion (Ch1 13:1-3), and the heads of the congregation agreed to it, Sa2 6:4. All the chosen men of Israel are called together to grace the solemnity, to pay their respect to the ark, and to testify their joy in its restoration. The nobility and gentry, elders and officers, came to the number of 30,000 (Sa2 6:1), and the generality of the common people besides (Ch1 13:5); for, some think, it was done at one of the three great festivals. This would make a noble cavalcade, and would help to inspire the young people of the nation, who perhaps had scarcely heard of the ark, with a great veneration for it, for this was certainly a treasure of inestimable value which the king himself and all the great men waited upon, and were a guard to.
III.Here are great expressions of joy upon the removal of the ark, Sa2 6:5.
David himself, and all that were with him that were musically inclined, made use of such instruments as they had to excite and express their rejoicing upon this occasion. It might well put them into a transport of joy to see the ark rise out of obscurity and move towards a public station. It is better to have the ark in a house than not at all, better in a house than a captive in Dagon's temple; but it is very desirable to have it in a tent pitched on purpose for it, where the resort to it may be more free and open. As secret worship is better the more secret it is, so public worship is better the more public it is; and we have reason to rejoice when restraints are taken off, and the ark of God finds welcome in the city of David, and has not only the protection and support, but the countenance and encouragement, of the civil powers; for joy of this they played before the Lord. Note, Public joy must always be as before the Lord, with an eye to him and terminating in him, and must not degenerate into that which is carnal and sensual. Dr. Lightfoot supposes that, upon this occasion, David penned the 68th Psalm, because it begins with that ancient prayer of Moses at the removing of the ark, Let God arise, and let his enemies be scattered; and notice is taken there (v. 25) of the singers and players on instruments that attended, and (v. 27) of the princes of several of the tribes; and perhaps those words in the last verse, O God, thou art terrible out of thy holy places, were added upon occasion of the death of Uzzah.
IV.Here is an error that they were guilty of in this matter, that they carried the ark in a cart or carriage, whereas the priests should have carried it upon their shoulders, Sa2 6:3. The Kohathites that had the charge of the ark had no wagons assigned them, because their service was to bear it upon their shoulders, Num 7:9. The ark was no such heavy burden but that they might, among them, have carried it as far as Mount Sion upon their shoulders, they needed not to put it in a cart like a common thing. It was no excuse for them that the Philistines had done so and were not punished for it; they knew no better, nor had they any priests or Levites with them to undertake the carrying of it; better carry it in a cart than that any of Dagon's priests should carry it. Philistines may cart the ark with impunity; but, if Israelites do so, they do it at their peril. And it mended the matter very little that it was a new cart; old or new, it was not what God had appointed. I wonder how so wise and good a man as David was, that conversed so much with the law of God, came to be guilty of such an oversight. We will charitably hope that it was because he was so extremely intent upon the substance of the service that he forgot to take care of this circumstance.
Historical interpretation
Historical Reception
One surviving comment on this verse from the historical church.
“Again I say to you, if two of you agree on earth about anything they ask, it will be done for them.” Strictly speaking, the word symphony is used by musicians for the voices of harmony. For among musical tones, some harmonize with each other and others do not. But the Gospel is also familiar with this term as applied to music where it says, “He heard music [symphōnias] and dancing.” For it was fitting that, at the harmony that resulted between the father and his son who had been lost but was now found through his repentance, a symphony should be heard on the occasion of the rejoicing of the house.… Akin to this kind of symphony is what is written in the second book of Kings [Samuel] when the brothers of Aminadab “went before the ark, and David and the sons of Israel were playing before the face of the Lord on well-tuned instruments and in power and in songs.” For the “well-tuned instruments in power and in song” have in them that harmony of tones which is of such power that if only two people bring before the Father in heaven any request with that symphony which is found in divine and spiritual music, the Father grants it to them—which is most remarkable.
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Summary
2 Samuel 6:5 vividly portrays the exuberant and widespread celebration accompanying King David's initial attempt to transport the Ark of the Covenant to Jerusalem. This scene is characterized by intense national fervor and communal joy, expressed through a diverse array of musical instruments, as "all the house of Israel" participates in worship before the LORD. The verse captures a moment of profound devotion and the strategic intent to centralize God's presence within the newly established kingdom, highlighting the integral role of music in Israelite corporate worship and national identity.
Context
Literary Context
This verse is strategically placed at the beginning of a pivotal narrative in David's reign, immediately following his consolidation of power and the capture of Jerusalem, which he established as his political capital (2 Samuel 5). Having secured the kingdom politically, David's next priority is to establish Jerusalem as the spiritual heart of Israel by relocating the Ark of the Covenant, which had resided in Kirjath-jearim for decades since its return from Philistine captivity (1 Samuel 7:1-2). Verses 1-4 of 2 Samuel 6 detail David's meticulous preparations, including gathering thirty thousand chosen men and outlining the procession's route. Verse 5 sets the celebratory and musical tone for this grand undertaking, underscoring the widespread participation. The subsequent verses (2 Samuel 6:6-11) dramatically shift from joy to tragedy with Uzzah's death, revealing the critical importance of divine protocol in handling sacred objects, a stark contrast to the initial exuberance.
Historical & Cultural Context
The Ark of the Covenant was the preeminent symbol of God's presence and His covenant with Israel, representing His throne and dwelling place among His people (Exodus 25:10-22). Its relocation was far more than a logistical move; it was a profound theological and political act designed to unify the disparate tribes under God's rule and legitimize David's kingship by placing God at the very heart of the nation. The use of a wide variety of musical instruments was customary for major Israelite festivals, processions, and acts of worship, reflecting a culture where music, dance, and exuberant expressions were integral to religious devotion and national celebration. The "fir wood" mentioned (likely cypress or juniper, common timbers in the region) suggests that these were not improvised instruments but well-crafted implements, indicating the intentionality and significance of the occasion.
Key Themes
This verse powerfully illustrates several key themes prevalent in 2 Samuel and the broader Old Testament narrative. Firstly, it highlights the Centrality of God's Presence as symbolized by the Ark. David's immediate concern after securing his kingdom is to bring God's dwelling place into his capital, demonstrating a recognition that true national stability and blessing flow from God's active presence. This theme resonates deeply with the covenantal call for Israel to be a people set apart, with God dwelling in their midst, as seen throughout the instructions for the Tabernacle in Exodus and the blessings and curses dependent on obedience in Leviticus. Secondly, the verse emphasizes Joyful and Communal Worship. The description of "all the house of Israel" participating with such exuberance underscores that worship was not a solitary or somber affair but a vibrant, collective expression of devotion and thanksgiving. This anticipates the later calls in the Psalms for wholehearted and instrument-accompanied praise, such as in Psalm 150:3-5. Finally, it subtly foreshadows the Tension Between Good Intentions and Divine Requirements. While the joy and devotion are commendable, the subsequent events reveal that even the most sincere worship must align with God's specific commands regarding the handling of sacred things, a theme that becomes tragically clear in 2 Samuel 6:6-7.
Exposition and Analysis
Key Word Analysis
This verb conveys a sense of joyous, unrestrained celebration, merriment, or even "sport." It implies a spontaneous, exuberant, and often physical expression of delight. In this context, it signifies a worship that is not merely formal but deeply emotional and unreserved, directed towards the LORD. It suggests a playful, almost childlike abandon in their devotion, a stark contrast to a rigid or somber religious rite.
While the KJV adds "instruments made of," the Hebrew word itself refers to a cypress or juniper tree. This detail indicates that the instruments were not improvised but crafted from specific, perhaps choice, timber. It speaks to the intentionality and resources dedicated to this sacred procession, suggesting a level of preparation and reverence for the event, even if the method of transport was flawed.
This term is somewhat ambiguous but is generally understood to refer to a type of rattle or sistrum, a percussion instrument that produces a shaking sound. Unlike trumpets or horns (which "cornet" might suggest in modern English), menaan'im were likely used to create rhythmic noise and add to the overall cacophony of celebration, emphasizing the loud and boisterous nature of the worship.
Verse Breakdown
"And David and all the house of Israel played before the LORD"
This opening clause establishes both the universal participation and the divine object of their exuberant activity. It was not merely King David, but "all the house of Israel," indicating a national, communal outpouring of joy and devotion. The phrase "played before the LORD" signifies that their actions were a direct act of worship and adoration, acknowledging God's presence and sovereignty. The verb "played" (שׂחק, sâchaq) emphasizes the uninhibited, joyful, and perhaps even dancing nature of their worship, reflecting a deep emotional engagement.
"on all manner of [instruments made of] fir wood"
This phrase highlights the diversity, quality, and deliberate nature of the musical accompaniment. The KJV's parenthetical addition clarifies that the instruments were crafted from "fir wood" (cypress or juniper), suggesting a careful preparation and dedication of valuable resources for this sacred occasion. This implies a rich, full soundscape, far beyond a few simple instruments, underscoring the grandeur of the event.
"even on harps, and on psalteries, and on timbrels, and on cornets, and on cymbals"
This detailed enumeration provides a vivid auditory and visual picture of the orchestral richness. "Harps" (kinnor) and "psalteries" (nebel) were stringed instruments, providing melodic and harmonic foundations. "Timbrels" (toph) were hand drums or tambourines, adding rhythmic pulse. "Cornets" (menaan'im), likely sistrums or rattles, contributed percussive noise and texture. "Cymbals" (tseltselim) provided loud, clashing sounds for emphasis and punctuation. Together, these instruments created a powerful, multi-layered sound, indicative of a grand, boisterous, and joyful celebration.
Literary Devices
The verse employs several Literary Devices to convey the atmosphere of the procession. Enumeration is prominently used through the detailed listing of musical instruments (harps, psalteries, timbrels, cornets, cymbals), which creates a vivid, sensory image of the scene and emphasizes the richness and variety of the musical accompaniment. This piling up of instruments also contributes to an atmosphere of Hyperbole or Exaggeration, suggesting an overwhelming and all-encompassing sound of praise, indicative of the immense joy and fervor. The phrase "all the house of Israel" serves as Synecdoche, where "house of Israel" represents the entire nation, emphasizing the communal and unified nature of the worship. The action of "played before the LORD" is an example of Anthropomorphism, attributing human-like interaction (playing, implying enjoyment and engagement) to the divine presence, underscoring the intimate and celebratory relationship between God and His people. The overall effect is one of vibrant, unrestrained, and deeply communal celebration.
Theological and Thematic Connections
2 Samuel 6:5, in its depiction of exuberant worship, connects deeply with the Old Testament emphasis on wholehearted devotion and the centrality of God's presence. It illustrates that true worship is not merely a ritualistic performance but a joyful, communal, and often physical expression of praise and adoration. The sheer variety of instruments and the participation of "all the house of Israel" underscore the idea that God deserves our best and our full being in worship. While the subsequent narrative reveals a tragic flaw in their method of transport, the spirit of unbridled praise and the desire to honor God by bringing His presence to the nation's heart remain a powerful theological statement about the proper posture of a people before their Creator and King. This verse sets the stage for understanding the profound significance of the Ark as the symbol of God's covenant and the people's longing for His dwelling among them.
Reflection and Application
The scene in 2 Samuel 6:5 offers a powerful and enduring lesson about the nature of worship. David and Israel's unbridled joy and comprehensive use of musical instruments remind us that worship is meant to be a full-bodied, enthusiastic, and communal experience. It challenges any notion that worship should be somber or detached; rather, it invites us to bring our whole selves—our emotions, our creativity, our energy—before God. While we no longer transport a physical Ark, the principle of desiring God's presence at the center of our lives and expressing our devotion with genuine delight remains profoundly relevant. This verse encourages believers to cultivate a spirit of joyful celebration in their personal and corporate worship, utilizing whatever gifts and means available—be it music, art, or service—to glorify God with abandon, recognizing that He is worthy of our most fervent praise. It also serves as a poignant reminder that while our intentions may be pure and our expressions joyful, our worship must ultimately align with God's revealed will and character, a lesson that the subsequent verses in 2 Samuel 6 will tragically underscore.
Questions for Reflection
FAQ
What was the significance of the "fir wood" instruments?
The mention of "fir wood" (Hebrew: bᵉrôwsh), often identified as cypress or juniper, is significant because it indicates that the instruments were not makeshift or common but specifically crafted, likely from quality timber. This detail underscores the intentionality and resources dedicated to this grand procession. It suggests that David and the people were not merely making noise but were preparing and using well-made instruments for this sacred event, reflecting the importance they placed on honoring the LORD with their best. This highlights a cultural practice of dedicating valuable resources to worship, similar to the fine materials used in the construction of the Tabernacle and later the Temple, as described in Exodus 35:25-29.
Christ-Centered Fulfillment
While 2 Samuel 6:5 depicts an Old Testament scene of joyous worship surrounding the physical Ark, its ultimate fulfillment and deeper meaning are found in Christ. The Ark symbolized God's veiled presence among His people, a presence that was geographically localized and accessible only through specific rituals. In the New Covenant, this presence is no longer confined to a wooden chest or a physical temple, but is fully realized in Jesus Christ, who is God incarnate, the very "dwelling place" of God among humanity (John 1:14). He is the true Ark, the embodiment of God's covenant faithfulness and mercy, through whom we have access to the Father. The exuberant worship described in this verse, though directed towards a symbol, foreshadows the unbridled joy and freedom that believers experience in worshiping God through Christ, who has torn the veil and granted direct access to the Father (Hebrews 10:19-22). The diverse instruments and communal participation point forward to the universal and spiritual worship of the New Testament church, where believers from every tribe and tongue worship God in spirit and truth, empowered by the Holy Spirit (John 4:23-24 and Revelation 7:9-10). Our worship today, centered on the resurrected Christ, is a celebration of God's ultimate presence and salvation, far surpassing the joy of any earthly procession, as we anticipate the day when every knee will bow and every tongue confess that Jesus Christ is Lord (Philippians 2:9-11).