The last four chapters, which interrupt the main narrative, contain some ancient and some late material. The two tales, xxi. 1-14, xxiv., which have much in common, were preserved because of their religious interest; and although part of ch. xxiv. (cf. _vv_. 10-14) is in the later style, both stories throw much welcome light on the early religious ideas of Israel. Of the poems 2 Samuel xxii. in its present form can hardly be David's,[1] and the same doubt may be fairly entertained with regard to xxiii. 1-7. Even if _v_. 1 be not an imitation of Numbers xxiv. 3, 15, it is hardly likely that David would have described himself in terms of the last clause of this verse. The eschatological complexion of _vv_. 6, 7 also suggests, though perhaps it does not compel, a later date; further, it is not exactly in favour of the Davidic authorship of either of these psalms that they are found in a section which was obviously interpolated later.[2] On the other hand, there can be no reasonable doubt that the incomparable elegy over Saul and Jonathan in 2 Samuel i. 19-27 is David's. Poetically it is a gem of purest ray; but, though its position in the book of Jashar[3] shows that it was regarded as a religious poem, it strikes no distinctively religious note. The little fragment on the death of Abner, 2 Sam. iii. 33ff., is also no doubt his. [Footnote 1: See pp. 247, 248.] [Footnote 2: The song of Hannah, 1 Sam. ii. 1-10, is proof that later editors inserted poems at points which they deemed appropriate. If the "anointed king," for whom prayer is offered in _v_. 10, be one of the historical kings, then the Ps. is pre-exilic; if the Messianic king of the latter days, post-exilic. But in neither case could the prayer be Hannah's, as there was no king yet. The clause in _v_. 5--"the barren hath borne seven"--suggested the interpolation of the poem at this point.] [Footnote 3: This may either mean the book of the upright or brave, i.e. the heroes of Israel, or it may mean the book of Israel herself.]