Comentario del capítulo
Psalms Capítulo 45
1
Ps 45:1-17.
繁體中文
Original en inglés
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.
2
Sin título
繁體中文
2. 在豐富的個人魅力之外，加上嘴的恩惠——即攝人的言辭能力。這是神所賜的，成為力量的泉源，並證實為祝福。基督是先知
（路 4:22）。
Original en inglés
2. To rich personal attractions is added grace of the lips, captivating powers of speech. This is given, and becomes a source of power and proves a blessing. Christ is a prophet
(Lu 4:22).
3
Sin título
繁體中文
3, 4. 君王被稱呼時，正預備出戰。
刀劍——（參
Re 1:16; 19:15）。
大有能力——（參
Isa 9:6）。
榮耀與……威嚴——通常作為神的屬性
（Ps 96:6; 104:1; 111:3），
或特別賜給必死之人
（Ps 21:5），
此處或許是預表性的應用。
Original en inglés
3, 4. The king is addressed as ready to go forth to battle.
sword--(Compare
Re 1:16; 19:15).
mighty--(Compare
Isa 9:6).
glory and . . . majesty--generally used as divine attributes
(Ps 96:6; 104:1; 111:3),
or as specially conferred on mortals
(Ps 21:5),
perhaps these typically.
4
Sin título
繁體中文
4. 騎馬馳騁——或作率領得勝的爭戰。
為——為真理等之緣故。
謙卑……公義——兩者不相連——即以謙卑或俯就為特徵的公義或公平的治理
（Ps 18:35）。
右手——或作能力，作為其器。
指教你——指向可畏之事的道路；即在征服仇敵上。
Original en inglés
4. ride prosperously--or conduct a successful war.
because of--for the interests of truth, &c.
meekness . . . righteousness--without any connection--that is, a righteousness or equity of government, distinguished by meekness or condescension
(Ps 18:35).
right hand--or power, as its organ.
shall teach thee--point the way to terrible things; that is, in conquest of enemies.
5
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繁體中文
5. 結果。
民——整族整族被制伏。
Original en inglés
5. The result.
people--Whole nations are subdued.
6
Sin título
繁體中文
6. 沒有任何合法的解釋能改變此處所給的——並為古譯本所支持、尤其為保羅
（Heb 1:8）
所支持——的意思。關於這治理的永存，參
2Sa 7:13； Ps 10:16; 72:5; 89:4; 110:4； Isa 9:7。
Original en inglés
6. No lawful construction can be devised to change the sense here given and sustained by the ancient versions, and above all by Paul
(Heb 1:8).
Of the perpetuity of this government, compare
2Sa 7:13; Ps 10:16; 72:5; 89:4; 110:4; Isa 9:7.
7
Sin título
繁體中文
7. 如同
Ps 45:6
強調神性，此處則以人性的道德品質作為中保升高之緣由或根基。有人譯作「神啊，你的神」，取代
神——你的神——但後者為相同形式所支持
（Ps 50:7）， 而且受膏之說只能應用於祂的人性（參
Isa 61:3）。
喜樂的油——或作喜樂的記號，用於筵席與其他莊嚴歡樂之時（參
1Ki 1:39, 40）。
同伴——其他君王。
Original en inglés
7. As in
Ps 45:6
the divine nature is made prominent, here the moral qualities of the human are alleged as the reason or ground of the mediatorial exultation. Some render "O God, thy God," instead of
God, thy God--but the latter is sustained by the same form
(Ps 50:7),
and it was only of His human nature that the anointing could be predicated (compare
Isa 61:3).
oil of gladness--or token of gladness, as used in feasts and other times of solemn joy (compare
1Ki 1:39, 40).
fellows--other kings.
8
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繁體中文
8. 這樣就任的王如今被呈現為新郎，身著香料薰透的華服，這些香料是從
象牙宮中——祂的王宮——帶出來的；這一切既是婚宴喜樂的記號，便使祂歡喜。
Original en inglés
8. The king thus inaugurated is now presented as a bridegroom, who appears in garments richly perfumed, brought out from
ivory palaces--His royal residence; by which, as indications of the happy bridal occasion, He has been gladdened.
9
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繁體中文
9. 為了完成這婚筵的圖畫，最高品級的女子侍從或伴娘侍立在祂身旁，而王后身穿華服
（Ps 45:13）， 預備好迎接婚禮的隊伍。
Original en inglés
9. In completion of this picture of a marriage festival, female attendants or bridesmaids of the highest rank attend Him, while the queen, in rich apparel
(Ps 45:13),
stands ready for the nuptial procession.
10
Sin título
繁體中文
10, 11. 她被邀請進入這聯合，為此她必須離開她父親的百姓。她按著這比喻的形式代表教會，這稱呼由
Ge 12:1
以來一切論及神的百姓為蒙揀選、分別出來、歸神為聖之民的經文所說明。她對丈夫順服的關係，既與
Ge 3:16; 18:12； Eph 5:22； 1Pe 3:5, 6
所賜的婚姻律法相符，也與教會對基督的關係相符
（Eph 5:24）。
丈夫的愛與新婦被勸勉當有的全然奉獻，密切相連。
Original en inglés
10, 11. She is invited to the union, for forming which she must leave her father's people. She representing, by the form of the allegory, the Church, this address is illustrated by all those scriptures, from
Ge 12:1
on, which speak of the people of God as a chosen, separate, and peculiar people. The relation of subjection to her spouse at once accords with the law of marriage, as given in
Ge 3:16; 18:12; Eph 5:22; 1Pe 3:5, 6,
and the relation of the Church to Christ
(Eph 5:24).
The love of the husband is intimately connected with the entire devotion to which the bride is exhorted.
12
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繁體中文
12. 推羅的女子——
（詩 9:14）；
指那地的百姓。推羅因富甲一方而聞名，故被選來代表最富庶的列國，下一子句也證實此意。這些禮物被獻上以討好王室雙方，表示獻物者承認臣服。這很好地描繪出教會與其元首的崇高地位，其德性得著世界的敬獻。至於以物質財富奉獻以維持教會各項事工，或可包括在內（參「列國的財物」，
詩 72:10；賽 60:5-10）。
Original en inglés
12. daughter of Tyre--
(Ps 9:14);
denotes the people. Tyre, celebrated for its great wealth, is selected to represent the richest nations, an idea confirmed by the next clause. These gifts are brought as means to conciliate the royal parties, representing the admitted subjection of the offerers. This well sets forth the exalted position of the Church and her head, whose moral qualities receive the homage of the world. The contribution of material wealth to sustain the institutions of the Church may be included (compare "riches of the Gentiles,"
Ps 72:10; Isa 60:5-10).
13
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繁體中文
13. 王的女兒——為表示尊嚴之語。或許也暗指——以比喻的教訓而言——基督的新婦、教會，乃大君王神的女兒。
內部——她不僅外衣華貴，她一切衣裳皆為極上之料。
繡花金線——即金線刺繡，或織入金絲的布料。
Original en inglés
13. the king's daughter--a term of dignity. It may also intimate, with some allusion to the teaching of the allegory, that the bride of Christ, the Church, is the daughter of the great king, God.
within--Not only is her outward raiment costly, but all her apparel is of the richest texture.
wrought gold--gold embroidery, or cloth in which gold is woven.
14
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繁體中文
14, 15. 此處描述行列的進行；按當時風俗，新娘與伴娘被引到王宮。對於——
繡花衣——有人提出另一譯法：「在彩繡的布上」——即照東方風俗，將華美織成的掛毯鋪在地上，新娘在其上行走。因衣裳已在前文提及，此譯法似乎可信。
Original en inglés
14, 15. The progress of the procession is described; according to the usual custom the bride and attendants are conducted to the palace. Some for the words--
in raiment of needlework--propose another rendering, "on variegated (or embroidered) cloths"--that is, in the manner of the East, richly wrought tapestry was spread on the ground, on which the bride walked. As the dress had been already mentioned, this seems to be a probable translation.
15
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繁體中文
15. 他們要被引到——以莊嚴的形式（參
伯 10:19；21:22）。
進入王宮時的極大喜樂為這一幕畫上句點。照樣，教會終必被引到她的主面前，在天上聖者的歡宴中與祂聯合。
Original en inglés
15. shall they be brought--in solemn form (compare
Job 10:19; 21:22).
The entrance into the palace with great joy closes the scene. So shall the Church be finally brought to her Lord, and united amid the festivities of the holy beings in heaven.
16
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繁體中文
16. 正如世上君王藉總督治理廣大的帝國，這位榮耀的王被描繪為以其眾多子嗣供應地上一切首要國度的首領。
Original en inglés
16. As earthly monarchs govern widely extended empires by viceroys, this glorious king is represented as supplying all the principalities of earth with princes of his own numerous progeny.
17
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繁體中文
17. 這國度的榮耀將如世界般廣闊，如永恆般長存。
所以——因為如此榮耀，讚美便當是普世而永遠的。有些作者煞費苦心要在基督和祂教會的歷史與際遇中，為這華麗寓意中的每一細節尋找精確的對應，連其中華美的東方意象也不例外。如此，王和王后的衣袍被認為代表基督與祂百姓的卓越恩賜和恩典。隨侍的婦女被認為（雖然看來與本篇默示的性質不太一致）代表妾侍，被認為象徵外邦教會，而新婦則象徵猶太教會等等。但顯然我們不能追隨這種解釋方式。因為若照寓意而行，我們必須將一場其婚姻式完成仍遙在未來的聯合的結果，推遲到遠方的將來（參看 Re 21:9）。事實上，此處和別處的意象向我們展示教會的兩個方面。作為一個身體，它尚不完全，全體尚未聚齊。作為一個道德性的制度，它尚不完美。在終局的災難中，它將完全而完美。如此，作為一個妝飾整齊的新婦等等，它將與其主聯合。如此，基督與得勝教會的聯合便被描繪出來。另一方面，就其組成部分而言，基督作為元首、作為丈夫等等的關係已經存在，而這些部分既在此世構成一個制度，正是藉著祂與它的聯合，以及祂所賦予的恩賜和恩典，屬靈的後裔才在世上興起並擴展。因此我們必須將心思只固定在一個簡單而偉大的真理上：基督愛教會，為教會作萬有之首，在祂的高升中將教會提升至最高的道德尊嚴——這尊嚴是每一個甚至最卑微的真誠門徒都將有分的。至於這寓意預言應驗的時間，可以說沒有特別指明任何時段。基督與其教會關係的特徵被指明瞭，我們可以設想，從祂藉復活宣告其神子身分，到最後審判之大災難的全部過程，以及對教會和世界的一切附帶福分，都展現在受默示的先知眼前。
Original en inglés
17. The glories of this empire shall be as wide as the world and lasting as eternity.
therefore--Because thus glorious, the praise shall be universal and perpetual. Some writers have taxed their ingenuity to find in the history and fortunes of Christ and His Church exact parallels for every part of this splendid allegory, not excepting its gorgeous Oriental imagery. Thus, by the dresses of the king and queen, are thought to be meant the eminent endowments and graces of Christ and His people. The attendant women, supposed (though inconsistently it might seem with the inspired character of the work) to be concubines, are thought to represent the Gentile churches, and the bride the Jewish, &c. But it is evident that we cannot pursue such a mode of interpretation. For, following the allegory, we must suspend to the distant future the results of a union whose consummation as a marriage is still distant (compare
Re 21:9).
In fact, the imagery here and elsewhere sets before us the Church in two aspects. As a body, it is yet incomplete, the whole is yet ungathered. As a moral institution, it is yet imperfect. In the final catastrophe it will be complete and perfect. Thus, as a bride adorned, &c., it will be united with its Lord. Thus the union of Christ and the Church triumphant is set forth. On the other hand, in regard to its component parts, the relation of Christ as head, as husband, &c., already exists, and as these parts form an institution in this world, it is by His union with it, and the gifts and graces with which He endows it, that a spiritual seed arises and spreads in the world. Hence we must fix our minds only on the one simple but grand truth, that Christ loves the Church, is head over all things for it, raises it in His exaltation to the highest moral dignity--a dignity of which every, even the meanest, sincere disciple will partake. As to the time, then, in which this allegorical prophecy is to fulfilled, it may be said that no periods of time are specially designated. The characteristics of the relation of Christ and His Church are indicated, and we may suppose that the whole process of His exaltation from the declaration of His Sonship, by His resurrection, to the grand catastrophe of the final judgment, with all the collateral blessings to the Church and the world, lay before the vision of the inspired prophet.
Ps 45:1-17.
百合花——字面作「百合花」，或指一種如此形狀的樂器，或指一首以此為名的曲調，本篇即依此曲調歌唱（見
Ps 8:1，
題註）。愛慕歌，或作所愛者之歌（複數陰性）——即一首婚姻之歌。Maschil——（見
Ps 32:1，
題註，並
Ps 42:1，
題註）表示本篇的教導性質；即它賜下訓誨，這首歌具有寓意性而非字面性的意涵。*本篇描繪基督與其教會的聯合與榮耀。*祂被稱呼為一位具備一切本質恩惠的君王，一位被高舉坐於公義永遠國度寶座上的得勝者，以及一位身披婚禮盛裝的新郎。教會則被描繪為一位王室所裝飾、有侍從相伴的新娘，純潔而可愛，被邀請離開父家，與她所許配的主同享尊榮。東方婚禮的畫面由此展開：富有者以贈禮恭賀這一盛典，新娘身著華服在童女陪伴下入場，歡樂的群眾進入王宮。本篇以對眾多且傑出後裔的預言——而非對此通常所表達的恭賀之願（參
Ge 24:60; Ru 4:11, 12）——以及永遠名聲的確據作結。所有古代猶太與基督教註釋家都將本篇視為上述意涵的寓意。在雅歌中，這寓意得以更充分地展開。何西阿
(Ho 1:1-3:5)
以同一意象論述神與其子民的關係，而以這意象表明基督與其教會關係的用法貫穿聖經兩部分（參
Isa 54:5; 62:4, 5; Mt 22:3; 25:1; Joh 3:29; Eph 5:25-32
等）。也有人提出其他解釋方法。從所羅門到惡王亞哈的數位猶太君王，以及各樣外邦君王，都被提名為本歌的主角。但這些用語顯然不能證明適用於其中任何一位，而且一首純粹的婚禮之歌——尤其是外邦君王的——幾乎不可能被允許列入猶太人的聖詠之中。主張彌賽亞以外解釋的人，彼此先後互相駁倒；而應用最嚴格的公正解經法則，反而加強了支持彌賽亞解釋的證據。上述本篇的範圍簡明易曉，並由其細節的解釋所支持。保羅引用
Ps 45:6, 7
(Heb 1:8, 9)
應用於基督，應當是決定性的，而其特殊解釋也顯示如此應用的合宜。
1. 一段充滿感情的序言，表示強烈的情緒。字面作：「我心湧出美辭；我所論述的事」等。
湧出——字面作「沸騰」，如泉源溢流。
我的舌頭是筆——不過是神所使用的工具。
快筆——即流暢的。這主題激發人心，言語便滔滔不絕。