Although I’m a nonbeliever, I still enjoy reading the Bible.
Why this is I don’t know. It may be the connection I feel with people whom
I like to imagine are distant ancestors. It may be for
the same reason that Simon Dubnov, the great historian of Russian Jewry and a
nonbeliever like me, kept a Bible on his bedside table: as a talisman, a symbol.
It may be just because it’s a cool text: a breathtakingly ambitious collection
of old legends, half-remembered stories, snatches and bits and pieces of God
only knows how many old tales and songs from forgotten kingdoms and families and people,
all massaged into a more or less cohesive whole. How this book came to
be is a fascinating story in and of itself. In recent years, I’ve enjoyed fewer
books more than Israel Finkelstein and Neil Asher Silberman’s Unearthing the Bible and David and Solomon, which compare the Biblical
record with the archaeological one. Not surprisingly, there are some pretty
serious discrepancies. But finding out that much of the Biblical record is baloney
doesn’t lessen its import for me. Instead, it deepens my appreciation for the
nameless writers and editors at the court of King Josiah who compiled the
thing. As a writer of fiction, I appreciate the talents of other writers of
fiction, and whatever else those guys (or possibly women) were, they were
talented.
Or maybe it’s just that the Good Book, whether or not one believes in its divine origins, has some good stories.And the best of them is the David story.
I'm not the only one who says so. The David story has inspired geniuses from Michelangelo to Joseph Heller to take a stab at it. The story has inspired artists in every generation, and so universal that everyone on earth can identify with some aspect of David.
I get this. People like to see, in stories and characters, aspects of themselves. It makes us feel less alone. But one thing that irritates me is when people claim that David was gay.
This is a pretty old and prevalent theory. Lots of people do this for lots of different reasons.
Liberal Christians and Jews make the claim, most likely, to emphasize the
welcoming, nonjudgmental, big-tent nature of their congregations. Biblical
detractors, on the other hand, throw it like rocks at more traditional
believers as an insult to one of the Bible's most sacred heroes.
More serious thinkers also fall into the same trap. Jonathan
Kirsch, the author of King David: The
Real Life of the Man Who Ruled Israel, certainly thinks David and Jonathan
had a thing, going so far as to cite homosexual relationships between bandits
(as David became, after fleeing Saul) in other cultural contexts as an
indicator of David’s own proclivities and behavior.
But for whatever reason people do so, they’re wrong to do it.
I don’t say this out of homophobia. Far from it. I don't care who’s gay, bisexual, or straight. Our society’s current obsession with the
topic strikes me as nothing more than prurience, and an invasion of people’s,
living or dead, privacy. I object to gayifying David because I believe,
strongly, in historical accuracy and in respecting the text.
First off, there is absolutely nothing in the text suggesting King
David was gay. Yes, he was close friends with Saul’s son Jonathan. And okay, there is
that one line in David’s famous elegy to Saul and Jonathan after their deaths
(Saul’s by suicide) in battle: “Very pleasant has thy love been to me,
Jonathan, surpassing the love of women”). Okay, sounds gay by our lights, but then
again, we live in a post-Freudian age.
You could parse the whole David story, line by line, or
scrutinize David’s own words, in search of evidence of his homosexuality. Maybe you
could make a compelling or even convincing case for it, based on what’s written about, and purportedly by, him.
But it would be a complete and utter waste of time, for one
simple reason: the Good Book is, as I mentioned above, largely malarkey.
The fact is that we know precisely one fact about King
David. One. One fact. That fact is that he existed.
We know this because of a stone fragment of a victory
arch—the “Tel Dan Stele,” so named because it was found at an archaeological
dig at Tel Dan in Israel—erected by the Aramaean king Hazael, boasting about
his victory over “The House of David.”
That is the extent of extrabiblical documentation for David.
(There’s another busted-up old piece of rock, from a victory arch erected by
King Mesha of Moab ,
which may or may not refer to the House of David. So okay, there’s maybe two.
But there’s only one concrete, universally-accepted piece of evidence that
doesn’t occur in the Bible for David.) And it doesn’t even refer to him
specifically, but rather to his descendants, his “House.”
That’s it. We know he existed. Period. We don’t know anything
else. We don’t know if any of the Bible’s claims about him—that he was
red-haired, that he was a shepherd, the son of a guy named Jesse, a crack-shot
with a sling, or a songwriter of Bob Dylan-esque ability—are true or not. We
don’t know if he actually killed a giant named Goliath (the Bible itself is a
little confused on this score. There’s a verse claiming that someone named
Elchonon killed Goliath. So much for Biblical inerrancy) in the service of King
Saul. We don’t even know if there was a King Saul.
But we do know that a lot of what the Bible says about him
is false. Thanks to archaeology, we know that there actually was no great
United Empire under David. The region of Judah was, in David’s time, a
sparsely-populated scrub country, inhabited by semi-nomadic tribespeople who
lived in villages which rarely exceeded 50 people. Jerusalem ,
in the time of David and Solomon, was no magnificent capital of an empire the
size of Maine .
It was a tiny hamlet of no importance to anyone whatsoever. It barely existed.
In the absence, then, of any trustworthy evidence, we are forced to treat King David the same way we treat King Arthur: as a fictional character who may or may not have been based on a real person. Thus, in order to judge whether claims of David’s homosexuality have any merit, we need to consider the author’s intent.
In the absence, then, of any trustworthy evidence, we are forced to treat King David the same way we treat King Arthur: as a fictional character who may or may not have been based on a real person. Thus, in order to judge whether claims of David’s homosexuality have any merit, we need to consider the author’s intent.
I’m always half irritated and half amused by people who write long, scholarly essays purporting to have detected a homosexual subtext in Frodo and Sam’s relationship, or in that between Holmes and Watson, or that between Bruce Wayne and Dick Grayson, because I have little to no doubt that neither J.R.R. Tolkien nor Arthur Conan Doyle nor Bob Kane intended their creations to be gay. Nor, for that matter, do I believe that the anonymous author(s), or compiler(s), or redactor(s), of the David story did.
Finkelstein and Silberman make a convincing argument that
the Tanakh, the Hebrew Bible, was largely slapped into its present
configuration during the realm of King Josiah of Judah. And yes, there was definite
authorial intent there. But it wasn’t sexual. It was political. The Bible was
crafted to give legitimacy to, and justification for, Josiah’s territorial
ambitions: he wanted all of Israel ,
northern and southern kingdoms both.
Thus, Israel—the northern kingdom—is portrayed in the Bible as a renegade,
rebel state, ruled over by asshats like Omri, Ahab and Jezebel, the descendents
of the illegitimate dynasty of Jeroboam. Judah , the southern kingdom, on the
other hand, was ruled by Josiah, a good and Godly man, the descendent of God’s
own anointed king, to whom God had promised an everlasting kingdom.
Which pretty much worked out like all of God’s other
promises. But that’s another topic.
At any rate, in that light, the friendship between David and
Jonathan takes on a completely different character. David also married Saul’s
daughter Michal. And took over his kingdom. Which indicates that the authorial
intent was not a homosexual relationship between David and Jonathan, but rather
a progression of Saul losing everything to David: his daughter, the loyalty of
his own son, and eventually, his kingdom.
Considering, moreover, that homosexuality was already
considered an abomination punishable by death in Josiah’s time, it’s hard to
believe that a gay relationship between David and Jonathan was really what the
author intended.
Me personally, I could care less if David, the actual
person, was gay or not. Wouldn’t bother me if he was. He
might also have been fat or thin, tall or short, hunchbacked or upright. He
might also have had one eye, twelve fingers, a vestigial tail, or a twenty-two
inch shmeckel. Sure, they all sound ridiculous, but there’s as much reason to
believe any of those as there is to believe he was gay—which is none at all.
He may very well have been gay. Plenty of people have been, are, and will be. But to claim that he was on the basis of what’s written about him is nothing more than pushing an agenda, and an abuse of the text. The chances are that we’re never going to know anything more about the historical person of David than that he existed.
He may very well have been gay. Plenty of people have been, are, and will be. But to claim that he was on the basis of what’s written about him is nothing more than pushing an agenda, and an abuse of the text. The chances are that we’re never going to know anything more about the historical person of David than that he existed.
And frankly, it’s better that way. Pablo Picasso once said
that “Art is a lie which tells the truth.” David’s story, even if it never took
place (or did so in a fashion radically different from what the Good Book tells
us) is a perfect example of this. As per what we know about Judah and its
inhabitants in the time of David, he was, most likely, a minor tribal
chieftain—just one of the innumerable, ten-for-a-dollar petty Bedouin sheikhs
who’ve been crisscrossing that region since time immemorial. It’s the imaginary
David, the legendary David, whose story moves us, inspires us, captivates us,
and whose universality speaks to all of us. His story is one of courage, love,
betrayal, tragedy, and redemption. It’s a testament to the power of fiction and
of art.
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