Armenia in comments -- Book: Psalms (tPs) Սաղմոս
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tPs 45:8 (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. Psalms 45:10
psa 45:0INTRODUCTION 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. Psalms 45:1