A.M. 2981. B.C. 1023.
This Psalm is an illustrious prophecy of the Messiah, whom it represents as a bridegroom espousing the church to himself, and as a king ruling in it. “Most interpreters conclude,” says Bishop Patrick, “that it was composed on the occasion, at least, of Solomon's marriage with Pharaoh's daughter; who, it is probable, was a proselyte to the Jewish religion. Some few, indeed, will not allow so much as this, that there is any respect to Solomon at all in this Psalm; but only to Christ. And the truth is, many of the expressions in it are so magnificent, that they can but in a very poor and low sense be applied to Solomon and his bride; and some of them scarce at all: it being so apparent, that no Christian can deny it, that the mind of the prophet, while he was writing some part of this Psalm, was carried quite beyond King Solomon to the great King, the Lord Christ. Or, at least, he was guided to use words so high, that they proved too big for Solomon; and we must say, as our Saviour doth in another case, BEHOLD, A GREATER THAN SOLOMON IS HERE. And so the best of the Jewish interpreters acknowledge;” “particularly,” adds Dr. Dodd, “Kimchi, Aben Ezra, and Solomon Jarchi, and thus our church understands it, as is plain from the appointing it to be used on the nativity of our Lord.” Add to this, that our Saviour probably alludes to this Psalm, where he compares the kingdom of heaven to a royal marriage. And as the apostles frequently speak of Christ as the bridegroom of his church, so one of the most striking passages of this Psalm is expressly applied to him, Hebrews 1:8-9. After the preface, it speaks of the person and victories of the royal bridegroom, Psalms 45:1-5. The righteousness of his government, Psalms 45:6; Psalms 45:7. The splendour of his court, Psalms 45:8; Psalms 45:9. Of the royal bride, the church, her consent gained, Psalms 45:10; Psalms 45:11. The nuptials solemnized, Psalms 45:12-15. The issue of this marriage, Psalms 45:16; Psalms 45:17.
Title. Upon Shoshannim That is, say some, an instrument of six strings. The original meaning, however, of the word is lilies, and is so rendered by Dr. Waterland, Houbigant, and some other learned men. And Parkhurst observes, that Christ, the divine light, and true believers, who are children of the light, and who are accordingly described as clothed in white, are emblematically represented by lilies. The Seventy, however, translate
על שׁושׁנים, gnal shoshannim, υπερ αλλοιωθησομενων, For, or, concerning, those that shall be changed, or transformed, namely, from darkness to light, from sin to righteousness, from corruption to incorruption, from dishonour to glory. It is further entitled, A song of loves. The word ידידת, jedidoth, here rendered loves, is thought by Bishop Patrick to allude to the name Jedidiah, given to Solomon by Nathan the prophet, 2 Samuel 12:25. Accordingly, the Seventy translate it, ωδη υπερ αγαπητου, a song for, or concerning, the beloved, words which may be applied to the beloved Son of the Father, typified by Solomon. Or, there may be an allusion to a custom observed in the Jewish marriages, wherein the bride was encircled by young virgins, who sung a peculiar song or Psalm in honour of her espousals. Hence Dr. Waterland renders it, a song of the beloved maids, namely, of the bridemaids. Certainly the Hebrew word is in the feminine gender, as well as in the plural number, and should either be translated beloved women, or loves. Thus the virgin company that attended the Lamb on mount Zion, are said to sing a new song, Revelation 14:3-4. But the meaning of the expression is generally thought to be the loves subsisting between Christ and his church.