David, The Man of the Heart is a book of essays exploring the impact and implications of the character of King David as revealed through a study of key Psalms. This book is not a chronological biography, but rather an exploration of King David's life as a type of Christ as the Shepherd, the Soldier, the Sovereign, the Sinner, and the Singer. At the same time, the reader is introduced to valuable guidelines to a study of the Psalms.
Of all the characters bequeathed to us by the Hebrew Bible, none is more compelling or complex than David. Divinely blessed, musically gifted, brave, and eloquent, David's famous slaying of Goliath also confirms that he is a redoubtable man of war. Yet, when his son Absalom rebels, David is dogged by the accusation than he will lose his kingdom because he is not merely a man of war, but a man of 'bloods' - guilty of shedding innocent blood. In this book, for the first time, this language of 'innocent blood' and 'bloodguilt' is traced throughout David's story in the books of Samuel and 1 Kings. The theme emerges initially in Saul's pursuit of David and resurfaces regularly as David rises and men like Nabal, Saul, Ishbosheth, and Abner fall. Innocent blood and bloodguilt also turn out to be central to David's reign. This is seen in a surprising way in David's killing of Uriah, but also in the subsequent deaths of his sons, Amnon and Absalom, his general, Amasa, and even in David's encounters with Shimei. The problem rears its head again when the innocent blood of the Gibeonites shed by Saul comes back to haunt David's kingdom. Finally, the problem reappears when Solomon succeeds David and orchestrates the executions of Joab and Shimei, and the exile of Abiathar. Attending carefully to the text and drawing extensively on previous biblical scholarship, David J. Shepherd suggests that innocent blood is not only a pre-eminent concern of David, and his story in Samuel and 1 Kings, but also shapes the entirety of David's history.
Gunn sets out his aim in this book to foster a fresh understanding of the narrative about David in 2 Samuel and 1 Kings, commonly known as the 'Succession Narrative,' by arguing for its fuller appreciation of its nature as a story. Gunn reviews the different hypotheses on the genre of the so-called Court History/Succession Narrative and concludes that the purpose of this story is to entertain. The work is to be considered primarily artistic and literary, and the rhetorical devices in the story are reliant on traditional motifs and devices.
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