The Expositor's Bible: The Second Book of Samuel. William Garden Blaikie
establish a claim to a great reward. Never did heartless selfishness more completely overreach itself. Instead of a reward, this impious murderer had earned a fearful punishment. An Israelite might have had a chance of mercy, but an Amalekite had none – the man was condemned to instant death. One can hardly fancy his bewilderment, – what a strange man was this David! What a marvellous reverence he had for God! To place him on a throne was no favor, if it involved doing anything against "the Lord's anointed!" And yet who shall say that in his estimate of this proceeding David did more than recognize the obligation of the first commandment? To him God's will was all in all.
Dismissing this painful episode, we now turn to contemplate David's conduct after the intelligence reached him that Saul was dead. David was now just thirty (2 Sam. v. 4); and never did man at that age, or at any age, act a finer part. The death, and especially the sudden death, of a relative or a friend has usually a remarkable effect on the tender heart, and especially in the case of the young. It blots out all remembrance of little injuries done by the departed; it fills one with regret for any unkind words one may have spoken, or any unkind deeds one may ever have done to him. It makes one very forgiving. But it must have been a far more generous heart than the common that could so soon rid itself of every shred of bitter feeling toward Saul – that could blot out, in one great act of forgiveness, the remembrance of many long years of injustice, oppression, and toil, and leave no feelings but those of kindness, admiration, and regret, called forth by the contemplation of what was favourable in Saul's character. How beautiful does the spirit of forgiveness appear in such a light! Yet how hard do many feel it to be to exercise this spirit in any case, far less in all cases! How terrible a snare the unforgiving spirit is liable to be to us, and how terrible an obstacle to peaceful communion with God! "For if ye forgive not men their trespasses, neither will your Father in heaven forgive your trespasses."
The feelings of David toward Saul and Jonathan were permanently embodied in a song which he composed for the occasion. It seems to have been called "The Song of the Bow," so that the rendering of the Revised Version – "he taught them the Song of the Bow," gives a much better sense than the old – "he taught them the use of the bow." The song was first written in the book of Jasher; and it was ordered by David to be taught to the people as a permanent memorial of their king and his eldest son. The writing of such a song, the spirit of admiration and eulogy which pervades it, and the unusual enactment that it should be taught to the people, show how far superior David was to the ordinary feelings of jealousy, how full his heart was of true generosity. There was, indeed, a political end which it might advance; it might conciliate the supporters of Saul, and smooth David's way to the throne. But there is in it such depth and fulness of feeling that one can think of it only as a genuine cardiphonia – a true voice of the heart. The song dwells on all that could be commended in Saul, and makes no allusion to his faults. His courage and energy in war, his happy co-operation with Jonathan, his advancement of the kingdom in elegance and comfort, are all duly celebrated. David appears to have had a real affection for Saul, if only it had been allowed to bloom and flourish. His martial energy had probably awakened his admiration before he knew him personally; and when he became his minstrel, his distressed countenance would excite his pity, while his occasional gleams of generous feeling would thrill his heart with sympathy. The terrible effort of Saul to crush David was now at an end, and like a lily released from a heavy stone, the old attachment bloomed out speedily and sweetly. There would be more true love in families and in the world, more of expansive, responsive affection, if it were not so often stunted by reserve on the one hand, and crushed by persecution on the other.
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