Salmi 45:3 Commento

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.

Gird thy sword upon thy thigh, O most mighty,.... As Christ is, the mighty God, even the Almighty, and which appears by his works of creation and providence; by the redemption of his people; by his care and government of them; by succouring them under all their temptations and afflictions; by strengthening them for every service, duty, and suffering; by pleading their cause, and supplying their wants; by preserving them to his kingdom and glory; by raising them from the dead at the last day, and by introducing them into the possession of the heavenly inheritance. This mighty One is called upon to "gird on his sword": by which is meant either the sword of the Spirit, the word of God; which is sharp in convincing of sin, reproving for it, and threatening on account of it, as well as in refuting error and heresy; and a twoedged one, consisting of law and Gospel, and which Christ made use of to great purpose, against Satan in the wilderness, and against the Scribes and Pharisees; and which he will make further use of in the latter day, against the man of sin, and his followers: or else the power of Christ, which, as the Leader and Commander of his people, and the Captain of their salvation, is called upon to exert, by preparing to engage with, and by destroying his and their enemies; and which he did put forth when the year of the redeemed was come, which was the day of vengeance in his heart; when he combated with and destroyed Satan, and spoiled his principalities and powers; when he abolished death itself, and took away sin the sting of it, and the law, the strength of sin; overcame the world, and delivered his people from it, and out of the hand of every enemy. It is added, with thy glory and thy majesty; which may be connected either with the phrase "and most mighty", and so be expressive of the glory and majesty of Christ, as the mighty God; or with his sword, as an emblem of his authority and majesty as a King, and may denote the glory of his Gospel and of his power; or may point at the end of his girding his sword upon his thigh, which was to show forth the glory of his majesty, or to obtain honour and glory: though the word "gird" may be supplied and repeated, and so make a distinct proposition, "gird with thy glory and thy majesty"; which was done when he was raised from the dead, and had glory given him; was crowned with it, and had the glory put upon him he had with his Father before the world was.

I, on my part, now wish to engage with you in a discussion on the allegorical expressions of the apostle. What figures of speech could the novel god have found in the prophets (fit for himself)? "He led captivity captive," [Ephesians 4:8] says the apostle. With what arms? In what conflicts? From the devastation of what country? From the overthrow of what city? What women, what children, what princes did the Conqueror throw into chains? For when by David Christ is sung as "girded with His sword upon His thigh," [Psalm 45:3] or by Isaiah as "taking away the spoils of Samaria and the power of Damascus," [Isaiah 8:4] you make Him out to be really and truly a warrior confest to the eye. Learn then now, that His is a spiritual armour and warfare

These terms, you see, signify his operations.… I mean, just as Scripture says God gets angry, not to attribute passion to him but to indicate through this expression his action of punishing and thus make an impression on more materialistic people, so too by mentioning weapons it suggests this. After all, since we are punished not through ourselves but by other instruments, in his wish to demonstrate God’s power to punish he indicates it in terms familiar to us … so that we may gain a more vivid impression of his punishing.… Why, then, does he say this here? In these rather materialistic terms he shows his operation, through which he set the world on its course, through which he brought the war to an end and set up the trophy. It was a harsh war, after all, more bitter than all wars, not against savages in battle but against the demons exercising their wiles and destroying the whole world.

"Gird Your sword upon Your thigh, O most Mighty" [Psalm 45:3]. What is meant by "Your sword," but "Your word"? It was by that sword He scattered His enemies; by that sword he divided the son from the father, "the daughter from the mother, the daughter-in-law from the mother-in-law." We read these words in the Gospel, "I came not to send peace, but a sword." [Matthew 10:34] And, "In one house shall five be divided against each other; three against two, and two against three;" [Luke 12:52] i.e. "the father against the son, the daughter against the mother, the daughter-in-law against the mother-in-law." By what "sword," but that which Christ brought, was this division wrought? And indeed, my brethren, we see this exemplified daily. Some young man is minded to give himself up to God's service; his father is opposed to it; they are "divided against each other:" the one promises an earthly inheritance, the other loves an heavenly; the one promises one thing, the other prefers another. The father should not think himself wronged: God alone is preferred to him. And yet he is at strife with the son, who would fain give himself to God's service. But the spiritual sword is mightier to separate them, than the ties of carnal nature to bind them together. This happens also in the case of a mother against her daughter; still more also in that of a daughter-in-law against a mother-in-law. For sometimes in one house mother-in-law and daughter-in law are found orthodox and heretical respectively. And where that sword is forcibly felt, we do not dread the repetition of Baptism. Could daughter be divided against mother; and could not daughter-in-law be divided against mother-in-law?...

After describing his charm and wisdom, he gives us a glimpse of both his power and his accouterments, which he used to wipe out his adversaries, teaching us the baffling character of it all.

The sword separates the spirit from evil and the mind from ignorance, destroying the old man and making him new in Christ.

By “sword” he means the cross, using it just like a sword. He hangs amid two enemies, namely, the devil and death. By “thigh” he means the flesh, using the part for the whole.… He says the cross girds itself with the flesh, being powerful in appearance and beauty, so that by this (i.e., his humanity) he takes up our suffering; and by that (i.e., his divinity) he overcomes suffering, as if to have no part in it. We may be able to understand appearance and beauty as mercy. For there is nothing so fitting of God than to deliver his special creation. And “bend the bow” against the enemies, and “prosper” the faithful, and “rule” everywhere, so you may subdue the enemies; you may crown the faithful, because this is fitting of a judge and king.

"Gird your sword upon your thigh." Here he is described as powerful in valor. And first, his warlike virtue is set forth. Second, his progress in battle, at "attend." Third, the effect, at "and your right hand shall lead you." Warlike virtue consists in natural strength and the preparation of arms. First, therefore, he sets forth the strong preparation of arms, when he says, "gird your sword." According to another text, it says, "upon your thigh, O most mighty." Here the strength of arms is designated. Song 3: "Each one's sword upon his thigh." But according to the Gloss, to be girded is one thing, because those who are girded are prepared for battle, namely soldiers. 1 Macc. 3: "Gird yourselves and be mighty sons, and be ready in the morning, because it is better for us to die in battle," etc. To be pre-girded is another thing, because those who are pre-girded are prepared for serving. Lk. 12: "He will gird himself and make them recline," etc. To be girded up is another thing, because those who are girded up are prepared for walking. Sir. 36: "A thief girded up, leaping from a city." To be ungirded is another thing, because those who are ungirded are going to rest. 1 Kgs. 20: "Let not him who girds himself boast as he who ungirds himself." The sword of Christ is his teaching. Of this sword, Eph. 6: "The sword of the Spirit, which is the word of God." With this sword Christ placed a division in this world, so that good things might be distinguished from evil. Mt. 10: "I have not come to bring peace, but a sword." This sword is sharp on both sides, as Rev. 1 attests, because he taught about both eternal and temporal things. And it is "upon his thigh," because he used the instrument of his humanity for the word of teaching. Is. 52: "I myself who was speaking, behold I am here." "O most mighty": here his strength or natural power is shown. 1 Sam. 2: "There is none as strong as our God." Job 9: "If strength is sought, he is most mighty." "In your splendor." According to Jerome and the Hebrews, this word "splendor" is joined with "most mighty," and the whole is under one verse, and thus in one way it is read in the Gloss; and if it is thus joined with "most mighty," the sense is: you, Christ, are most mighty "in your splendor," namely of your humanity, according to which he is also greatest in power. Song 5: "His appearance is like Lebanon." "And your beauty," namely of the divinity. Wis. 13: "If, delighted by their beauty, they took them to be gods, let them know how much more beautiful is the Lord of these." Or, you are most mighty "in your splendor," that is, in your splendid beauty. Hence Jerome has, "in your praise," because from this you are praiseworthy and glorious, because you are armed and strong.

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 is addressed as ready to go forth to battle. sword--(Compare Rev 1:16; Rev 19:15). mighty--(Compare Isa 9:6). glory and . . . majesty--generally used as divine attributes (Psa 96:6; Psa 104:1; Psa 111:3), or as specially conferred on mortals (Psa 21:5), perhaps these typically.

(Heb.: 44:4-6) In the ever blessed one the greatest strength and vigour are combined with the highest beauty. He is a hero. The praise of his heroic strength takes the form of a summons to exert it and aid the good in obtaining the victory over evil. Brightness and majesty, as the objects to חגור, alternating with the sword, are not in apposition to this which is their instrument and symbol (Hengstenberg), but permutatives, inasmuch as חגור is zeugmatically referable to both objects: the king is (1) to gird himself with his sword, and (2) to surround himself with his kingly, God-like doxa. הוד והדר is the brilliancy of the divine glory (Psa 96:6), of which the glory of the Davidic kingship is a reflection (Psa 21:6); mentioned side by side with the sword, it is, as it were, the panoply that surrounds the king as bright armour. In Psa 45:5 והדרך, written accidentally a second time, is probably to be struck out, as Olshausen and Hupfeld are of opinion. Hitzig points it והדרך, "and step forth;" but this is not Hebrew. As the text runs, wa-hadārcha (with Legarme preceded by Illuj, vid., Accentsystem xiii. 8c, 9) looks as though it were repeated out of Psa 45:4 in the echo-like and interlinked style that we frequently find in the songs of degrees, e.g., Psa 121:1-2; and in fact repeated as an accusative of more exact definition (in the same bold manner as in Psa 17:13-14) to צלח, which, like Arab. ṣlḥ, starting from the primary notion of cleaving, breaking through, pressing forward, comes to have the notion of carrying anything through prosperously, of being successful, pervadere et bene procedere (cf. the corresponding development of signification in Arab. flḥ, 'flḥ), and, according to Ges. 142, rem. 1, gives to רכב the adverbial notion of that which is effectual (victorious) or effective and successful. We cannot determine whether רכב is here intended to say vehi curru or vehi equo; but certainly not upon a mule or an ass (Kg1 1:33; Zac 9:9), which are the beasts ridden in a time of peace. The king going forth to battle either rides in a war-chariot (like Ahab and Jehoshaphat, 1 Kings 22), or upon a war-horse, as in Rev 19:11 the Logos of God is borne upon a white horse. That which he is to accomplish as he rides forth in majesty is introduced by על־דּבר (for the sake of, on account of), which is used just as in Psa 79:9, Sa2 18:5. The combination ענוה־צדק-is very similar to עריה־בשׁת, Mic 1:11 (nakedness - ignominy = ignominious nakedness), if ענוה = ענוה is to be taken as the name of a virtue. The two words are then the names of virtues, like אמת (truth = veracity, which loves and practises that which is true and which is hostile to lying, falseness, and dissimulation); and whereas צדק ענוה would signify meek righteousness, and צדק ענות, righteousness meekness, this conjunction standing in the middle between an addition and an asyndeton denotes meekness and righteousness as twin-sisters and reciprocally pervasive. The virtues named, however, stand for those who exemplify them and who are in need of help, on whose behalf the king is called upon to enter the strife: the righteous, if they are at the same time ענוים (עניּים), are doubly worthy and in need of his help. Nevertheless another explanation of ענוה presents itself, and one that is all the more probable as occurring just in this Psalm which has such a North-Palestinian colouring. The observation, that North-Palestinian writers do not always point the construct state with ath, in favour of which Hitzig, on Psa 68:29, wrongly appeals to Hos 10:6; Job 39:13, but rightly to Jdg 7:8; Jdg 8:32 (cf. Deu 33:4, Deu 33:27), is perfectly correct. Accordingly ענוה may possibly be equivalent to ענות, but not in the signification business, affair = ענין, parallel with דּבר, but in the signification afflictio (after the form ראוה, Eze 28:17); so that it may be rendered: in order to put a stop to the oppression of righteousness or the suffering of innocence. The jussive ותורך, like ויתאו in Psa 45:12, begins the apodosis of a hypothetical protasis that is virtually there (Ew. 347, b): so shall thy right hand teach thee, i.e., lead thee forth and cause thee to see terrible things, i.e., awe-inspiring deeds. But in Psa 45:6 both summons and desire pass over into the expression of a sure and hopeful prospect and a vision, in which that which is to be is present to the mind: thine arrows are sharpened, and therefore deadly to those whom they hit; peoples shall fall (יפּלוּ) (Note: It is not יפּלוּ; for the pause falls upon שׁנוּנים, and the Athnach of יפלו stands merely in the place of Zekaph (Num 6:12). The Athnach after Olewejored does not produce any pausal effect; vid., Psa 50:23; Psa 68:9, Psa 68:14; Psa 69:4; Psa 129:1, and cf. supra, p. 56, note 2.) under thee, i.e., so that thou passest over them as they lie upon the ground; in the heart of the enemies of the king, viz., they (i.e., the arrows) will stick. The harsh ellipse is explained by the fact of the poet having the scene of battle before his mind as though he were an eye-witness of it. The words "in the heart of the king's enemies" are an exclamation accompanied by a pointing with the finger. Thither, he means to say, those sharp arrows fly and smite. Crusius' explanation is similar, but it goes further than is required: apostrophe per prosopopaeiam directa ad sagittas quasi jubens, quo tendere debeant. We are here reminded of Psa 110:2, where a similar בּקרב occurs in a prophetico-messianic connection. Moreover, even according to its reference to contemporary history the whole of this strophe sounds Messianic. The poet desires that the king whom he celebrates may rule and triumph after the manner of the Messiah; that he may succour truth and that which is truly good, and overcome the enmity of the world, or, as Psa 2:1-12 expresses it, that the God-anointed King of Zion may shatter everything that rises up in opposition with an iron sceptre. This anointed One, however, is not only the Son of David, but also of God. He is called absolutely בּר, ὁ υἱὸς. Isaiah calls Him, even in the cradle, אל גּבּור, Isa 9:5, cf. Isa 10:21. We shall not, therefore, find it to be altogether intolerable, if the poet now addresses him as אלהים, although the picture thus far sketched is thoroughly human in all its ideality.