I. The First Section (2 Samuel 6:1-5) Describes The Joyful Reception And Procession.

The parallel account in 1 Chronicles states that Baalah, or Baale, was Kirjath-jearim. Probably the former was the more ancient Canaanitish name, and indicates that it had been a Baal sanctuary. If so, the presence of the ark there was at once a symbol and an omen, showing Jehovah's conquest over the obscene and bloody gods of the land, and forecasting His triumph over all the gods of the nations. Every Baale shall one day be a resting-place of the ark of God. The solemn designation of the ark, as called by the Name, the name of the Lord of Hosts, that dwelleth between the cherubim,' is significant on this, its reappearance after so long eclipse, and, by emphasizing its awful sanctity, prepares for the incidents which are to follow. The manner of the ark's transport was irregular; for the law strictly enjoined its being carried by the Levites by means of bearing-poles resting on their shoulders; and the copying of the Philistines' cart, though a new one was made for the purpose, indicates the desuetude into which the decencies of worship had fallen in seventy years. In the singular words in 2 Samuel 6:5, which describe David as playing before the Lord on the very unlikely things for such a purpose, all manner of instruments of fir wood,' become with all their might: even with songs,' which seems much more reasonable. A slight alteration in three letters and the transposition of two would bring our text into conformity with 1 Chronicles, and the conjectural emendation is tempting. Who ever heard of fir-wood musical instruments? The specified ones which follow were certainly not made of it, and songs could scarcely fail to be mentioned.

At all events, we see the glad procession streaming out of the little city buried among its woods; the cart drawn by meek oxen, and loaded with the unadorned wooden chest, in the midst; the two sons or descendants of its faithful custodian honored to be the teamsters; the king with the harp which had cheered him in many a sad hour of exile; and the crowd making a joyful noise before the Lord,' which might sound discord in our ears, as some lifted up shrill songs, some touched stringed instruments, some beat on timbrels, some rattled metal rods with movable rings, and some clashed cymbals together. It was a wild scene, in which there was a dangerous resemblance to the frantic jubilation's of idolatrous worship. No doubt there were true hearts in that crowd, and none truer than David's. No doubt we have to beware of applying our Christian standards to these early times, and must let a good deal that is sensuous and turbid pass, as, no doubt, God let it pass. But confession of sin in leaving the ark so long forgotten would have been better than this tumultuous joy; and if there had been more trembling in it, it would not have passed so soon into wild terror. Still, on the other hand, that rejoicing crowd does represent, though in crude form, the effect which the consciousness of God's presence should ever have. His felt nearness should be, as the Psalmist says, the gladness of my joy.' Much of our modern religion is far too gloomy, and it is thought to be a sign of devotion and spiritual-mindedness to be sad and of a mortified countenance. Unquestionably, Christianity brings men into the continual presence of very solemn truths about themselves and the world which may well sober them, and make what the world calls mirth incongruous.

There is no music in the lifeThat rings with idiot laughter solely.'

But the Man of Sorrows said that His purpose for us was that His joy might remain in us, and that our joy might be full'; and we but imperfectly apprehend the gospel if we do not feel that its joys much more abound' than its sorrows, and that they even burn brightest, like the lights on safety-buoys, when drenched by stormy seas.