This paper argues that Hannah’s poem (1 Samuel 2:1–10) was an integral part of its narrative context from the original composition of 1 Samuel. While many scholars contend that the poem was inserted later in the textual history of the book, both textual criticism and literary analysis suggest otherwise. Numerous studies have noted the literary cohesion between 1 Samuel 2:1–10 and the surrounding narrative, and Elizabeth Robar’s work on sound play further demonstrates intentional connections between the poem and its context. This paper applies these insights to the question of 1 Samuel 2:1–10’s textual history, presents additional textual-critical evidence, and directly engages with the arguments of scholars who view the poem as a late addition.
Recognizing the poem as original to the narrative significantly impacts the interpretation of both the poem and the broader story of Samuel. Rather than an isolated poetic composition, the song contributes to the theological and literary framework of the book. Its prophetic anticipation of a future king is not anachronistic but an essential theme that shapes the reader’s understanding of Israel’s monarchy. Moreover, reading the poem within the narrative encourages the reader to view Hannah’s story as a microcosm of Israel’s story, strengthening key themes in Samuel, such as divine reversal and the sovereignty of God. By re-examining the relationship between the poem and the narrative, this paper provides a more cohesive and faithful reading of 1 Samuel.