Master of the Harp and Sword
By ALICIA OSTRIKER
THE LIFE OF DAVID
By Robert Pinsky
209 pages. Schocken/Nextbook. $19.95.
The Life of David is
an exciting undertaking for both publisher and author. For Schocken Books,
it is the debut of a new series, Jewish Encounters, inaugurated in
collaboration with Nextbook, under the editorial
guidance of novelist Jonathan Rosen. The
object of the series is to engage general readers “in a lively, intelligent,
and popular manner.” For Robert Pinsky, former Poet Laureate, to write about
King David must have seemed a delicious plum of an assignment.
Pinsky is nothing if not lively, intelligent, and popular, both in his own
poetry and as a prize-winning translator of Dante. As an
essayist he has written largely on poetry and poetics. Now here is one of the
greatest stories of all time, about one of the greatest flawed heroes of all
time—and one who has been interpreted up, down, and sideways for at least two
millennia, by rabbis and scholars, believers and skeptics. Among the novels
that have emerged during the surge of midrashic writing in our time are Joseph
Heller’s brilliantly caustic God Knows, narrated by the aging David, and India
Edgehill’s thoughtful Queenmaker, narrated by David’s rejected wife, Michal.
Most recently, Robert Alter’s translation of Samuel 1 and 2, The David Story, reads like a novel and overflows with
copious and informative notes.
Pinsky is up to the challenge. He begins by laying out the dimensions of
David’s complexity:
[David] is wily like Odysseus and an impetuous daredevil like the Scarlet
Pimpernel. Like Hamlet, he pretends to be crazy. Like Joan of Arc, he comes
from nowhere, ardent and innocent, to infuriate the conventional elders. Like
the Athenian rogue Alcibiades he goes over to the enemy side for a time. Like
Robin Hood, he gathers a band of outcasts and outlaws in the wilderness. Like
Lear, he is overthrown and betrayed by his offspring. Like Tristram and Cyrano
he masters the harp as well as the sword: a poet as well as a warrior-killer,
but as a poet he is far above any other hero, and as a killer no one among the
poets can even approach him.
Are we intended to feel a touch of jealousy on the part of a poet who is only a poet, and not a hugely successful
lover, warrior, and politician, as well? Perhaps—but who would not be jealous
of David’s charisma, loved as he is by everyone from God on down to the
ordinary people of Judah? Pinsky is as impressed by David’s mysterious career
as a mercenary for the Philistine king Achish as he is by David’s ability to
unify the northern and southern kingdoms after Saul’s death. He lets us be
jolted by Saul’s demand of 100 enemy foreskins as a bride-price for his
daughter Michal, then by David’s arrogantly supplying twice that number, and
later by the mutually biting words that end the relationship of David and
Michal, which he describes as “the toxic attachment, the wounded desire to
wound, between a man and a woman." Fascinated by the unsparing violence of
David’s world, Pinsky tracks the bloody vendettas and treacheries that lace
through his story—Abner versus Ishbosheth, Joab versus Abner, Absalom versus
Amnon, Absalom versus David, Joab versus Absalom, to name a few—and is unafraid
to call David’s treatment of conquered Moabites (stretched out in three lines
on the ground, two lines are killed, the third enslaved) “atrocity.” In one
startling phrase, Pinsky calls the Psalms, filled as they are with requests
that God destroy the psalmist’s enemies, “masterpieces of paranoia.” Still, as
an artist himself, he too is charmed by “David’s performances, his power of
simultaneous conviction and detachment," his eloquence “both lyrical and
political,” and his endless buoyancy. The epithets Pinsky uses throughout the
book make his attraction clear: David is “the underdog boy and the calculating
ruler,” “the quicksilver, evasive and invincible David," “the dancer,” “an
irresistable boy” whose fate is inextricable from that of the nation he
establishes.
Pinsky’s richly layered interpretation of David’s life is informed not only by
rabbinic and scholarly commentaries, but by references to Arab poetry and
legend, Homer, Dante, Bialik, and Kurosawa. He observes that Thucydides and
Herodotus describe slingshots as weapons of war. He notes the astuteness of
building the City of David in a location between Judah and Israel, just as the
choice of Washington, D.C., was a compromise between Virginia and New England.
The theme of nation-building is central here. But this is also, in Pinsky’s
telling, a story of wrestling fathers and sons; a story of sexual passion and
guilt; a story of women like Bathsheba who after initial passivity show
unanticipated strength in a mostly masculine world; and, finally, a story of a
powerful man’s inevitable loss of power.
The book is rather impatient with traditional rabbinic interpretations that try
to turn David into a saint. Although David’s adultery with Bathsheba and his
subsequent order to have Bathsheba’s innocent husband, Uriah the Hittite, put
in the forefront of battle where he will be killed, is clearly criminal, some
Talmudists try to exonerate David by claiming that Uriah allegorically
represents the Serpent, or that he got Bathsheba as a wife dishonorably by
selling Goliath’s armor. Pinsky recognizes in such far-fetched interpretations
“the hungers and terrors of the Diaspora." Under threat in a Christian
world, many Jews needed David to be “the Light of Israel” and nothing else. In
the original text, however, all heroes are imperfect, complicated, and
realistic. We have a Torah that astonishingly represents the world as it is,
along with the imagination of what it might be.
Readers who know the David story will enjoy the subtleties of Pinsky’s
interpretations. Others may be confused, at first, by Pinsky’s refusal simply
to re-tell the tale chrononogically. He works by thematic association, often,
rather than by time sequence. Thus the book sacrifices linearity, at least in
its first chapters. By its close, however, one is gripped by the treatment of
the dying yet still regal king whose last words to his son Solomon instruct him
to assassinate certain foes. Pinsky wisely ends his account of David’s life by quoting
Psalm 110:
The Lord said unto my Lord, Sit thou at
my right hand,
Until I make thine enemies thy footstool.