David has decided that it is now, finally, time to bring the ark the rest of the way to Jerusalem. His reasoning isn’t explicitly explained, but there are two likely candidates that jumped out at me: The first and more flattering of the two is that, seeing the blessings on Obededom’s household, David realizes that God wasn’t angry that the ark was being moved, but rather that it was being moved incorrectly (in this case, because those moving it were not Levites, as per Num. 1:51). Therefore, once David has appointed Levites to move the ark, it becomes safe and the procession can continue.
The second explanation is that David saw all the blessings the ark was bringing to Obededom, and he wanted to get in on that.
In either case, he begins by building palaces for himself and pitching a tent for the ark. An odd statement, certainly. I realize that it was culturally known that the temple wasn’t built until Solomon, and that there may have been religious objections to housing the symbol of a nomad god in a permanent structure, but mentioning that David built palaces (plural, mind) for himself, yet merely pitched a tent for the ark seems strange to my modern sensibilities (not to mention my cultural assumptions regarding what a “house of God” ought to look like). Even within a proper context, however, mentioning David’s building projects here seems somewhat out of place.
There’s some odd narrative time skipping in these two chapters, resulting in the ark having been brought to its resting place at least once (possibly twice) before the procession is actually concluded. I suspect that this may be an artefact of the Chronicler’s use of multiple sources, or perhaps just some grammar troubles (one of my greatest difficulties in writing is trying to keep my tenses straight, so I totally get it).
There is also much dwelling on the names of the priests, as well as their roles. I’ll mention those at the end, though, because there’s a lot of them and they are fairly disruptive to the flow. That said, it certainly helped me to understand the commentaries who argue that the Chronicler may have been a musician!
Once David had built his palaces and cleared a little camping plot for the ark, he gathered Israel about him and announced that Levites must be the ones to carry and tend to the ark.
He told the priests, Zadok and Abiathar, and the Levite chiefs to sanctify themselves prior to approaching the ark (this would likely involve rituals like fasting, abstaining from sexual contact, and washing). David explains his theory that God attacked the first time (killing Uzzah) because the ark was not being carried by Levites. This is an addition to the story in 2 Samuel 6, which makes no mention of Levites (likely an anachronistic one, as well, since it seems there’s evidence to suggest that the Levitical caste didn’t emerge until later).
The priests do as they are told, and they carry the ark on their shoulders using poles, as per God’s instructions (relayed via Moses, then David).
The priests appoint a number of singers, as well as musicians of various varieties to play in the procession and “raise sounds of joy” (1 Chron. 15:16). There are harps, lyres, cymbals, and trumpets. There’s even a conductor, Chenaniah.
Taking from 2 Sam. 6:12-15, the procession goes to the house of Obededom to fetch the ark and they bring it to Jerusalem. There are two main differences between this version and the one in 2 Samuel: The first is that we get a whole lot more detail about the music played in the procession. The second is that David is clothed, this time wearing a robe of fine linen in addition to his ephod. The priests of the procession are also wearing robes of fine linen.
Another possible difference is in the time/location of the sacrifices. In 2 Sam. 6:13, a sacrifice (one ox and one fatling) is made when those who bear the ark have gone six paces. In 1 Chron. 15:26, however, seven bulls and seven rams are sacrificed “because God helped the Levites who were carrying the ark”. Reading far too much into the text, it would seem that the 2 Sam. 6 priests tentatively lift the ark, and thank God right away when they survive the test. In 1 Chron. 15, however, the implication seems to be that they give thanks when the journey is completed, perhaps because God somehow made their burden light or saved them from any accidental stumble that could result in a situation like the one that led to Uzzah’s death. But this is bringing a lot into the text, and there’s no reason why the 1 Chron. 15 version can’t be taken to mean the same as the 2 Sam. 6 version.
As they approach Jerusalem, Michal (here, as in 2 Sam. 6:16, identified only as the daughter of Saul) sees David dancing and she hates him. In 2 Sam. 6:20-23, the reason for Michal’s hatred of David is apparently because he was dancing naked, uncovered save for the ephod, disgracing himself. It’s easy to see how afraid she might be, after her father’s house fell and her whole family was slaughtered. She has ever reason to want David to act the proper king, a king who won’t be judged weak or unfit and deposed. Here, however, the conversation is absent, and Michal’s reasoning is unstated. The implication, then, is that she hated him because she was Saul’s daughter (as this is the only detail we are given of her), and is perhaps seen as further proof of Saul’s dynastic unfitness.
The ark finally makes it to its new tend, and sacrifices are made. David blesses the people in God’s name, and he distributes a loaf of bread, a portion of meat, and a raisin cake to every Israelite (including, for once, the women).
A good deal of 1 Chron. 16 is given to a special thanksgiving song David gives to Asaph and the other musically-inclined priests. It’s a fairly ordinary praise song, much like the ones we’ve had before. God is great, we should seek God, he’s done wonderful works, the descendants of Abraham and Jacob are his chosen people, God has protected them. God is to be “held in awe above all gods” (1 Chron. 16:25), who are but idols while God is actually in heaven. The natural world exults in God for God is good. Also, if God wouldn’t mind delivering his chosen people from other nations – so that we can thank him for it, of course – that’d be great.
What’s interesting about this son in particular is that it appears to be a cobbling together of a few different Psalms. Specifically:
- 1 Chron. 16:8-22 is taken from Psalms 105:1-15;
- 1 Chron. 16:23-33 is taken from Psalms 96:1-13;
- And 1 Chron. 16:34-36 is taken from Psalms 106:1 and Psalms 106:47-48.
Perhaps even more interesting, “none of the three psalms used is Davidic and all are later, possibly even post-exilic” (New Bible Commentary, p.378). This would certainly explain the final verses of the poem, which talk about deliverance from other nations (1 Chron. 16:34-36) – something that would have been salient for the Chronicler, but not so much for the rising star of David who has recently destroyed the Philistines. James Pate proposes that the verses could refer to prisoner’s of war – perhaps some Israelites had been taken in David’s recent battles against the Philistines – and the hope that they should be returned.
Another interesting detail about the song is that it is the only place in all of 1 Chronicles where Jacob is referred to by that name, rather than as Israel.
All the people say “Amen!” and David leaves the priests to their business. The Israelites head home, and David goes to bless his house.
Priests and their roles are listed at several points through 1 Chron. 15-16. It begins when David is setting up a location for the ark, and he gathers the Levites to him. They are represented by their leaders:
- 120 Kohathites, led by Uriel;
- 220 Merarites, led by Asaiah;
- 130 Gershomites, led by Joel;
- 200 Elizaphanites, led by Shemaiah;
- 80 Hebronites, led by Eliel;
- And 112 Uzzielites, led by Amminadab.
David then commands these chiefs to appoint musicians from among their sub-tribes to play loudly before the ark as it is being transported. The Levites appoint Heman son of Joel, and Asaph son of Berechiah. The Merarites (listed as though a distinct group from the Levites) appoint Ethan son of Kushaiah, as well as some underlings: Zechariah, Jaaziel, Shemiramoth, Jehiel, Unni, Eliab, Benaiah, Maaseiah, Mattithiah, Eliphelehu, and Mikneiah. Listed here, as though the role is a musical one, are also Obededom and Jeiel, appointed as gatekeepers.
Next, we get a breakdown of the musicians by instrument as they play before the ark in its procession:
- Sounding the bronze cymbals: Heman, Asaph, and Ethan;
- Playing the harps (according to Alamoth – apparently some unknown musical term): Zechariah, Aziel, Shemiramoth, Jehiel, Unni, Eliab, Maseiah, and Benaiah;
- Leading with the lyres (according to the Sheminith – some other unknown musical term): Mattithiah, Eliphelehu, Mikneiah, Obededom, Jeiel, and Azaziah;
- Blowing the trumpets before the ark: Shebaniah, Joshaphat, Nethanel, Amasai, Zechariah, Benaiah, and Eliezer;
- Lastly, the conductor: Chenaniah.
Berechiah and Elkanah are designated as the ark’s gatekeepers. Then, a verse later, we are told that Obededom and Jehiah are also the gatekeepers (1 Chron. 15:23-24).
Once the procession arrives in Jerusalem and the ark is settled into its new tent, David appoints some Levites to minister to it, led by Asaph, who is to sound the cymbals.
To the harps and lyres, David appoints Zechariah, Jeiel, Shemiramoth, Jehiel, Mattithiah, Eliab, Benaiah, Obededom, and Jeiel.
Finally, David appoints Benaiah and Jahaziel to blow the trumpets continually (1 Chron. 16:6), though one hopes that they were at least allowed to take turns.
The sons of Jeduthun are appointed to the gate, which apparently includes Obededom (here identified as a son of Jeduthun) and Hosah (conspicuously not identified as a son of Jeduthun).
Jeduthun himself, along with Heman, are given charge of the trumpets and cymbals at Gibeon, where the tabernacle has been left in Zadok’s charge. There is no reason given for why the ark has been separated from its tabernacle and moved into a new tent, but it appears that worship continued at both sites.
One possibility involves the nomadic nature of the early YHWH cult. If David hoped to nurture a more urban society, detaching the local god from its tent would have been a priority. He might not have felt confident enough to to build a permanent temple yet, but he could at least separate the ark from its tabernacle (which had, as evidenced by this chapter, become a locus of worship in its own right). This is, of course, pure fancy and utterly unsupported as far as I know.
Obededom is a strange figure in these chapters. Is he the same Obededom who housed the ark in 1 Chron. 13:13? And why is he shoehorned so forcefully into 1 Chron. 15-16?
He is mentioned three times as a gatekeeper:
- When he and Jeiel are counted among the Merarite musicians (1 Chron. 15:17-18);
- When he and Jehiah are added, as if as afterthoughts, when Berechiah and Elkanah are listed as gatekeepers (1 Chron. 15:23-24);
- As a son of Jeduthun, who are appointed to the gate (1 Chron. 16:37-38).
This is, of course, in addition to his mentions as a musician.
The way in which he is mentioned feels very forced, particularly in 1 Chron. 15:23-24. I feel like there must be a reason for this.
If this Obededom is the same as the Gittite in 1 Chron. 13:13, it introduces a possible problem. The term “Gittite” is usually used to refer to people from Gath – a city under Philistine control. If Obededom is a Philistine, then he is not an Israelite, and he is certainly not a Levite.
That’s not a certainty, though. It could be that Obededom is merely an Israelite from Gath, or perhaps the name “Gath” was used in a few different place names and the designation of Gittite does not even refer to the Philistine city.
James Pate imagines that Obededom, having had direct experience with the ark and received its blessings while it was in his home, followed it to Jerusalem. It’s an amusing image!