1
Ps 45:1-17.
简体中文
英文原文
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
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2. 在丰盛的个人魅力之外，又加上嘴唇的恩惠，即迷人的言语之力。这恩赐是神所赐的，成为能力的源头，也证明为祝福。基督是先知（Lu 4:22）。
英文原文
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
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3, 4. 王被称呼为预备出战的。
剑——
（比较
Re 1:16; 19:15）。
大能者——
（比较
Isa 9:6）。
荣耀和……威严——通常作为神的属性
（Ps 96:6; 104:1; 111:3）， 或特别赐给必死之人的
（Ps 21:5）， 也许是这些所预表的。
英文原文
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
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4. 顺利地骑行——或作进行成功的战争。
因为——为真理等的利益。
谦卑……公义——无其他关联——即一种以谦卑或俯就为特色的公义或公平的管治
（Ps 18:35）。
右手——或作能力，作为其器皿。
必指教你——指向可畏之事的路；即征服仇敌。
英文原文
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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5. 结果。
民——列国被制伏。
英文原文
5. The result.
people--Whole nations are subdued.
6
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6. 无法构想一个合理的解释来改变此处所给、为古译本所支持、尤其是为保罗所支持的意义
（Heb 1:8）。 关于这政权的恒久性，请比较
2Sa 7:13; Ps 10:16; 72:5; 89:4; 110:4; Isa 9:7。
英文原文
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.
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7. 如
Ps 45:6
以神性为显著，此处则以人性的道德品质作为他得中保之高举的理由或根据。有人译作「神啊，你的神」，代替
神，就是你的神——但后者为同样形式所支持
(Ps 50:7)， 而且受膏只能论及他的人性（比较
Isa 61:3）。
喜乐的油——或作喜乐的标记，用于宴席及其他严肃喜乐之时（比较
1Ki 1:39, 40）。
同伴——其他君王。
英文原文
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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8. 如此就职的王如今被描绘为新郎，身着馨香华美的衣服，从
象牙宫——即他的王宫——而出；这些是欢乐婚礼场合的标记，使他心中喜乐。
英文原文
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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9. 在这幅婚筵图画的完成中，最高品级的女傧相或伴娘侍候他，王后则穿着华服
(Ps 45:13)， 预备好婚宴的行列。
英文原文
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
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10, 11. 她被邀请进入这联合，为此她必须离开本父之民。她在这比喻的形式中代表教会，所以这段话可用一切从
Ge 12:1
以来论到神子民为蒙拣选、分别、特殊之民的经文来说明。她对配偶的顺服，一方面符合
Ge 3:16; 18:12; Eph 5:22; 1Pe 3:5, 6
所赐的婚姻之律，另一方面也符合教会与基督的关系
(Eph 5:24)。
丈夫的爱，与对新妇所劝的完全献身，密切相关。
英文原文
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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12. 推罗的女子——
(Ps 9:14)； 指那民。推罗以大财著名，被选来代表最富的列国——这意念由下一句证实。这些礼物被携来为要讨好王室，表明献礼者的臣服。这很好地表明了教会及其元首的崇高地位，其道德品质接受世界的臣服。献上物质财富以维持教会的制度，也可包括在内（比较「外邦人的财宝」，
Ps 72:10; Isa 60:5-10)。
英文原文
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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13. 王女——表示尊荣之称。也可暗示——与比喻的教导有些关联——基督的新妇、教会，是伟大君王神的女儿。
里面——她不但外衣华贵，她一切的衣裳都是最精致的质料。
金线——金线绣工，或织金的布。
英文原文
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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14, 15. 描述行列的进展；按通常的习俗，新妇和傧相被引到王宫。有人对——
绣花衣服——的话提出另一译法：「在绣花（或彩绣）布上」——即按东方的样式，将精织的挂毯铺在地上，新妇行在其上。因衣裳已经提过，这似乎是合理的翻译。
英文原文
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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15. 他们要被引到——以庄严的形式（比较
Job 10:19; 21:22)。
进王宫时大喜乐，结束这一场面。照样，教会最终也必被带到她主那里，在圣徒天上的欢宴中与他联合。
英文原文
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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16. 如地上的君王借总督治理广大的帝国，这位荣耀的王被描绘为以自己众多子孙中的王子供应地上一切首要的侯国。
英文原文
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.
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17. 这帝国的荣耀要如世界一样宽广，如永恒一样长久。
所以——因为如此荣耀，赞美也必是普世而恒久的。有些作者费尽心机，要在基督与其教会的历史和命运中为这华丽比喻的每一部分（包括其中华美的东方意象）找出精确的对应。如此，王和新后的衣裳被认为指基督和他百姓卓越的恩赐和恩典。随侍的女子——假设（虽然似乎与这默示之作不符）为妃嫔——被认为代表外邦教会，而新妇代表犹太教会等。但显然我们不能追随这样的解释法。因为按比喻而言，我们必须把一桩其婚姻完成仍在远处的联合的结果，延到遥远的将来（比较
Re 21:9)。
实际上，此处和他处的意象向我们呈现教会的两方面。作为一个身体，她仍未完全，整体仍未齐聚。作为一个道德制度，她仍未完全。在最后的终局中，她才得以完全。如此，如新妇妆饰等，她必与其主联合。如此，基督与得胜教会的联合便被表明。另一方面，就其组成部分而言，基督作为元首、作为丈夫等的关系已经存在；而这些部分在此世构成一个制度，正是借着他与它的联合，以及他所赐的恩赐和恩典，才有属灵的子粒在世界中兴起扩展。因此我们必须把心意专注于那一个简单却伟大的真理：基督爱教会，为他作万有之首，在自己被高举时把教会提到最高的道德尊荣——这尊荣是每一个，甚至最卑微的、真诚门徒都要有分的。至于这比喻性预言所要应验的时间，可以说没有特别指定什么时期。所指明的是基督与其教会之关系的特徵；我们可以假定，他从借复活宣告为子，直到最后审判的大终局，连同对教会和世界一切附带的福气，这一切都展现在默示先知的异象之前。
英文原文
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——原文作"百合花"，或描述一种如此形状的乐器，或指明某种以此为名的曲调，本篇即依此曲调演唱（见
Ps 8:1
题注）。爱慕歌，即所爱者的歌（复数且阴性）——一首婚姻之歌。训诲诗——（见
Ps 32:1
题注，并
Ps 42:1
题注）表示本篇的教诲性质；它给人以训诲，因这首歌是寓意性的，而非字面的。本篇描述基督与祂教会之间的联合与荣耀。 祂被称呼为一位具备一切本质恩典的君王，一位在公义和永恒的国度宝座上被高举的得胜者，也是一位身穿婚宴华彩的新郎。教会则被描绘为一位王室妆饰、有人侍奉的新娘，以她的纯洁和美丽被邀请离开父家，分享她所许配之主人的尊荣。这样展开的一幅东方婚礼图景，随后由以下场景加以充实：富人在这喜庆场合所献的馈赠礼物、身穿华美衣裳并由童女陪伴的新娘行列、以及欢乐的人群进入王宫。本篇以对众多且显赫的后裔的预言（而非通常所表达的祝贺之愿，参
Ge 24:60； Ru 4:11, 12），
以及对永远名声的确据作为结束。所有古代犹太和基督教解经家都视本篇为上述含义的寓意。在《雅歌》中，这寓意得以更完全的展开。何西阿（
Ho 1:1-3:5）
以同样的比喻论到神与祂百姓的关系，而以这一比喻来表明基督与祂教会的关系，贯穿圣经的两个部分（参
Isa 54:5; 62:4, 5； Mt 22:3; 25:1； Joh 3:29； Eph 5:25-32
等）。也有人提出其他的解释方法。从所罗门到恶王亚哈的几位犹太君王，以及各种外邦君王，都曾被指为本歌的主角。但此处所用的词语并不能证明适用于他们中的任何一位；而且任何纯粹的婚歌，尤其是异教君王的婚歌，几乎不可能被允许列入犹太人的圣歌之中。主张弥赛亚以外之解释的人，彼此之间相继让对方噤声；而对公平解经体系最严格规则的应用，只是加强了支持弥赛亚解释的证据。上述本篇的范围，易于理解且为其细节的解释所支持。保罗（
Heb 1:8, 9）
引用
Ps 45:6, 7
并将其应用于基督，应当是决定性的，而其专门的解释也表明如此应用的恰当性。
1. 一个生动的序言，显示强烈的情感。原文作"我心涌出美辞；我论到我为王所作的"等。
涌出——原文作"沸腾"，如泉源溢出。
我的舌头是笔——不过是神所使用的工具。
快笔——即其笔法流畅。主题令人振奋，言语源源不绝。