EXPOSITION
THIS psalm is regarded by some as a simple epithalamium, or nuptial hymn, composed to honour a royal wedding, and sung as part of the wedding ceremony, at the marriage of some king of Israel or Judah. The marriage of Ahab with Jezebel, and that of Jehoram of Judah with Athaliah, have been specially suggested; also Solomon's marriage with an Egyptian princess. But the imagery of the psalm is altogether too exalted, and its phrases too peculiar (Psalms 45:2, Psalms 45:6, Psalms 45:11, Psalms 45:16, Psalms 45:17), to suit any mere earthly marriage—not to mention that a mere epithalamium would never have been admitted into the Psalter. Hence most critics are driven to allow, however unwillingly, that the psalm is in some sense Messianic. It is certain that such was the view of the Hebrew Church, of the Septuagint interpreters, dud of the early Christians generally. It is placed beyond a doubt, so far as believers in inspiration are concerned, by the reference to the psalm in the Epistle to the Hebrews (Hebrews 1:8, Hebrews 1:9). Still, however, there remains the question—Is it absolutely and wholly Messianic, or did the author take some human event as the basis of his description, and give it a Messianic colouring? On the whole, we incline to the former view, and regard the writer as consciously depicting, not an actual, but an ideal, scene, one which floats before his mind as a thing to be realized at some future time, when Messiah shall be wedded to his bride, the Church, and establish his dominion over all the world, and reign over all the nations of the earth gloriously.
The psalm consists of two main portions—an address to the bridegroom in eight verses (Psalms 45:2-9), and an address to the bride in six (Psalms 45:10-15); with an introduction and a conclusion, the latter comprised in two verses, the former in one verse only.
Title of the psalm. The psalm has an unusually long and complicated title. First, it is addressed, like so many others, to the precentor, or chief musician, the head of the tabernacle choir. Next, it is said to be "upon lilies," which is not very easy to understand. Lilies were, no doubt, viewed as sacred flowers, and were largely used in the ornamentation of the temple (1 Kings 7:19, 1 Kings 7:22, 1 Kings 7:26). They are also mentioned in the titles of three other psalms (Psalms 60:1-12; Psalms 69:1-36; Psalms 80:1-19.), but with what intention is wholly uncertain. A questionable exegesis connects the "lilies" of the present title with the "king's daughter" and the "virgins" of Psalms 45:13, Psalms 45:14; but there is no mention of "virgins" in the other psalms said to be "upon lilies." Further, the psalm is assigmed "to the sons of Korah," like Psalms 42:1-11; Psalms 44:1-26, and others, who may probably have been the writers. Fourthly, it is called "Maschil," i.e. "an instruction." Fifthly, it is said to be "a song of loves," which seems to be a reference to the subject-matter.