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