XLV.
From Calvin downwards this psalm has been recognised as an ode celebrating the nuptials of some king. Indeed, the retention, as part of its title, of “song of loves,” when the poem was incorporated into the Temple hymn-book, seems to show that this secular character was admitted even then. There is just enough of historical allusion in the psalm to invite conjecture as to the monarch who is its theme, and too little to permit of his identification. (See Notes to Psalms 45:8-9; Psalms 45:12.) But, as in the case of the longer and more pronounced epithalamium, the Song of Solomon, religious scruples soon rejected this secular interpretation, and sought by allegorical and mystical explanations to bring the poem more within the circle of recognised sacred literature. With the glowing prophetic visions of a conquering Messiah floating before the imagination, it was most natural for the Jews to give the psalm a distinctive Messianic character. Equally natural was it for Christians to adopt the psalm as allegorical of the marriage of the Church with the Divine Head — a mode of interpretation which, once started, found in every turn and expression of the psalm some fruitful type or symbol. The rhythm is flowing and varied.
Title. — Upon Shoshannim, i.e., upon lilies. The same inscription occurs again in Psalms 69 and in an altered form in Psalms 60, 80, where see Notes. The most probable explanation makes it refer to the tune to which the hymn was to be sung. (Comp. the title of Psalms 22 &c) As to the actual flower intended by shoshannim, see Note, Song of Solomon 2:1. The expression, a song of loves, means either a love song (so Aquila), or a song of the beloved. Symm., LXX., and Vulg., for the beloved, or a song of charms, i.e., a pleasant song. The first is more in keeping with the evident origin and intention of the poem. (See besides titles Psalms 4, 42, 32)