The song embalms very tenderly the love of Jonathan for David. Years had probably elapsed since the two friends met, but time had not impaired the affection and admiration of David. And now that Jonathan's light was extinguished, a sense of desolation fell on David's heart, and the very throne that invited his occupation seemed dark and dull under the shadow cast on it by the death of Jonathan. As a prize of earthly ambition it would be poor indeed; and if ever it had seemed to David a proud distinction to look forward to, such a feeling would appear very detestable when the same act that opened it up to him had deprived him for ever of his dearest friend, his sweetest source of earthly joy. The only way in which it was possible for David to enjoy his new position was by losing sight of himself; by identifying himself more closely than ever with the people; by regarding the throne as only a position for more self-denying labours for the good of others. And in the song there is evidence of the great strength and activity of this feeling. The sentiment of patriotism burns with a noble ardour; the national disgrace is most keenly felt; the thought of personal gain from the death of Saul and Jonathan is entirely swallowed up by grief for the public loss. "Tell it not in Gath, publish it not in the streets of Askelon; lest the daughters of the Philistines rejoice, lest the daughters of the uncircumcised triumph!" In David's view, it is no ordinary calamity that has fallen on Israel. It is no common men that have fallen, but "the beauty of Israel," her ornament and her glory, men that were never known to flinch or to flee from battle, men that were "swifter than eagles, and stronger than lions." It is not in any obscure corner that they have fallen, but "on her high places," on Mount Gilboa, at the head of a most conspicuous and momentous enterprise. Such a national loss was unprecedented in the history of Israel, and it seems to have affected David and the nation generally as the slaughter at Flodden affected the Scots, when it seemed as if all that was great and beautiful in the nation perished--"the flowers o' the forest were a' weed awa'."
A word on the general structure of this song. It is not a song that can be classed with the Psalms. Nor can it be said that in any marked degree it resembles the tone or spirit of the Psalms. Yet this need not surprise us, nor need it throw any doubt either as to the authorship of the song or the authorship of the Psalms. The Psalms, we must remember, were avowedly composed and designed for use in the worship of God. If the Greek term _psalmoi_ denotes their character, they were songs designed for use in public worship, to be accompanied with the lyre, or harp, or other musical instruments suitable for them. The special sphere of such songs was--the relation of the human soul to God. These songs might be of various kinds--historical, lyrical, dramatical; but in all cases the paramount subject was, the dealings of God with man, or the dealings of man with God. It was in this class of composition that David excelled, and became the organ of the Holy Ghost for the highest instruction and edification of the Church in all ages. But it does not by any means follow that the poetical compositions of David were restricted to this one class of subject. His muse may sometimes have taken a different course. His poems were not always directly religious. In the case of this song, whose original place in the book of Jasher indicated its special character, there is no mention of the relation of Saul and Jonathan to God. The theme is, their services to the nation, and the national loss involved in their death. The soul of the poet is profoundly thrilled by their death, occurring in such circumstances of national disaster. No form of words could have conveyed more vividly the idea of unprecedented loss, or thrilled the nation with such a sense of calamity. There is not a line of the song but is full of life, and hardly one that is not full of beauty. What could more touchingly indicate the fatal nature of the calamity than that plaintive entreaty--"Tell it not in Gath, publish it not in the streets of Askelon"? How could the hills be more impressively summoned to show their sympathy than in that invocation of everlasting sterility--"Ye mountains of Gilboa, let there be no dew, neither let there be rain upon you, or fields of offerings"? What gentler veil could be drawn over the horrors of their bloody death and mutilated bodies than in the tender words, "Saul and Jonathan were loving and pleasant in their lives, and in their deaths they were not divided"? And what more fitting theme for tears could have been furnished to the daughters of Israel, considering what was probably the prevalent taste, than that Saul had "clothed them with scarlet and other delights, and put on ornaments of gold upon their apparel"? Up to this point Saul and Jonathan are joined together; but the poet cannot close without a special lamentation for himself over him whom he loved as his own soul. And in one line he touches the very kernel of his own loss, as he touches the very core of Jonathan's heart--"thy love to me was wonderful, passing the love of women." Such is the Song of the Bow. It hardly seems suitable to attempt to draw spiritual lessons out of a song, which, on purpose, was placed in a different category. Surely it is enough to point out the exceeding beauty and generosity of spirit which sought in this way to embalm the memory and perpetuate the virtues of Saul and Jonathan; which blended together in such melodious words a deadly enemy and a beloved friend; which transfigured one of the lives so that it shone with the lustre and the beauty of the other; which sought to bury every painful association, and gave full and unlimited scope to the charity that thinketh no evil. _De mortuis nil nisi bonum_, was a heathen maxim,--"Say nothing but what is good of the dead." Surely no finer exemplification of the maxim was ever given than in this "Song of the Bow."