1 Samuel 19 16

1 Samuel 19:16 kjv

And when the messengers were come in, behold, there was an image in the bed, with a pillow of goats' hair for his bolster.

1 Samuel 19:16 nkjv

And when the messengers had come in, there was the image in the bed, with a cover of goats' hair for his head.

1 Samuel 19:16 niv

But when the men entered, there was the idol in the bed, and at the head was some goats' hair.

1 Samuel 19:16 esv

And when the messengers came in, behold, the image was in the bed, with the pillow of goats' hair at its head.

1 Samuel 19:16 nlt

But when they came to carry David out, they discovered that it was only an idol in the bed with a cushion of goat's hair at its head.

1 Samuel 19 verses

1 Samuel 19 16 Meaning

This verse details the crucial deception orchestrated by Michal, David's wife, to save him from King Saul's attempt to kill him. It describes the precise moment Saul's messengers entered David's bedchamber only to discover that the figure in the bed was not David, but an artfully arranged dummy (teraphim) with goat's hair placed to simulate a human head, creating a convincing illusion of a sleeping man. This clever ruse allowed David to escape safely.

1 Samuel 19 16 Context

The setting for 1 Samuel 19:16 is critical for understanding the verse. In chapter 19, King Saul's irrational jealousy and paranoia toward David escalate significantly, reaching a point where he openly declares his intent to kill David (1 Sam 19:1). Jonathan, Saul's son and David's close friend, bravely intervenes, convincing Saul to temporarily reconcile with David. However, the truce is short-lived as David's continued military success (1 Sam 19:8) reignites Saul's murderous rage, leading him to throw a spear at David while he is playing the lyre (1 Sam 19:9-10). David flees his house. In this dire situation, Michal, David's wife and Saul's daughter, actively protects David from her father. The verse immediately precedes Saul's persistent attempts to apprehend David, culminating in the messengers entering the house to confirm David's presence. Michal's quick thinking and ingenious ruse here buy David precious time to escape further, setting the stage for his subsequent years as a fugitive from Saul.

Historically and culturally, the presence of "teraphim" (household gods/idols) in a prominent Israelite home like David's is significant. Despite the explicit prohibitions against idolatry in the Mosaic Law (e.g., Exod 20:4), teraphim were part of the syncretistic religious landscape of ancient Israel. They were believed to offer protection, facilitate divination, or even secure inheritance rights. Their existence in Michal's possession points to the widespread nature of such practices even among leading families, reflecting the ongoing struggle against pagan influences within Israelite society. Here, Michal cleverly repurposes a religious object for a purely pragmatic, life-saving deception, showing her resourcefulness and her primary loyalty to David over her father.

1 Samuel 19 16 Word analysis

• And when the messengers: (וַיָּבֹ֥אוּ הַמַּלְאָכִ֖ים - vayyavô’û hammal’akhîm) This uses the common Hebrew narrative sequence structure (waw-conversive imperfect), highlighting the direct and swift action of Saul's agents. Mal’akhim (מַלְאָכִים) specifically refers to human messengers dispatched by King Saul, whose orders were to apprehend David. Their arrival in the bedchamber emphasizes Saul's intent to capture David in a vulnerable state.
• came in, behold: (בֹא, וְהִנֵּ֛ה - bo’, wəhinnêh) The verb "came in" signifies their entry into David’s personal quarters. The interjection wəhinnêh (וְהִנֵּה), translated "behold" or "lo," functions to draw immediate attention to the surprising and unexpected sight that confronts the messengers, creating dramatic irony for the reader. It sets up the discovery of the deception.
• a dummy / an idol: (הַתְּרָפִ֔ים - hattĕraphîm) The Hebrew term teraphim (תְּרָפִים) is plural in form but often refers to a single object or a set of household idols. These were figurines, sometimes life-sized (as implied here), used for various purposes including protection and divination in ancient Near Eastern homes, despite God's clear commands against idolatry. Michal's possession of teraphim is culturally significant, indicating the commonality of such items even among high-ranking Israelites and highlighting a degree of syncretism. Crucially, here the teraphim serves a practical, secular purpose as a decoy, stripped of any religious meaning for Michal's immediate aim.
• was in the bed: (אֶל־הַמִּטָּ֔ה - ’el-hammiṭṭāh) The preposition ’el means "in" or "upon," referring to the miṭṭah (מִטָּה), which is the bed or couch. This detail confirms Michal's careful arrangement, placing the decoy precisely where David was expected to be found sleeping, adding to the credibility of the deception.
• with the goat’s hair: (וּכְבִיר הָעִזִּים - ûkheḇîr hā‘izzîm) K'vir (כְבִיר) refers to a plaited or woven mat/covering, here specifically "of the goats" (hā‘izzim). Goat's hair was commonly used for coarse textiles. The use of this material provides a rough texture that, in dim lighting, would plausibly simulate human hair or a beard, thus enhancing the lifelikeness of the decoy.
• at its head: (וְלִמְרַאֲשֹׁתָֽיו - wəlimra’ashotayv) This precise location, at the rosh (ראשׁ - head) of the dummy, underscores Michal's meticulousness. Placing the goat's hair here ensured the decoy had a convincing "head" on the pillow, completing the illusion of a person sleeping under bedclothes. This attention to detail reveals Michal's quick wit and resourcefulness in a desperate situation.

• "And when the messengers came in, behold": This phrase immediately establishes a sense of suspense and surprise, framing the discovery scene from the perspective of the messengers who expect to find David.
• "a dummy/idol was in the bed with the goat's hair at its head": This comprehensive description of the decoy showcases Michal's ingenuity. It's the critical information revealing how David escaped – through a clever and believable substitute crafted from household objects. The presence of the teraphim adds a layer of cultural complexity concerning the prevalence of such items even in contexts intended to be pure.

1 Samuel 19 16 Bonus section

• The exact size and form of teraphim varied. In this context, the object must have been large enough to be mistaken for a sleeping human body under coverings. Some scholars suggest they could have been full-sized effigies.
• Michal's possession of teraphim raises questions for interpreters about her spiritual state and the level of adherence to Yahwism within Saul's royal family. Despite the prohibitions against idols, they were clearly present and used, indicating a gap between the Mosaic law and common practice in certain Israelite households during this period.
• Michal's lie to Saul in the very next verse (1 Sam 19:17), claiming David threatened her if she didn't help him, is an additional layer of deception to deflect blame from herself. This further highlights her shrewdness and courage in protecting her husband.

1 Samuel 19 16 Commentary

1 Samuel 19:16 vividly portrays Michal's swift and intelligent intervention to save David's life from Saul's relentless pursuit. Her ingenuity is striking as she employs everyday household items – particularly the "teraphim," often regarded as a household idol – not for worship but as a deceptive prop. The placement of goat's hair "at its head" provided a crude but effective visual detail, convincing the messengers that they were looking at David, presumably sleeping under covers, despite the dim lighting of the chamber. This incident serves as a clear illustration of God's providence protecting David, often through human cunning and extraordinary means. While Michal's use of teraphim might raise questions about her personal spiritual alignment or the cultural syncretism of the era, the text emphasizes its instrumental role in David's escape, not its religious significance in this context. It's a testament to quick thinking under pressure, saving God's anointed from immediate peril.