First, Saul Benefited From Temporary Spiritual Deliverance: Whatever one believes concerning the identity and/or scope of the “evil, distressing spirit,” this much is clear the music had the power to cause the spirit to depart from Saul.
The implications here are important for the discussion of the morality of music because the ability of David’s music to interrupt spiritual oppression qualifies its moral substance.
The text is not implying, by any stretch of the imagination, that music has the power to deliver men from their sin. Only the gospel of Jesus Christ contains that atoning power (cf. John 14:6; Ephesians 2:8–10).
The point here is that the music created by David evidenced the unique ability to either directly remove the distressing spirit or indirectly create an atmosphere whereby the spirit could no longer distress Saul.
Both possibilities direct us to the same conclusion. The elements of David’s music were able to render the spirit unable or unwilling to continue its oppression of Saul. One must not relegate to obscurity this representation of music’s power.
The Cure for King Saul’s Affliction: Physical Deliverance
Second in this two-fold cure, Saul benefited from temporary physical deliverance: The word used here is ravach, which means “to be spacious or wide, cause enlargement, relief.” It may also contain the idea of feeling relieved.
This word is also used in Job 32:20 where Job seeks relief from terrible abdominal pain. The word signifies that Saul’s body felt complete relief from the affliction. Medical research has proven that the right kind of music can speed physical healing in war casualties.
A writer points out the similarity of this Hebrew word with the word translated “spirit, wind, breath” and believes that Saul’s affliction may have included difficulty in breathing.
David’s music was powerful enough to bring about temporary, complete physical relief from the severe agony that Saul was experiencing.
Some have used Saul’s murderous treachery in Chapters 18 and 19 to argue that the music could not help Saul. The context of these two examples is key to answering this objection. One must remember that David had become a national hero by slaying Goliath in Chapter 17.
King Saul had promoted David from a lowly shepherd to the King’s royal armor-bearer, and now the nation of Israel had fallen in love with David! This irony was not lost on Saul, and the people singing “Saul has slain his thousands, and David his ten thousands” only fed his resentment toward David.
David’s political popularity created deep hatred within the heart of Saul, and he was now determined to murder David. The text indicates that David’s music had refreshed Saul previously on numerous occasions; it says that whenever the distressing spirit would come upon Saul, he would call for David to come and play, and only then would the spirit depart. Saul’s physical deliverance is emphasized clearly in the Hebrew language: the music made him well.
First Samuel contains remarkable instances of the coming of the Holy Spirit upon the prophets, as well as upon Saul and his servants. In 10:6 the Holy Spirit comes upon Saul, who prophesies and is “turned into another man,” that is, equipped by the Spirit to fulfill God’s calling.
It is not only in the broad sweeps of history that God’s hand is obvious. The following lessons are also evident in First Samuel. God steps into the pain and misery of Hannah to give her, not only a son, but three sons and two daughters (2:21). Though men look on the outward appearance, God looks on the heart (16:7).
Obedience is better than sacrifice (15:22, 23), indicating that God is concerned about men’s hearts as well as their actions. God does not spare even those in high position when they have sinned, but He is still a God of patience and forgiveness.
The tragic end of Saul illustrates the ultimate result of earthly kingdoms. The only hope is a kingdom of God on Earth, whose ruler is God Himself. In David, the earthly lineage of God’s King begins. In Christ, God comes as King and will come again as King of Kings.
The similarities between Jesus and the boy Samuel are striking. Both were children of promise. Both were dedicated to God before birth. Both were the bridges of transition from one stage of the nation’s history to another. Samuel combined the offices of prophet and priest; Christ is Prophet, Priest, and King.
The phenomenon of the Spirit inspiring worship occurs in chapter 10 and 19:20. This was not the emotionalized raving of the pagans, but true, Spirit-inspired worship and praise to God, not unlike what happened on the Day of Pentecost (Acts 2).
On a side note, the musical abilities of man made in the image of God, coupled with the Bible’s teaching that God sings (Zephaniah 3:17), remind us of the possibility that God did not create music but rather that music is a part of His very being. Man’s expression in music could be a part of the image of God placed within him. This author believes that music is a part of God’s essence and that He has evidenced this aspect of His being in the universe.
Music that contains elements consistent with the fruits of the Spirit such as goodness, gentleness, and self-control (Gal. 5:22–23) can communicate those concepts to the listener. Music is ultimately a spiritual issue. 1 Samuel 16:14–23 communicates that good music has power to relieve spiritual and physical suffering. The text states that, when David would play his lyre, the spirit would depart from Saul. David’s music, therefore, was responsible for Saul’s relief.
The current debate within Christianity concerning music certainly invites further study and writing among theologians. The implications of such a study would yield valuable information for the application of music both in the church and in the individual Christian life.
Our anointing is displayed in the gifts God has given us. Others might notice them before we realize them ourselves. They will be pleasing and helpful to someone. Just like David played the harp for Saul, our gifts are a help to someone.
