Thursday, October 18, 2012

II Samuel 20-24 - David's Offering


Well, that was quick. As soon as David has the twelve tribes reunited, Sheba the Benjaminite (Saul’s tribe) incites a rebellion and takes the northern tribes with him. In the ensuing chaos, Joab takes the opportunity to murder Amasa and resumes his role as commander of David’s army. A “wise woman” from Abel then negotiates with Joab and gives up Sheba so that her city might be spared.

If the sword does not depart from David’s house (12:10), it certainly doesn’t depart from Saul’s either. David hands over seven of Saul’s sons and grandsons to be murdered by the Gibeonites – supposedly for a wrong Saul had done them before (one that is never mentioned directly in the text). When Rizpah, the mother of two of Saul’s sons, goes to great lengths to protect their corpses, David finally arranges to have the bones of Saul and all his sons properly buried in their ancestral home. Once again, a woman reminds David of his humanity. Rizpah joins a long line – Abigail, the wise woman of Tekoa, etc. We’re told: “After that, God heeded supplications for the land” (21:14).

In between accounts of battles with giants and a list of David’s warriors, we get two poems – one very similar to Psalm 18 and David’s official last words in oracle form (although he also speaks quite clearly in I Kings 1-2). The psalm seems oddly placed, given that much of the book reveals David’s lack of “cleanness” (22:21, 25). If anything, God’s deliverance is in spite of David’s faults rather than a reward for his purity. Is it true what this poem says of the LORD: “with the pure you show yourself pure, and with the crooked you show yourself perverse” (22:27)? One could argue that’s exactly what happens in chapter 24; the LORD responds with perverseness to the crookedness David has exhibited throughout the book. A less jaded eye might say that David’s character before the LORD is best preserved in the poetry attributed to him and in the responsibility he takes for his actions. Perhaps we should judge him in that light too – and not just by his mistakes and maneuvering.

The last episode in II Samuel deals with David’s punishment for taking a military census. After all his legitimate crimes against his fellow humans, why does the LORD get so upset over what “the anger of the LORD” incites David to do in the first place? Is David relying too much on military might and a healthy tax base and not enough on the LORD? (According to I Chronicles 21:1, it is Satan who persuades David to count the people.) Regardless, the king’s actions have a devastating ripple effect.

The prophet Gad offers David three alternatives, and the king chooses pestilence over famine or foreign pursuit – saying “let us fall into the hand of the LORD, for his mercy is great; but let me not fall into human hands” (24:14). According to the text, thousands upon thousands die as a result. David responds: “I alone have sinned, and I alone have done wickedly; but these sheep, what have they done? Let your hand, I pray, be against me and against my father’s house” (24:17). He does his best to take responsibility for what he has done. Gad directs David to build an altar and offer burnt offerings on the threshing floor of Araunah the Jebusite (which eventually becomes the altar site for the Temple in Jerusalem), for which he insists on paying in full: “I will not offer burnt offerings to the LORD my God that cost me nothing” (24:24). At last, the plague ends – and the stage is set for the building of the Temple under Solomon in I Kings.

What do you make of all this bloodshed and loss? How does David’s story end? Keep reading! In the meantime, click on “comments” and add your reflections…

2 comments:

  1. Below is a really good song. Plus, it opens up an existential question--David's inner relation with an elusive God—looks/beneath/behind the biblical text—to an inner David--and it may even be suggesting that God asks of David, where are you?

    http://www.youtube.com/watch?v=PBo-n_17XU0&feature=share

    Hallelujah Lyrics

    Sung by Rufus Wainwright; from Shrek Soundtrack
    Copyright © 1985 Leonard Cohen and Sony/ATV Music Publishing Canada Company.

    I've heard there was a secret chord
    That David played, and it pleased the Lord
    But you don't really care for music, do you?
    It goes like this
    The fourth, the fifth
    The minor fall, the major lift
    The baffled king composing Hallelujah

    Hallelujah, Hallelujah
    Hallelujah, Hallelujah

    Your faith was strong but you needed proof
    You saw her bathing on the roof
    Her beauty
    in the moonlight
    overthrew you
    She tied you
    To a kitchen chair
    She broke your throne,
    she cut your hair
    And from your lips she drew the Hallelujah

    Hallelujah, Hallelujah
    Hallelujah, Hallelujah

    Maybe I've been here before
    I know this room, I've walked this floor
    I used to live alone before I knew you
    I've seen your flag on the marble arch
    love is not a victory march
    It's a cold and it's a broken hallelujah

    Hallelujah, Hallelujah
    Hallelujah, Hallelujah

    There was a time you'd let me know
    What's real and going on below
    But now you never show it to me do you?
    Remember when I moved in you?
    The holy dark was moving too
    And every breath we drew was hallelujah

    Hallelujah, Hallelujah
    Hallelujah, Hallelujah

    Maybe there's a God above
    And all I ever learned from love
    Was how to shoot at someone who outdrew you
    It's not a cry you can hear at night
    It's not somebody who's seen the light
    It's a cold and it's a broken hallelujah

    Hallelujah, Hallelujah
    Hallelujah, Hallelujah
    Hallelujah, Hallelujah
    Hallelujah, Hallelujah

    --If Leonard Cohen/Rufus Wainwright have something lasting here, it may be the contingency of his relation w God, and vice versa -- "remember when I moved in you."

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  2. Some of the contradictions and puzzles that appear in the David story may result from how little we have of it, how many written and oral sources there may have been, and how they may have been inconsistent—to some degree—as would be witness accounts of an event today—if they are honest, they will probably differ. “Sources” themselves may reflect different attitudes. Sometimes David is depicted as the perfect partner of an indwelling or in-speaking spirit of God, but sometimes (as with Bathsheba) he goes his own way. Perhaps there are at least two sources, one idealizing David, and the other seeing some of his flaws.

    The Leonard Cohen song sung by Rufus Wainwright suggests that David was sometimes puzzled by his closeness to God and the simultaneous otherness of God. And it suggests that sometimes that otherness, that distance, increases. Am I reading a modern-ness into David, or is it that cultural and historical distance, and the fragmentary nature of sources, have made it seem that inwardly David was more unlike a modern person than may have been?

    So I am suggesting that the David story that we have is made up of snapshots of a larger story….

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