Psalm 45:13 Komentář

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, Mat 22:2; Mat 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 (Psa 45:6, Psa 45:7) 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 (Psa 45:1). The psalm speaks, I. Of the royal bridegroom, who is Christ. 1. The transcendent excellency of his person (Psa 45:2). 2. The glory of his victories (Psa 45:3-5). 3. The righteousness of his government (Psa 45:6, Psa 45:7). 4. The splendour of his court (Psa 45:8, Psa 45:9). II. Of the royal bride, which is the church. 1. Her consent gained (Psa 45:10, Psa 45:11). 2. The nuptials solemnized (Psa 45:12-15). 3. The issue of this marriage (Psa 45:16, Psa 45:17). 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. To the chief musician upon Shoshannim, for the sons of Korah, Maschil. A song of loves.

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 Isa 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 Psa 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 Psa 45:2 of the King Messiah; and Ben Melech says, he is meant by the King in Psa 45:1. Aben Ezra observes, that this psalm is said concerning David, or concerning the Messiah his son, for so is his name, Eze 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.

The King's daughter is all glorious within,.... The "King's daughter" is the same with the "queen", Psa 45:9; the church, who is the King's daughter, the daughter of the King of kings, through adopting grace, by marriage to Christ the King's son, and by regeneration, or being born of God: and she is "all glorious within"; within doors, in the inner chamber of the King, where being brought, she enjoys such communion with him as reflects a glory upon her; in his banqueting house, where his banner over her is love, and where her members enjoy fellowship with one another, and this in harmony, unity, and love; which make her look amiable, pleasant, beautiful and glorious: or within the hearts of her members, through the internal graces of the Spirit wrought there; the work of grace is an inward work; it has its seat in the heart or spirit of man, and is a glorious one, in its author, original, and usefulness; it is the workmanship of the Spirit, and a curious piece it is; it is the image of Christ upon the soul, a partaking of the divine nature; it is pure and spotless; it is clear of all sin, there is no sin in it, nor any comes from it; it is the saints' meetness for glory; it is the pledge, earnest, and beginning of it; it is "all glorious", and so are the persons that are the subjects of it, as born of God: there is nothing glorious in the old man, or corrupt nature; but in the new man, or work of grace upon the soul, everything is glorious, and it will issue in eternal glory and happiness: or all glorified within (r); like any house or building, to which the church is sometimes compared, particularly the tabernacle or temple, which were glorious within side being greatly adorned, and having many glorious things therein; as the church is with the graces of the spirit, and with the word and ordinances, and the presence of God in them; her clothing is of wrought gold; this is different from internal grace, which is sometimes spoken of as a clothing, Pe1 5:5; since that is designed in the preceding clause; and yet this does not intend the outward conversation garments of the saints, which, though ornamental, are not so glorious as to be said to be of wrought gold; and yet not the robes of immortality and glory are meant; but the robe of Christ's righteousness, which he has wrought out for his church, the Father imputes unto her, and bestows upon her, and faith receives at his hand, and puts it on as a clothing, to appear in before God; and this may be said to be "of wrought gold"; because rich and valuable, splendid and glorious, substantial and durable. (r) "honorata", Junius & Tremellius; "glorificata", Gussetius, p. 362.

The queen who, chosen out of many, stands at the right hand of God, clothed in the golden ornament of virtue, whose beauty the King desired, is, as I said, the undefiled and blessed flesh, which the Word himself carried into the heavens and presented at the right hand of God, “wrought about with many colors,” that is, in the pursuits of immortality, which he calls symbolically golden fringes. This garment is variegated and woven of various virtues, as chastity, prudence, faith, love, patience, and other good things, which, covering as they do the unseemliness of the flesh, adorn humankind with a golden ornament.

The visible beauty is not hidden, but that which is unseen is visible to God. All the glory of the king’s daughter is within, clothed with golden fringes, embroidered whether by actions or by contemplation.

The spiritual garment is woven when the attendant action is interwoven with the word of doctrine. In fact, just as a bodily garment is woven when the woof is interwoven with the warp, so when the word is antecedent, if actions in accordance with the word should be produced, there would be made a certain most magnificent garment for the soul that possesses a life of virtue attained by word and action.

[Daniel 10:16] "O my lord, at the sight of thee my joints are loosed..." Theodotion interprets it this way, in accordance with what we read in the One Hundred and Second Psalm: "Bless the Lord, O my soul, and all that is within me, bless His holy name." (Psalm 103:1) For our inward nature must direct its gaze without, before we deserve to behold a vision of God; and when we actually have beheld a vision of God, then our inward nature is converted within us and we become wholly of the number of those concerning whom it is written in another Psalm: "All the glory of the daughter of kings is within, in golden borders" (Psalm 45:13).

"All the glory of her, the King's daughter, is from within" [Psalm 45:13]. Not only is her robe, outwardly, "of gold, and of various colours;" but He who loved her beauty, knew her to be also beautiful within. What are those inward charms? Those of conscience. It is there Christ sees; it is there Christ loves her: it is there He addresses her, there punishes, there crowns. Let then your alms be done in secret; for "all the glory of her, the King's daughter, is from within."

Within, he is saying, she has the comeliness of virtue and is resplendent with the manifold gifts of the Holy Spirit.

By “within” he refers to the mind, and the words can refer only to not bodily beauty but virtue of soul. This, in fact, is the true glory of the devout, purity of conscience, for which they will be utterly conspicuous in the judge’s sight.

"All her glory." Above, the Psalmist commended the bride for her beauty; here he commends her as to glory, both interior and exterior. He does the first when he says, "all her glory." The word "her" is superfluous; hence it is construed as explanatory: "her," namely "of the king's daughter, from within." And this in three ways. First, because in interior conscience, not in the outward reputation of men, as is the fame of sinners. 2 Cor. 1: "Our glory is this, the testimony of our conscience." Second, in interior justice, not in exterior observance, as in the Old Testament. Rom. 2: "Circumcision of the heart, not of the flesh; in spirit, not in the letter; whose praise is not from men, but from God." Third, that which is in eternal hope, which is interior, not in the hope of temporal things, which is exterior. Mt. 6: "Take heed that you do not do your justice before men. But when you give alms," etc. He does the second when he says, "in golden fringes." By these fringes is understood the teaching of the Church. Ex. 28, where the Lord commands that on the fringes of the priestly garment there should be bells, whose sound would be heard. By the sound, therefore, teaching is designated. Therefore, in the teaching of divine wisdom, which is designated by gold, there is great glory; and yet it is "surrounded by variety," that is, adorned and clothed with other tongues, that is, various modes of teaching, yet they sound the same truth. Acts 2: "The apostles were speaking in various tongues," etc. Or otherwise, "in golden fringes" -- and this refers to interior purity and the adornment of virtues; "surrounded by" -- to the exterior; as if to say: all glory is from within, and these two things are especially in golden fringes. And because of this, "fringes" is understood as the end of life, either as regards the whole Church or the whole person, because fringes are at the extremities of a garment; and he does not say "gilded" but that they are "golden." For the Gloss says that those who are found at the end of the world will be perfect and holy. Also, as long as a person is making progress, he is as it were gilded; but when he is at the end, then he will be completely filled with brightness. Prov. 4: "The path of the just, like a shining light, grows and advances until the perfect day." And he says, "surrounded by variety," exterior variety, namely of different nations, or of different graces and virtues.

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 Psa 8:1, title). A song of loves, or, of beloved ones (plural and feminine)--a conjugal song. Maschil--(See on Psa 32:1, title, and Psa 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 Gen 24:60; Rut 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 (Hos. 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; Isa 62:4-5; Mat 22:3; Mat 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 Psa 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. (Psa. 45:1-17) 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.

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.

(Heb.: 45:14-16) Now follows the description of the manner in which she absolutely leaves her father's house, and richly adorned and with a numerous train is led to the king and makes her entry into his palace; and in connection therewith we must bear in mind that the poet combines on the canvas of one picture (so to speak) things that lie wide apart both as to time and place. He sees her first of all in her own chamber (פּנימה, prop. towards the inside, then also in the inside, Ges. 90, 2, b), and how there (Note: In Babylonia these words, according to B. Jebamoth 77a, are cited in favour of domesticity as a female virtue; in Palestine (במערבא), more appropriately, Gen 18:9. The lxx Codd. Vat. et Sinait. has Ἐσεβών (Eusebius), which is meaningless; Cod. Alex. correctly, ἔσωθεν (Italic, Jerome, Syriac, Chrysostom, Theodoret, Apollinaris).) she is nothing but splendour (כּל־כּבוּדּה, prop. mere splendour, fem. of כבוד as in Eze 23:41; cf. כּל־הבל, Psa 39:6, mere nothingness), her clothing is gold-interwoven textures (i.e., such as are interwoven with threads of gold, or woven in squares or diamond patterns and adorned with gold in addition). She, just like Esther (Est 2:12), is being led to the king, her husband, and this takes place לרקמות, in variegated, embroidered garments (ל used just as adverbially as in Ch2 20:21, להדרת), with a retinue of virgins, her companions, who at the same time with herself become the property of her spouse. According to the accents it is to be rendered: virgines post eam, sociae ejus, adducuntur tibi, so that רעותיה is an apposition. This is also in harmony with the allegorical interpretation of the Psalm as a song of the church. The bride of the Lamb, whom the writer of the Apocalypse beheld, arrayed in shining white linen (byssus), which denotes her righteousness, just as here the variegated, golden garments denote her glory, is not just one person nor even one church, but the church of Israel together with the churches of the Gentiles united by one common faith, which have taken a hearty and active part in the restoration of the daughter of Zion. The procession moves on with joy and rejoicing; it is the march of honour of the one chosen one and of the many chosen together with her, of her friends or companions; and to what purpose, is shown by the hopes which to the mind of the poet spring up out of the contemplation of this scene.