Psalm 45:15 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.

With, gladness and rejoicing shall they be brought,.... With joy unspeakable, and full of glory in themselves, because of what they shall be delivered from; from all outward troubles and afflictions; from all inward distresses, darkness, doubts, and fears; from sin, Satan, and all spiritual enemies; and because of what they shall enjoy, communion with God, angels and saints, the vision of God in Christ, conformity to him, perfect knowledge, complete holiness and happiness, and a glory both upon their souls and bodies: they shall also be brought with the joy of Christ's faithful minister, who will rejoice in that day that they have not run nor laboured in vain; and with the joy of all the holy angels; and with the joy of Christ the King himself, who always rejoiced in them and over them; yea, with the rejoicing of Father, Son, and Spirit: the Father will rejoice to see those brought in whom he has loved with an everlasting love, has chosen in Christ, given to him, and whom he sent his Son to redeem: the Son of God will rejoice to see those presented to him whom he has loved and betrothed to himself; who are the purchase of his blood, and the travail of his soul; who are his jewels, treasure and portion: and the Holy Spirit will rejoice to see those brought to glory whom he has been the convincer, comforter, and sealer of; whom he has been at work upon, and has wrought them up for this selfsame thing: they shall enter into the King's palace; into heaven, the palace of the King Messiah, the King of kings and King of saints; where are mansions preparing for them, suitable to their high birth and character, as the daughters of a king; and where they shall enter, not merely to see it and go out again, but to dwell in it with their Lord, Head, and Husband, for evermore; and that as in their own palace, upon the foot of their relation to Christ, interest in him, right and meetness by him.

"With gladness and rejoicing shall they be brought and shall be led into the Temple of the King" [Psalm 45:15]. The "Temple of the King" is the Church itself: it is the Church itself that enters into "the Temple of the King." Whereof is that Temple constructed? Of the men who enter the Temple? Who but God's "faithful" ones are its "living stones"? [1 Peter 2:4] "They shall be led into the Temple of the King." For there are virgins without the Temple of the King, the nuns among the heretics: they are virgins, it is true; but what will that profit them, unless they be led into the "Temple of the King"? The "Temple of the King" is in unity: the "Temple of the King" is not ruinous, is not rent asunder, is not divided. The cement of those living stones is "charity."

"They shall be brought." Here she is commended for her company; and regarding this he does three things. First, he describes her company; second, how one arrives at her company, at "they shall be presented"; third, when this company reaches its destination, at "they shall be brought." Jerome has it differently: "All the glory of the king's daughter is from her golden robes." And here is the period; as if to say: she has a garment of golden robes. And then: "in variety, with the others," etc., "they shall be brought," etc. In the Hebrew, it is different: "above the enclosure of gold are the garments," that is, surrounded. And then: "moreover, with the fine linens that are of embroidered work; those who are close to her shall be brought," thus clothed. And he enumerates two: virgins and companions. And if they are taken to be the same, the sense is: virgins interiorly, namely, faithful souls not corrupted by sin, "shall be brought to the king," namely to Christ, who is the King of kings. "They shall be brought," I say, because they will not come by themselves. Jn. 6: "No one comes to me," etc.; and therefore Song 1 says: "Draw me after you." "But they shall be brought after her," namely after the universal Church, because no one will come or be brought to Christ unless he follows the teaching of the Church. Or "after her," that is, after the Blessed Virgin, because virgins of Christ shall be brought to him for the preservation of chastity and for the exercise of other virtues. And these are "her companions," namely either of the Church or of the Blessed Virgin, and these "shall be presented." Of the former he says "they shall be brought," because they will be converted more easily to Christ. Of the latter he says "they shall be presented," because they are drawn more importunately. 2 Tim. 4: "Be insistent in season and out of season." But if they are taken as different, then by "virgins" are understood the perfect; and these are brought as if wanting to go by themselves. Ps. 104: "He led his people out in exultation and his elect in joy"; because "they shall be presented in joy," interior, "and exultation," exterior. For they offered themselves to Christ voluntarily. Ps. 53: "Voluntarily I will sacrifice to you." Or "they shall be presented" by the Angels into heaven. Lk. 16: "It came to pass that he died," etc. And where shall they be presented? "In the temple of the king." Here it is clear that he speaks of Christ the King who is God, because he says "temple"; as if to say: so that they themselves may be the temple of the king. 1 Cor. 3: "The temple of God is holy, which you are." Or so that they may contemplate in the temple of God, that is, so that they may be free for God; for to this end is the fellowship of virgins ordained, that they may be free for God. 1 Cor. 7: "The married woman thinks about how to please her husband; but the unmarried woman thinks about how to please God."

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.

shall they be brought--in solemn form (compare Job 10:19; Job 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.