Bibelkommentare

This psalm is an illustrious prophecy of Messiah the Prince: it is all over gospel, and points at him only, as a bridegroom espousing the church to himself and as a king ruling in it and ruling for it. It is probable that our Saviour has reference to this psalm when he compares the kingdom of heaven, more than once, to a nuptial solemnity, the solemnity of a royal nuptial, Mt 22:2,25:1. We have no reason to think it has any reference to Solomon's marriage with Pharaoh's daughter; if I thought that it had reference to any other than the mystical marriage between Christ and his church, I would rather apply it to some of David's marriages, because he was a man of war, such a one as the bridegroom here is described to be, which Solomon was not. But I take it to be purely and only meant of Jesus Christ; of him speaks the prophet this, of him and of no other man; and to him (Ps 45:6,7) it is applied in the New Testament (Heb 1:8), nor can it be understood of any other. The preface speaks the excellency of the song, Ps 45:1. The psalm speaks, I. Of the royal bridegroom, who is Christ. 1. The transcendent excellency of his person, Ps 45:2. 2. The glory of his victories, Ps 45:3-5. 3. The righteousness of his government, Ps 45:6,7. 4. The splendour of his court, Ps 45:8,9. II. Of the royal bride, which is the church. 1. Her consent gained, Ps 45:10,11. 2. The nuptials solemnized, Ps 45:12-15. 3. The issue of this marriage, Ps 45:16,17. In singing this psalm our hearts must be filled with high thoughts of Christ, with an entire submission to and satisfaction in his government, and with an earnest desire of the enlarging and perpetuating of his church in the world.

This psalm is entitled "To the chief Musician upon Shoshannim, for the sons of Korah, Maschil. A song of love." On the phrase" To the chief Musician," see the notes at the title to Psalm 4:1-8. The words "Upon Shoshannim" occur also, as a title, or part of a title, in Psalm 69; 80; and, in a different form, in the title to Psalm 60:1-12, "Shushan-eduth." The word Shoshan - שׁושׁן shôshân - occurs in 1 Kings 7:22, 1 Kings 7:26; Sol 2:16; Sol 4:5; Sol 5:13; Sol 6:2-3; Sol 7:2; and, in a modified form - שׁושׁנה shôshânnâh - in 2 Chronicles 4:5; Sol 2:1-2; Hosea 14:5; in all which it is rendered lily, or lilies. The word, therefore, probably means a lily; and then it came to denote, probably, a musical instrument that had a resemblance to a lily, or that was shaped like a lily. It is not known to what kind of musical instrument there is a reference, but it would seem probable that something like the trumpet or the cymbal was intended.

The special reference here would seem to be to the chief musician who presided over this part of the musical instruments employed in public worship - as it would seem not improbable that each of the different parts, as trumpets, horns, viols, harps, etc., would have a special leader. On the portion of the title, "for the sons of Korah," and on the word "Maschil," see the notes at the title to Psalm 42:1-11. The portion of the title, "A Song of Loves," would properly denote a song devoted to love, or in celebration of love; that is, in which love would be the main idea. The phrase "a lovely song," or "a charming song," as Gesenius renders it here, would not, it seems to me, express the meaning of the original. An author would hardly prefix such a title to a psalm himself, as indicating that the psalm had special beauty, or was especially adapted to please; and if we suppose that the titles were prefixed by some other person than the author, or by common usage, it would be difficult to see why such a title should be prefixed to this psalm rather than to many others. It has, indeed, great beauty; but so have very many of the rest. If we suppose, however, that the title was prefixed as indicating the general subject of the psalm, or as indicating the feelings of the author toward the main persons referred to in it, the title is eminently appropriate. In this sense the title would be proper whether we regard the psalm as having reference to the Messiah, or as an epithalamium - a bridal or marriage hymn.

The author of the psalm is wholly unknown, and nothing can be determined on the subject, unless it be supposed that the portion of the title "for the sons of Korah," or "of the sons of Korah," conveys the idea that it was the composition of one of that family. On that point, see the notes at the title to Psalm 42:1-11. That it may have been written by David no one can disprove, but there is no certain evidence that he was the author, and as his name is not mentioned, the presumption is that it is not his.

Very various opinions have been entertained in regard to the reference of the psalm, and the occasion on which it was composed. A very material question is, To whom does the psalm refer? And especially, Has it reference to the Messiah, and is it to be classed with the Messianic Psalms?

Nearly all the older Christian interpreters, without hesitation, suppose that it refers to the Messiah. This opinion has been held, also, by a large part of the modern interpreters of the Bible, among others by Michaelis, Lowth, Dathe, Rosenmuller (in his second edition), Hengstenberg, Tholuck, Professor Alexander. Many, however, have defended the opposite opinion, though they have not been agreed on the question to whom the psalm refers. Grotius, Dereser, and Kaiser suppose it to have been sung at the marriage of Solomon with a foreign princess, probably the daughter of the king of Egypt. Doederlein supposes the king whose praises are sung to be an Israelite. Augusti thinks that it was sung at the nuptials of a Persian king. This last opinion DeWette adopts.

On this question it may be remarked,

(1) There is no evidence that the psalm refers to David; and, indeed, from the psalm itself it is evident that it could not have such a reference. The term "O God" Psalm 45:6 could not be applied to him, nor the expression "Thy throne is forever and ever," ibid. In the life of David, moreover, there was no marriage with a foreign princess that would correspond with the statement here; and no occasion on which the "daughter of "Tyre" was present with a gift, Psalm 45:12.

(2) it seems equally clear that the psalm does not refer to Solmon. In addition to the considerations already suggested as reasons why it does not refer to David, and which are as applicable in the main to Solomon as to him, it may be added that Solomon was never a warlike prince, and was never distinguished for conquests. But the "hero" of the psalm is a warrior - a prince who goes forth to conquest, and who would be distinguished for his victories over the enemies of the king, Psalm 45:3-5.

(3) for stronger reasons still the Psalm cannot be supposed to refer to a Persian prince. Such a supposition is a mere conjecture, with not even the pretence that there are any historical facts that would justify such an application, and without even the suggestion as to a particular case to which it could be applicable. It is, moreover, wholly improbable that a nuptial ode designed to celebrate the marriage of a Persian king - a foreigner - would have been introduced into a book of sacred poetry among the Hebrews.

(4) The remaining opinion, therefore, is, that the psalm had original and exclusive reference to the Messiah. For this opinion the following reasons may be assigned:

(a) The authority of the New Testament. If the Bible is an inspired book, then one part of it may properly be regarded as an authoritative interpretation of another; or a statement in one part must be admitted to be proof of what is meant in another, since the entire book has one Author only - the Holy Spirit. But there can be no doubt that the author of the Epistle to the Hebrews meant to quote this psalm as having reference to the Messiah, or as containing an intended statement in regard to him which might be appealed to as proof that he was divine. Thus, in Hebrews 1:8-9, he quotes Psalm 45:6-7, of the psalm, "Thy throne, O God, is forever and ever," etc., in proof that the Son of God is superior to the angels. See the notes at the Epistle to the Hebrews, on the passage referred to, where this point is considered at length. There can be no doubt that the author of the Epistle to the Hebrews meant to quote the passage as having original reference to the Messiah; and his argument would have no force whatever on the supposition that the psalm had original reference to David, or to Solomon, or to a Persian prince.

(b) The testimony of tradition, or of early interpretation, is in favor of this supposition. Thus, the Chaldee Paraphrase Psalm 45:3 applies the psalm expressly, to the Messiah: "Thy beauty, king Messiah - משׁיחא מלכא malekâ' meshı̂yachâ' - is more excellent than the sons of men." This may not improperly be understood as representing the current opinion of the Hebrews at the time when the Chaldee interpretation was made, in regard to the design and reference of the psalm. The two eminent Jewish interpreters, Aben-Ezra and Kimchi, explain the psalm in the same manner, and may be supposed also to represent the prevailing mode of explaining it away among the Hebrews. On this point, also, the Epistle to the Hebrews may be referred to, as showing that such was the current explanation up to the time when that was written. I have referred to the fact that the author of that epistle quotes the psalm as an inspired man, and as thus furnishing the authority of inspiration in favor of this interpretation. I now refer to it as showing that this must have been the prevailing and well-understood opinion in regard to the design of the psalm. The author of the epistle was establishing by argument, not by authority, the claims of the Messiah to a rank above that of the angels. He made use of an argument which he evidently believed would have force among those who regarded the Old Testament as of divine origin. But the argument which he used, and on which he relied, would have no weight with those for whom he wrote unless they admitted that the psalm had reference to the Messiah, and that this point might be assumed without further proof. The fact, therefore, that he thus quotes and applies the psalm demonstrates that such was its current and admitted interpretation in his time.

(c) The internal evidence may be referred to. This will be further illustrated in the notes. At present it is necessary only to remark:

(1) That there are passages in this psalm which cannot be applied to any man - to any created being - and which can be applied only to one who may properly be called God, Psalm 45:6.

(2) The characteristics of the principal personage in the psalm are such as accurately describe the Messiah. These points will be illustrated in the notes.

(d) The psalm, on the supposition that it refers to the Messiah, is in accordance with a prevailing mode of writing in the Old Testament. See the notes at Hebrews 1:8; compare Introduction to Isaiah, Section 7; and Introduction to Psalm 40. It is to be remembered that the expectation of a Messiah was the special hope of the Jewish people. He is really the" hero" of the Old Testament - more so than Achilles is of the Iliad, or Aeneas of the Aeneid. The sacred poets were accustomed to employ their most magnificent imagery in describing him, that they might present him in every form that was beautiful in conception, and that would be gratifying to the pride and the hopes of the nation. Everything that is gorgeous and splendid in description is lavished upon him. And they were never under any apprehension of attributing to him too high a rank, too great perfection of moral character, or too wide an extent of dominion.

They freely applied to him language which would be a magnificent description of an earthly monarch; and the terms which usually denote splendid conquests, or a wide and permanent reign, are freely given to hint. Under this view, and in this style, this psalm was evidently composed; and although the language may have been taken from the magnificence of the court of David or Solomon, or even from the splendor of a Persian king, yet there can be no reason to doubt that the description is that of the Messiah, and not of David or Solomon, or any Persian prince. The writer in the psalm imagines to himself a magnificent and beautiful prince - a prince riding prosperously to his conquests; swaying a permanent scepter over a wide empire; clothed in rich and splendid vestments; eminently upright and pure; and scattering blessings on every hand. That prince was the Messiah. He describes the queen - the bride of such a prince - as attended by the daughters of kings; as clad in the gold of Ophir; as greatly beloved by the prince; as glorious in her appearance and character; as having on robes of wrought gold and raiment of needlework; as followed by a numerous retinue; and as brought to the king in his palace. That queen is the "bride of the Lamb" - the church. All this is in the magnificent style of the Orientals, but all accords with the custom of the sacred writers in speaking of the Messiah.

(e) It may be added that this is in harmony with the constant language of the sacred writers in the New Testament, who speak of the Messiah as the "husband" of the church, and of the church as his "bride." Compare the notes at Ephesians 5:23-32; notes at 2 Corinthians 11:2; notes at Revelation 21:2, notes at Revelation 21:9; notes at Revelation 22:17.

The proof, therefore, seems to me to be conclusive that the psalm had original and sole reference to the Messiah.

The contents of the psalm are as follows:

I. A statement of the purpose or design of the psalm. It is to speak of the things which the psalmist had meditated on respecting the "king;" some one in his view to whom that title was applicable, and whose praises he intended particularly to set forth Psalm 45:1.

II. A description of the king, Psalm 45:2-9.

(a) He is the fairest among people; distinguished for grace and beauty, Psalm 45:2.

(b) He is a warrior - a conqueror. He will go forth to conquest, and will be successful in overcoming his enemies, Psalm 45:3-5.

(c) His throne is the throne of God, and will endure forever, Psalm 45:6.

(d) His character is eminently righteous, Psalm 45:6-7.

(e) He is clad in robes of beauty; his garments are rich with perfumes; his attendants are the daughters of kings, Psalm 45:8-9.

III. A description of the queen, the bride, Psalm 45:9-17.

(a) She is clad in robes of gold - the gold of Ophir, Psalm 45:9.

(b) She is entreated to forget her own people, and her father's house - to become wholly devoted to him who had espoused her, assured that thus she would secure his heart, and be certain of his love, Psalm 45:10-11.

(c) She would be honored with the favor of the rich, and the attendance of foreign princesses, represented by the "daughter of Tyre;" Tyre, distinguished for wealth and splendor; Tyre, the representative of the commercial world, Psalm 45:12.

(d) The daughter of the king - the bride - is glorious and beautiful, as seen "within" her own palace or dwelling, Psalm 45:13.

(e) Her raiment is of wrought gold; of needlework of delicate finish and taste, Psalm 45:13-14.

(f) She is attended by virgins, her companions, who with her shall enter into the palace of the king, Psalm 45:14-15.

IV. An address to the king. He is to be honored by his children, who will be more to him than even his ancestors. His praise will spring from those children rather than from the luster and fame of his great progenitors. He will be remembered in all coming generations, and praised forever and ever, Psalm 45:16-17. See the notes at Psalm 45:16.

Such is the outline or substance of this exquisite specimen of sacred song - this very beautiful Hebrew ode. It must be apparent, I think, at once, that it cannot be applied with propriety to either David, or Solomon, or to a Persian prince. How far it is applicable to the Messiah and the church; to him as the bridegroom, and to the church as a bride - will be made apparent in the exposition of its particular words and phrases.

The contents of this Psalm are generally summed up thus: The majesty and grace of Christ's kingdom; or an epithalamium of Jesus Christ and the Christian Church; the duty of this Church, and its privileges. The Psalm contains a magnificent description of the beauty, ornaments, valor, justice, and truth of the Divine Bridegroom; the beauty, magnificence, and riches of the bride, who was to become mother of a numerous and powerful posterity. The preamble is found in the title and Psalm 45:1. The description and character of the Bridegroom, Psalm 45:2-9. The address to the bride by her companions, Psalm 45:10-15. A prediction of her numerous and glorious descendants, Psalm 45:16, Psalm 45:17.

The title is nearly the same with that of Psalm 69 and Psalm 80:"To the chief musician, or master of the band of those who played on the six-stringed instruments, giving instruction for the sons of Korah; a song of loves, or amatory ode; or a song of the beloved maids." The Vulgate and Septuagint have, For those who shall be changed, or brought into another state, which some have interpreted as relating to the resurrection of the just, but if I could persuade myself that the title came by Divine inspiration, I would say it more properly belonged to the calling and conversion of the Gentiles, and bringing them over from idolatry to the worship of the true God. By some the word ששנים shoshannim, is translated lilies; and a world of labor has been spent to prove that these lilies mean the saints, Jesus Christ himself, and the Divine light which is a banner to them that fear him. I cannot believe that any such meaning is intended, and, consequently, I cannot attempt to interpret the Psalm after this model. I believe it to be an epithalamium, or nuptial song, which primarily respected Solomon's marriage with the daughter of Pharaoh; and that it probably has a prophetic reference to the conversion of the Gentiles, and the final aggrandizement of the Christian Church.

INTRODUCTION TO Psalm 45

To the chief Musician upon Shoshannim, for the sons of Korah, Maschil, A Song of loves.

There are some things in this title we have met with already in other psalms; as the direction, "to the chief Musician, for the sons of Korah"; and one of its names, "Maschil". The word "shoshannim", according to Kimchi and Ben Melech, is the name of a musical instrument, on which this psalm was sung; an instrument of six strings, as Junius: but Aben Ezra thinks it was the first word of a song, to the tune of which it was sunny; though others are of opinion that it points at the persons, the subjects of this psalm, and may be rendered, "concerning Shoshannim"; that is, as the Targum interprets it, "concerning those that sit in the sanhedrim of Moses": and Jarchi's note is, "for the glory of the disciples of the wise men", comparable to lilies; for so this word signifies, and may be translated, "concerning the lilies" (t); that is, concerning Christ and his church, who are manifestly the subject of this psalm, and are compared to lilies, Sol 2:1. This psalm is called "a song of loves", an epithalamium, or marriage song, setting forth the mutual love of Christ and his church; or "a song of the beloved ones" (u) or "friends"; of Christ, who is the beloved and friend of his church; and the church, who is the beloved and friend of Christ; see Isaiah 5:1; and the word here used being in the feminine gender, some have supplied the word "virgins", and render it thus, "a song of the beloved virgins" (w); sung by them on account of the marriage between Christ and his church, who are the companions of the bride, mentioned in Psalm 45:14, and friends and lovers of the bridegroom; see Sol 1:3. The writer of this psalm is not mentioned; it was not written by the sons of Korah, as say the Targum and Syriac version; but most probably by David, though not concerning his son Solomon, as some have thought, who, though wiser than all men, is never said to be fairer; nor was he a warrior, as the person is represented; nor was his throne and kingdom for ever and ever; nor he the object of worship; nor was his marriage with Pharaoh's daughter so commendable a thing; nor is she ever praised, as the queen herein mentioned is: but the person who is spoken of is the Messiah, as is owned by several Jewish writers: the Targum interprets Psalm 45:2 of the King Messiah; and Ben Melech says, he is meant by the King in Psalm 45:1. Aben Ezra observes, that this psalm is said concerning David, or concerning the Messiah his son, for so is his name, Ezekiel 37:26; and Kimchi expressly says, it is spoken concerning the Messiah; and Arama affirms, that all agree that it treats of him.

(t) "de liliis", Tigurine version. (u) "canticum amicarum", Junius & Tremellius, Piscator; "amatarum", Cocceius. (w) "Dilectarum sen de dilectis Christo virginibus", Michaelis; "a song of the well beloved virgins", Ainsworth.

XLV.

From Calvin downwards this psalm has been recognised as an ode celebrating the nuptials of some king. Indeed, the retention, as part of its title, of “song of loves,” when the poem was incorporated into the Temple hymn-book, seems to show that this secular character was admitted even then. There is just enough of historical allusion in the psalm to invite conjecture as to the monarch who is its theme, and too little to permit of his identification. (See Notes to Psalm 45:8-9; Psalm 45:12.) But, as in the case of the longer and more pronounced epithalamium, the Song of Solomon, religious scruples soon rejected this secular interpretation, and sought by allegorical and mystical explanations to bring the poem more within the circle of recognised sacred literature. With the glowing prophetic visions of a conquering Messiah floating before the imagination, it was most natural for the Jews to give the psalm a distinctive Messianic character. Equally natural was it for Christians to adopt the psalm as allegorical of the marriage of the Church with the Divine Head—a mode of interpretation which, once started, found in every turn and expression of the psalm some fruitful type or symbol. The rhythm is flowing and varied.

Title.—Upon Shoshannim, i.e., upon lilies. The same inscription occurs again in Psalms 69 and in an altered form in Psalms 60, 80, where see Notes. The most probable explanation makes it refer to the tune to which the hymn was to be sung. (Comp. the title of Psalms 22 &c) As to the actual flower intended by shoshannim, see Note, Song of Solomon 2:1. The expression, a song of loves, means either a love song (so Aquila), or a song of the beloved. Symm., LXX., and Vulg., for the beloved, or a song of charms, i.e., a pleasant song. The first is more in keeping with the evident origin and intention of the poem. (See besides titles Psalms 4, 42, 32)

A nuptial ode, celebrating the marriage of a king with a king’s daughter. After a brief prelude (Psalm 45:1) the Psalmist addresses the king, praising the personal beauty which marks him out as a ruler of men, and bidding him use his strength in the cause of truth and right. Noble qualities of heart and mind fit him for his lofty calling, on which the seal of divine approval has been newly set by the blessing of this supreme happiness, the crowning glory of his state and splendour (Psalm 45:2-9). Then turning to the bride he bids her cheerfully accept her new position, and indicates its dignity by pointing to the gifts which allied nations bring in her honour. In magnificent bridal array she is conducted to the royal palace with jubilant rejoicings; and the Psalm concludes with the anticipation of a numerous posterity and undying and worldwide renown for so famous a monarch (Psalm 45:10-17).

There is no clearly marked strophical arrangement. The poet passes from thought to thought as his enthusiasm kindles with the grandeur of his theme.

That the Psalm refers to some actual occasion cannot be doubted. Some commentators indeed deny that it has an historical basis, and regard it as wholly prophetic or ideal. The language, they say, far transcends any language that could be used of the best of earthly kings; and from the earliest times, alike in the Jewish and in the Christian Church, it has been understood to refer directly to the Messiah.

A careful study of the Psalm shews that this view is untenable. (1) There is no indication that the Psalmist intends to describe a future personage. (2) The language of the Ps. does not really go beyond what might have been said by a poet of an actual king, viewed in the light of the promises made to the house of David. (3) The Ps. contains realistic details of the circumstances of an Oriental court, which would hardly have been introduced, if it had been originally written as a sacred poem with a mystic meaning.

The view that the Ps. is exclusively Messianic rests in great measure upon an imperfect apprehension of the typical character of the Davidic kingship. The Davidic king was the representative of Jehovah, Who was the true King of Israel, and the poet-seer can boldly greet the reigning monarch in the light of the great prophecies to which he was the heir. Bidding him rise to the height of his calling by the exercise of a just rule which should be a true reflection of the divine government, he can claim for him the fulfilment of the promise of an eternal dominion. It is of the essence of poetry to idealise, and sacred poetry is no exception to the rule. It could disregard the limitations and imperfections of experience, and portray the king in the light of the true and perfect conception of his office, not simply as what he was, but as what he should be. See Introd. pp. lxxvi. ff.; introd. and notes to Psalms 2; and comp. Riehm’s Messianic Prophecy (Engl. Tr., ed. 2), pp. 102 ff.

Who then was the king, and what was the occasion referred to? If the lofty language of the Ps. is clearly based upon the Messianic promises and only explicable in connexion with them, some king of the house of David must be its theme. This consideration excludes kings of the Northern Kingdom, such as Ahab, who has been suggested because he possessed an ivory palace (cp. Psalm 45:8 with 1 Kings 22:39) and married a foreign princess (1 Kings 16:31); or Jeroboam II, the luxury and splendour of whose reign might seem to correspond to the description in the poem. Still more decisively does it exclude foreign kings, such as some unknown Persian monarch, or Ptolemy Philadelphus, or the Syrian king Alexander (1Ma 10:57-58).

If then the Ps. must refer to some king of Judah, the choice appears to lie between Jehoram and Solomon. (1) Delitzsch finds a suitable occasion in the marriage of Jehoram with Athaliah. Jehoram was the son of the pious Jehoshaphat, whose reign revived the glories of the Solomonic age. Though not actually king when he married Athaliah, he had been raised to the position of co-regent with his father (2 Kings 8:16). The exhortation to the bride to forget her home, and the mention of Tyre, are supposed to be allusions to the Sidonian origin of Athaliah’s mother, Jezebel.

It is however difficult to believe that an inspired poet could have regarded an alliance with the idolatrous house of Ahab with satisfaction, or that in view of the subsequent history such an ode would have been preserved in a collection of temple-hymns. Moreover this bride appears to be a foreign princess, not an Israelite. It remains to adopt the old view that the Psalm celebrates the marriage of Solomon with the daughter of the king of Egypt (1 Kings 3:1). Such an alliance must have been an event of the highest importance. Solomon’s court was a scene of splendour and luxury like that which is described in the Ps. The kingdom was at the zenith of its glory. The promises to David were recent: the hopes which they held out had not yet been dimmed by failure and disappointment. Then as at no other later time it was easy for a poet to idealise the kingship and the kingdom, and to use the language of lofty hope and confident anticipation. Solomon’s close alliance with Hiram gives a natural explanation of the mention of Tyre (Psalm 45:12) as the representative of allied nations. A recent theory regards the Ps. as a ‘dramatic lyric,’ written after the Return from the exile at a time when the traditional glories of Solomon’s reign attracted the attention and exercised the imagination of poets. The theory is improbable, but it recognises the fact that the Ps. may most appropriately be referred to Solomon. The only objections which deserve consideration are that the king is described as a martial hero, whereas Solomon was a man of peace: and that Solomon had no line of royal ancestors such as is supposed to be implied in Psalm 45:16. (1) To the first of these objections it may be answered that although this king is described as a conquering hero, more stress is laid upon the justice of his rule than upon his warlike exploits. Moreover Solomon was not deficient in military spirit, and though his reign was on the whole peaceful, it was by no means entirely so. He made great military preparations (1 Kings 4:26; 1 Kings 9:15 ff. 1 Kings 11:27; 2 Chronicles 8:5 ff.), and it is recorded that he conquered Hamath-zobah (2 Chronicles 8:3). It was scarcely possible for a poet to dissociate the idea of a king from the idea of a victorious warrior. (2) As regards the second objection, Psalm 45:16 does not necessarily imply a long line of royal ancestors. It may be understood as implying the reverse, and expressing the hope that a noble posterity might arise to compensate for the absence of the long ancestry upon which so many oriental monarchs prided themselves.

Whatever may have been the original occasion of the Ps., its Messianic significance has been almost universally recognised. “The marriage-song of the Jewish monarch laid open thoughts which could only be realised in the relation of the Divine King to His Church.” The Targum paraphrases Psalm 45:2; “Thy beauty, O King Messiah, exceeds that of the children of men; a spirit of prophecy is bestowed upon thy lips:” and Psalm 45:10, “Hear, O congregation of Israel, the law of his mouth, and consider his wondrous works.” The writer of the Epistle to the Hebrews quotes Psalm 45:6-7 as a description of the moral and eternal sovereignty of Christ (Hebrews 1:8-9). If the king was typical of Christ, the marriage of the king might symbolise the bridal of Christ and the Church; and this interpretation was facilitated by the common use of the figure of marriage in the O.T. to describe the relation of Jehovah to His people. The natural relationship is consecrated as the sacrament of the mystical relationship; and the mystical relationship is rendered more comprehensible to the human mind by the sanction of the analogy. Comp. Ephesians 5:23 ff.; Revelation 19:7 ff; Revelation 21:2; Revelation 22:17.

It may seem strange that an ode thus secular in its origin should find a place in the Canon. But the inclusion of such poems as this and the Song of Songs, with which this Psalm has much in common, helps to place the ordinary relations of human life in a truer light as part of the divine order of the world. And further they are ennobled and consecrated by being thus made the vehicle for lofty thoughts and the type of spiritual mysteries (Ephesians 5:23 ff.).

The Psalm is a Proper Psalm for Christmas Day.

The title may be rendered as in R.V., For the chief Musician; set to Shoshannim; (a Psalm) of the sons of Korah. Maschil, a Song of loves. Shoshannim, that is, lilies, denotes not the theme of the Ps., in reference to the beauty and purity of the bride, nor a lily-shaped instrument by which it was to be accompanied, but the melody to which it was to be sung—some well-known song beginning with the word Shoshannim. See Introd. p. xxvi. f., and cp. the titles of 69, 60, 80. The word for loves, or love, is from the same root as that which forms part of Solomon’s original name Jedidiah = Beloved of Jah (2 Samuel 12:25). It is always used of high and noble affection, especially of Jehovah’s love for His people (Psalm 60:5; Deuteronomy 33:12; Isaiah 5:1).

Ps 45:1-17.

Shoshannim--literally, "Lilies," either descriptive of an instrument so shaped, or denoting some tune or air so called, after which the Psalm was to be sung (see on

Ps 8:1,

title). A song of loves, or, of beloved ones (plural and feminine)--a conjugal song. Maschil--(See on

Ps 32:1,

title, and

Ps 42:1,

title) denotes the didactic character of the Psalm; that it gives instruction, the song being of allegorical, and not literal, import. The union and glories of Christ and his Church are described. He is addressed as a king possessed of all essential graces, as a conqueror exalted on the throne of a righteous and eternal government, and as a bridegroom arrayed in nuptial splendor. The Church is portrayed in the purity and loveliness of a royally adorned and attended bride, invited to forsake her home and share the honors of her affianced lord. The picture of an Oriental wedding thus opened is filled up by representing the complimentary gifts of the wealthy with which the occasion is honored, the procession of the bride clothed in splendid raiment, attended by her virgin companions, and the entrance of the joyous throng into the palace of the king. A prediction of a numerous and distinguished progeny, instead of the complimentary wish for it usually expressed (compare

Ge 24:60; Ru 4:11, 12),

and an assurance of a perpetual fame, closes the Psalm. All ancient Jewish and Christian interpreters regarded this Psalm as an allegory of the purport above named. In the Song of Songs the allegory is carried out more fully. Hosea

(Ho 1:1-3:5)

treats the relation of God and His people under the same figure, and its use to set forth the relation of Christ and His Church runs through both parts of the Bible (compare

Isa 54:5; 62:4, 5; Mt 22:3; 25:1; Joh 3:29; Eph 5:25-32,

&c.). Other methods of exposition have been suggested. Several Jewish monarchs, from Solomon to the wicked Ahab, and various foreign princes, have been named as the hero of the song. But to none of them can the terms here used be shown to apply, and it is hardly probable that any mere nuptial song, especially of a heathen king, would be permitted a place in the sacred songs of the Jews. The advocates for any other than the Messianic interpretation have generally silenced each other in succession, while the application of the most rigorous rules of a fair system of interpretation has but strengthened the evidences in its favor. The scope of the Psalm above given is easy and sustained by the explication of its details. The quotation of

Ps 45:6, 7

by Paul

(Heb 1:8, 9),

as applicable to Christ, ought to be conclusive, and their special exposition shows the propriety of such an application.

1. An animated preface indicative of strong emotion. Literally, "My heart overflows: a good matter I speak; the things which I have made," &c.

inditing--literally, "boiling up," as a fountain overflows.

my tongue is the pen--a mere instrument of God's use.

of a ready writer--that is, it is fluent. The theme is inspiring and language flows fast.

My heart is inditing - That is, I am engaged in inditing a good matter; though implying at the same time that it was a work of the heart - a work in which the heart was engaged. It was not a mere production of the intellect; not a mere work of skill; not a mere display of the beauty of song, but a work in which the affections particularly were engaged, and which would express the feelings of the heart: the result or effusion of sincere love. The word rendered is "inditing" - רחשׁ râchash - is rendered in the margin, boileth or bubbleth up. It means properly to boil up or over, as a fountain; and the idea here is that his heart boiled over with emotions of love; it was full and overflowing; it found expression in the words of this song. The Hebrew word does not occur elsewhere in the Bible.

A good matter - literally, a good word; that is, it was something which he was about to say which was good; something interesting, pure, important; not only a subject on which his heart was engaged, but also which was worthy of attention.

I speak of the things which I have made - literally, "I say my works to the king." That is, My work - that which I meditate and am about to compose - pertains to the king.

Touching the king - He is to be the main subject of my song. Compare the notes at Isaiah 5:1. If the remarks made in the introduction to the psalm are correct, then the "king" here referred to was the future Messiah - the great personage to whom all the writers of the Old Testament looked forward, and whose glory they were so anxious to see and to describe. Compare the notes at 1 Peter 1:10-12.

My tongue is the pen of a ready writer - Let my tongue in speaking of him be as the pen of a rapid writer. That is, let my tongue rapidly and freely express my thoughts and feelings. The word rendered "pen" - עט ‛êṭ - means a stylus, usually made of iron, used for the purpose of inscribing letters on lead or wax. See the notes at Job 19:24. The idea is that the psalmist's mind was full of his subject, and that he desired to express his thoughts in warm, free, gushing language - the language of overflowing emotion.