The article analyses the figure of the Biblical King Saul in early French theatre. First, it considers various theatrical forms reworking the Biblical story in the dramatic mode, from the medieval mystery play to the dramas written in accordance with the classical rules, which show the protagonist on the verge of death. The playwrights discussed in the article particularly emphasize two aspects of the character: that of a father and of a king. In all the plays considered, the central focus is the spiritual drama of the cursed king, who questions divine justice, as it was often the case in ancient tragedy. Despite numerous versions, additions and sometimes significant changes to the original story, King Saul in early French theatre turns out to be quite a faithful rendering of the Biblical Saul from the Books of Samuel.
This article is devoted in dealing with the double narratives in the stories of King Saul and the question as to why readers are often confused. First, the main part is related to similarities between the Prophet Samuel and King Saul, which should lead readers to compare these two personalities. The text shows us that they both have a great deal in common by having a similar structural genealogy; both having been chosen by God and provided with prophetic gift. Second, at the beginning of Saul’s stories (1 Sam 9:15) where Saul is repeatedly elected as king, and later rejected twice, there is an inner textual structure, whose goal is to stress the importance of God’s providence and foresight, unlike the limited view of the average person. The identification of this textual structure helps readers see the position of King Saul’s understanding, that because God does not view things the way men do, we can only judge God’s actions retrospectively.
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