How Do You Keep the Music Playing? Music in the Saul Narrative in I Samuel

Yelena Kolyada is not exaggerating when she observes that the Hebrew Bible contains the most information regarding music and musical instruments among many ancient literary and historical documents.¹ Israel’s birth as a free nation is marked by the Song of the Sea (Ex. 15), its monarchic system is defined by the archetypical musician-king, David, and its religious gatherings are celebrated with music. The term “song” (in its various nouns and verb forms) appears 309 times in the Hebrew Bible.² Meanwhile, musical instruments are mentioned in at least 25 books of the Tanakh in a total of 146 verses.³ Though scholars have noted how the women’s song of victory (I Sam. 18:7; 21:12[11] and 29:5) functions in I Samuel, there has yet to be a study that examines how all the references to music function within the plot of the Saul narrative.⁴

Music plays a vital role in the pivotal points in Saul’s career. In his election as the inaugural king of Israel, he is told by the prophet Samuel to join a procession of prophets coming down from the high place with lyres, timbrels, pipes, and harps being played before them (I Sam. 10:5). While Saul joins the procession, the spirit of the Lord comes upon him causing the future king to prophesy.⁵ In I Samuel 16:14-23, Saul’s mental health takes such a plunge that David has to be brought into court as the king’s music therapist.⁶ Whenever an evil spirit came on Saul, David plucking on the strings of a lyre would provide respite or relief.

If music brings David and Saul together in I Samuel 16:14-23, it will tear the two men apart in 18:6-10. After David’s triumphant victory over Goliath, the women’s song exalting David’s success over Saul’s is enough to cause the latter to become very angry (v. 8). The next day, an evil spirit comes upon Saul while David is playing the lyre; this causes Saul to hurl the spear in his hand at David. The narrator adds that David eluded him twice (v.11). Unwilling to give up, Saul repeats the same assault in I Samuel 19:9-10. While David plays his lyre, Saul tries to pin David to the wall again with his spear. Saul’s behavior causes David to panic and escape to Samuel’s home, where David reports to the prophet all Saul has done (I Sam. 19:18).

Saul’s espionage soon discovers David’s whereabouts, and three contingents are sent to take David down. When the first group of messengers arrive, they see an assembly prophesying. Recalling Saul’s experience in I Samuel 10:5-7, the messengers are filled with the spirit and start prophesying. When Saul hears about it, he sends a second delegation, and they also break out in ecstasy. The same result occurs with the third group. Finally, Saul decides to seek David out himself, and a spirit from God comes upon him. He also shows ecstatic prophetic behavior (I Sam. 19:23). According to I Samuel 19:24, Saul is beside himself as he strips off his garments and lays naked all that day and all that night. What is consciously missing is that, in this final episode, we do not read of the playing of musical instruments during the processions.

What is the function of music within these passages? What is the relationship between music and the spirits (such as the spirit of the LORD and the evil spirit)? Why is music not mentioned in the prophetic processions of I Samuel 19:9-24? What does music have to do with the acceptance/rejection of David and Saul as kings of Israel? This article addresses the above questions as we explore how the motif of music functions within the Saul narrative. We will proceed by sequentially looking at these passages: I Samuel 10:5-8, 16:14-23, 18:6-11, and 19:9-24.

Music and the Election of Saul (I Samuel 10:5-8)

Before 1 Samuel 10:5-8, Saul is presented as a weak and dependent individual.⁷ We first meet Saul in 9:3, where he is looking for his father’s lost donkeys. If a character’s first words constitute an “important moment in the exposition of character,”⁸ Saul’s first words in the narrative, let us go back, reveal his lack of tenacity and confidence in completing the assigned task.⁹ In contrast, Saul’s servant refuses to accede to his master. Instead, he suggests, look, in this town, there is a man of God; he is highly respected, and everything he says comes true. Let us go there now. Perhaps he will tell us what way to take. The servant’s first words show his determination, knowledge of the land, courage, and awareness of how and where to acquire divine counsel, qualities that not only make the servant a good king but are also missing in Saul.¹⁰ For Saul to ask his servants about the type of gift they are to give to the prophet (v. 8) further demonstrates the future king’s dependence on a subject he is supposed to lead. Even the nondescript group of female servants in 9:11-14 seems more knowledgeable than Saul. They can provide directions for Saul about Samuel’s whereabouts. Together, the anonymous servant and the group of unnamed women provide solutions to problems (missing donkeys and prophets, respectively) that are far too challenging for the future king.

However, with Samuel anointing Saul as king, God is about to turn Saul into another man (10:6). Three signs will authenticate this change.¹¹ Pertinent to our discussion is the third sign; according to 10:5, Saul will meet a procession of prophets who will play various musical instruments such as lyres, timbrels, pipes, and harps. The Hebrew Bible has a close association between kings and music.¹² For instance, the shofar (ram’s horn) is played as King Saul battles the Philistines in I Samuel 13:3. Music is also performed at the coronation of kings. As Zadok and Nathan anoint Solomon as king over Israel, the shofar is blown as the people shout, Long live King Solomon (I Kgs. 1:34). A similar scene occurs at the crowning of King Jehu: They sounded the horn and proclaimed, “Jehu is king!” (II Kgs. 9:13). Likewise, at the coronation of King Joash, the Chronicler recounts, all the people of the land were rejoicing and blowing trumpets, and musicians with their instruments were leading the praises (II Chron. 23:13). Further, there are certain psalms (2, 27, and 110) which are written with the coronation of the king in mind.¹³ Given how music is linked to Israel’s monarchy, it is unsurprising that music is performed when Saul takes up the kingly office.

Moreover, like the prophets, Saul will also be filled with the spirit of the LORD, such that the Spirit of the LORD will come powerfully upon you (v. 6). As a result of God’s imbued presence (v. 7), two events will follow. First, Saul will prophesy with the prophets. From someone who does not know the location of his donkeys, the king-elect is now a prophet. Second, he will be turned into another man (v. 6). Hans William Hertzberg is right when he remarks, “we should not . . . think of a conversion in the spiritual sense, but merely of a readiness in Saul for the intervention of the Lord.”¹⁴ By changing Saul into another man, the LORD will get Saul to do what your hand finds to do (v. 7). In the light of 10:5, he will carry out the LORD’s decree by attacking the Philistine outpost at Gibeah.¹⁵ From one who lacks courage, leadership, and resolve, Saul becomes a valiant warrior-king. The power of music, especially in the martial realm, is not foreign in the Hebrew Bible. In a holy war, for instance, the priests blow trumpets as part of the procession (Num. 10:9; 31:6; II Chron. 13:12).¹⁶ In II Chronicles 20:1-30, Jehoshaphat sends Levitical singers and musicians ahead of his army in war. Victory is ensured as soon as they begin marching. Music here serves to invoke God to lay an ambush and re-route the enemy. The connection with music and warfare is further enhanced when commanders of the army accompany David in the appointment of musicians for worship (I Chron. 25:1).¹⁷

Therefore, in I Samuel 10:5-8, music signifies Saul’s election as king over Israel. As part of the sign, the spirit of the LORD comes upon Saul, making him prophesy. Further, Saul is being transformed into another man, where God turned another heart to him (10:9).¹⁸

Music and the Rejection of Saul (I Samuel 16:14-23)

Despite a short stint of success as king of Israel, Saul’s downfall commences with his battle with the Amalekites in I Samuel 15. Instead of completely wiping out the Amalekites, Saul spares Agag and the best of the sheep and cattle, the fat calves and lambs – everything that was good (v. 9). As a result, Saul is disqualified as king (v. 26). With the rejection of Saul, the narrative sings a different tune. In I Samuel 16, Saul reverts to his former self, where others consistently guide him.¹⁹ First Samuel 16:14 reveals the cause: Now the Spirit of the LORD had departed from Saul, and an evil spirit from the Lord tormented him. Esther Hamori and R. J. Balfour correctly argue that the spirit of the LORD and the evil spirit in the books of Samuel are two different spirits, though they share some similarities.²⁰ The two spirits, for instance, are dispatched by God.²¹ They can fall upon someone (16:13; 18:10) as well as depart (16:24; 16:23). Both spirits can cause ecstatic prophecies (18:10; 19:20). However, there is a crucial difference: the spirit of the LORD brings about positive transformations while the evil spirit causes delusional behavior bringing distress upon the recipient.

Recalling how Saul’s servant took the lead when Saul wanted to search for the donkeys (I Sam. 9:3-14), Saul’s attendants take charge by offering a diagnosis of the king’s malady: Behold, an evil spirit from God struck you with terror (16:15).²² Moreover, they instruct the king on what he is to do. They even go as far as suggesting how music therapy will provide relief for their afflicted master (16:16). The dynamics evident in chapter nine are at work here: the king has a problem that he is not able to solve, and it is through the insights, confidence, and actions of his servants that the situation finds its resolution.²³

Nevertheless, there is more: one random and anonymous individual from the group of servants stands out and launches a long speech about the son of Jesse, which goes beyond his musical abilities.²⁴ In 16:18, David is lauded as a skillful musician, a mighty warrior, prudent in speech, handsome, and that the LORD is with him. Despite the servant’s intention to impress upon King David’s credentials, the reader cannot help but compare David with Saul. Most striking is that unlike David, who is accompanied by the LORD’s presence (16:18), the spirit of the Lord has departed from Saul (16:14). In fact, the spirit of the LORD, which was once upon Saul finds its abode now in David (I Sam. 16:13).²⁵

How will David bring healing to Saul’s malady? As Saul’s servants suggest, relief for the king will come through music. It is important to note David’s musical performance does have its effectiveness and its limitations. In I Samuel 10:6, when the music plays, the spirit of the LORD comes upon Saul, making him a different person. From one who is timid and uncertain, the king is transformed into one who is courageous and decisive. Though Saul is not transformed into a different person in I Samuel 16:23, David’s music relieves the king. The word for relief is revach, a pun on the Hebrew word for spirit ruach.²⁶ Further, David’s music is so compelling that it causes the evil spirit to depart (v. 23). Though such a departure is excellent news, there is no mention of a return of the spirit of the LORD to Saul.

Drawing our discussion together: what can we say about the role of music in I Samuel 10:5-8 and 16:14-23? In I Samuel 10:5-8, music functions as a sign of Saul’s appointment as king, which is confirmed by the arrival of the spirit of the LORD and Saul’s changed behavior. After Saul’s rejection, the role of music changes. Despite Saul being tormented by an evil spirit, music playing does cause the evil spirit to flee. However, unlike I Samuel 10:5-8, the “spirit of the LORD” does not come upon Saul. At this stage in the narrative, Saul is not beyond redemption. Though Saul’s character and personality are not radically transformed, music still positively impacts his life, making him feel revach.

Music and the Spear-Throwing King (I Samuel 18:6-11)

The plot takes another turn when we come to I Samuel 18:6-1l. Saul begins to become violent towards David in violence; this narrative twist is again reflected in the music motif. Situated within the context of the aftermath of the Goliath incident, the pericope begins with the Israelite army returning from battle in triumph. In accord with the custom of the times, Saul and his comrades are greeted with the music and dancing of women as they sing, Saul has slain his thousands, and David his tens of thousands (I Sam. 18:7).²⁷ Scholars generally agree that the women’s song is not meant to insult Saul or show favoritism to David.²⁸ they are correct: the song is a poetic doublet employing synonymous parallelism, such that the women give equal credit to Saul and David for the victory over the Philistines. Stanley Gevirtz writes: “The song contains no insult. It is a lavish praise of both Saul and David, utilizing the largest (single) equivalent numerals available in Syro-Palestinian poetic diction; the fixed pair of ‘thousands’//‘ten-thousands.’”²⁹

However, as David Noel Freedman observes, the fact that David is accorded equal treatment with Saul in the song is enough to arouse suspicions about any monarch.³⁰ The pairing of David with the king is why Saul responds with jealousy and rage. Moreover, while it may be correct that the poetic convention of the song should not be pressed in a too literal direction, and while it may be true that the women have no malicious intention to discredit Saul, the second line of the song is still an “intensification” of the first.³¹ Thus, it is unsurprising for Saul to read the song as elevating David, placing him in the climatic position. Nevertheless, the way Saul interprets the song reveals Saul’s disposition towards David: he is jealous and fearful of the shepherd-lad and sees David as a threat to his throne.

If music functions as a sign to affirm the election of Saul’s kingship in 10:5-8, music is now used to suggest that David may be the next choice monarch. As a result of the women’s song, Saul becomes very angry; this refrain displeased him greatly (18:8). The king now hates the music that once brought him relief. As a result of this rivalry, verse nine informs us that Saul eyes David (v. 9). The Hebrew term oyen, as Keith Bodner elicits, is a hybrid of “evil” (ra’ah) and “eye” (ayin), signaling Saul’s increasing apprehensiveness before David.³² One day, after Saul’s brooding thoughts about David and his kingdom, an evil spirit comes upon the king, causing Saul to prophesy.³³ As with chapter 16, David is playing his lyre at the outbreak of Saul’s ecstatic behavior.

However, unlike 16:23, where Saul would feel better after hearing David’s music, there is no mention that the music is therapeutic. Saul’s anger does not subside when he hears the music. Instead, his rage turns violent when Saul hurls the spear at David, saying, I’ll pin David to the wall (18:11).³⁴ Saul’s actions call to mind I Samuel 26:8 when David’s assistant, Abishai, wants to pin Saul to the ground with his spear. However, David rejects the idea, showcasing David’s integrity in contrast to Saul’s depravity. Further, unlike 16:23, where the evil spirit departs upon hearing David’s music, there is no indication that the spirit ever leaves Saul. The addition of the note that David eluded him (Saul) twice (18:11) further suggests that this spirit may have lingered with Saul or had access to Saul’s body on other occasions.

Earlier in Saul’s ministry, music functions as a sign of Saul’s appointment as king, which is confirmed by the infilling of the spirit of the LORD and Saul’s changed behavior. With the rejection of Saul as king, the function of music changes. In I Samuel 16:14-23, when Saul gets tormented by an evil spirit, the playing of music causes the spirit to flee. Unlike I Samuel 10:5-8, the spirit of the LORD does not come upon Saul. When we come to I Samuel 18:6-11, not only is Saul’s rejection not revoked, but even the women are starting to acknowledge David’s strength through their music. As Saul’s jealousy turns violent, the king is distressed by the evil spirit; music no longer causes the spirit to flee. The failure of music to impact the king’s life is also evident: in I Samuel 16:14-23, though Saul’s character and personality are not radically transformed, music still positively impacts his life, making him feel relief. However, no such relief is mentioned here in 18:6-11. In short, as Saul’s debilitation progresses, music’s impact on his life diminishes.

Music, No Music, and the Naked King (I Samuel 19:9-24)

The context of I Samuel 19:8-10 has several striking similarities with chapter 18. David returns from extraordinary success against the Philistines on the battlefield. An evil spirit dispatched by God (19:9) comes upon Saul. David is called upon to perform on his lyre. Once again, Saul tries to kill him, and his modus operandi remains the same. Instead of honoring his recent pledge to spare David (v. 6), Saul throws his spear at David. Once again, David eludes Saul and his murderous attack. As with I Samuel 18:6-11, the impact of music is minimal: (1) the evil spirit does not leave; (2) there is no indication that the performance brings relief to Saul; and (3) Saul is not personally transformed for the better.

In his attempt to save his own life, David makes his escape. Samuel is the first person to whom David flees. Finding the prophet in his hometown at Ramah – the very site where Saul was anointed as king – David tells Samuel all Saul had done to him (19:18). Together, the two relocate to Naioth. When Saul hears of David’s whereabouts, he sends messengers to capture David (v. 20). The sight of a group of prophets prophesying and Saul’s agents falling under the sway of a spirit of God, calls to mind I Samuel 10:5-6 where Saul also meets and joins a similar group. Further, J. P. Fokkelman points out that the prevalence of words such as seek, find, go, and come connects the passage with I Samuel 9:1-10:16, especially with Saul’s search for his uncle’s asses.³⁵

Saul sends his men to capture David twice more, and the result is the same (v. 21). Finally, Saul decides to take things into his own hands. Despite Saul’s resolve to kill David, Saul cannot overpower the spirit of God more than his servants (vv. 20-21). The spirit comes upon Saul while he is still on his way to Naioth, so he walks along prophesying (v.23), a scenario not dissimilar to I Samuel 10:10.³⁶

Despite the similarities between the two scenes, what is conspicuously missing in I Samuel 19:18-24 is that music is not mentioned in any of the four processions. While music is a sign marking God’s election of Saul as the king of Israel, the absence of music here demonstrates The LORD’s rejection of Saul. This rejection is completed in I Samuel 19:24, where Saul strips off all his garments (including his royal regalia) as he prophesies in Samuel’s presence (v. 24a). In the books of Samuel, scholars have noted the importance of the clothing motif.³⁷ Clothing, for instance, is integral in describing David’s rise and Saul’s fall. In I Samuel 24:4, David’s cutting off the hem of Saul in I Samuel 24:4 symbolizes that David is taking away the kingdom from Saul.³⁸ Throughout David’s rise to power, he receives clothing from others. In I Samuel 17:38, Saul dons David with his tunic before placing his coat of armor and his bronze helmet on David. A chapter later, Jonathan removed his robe and tunic and gave them to David. While David amasses more and more clothing as the narrative progresses, Saul’s wardrobe shrinks.

If clothing represents power, Saul stripping himself of all his clothing in Samuel’s presence (I Sam.19:24a) symbolizes that Saul has wholly surrendered his rights to the throne. Saul’s appearance naked before Samuel shows that Samuel’s words that the kingdom has been taken away from Saul have come true. This symbolism is actualized in I Samuel 31:9 when the Philistines expose Saul’s naked body on the wall of Beth Shan. As music and its effect gradually changes in the king’s life, the clothing theme concurrently also marks Saul’s downfall.

Conclusion

In our preceding discussion, we argue that music is not only repeatedly mentioned in the Saul narrative but also plays an important function. In I Samuel 10:5-8, music is a sign that marked Saul’s election as the king of Israel. As part of the sign, the spirit of the LORD comes upon Saul, making him prophesy. Further, Saul is being transformed into another man, where his heart is transformed (10:6, 9). Due to Saul’s disobedience, Saul is rejected as king. The role of music progressively changes with this rejection. Instead of being endowed by the spirit of the LORD, Saul is tormented by an evil spirit. When David plays his lyre, the evil spirit flees. Unlike I Samuel 10:5-8, the spirit of the LORD does not come upon Saul. However, at this stage in the narrative, Saul is not beyond redemption; though Saul’s character and personality are not radically transformed, music still positively impacts his life, making him feel relief.

In I Samuel 18:6-11, the women acknowledge David’s strength through their music. As Saul’s jealousy turns violent, the king not only continues to be distressed by an evil spirit, but music does not cause the spirit to flee. The failure of music to impact the king’s life is also evident. Unlike in the previous pericope, no relief is mentioned after David’s lyre playing. Instead, Saul gets more violent as he tries to pin David down with his spear.

In our final episode, I Samuel 19:9-24, Saul repeats his assault on David while David plays his lyre. When David escapes to Naioth, the narrative returns to where Saul meets a procession of prophesying prophets, recalling 10:5-8. However, music is conspicuously not mentioned during the four processions. If music is a sign marking God’s election of Saul as the king of Israel, the absence of music here demonstrates The LORD’s rejection of Saul. As far as Saul’s grasp of leadership is concerned, the picture of the naked Saul at the end of the passage is the most telling.

Special thanks to the author’s parents, Robert and Siew Hiong Yap, and relatives, Lim Sew Hong, Caroline Lim, Lim Hong Sinn, and Blessing Yap, for their faithful prayers. The author is also grateful to his brother, Terence, for his thoughtful feedback on this article, and deeply appreciates Zvi Ron and Josh Backon for their generous encouragement and support.