Psalm 45:8 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.

All thy garments smell of myrrh, and aloes, and cassia,.... Either his human nature, as anointed with the oil of gladness, and filled with the graces of the Spirit, signified by the holy anointing oil in the tabernacle, of which the things mentioned were ingredients, Exo 30:23; or the garments of salvation and robe of righteousness, wrought out by him for his people, which are well pleasing and acceptable to his Father, and of a sweet smelling savour, being agreeable to his law and justice; and also to himself, as they are put upon his people; see Sol 4:11. And likewise to them who rejoice at being clothed with them, and desire to be found in them: or else his people themselves, who are sometimes compared to a clothing and to garments, Isa 49:18; whose persons are to God as the smell of a field, whom the Lord has blessed; and whose sacrifices of prayer and praise are sweet odours to him, through the mediation of his Son; out of the ivory palaces; see Sol 7:4; meaning the places from whence these garments were taken, the wardrobe; or from whence Christ came, and where he appears; as heaven, the palace of the great King, from whence he came down, whither he is gone, and from whence he is expected again; and the human nature of Christ, in which he tabernacled on earth, and was pure and clear from sin; and his churches, which are his temples and palaces, where he grants his presence. Or it may be rendered, "more than the ivory palaces" (i), and so be expressive of the excellency of Christ's garments above them; and denote the purity of his human nature, the spotlessness of his righteousness, and the comeliness of his people; whereby they have made thee glad; or, "wherein" or "from whence" (k); in which palaces, the churches, the saints make Christ glad, by speaking of his glory; by ascribing glory to him; and by the exercise of grace upon him, with which his heart is ravished, Sol 4:9. Or "for which" (l); garments of salvation, and robe of righteousness; they being clothed with them, and rejoicing in them, cause joy and gladness in Christ: or "more than they", or "theirs that make thee glad" (m); meaning his fellows and their garments, his being more odorous than theirs. (i) "prae palatiis eburneis", Cocceius, Gejerus. (k) "unde", Montanus, Musculus, Muis, Noldius, p. 629, No. 1664. (l) "Propter quod", Muis. (m) "Prae iis", Junius & Tremellius; "magis quam eorum", Piscator; so Ainsworth.

The sweet odor of Christ gives forth the fragrance of myrrh because of his passion, and of aloes because he did not remain motionless and inactive for three days and three nights but descended to the lower world to distribute the graces of the resurrection.… And it breathes forth the fragrance of cassia, a very delicate and fragrant bark, … because of the suffering of the cross undertaken in kindness to every creature. Therefore, you have myrrh because of burial; aloes, because of the passage down to the lower world (since every drop is borne downward); and cassia, because of the dispensation of the flesh on the wood.… And these aromatic herbs, he says, are not sparingly present in the garments of Christ (that is to say, the parable of the sermons and the preparation of the doctrines) but are brought from all the buildings. He says that the largest of the dwellings are houses and that these are constructed of ivory, because the prophet is teaching, I think, the wealth of the love of Christ for the world.

Just as on hearing reference to bow and sword and all those similar things you do not take them in a material way, so on hearing mention of myrrh and cassia you would not think of them in a material way but at an intellectual level.

"Out of Your garments is the smell of myrrh, amber, and cassia" [Psalm 45:8]. Out of Your garments is perceived the smell of fragrant odours. By His garments are meant His Saints, His elect, His whole Church, which he shows forth, as His garment, so to speak; His robe "without spot and wrinkle," [Ephesians 5:27] which on account of its spots He has "washed" in His blood; on account of its "wrinkles" extended on His Cross. Hence the sweet savour which is signified by certain perfumes there mentioned. Hear Paul, that "least of the Apostles" (that "hem of that garment," which the woman with the issue of blood touched, and was healed), hear him saying: "We are a sweet savour of Christ, in every place, both in them that are saved, and in them that perish." [2 Corinthians 2:14-15] He did not say, "We are a sweet savour in them that are saved, and a foul savour in them that are lost:" but, as far as relates to ourselves, "we are a sweet savour both in them that are saved, and in them that perish."...They who loved him were saved by the odour of "sweet savour;" they who envied him, perished by means of that "sweet savour." To them that perished then he was not a foul "savour," but a "sweet savour." For it was for this very reason they the more envied him, the more excellent that grace was which reigned in him: for no man envies him who is unhappy. He then was glorious in the preaching of God's Word, and in regulating his life according to the rule of that "rod of direction;" and he was loved by those who loved Christ in him, who followed after and pursued the odour of sweet savour; who loved the friend of the bridegroom: that is to say, by the Bride Herself, who says in the Song of Songs, "We will run after the sweet savour of your perfumes." But the others, the more they beheld him invested with the glory of the preaching of the Gospel, and of an irreproachable life, were so much the more tortured with envy, and found that sweet savour prove death to them.

By “buildings” he means houses, and by “ivory” the splendor of the houses, by this implying the churches. So his intention is to say that after the death of Christ splendid and beautiful temples will be erected to him, like the churches to be seen in our day.

In his wish to imply both the passion and the glory of the passion he says “myrrh, resin, and cassia from your garments,” suggesting by “myrrh” the passion, and by mention of “resin and cassia” implying the fragrance and splendor of the passion, as if to say, Even the passion itself, which affects your temple, will be accompanied by great fragrance and glory, with the result that the fragrance from it will spread to the whole world, as the apostle also says: “We are the fragrance of Christ among those who are being saved and among those who are perishing.” Now, he did well to mention “myrrh” and associate it with the phrase “from your garments” for us to understand the divinity to be free of suffering.

"Myrrh and gutta." Here he treats of the delights of the king, and he describes these delights from four things: from clothing, from dwelling, from attendance, and from marriage. Of the first, he says, "Myrrh and gutta and cassia from your garments." The garments of Christ can be twofold: namely, his body. Is. 63: "Why is your garment red?" Also, the garment of Christ is all the saints. Is. 49: "You shall be clothed with all these as with an ornament." And from these proceeds the fragrance of myrrh, gutta, and cassia, whether from the garment that is his body or from the saints. Myrrh has bitterness; and so if it refers to the body of Christ, it signifies the bitterness of the Passion. Song 5: "His fingers," namely, nailed to the wood, "dripping with choice myrrh." But if it refers to the saints, it signifies penance. Sir. 24: "Like choice myrrh I gave forth a sweet odor." Where we have "gutta," the Greek has "aloes"; the Hebrews, "stacte." Gutta is a liquid of a certain herb, and something hot, and it is good against swellings; and it signifies humility, which was especially in Christ. Mt. 11: "Learn from me, for I am meek," etc. It was also in the saints. Is. 66: "Upon whom shall I look, except upon the lowly and contrite in spirit, and him who trembles at my words?" Aloe is the juice of a plant, but it is not taken here in that sense; rather, it refers to a certain wood called aloe, which is aromatic. Stacte is a gum of myrrh, which is more precious than myrrh. And this is the same as myrrh in terms of fragrance. Cassia is of three kinds. One cassia is like a tube; another is the fruit of a tree -- and he does not intend this here, because it is not aromatic; but there is a certain cassia bark which is aromatic, and it is to this that the text refers here. Or, according to the Gloss, there is a certain tree called casia that grows in watery places; and through this is signified the water of tears, or the water of baptism; as if to say: the fragrance of all these things proceeds from the saints and from your body. 2 Cor. 2: "We are the good odor of Christ." Of the second, he says, "from ivory houses"; as if to say: there is also fragrance from your ivory houses, which are fragrant because of these aromatics. The ancients had paneled walls; with us they are of marble. And so among the Hebrews and Orientals, the walls were covered with ivory. Amos 3: "The ivory houses shall perish." "Houses" signify the faithful. 1 Pet. 2: "You yourselves, as living stones, are built up into spiritual houses," etc. "Ivory," cold on account of chastity. Song 5: "His belly is of ivory." Also, white on account of purity; ruddy on account of charity. Lam. 4: "More ruddy than ancient ivory." Of the third, "from which the daughters of kings have delighted you in your honor"; as if to say: he is so delightful that he has the daughters of kings in his service; as if to say: your garments have prepared the daughters of kings who serve you. Literally, the daughters of earthly kings delight us for the honor of Christ, because they dedicated themselves to Christ and died for Christ, and this "in your honor," that is, for your honor; as if to say: not only the daughters of one king, but also the daughters of kings serve Christ. Or otherwise: kings are the apostles; their daughters are faithful souls. Or kings are doctors. Rev. 5: "You have made us a kingdom and priests to our God." Their daughters are the Christian and faithful people. 1 Cor. 4: "In Christ Jesus through the Gospel I have begotten you." These are daughters in the honor of Christ, not in the honor of kings, namely Peter and Paul, but of Christ. 1 Cor. 1: "We preach Christ crucified." They delighted with these aromatics.

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 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.

(Heb.: 45:9-10) The song of that which is lovely here reaches the height towards which it aspires from the beginning. It has portrayed the lovely king as a man, as a hero, and as a divine ruler; now it describes him as a bridegroom on the day of his nuptials. The sequence of the thoughts and of the figures corresponds to the history of the future. When Babylon is fallen, and the hero riding upon a white horse, upon whom is inscribed the name "King of kings and Lord of lords," shall have smitten the hostile nations with the sword that goeth out of His mouth, there then follows the marriage of the Lamb, for which the way has been prepared by these avenging victories (Rev 19:7.). It is this final ga'mos which the Psalm, as a song of the congregation, when the light was dawning upon the Old Testament church, sees by anticipation, and as it were goes forth to meet it, rejoicing to behold it afar off. The king's garments are so thoroughly scented with costly spices that they seem to be altogether woven out of them. And מנּי out of the ivory palaces enchant him. This מנּי has been taken mostly, according to Isa 59:18 (cf. also Isa 52:6), as a repetition of the מן: "out of ivory palaces, whence they enchant thee." But this repetition serves no special purpose. Although the apocopated plural in ı̂, instead of ı̂m, is controvertible in Biblical Hebrew (vid., on Psa 22:17; Sa2 22:44), still there is the venture that in this instance מנּי is equivalent to מנּים, the music of stringed instruments (Psa 150:4); and if in connection with any Psalm at all, surely we may venture in connection with this Psalm, which in other respects has such an Aramaic or North-Palestinian colouring, to acknowledge this apocope, here perhaps chosen on account of the rhythm. In accordance with our historical rendering of the Psalm, by the ivory palaces are meant the magnificent residences of the king, who is the father of the bride. Out of the inner recesses of these halls, inlaid within with ivory and consequently resplendent with the most dazzling whiteness, the bridegroom going to fetch his bride, as he approaches and enters them, is met by the sounds of festive music: viewed in the light of the New Testament, it is that music of citherns or harps which the seer (Rev 14:2) heard like the voice of many waters and of mighty thunder resounding from heaven. The Old Testament poet imagines to himself a royal citadel that in its earthly splendour far surpasses that of David and of Solomon. Thence issues forth the sound of festive music zealous, as it were, to bid its welcome to the exalted king. Even the daughters of kings are among his precious ones. יקר is the name for that which is costly, and is highly prized and loved for its costliness (Pro 6:26). The form בּיקּרותיך resembles the form ליקּהת, Pro 30:17, in the appearance of the i and supplanting the Sheba mobile, and also in the Dag. dirimens in the ק (cf. עקּבי, Gen 49:17; מקּדשׁ, Exo 15:17). (Note: It is the reading of Ben-Naphtali that has here, as an exception, become the receptus; whereas Ben-Asher reads בּיקּרותיך. Saadia, Rashi, Simson ha-Nakdan and others, who derive the word from בּקּר (to visit, wait on), follow the receptus, comparing משׁיסּה, Isa 42:24, in support of the form of writing. Also in ליקּהת, Pro 30:17; ויללת, Jer 25:36; כּיתרון, Ecc 2:13, the otherwise rejected orthography of Ben-Naphtali (who pointed ויחלּוּ, Job 29:21, לישׂראל, ויתּן, and the like) is retained, as quite an exception, in the textus receptus. Vide S. D. Luzzatto, Prolegomeni, cxcix., and Grammatica della Lingua Ebraica, 193.) Now, however, he has chosen for himself his own proper wife, who is here called by a name commonly used of Chaldaean and Persian queens, and, as it seems (cf. on Jdg 5:30), a North-Palestinian name, שׁגל, (Note: Bar-Ali says that in Babylonia Venus is called ודלפת שגל, vid., Lagarde, Gesammelte Abhandl. S. 17. Windischmann (Zoroastrische Studien, S. 161) erroneously compares ćagar (pronounced tshagar) as a name of one of the two wives of Zarathustra; but it happens that this is not the name of the wife who holds the first rank (Neo-Persic padishāh-zen), but of the second (ćakir-zen, bond-woman).) instead of גּבירה. From the fact that, glittering with gold of Ophir, she has taken the place of honour at the right hand of the king (נצּבה, 3rd praet., not part.), it is evident that her relationship to the king is at this time just in the act of being completed. Who are those daughters of kings and who is this queen standing in closest relationship to the king? The former are the heathen nations converted to Christ, and the latter is the Israel which is remarried to God in Christ, after the fulness of the heathen is come in. It is only when Israel is won to Him, after the fulness of the heathen is come in (Rom 11:25), that the morning of the great day will dawn, which this Psalm as a song of the church celebrates. בּנות מלכים cannot certainly, like בּת־צר, be a personificative designation of heathen kingdoms, although שׁגל is the believing Israel conceived of as one person. It is actually kings' daughters as the representatives of their nations that are intended; and the relation of things is just the same here as in Isa 49:23, where, of the Israelitish church of the future, it is predicted that kings shall be its foster-fathers and their princesses its nursing-mothers.