‏ Psalms 42:1

PSALM 42

Psa 42:1-11. Maschil--(See on Psa 32:1, title). For, or of (see Introduction) the sons of Korah. The writer, perhaps one of this Levitical family of singers accompanying David in exile, mourns his absence from the sanctuary, a cause of grief aggravated by the taunts of enemies, and is comforted in hopes of relief. This course of thought is repeated with some variety of detail, but closing with the same refrain.

‏ Psalms 44:1

PSALM 44

Psa 44:1-26. In a time of great national distress, probably in David's reign, the Psalmist recounts God's gracious dealings in former times, and the confidence they had learned to repose in Him. After a vivid picture of their calamities, he humbly expostulates against God's apparent forgetfulness, reminding Him of their faithfulness and mourning their heavy sorrows.

‏ Psalms 45:1

PSALM 45

Psa 45:1-17. 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 Ge 24:60; Ru 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 (Ho 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 Is 54:5; 62:4, 5; Mt 22:3; 25:1; Joh 3:29; Ep 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 (He 1:8, 9), as applicable to Christ, ought to be conclusive, and their special exposition shows the propriety of such an application.

‏ Psalms 46:1

PSALM 46

Psa 46:1-11. Upon Alamoth--most probably denotes the treble, or part sung by female voices, the word meaning "virgins"; and which was sung with some appropriately keyed instrument (compare 1Ch 15:19-21; see on Psa 6:1, title). The theme may be stated in Luther's well-known words, "A mighty fortress is our God." The great deliverance (2Ki 19:35; Is 37:36) may have occasioned its composition.

‏ Psalms 47:1

PSALM 47

Psa 47:1-9. Praise is given to God for victory, perhaps that recorded (2Ch 20:20-30); and His dominions over all people, Jews and Gentiles, is asserted.

‏ Psalms 48:1

PSALM 48

Psa 48:1-14. This is a spirited Psalm and song (compare Psa 30:1), having probably been suggested by the same occasion as the foregoing. It sets forth the privileges and blessings of God's spiritual dominion as the terror of the wicked and joy of the righteous.

‏ Psalms 49:1

PSALM 49

Psa 49:1-20. This Psalm instructs and consoles. It teaches that earthly advantages are not reliable for permanent happiness, and that, however prosperous worldly men may be for a time, their ultimate destiny is ruin, while the pious are safe in God's care.

‏ Psalms 84:1

PSALM 84

Psa 84:1-12. (See on Psa 8:1, title, and Psa 42:1, title). The writer describes the desirableness of God's worship and prays for a restoration to its privileges.

‏ Psalms 85:1

PSALM 85

Psa 85:1-13. On the ground of former mercies, the Psalmist prays for renewed blessings, and, confidently expecting them, rejoices.

‏ Psalms 87:1

PSALM 87

Psa 87:1-7. This triumphal song was probably occasioned by the same event as the forty-sixth [see on Psa 46:1, title]. The writer celebrates the glory of the Church, as the means of spiritual blessing to the nation.

‏ Psalms 88:1

PSALM 88

Psa 88:1-18. Upon Mahalath--either an instrument, as a lute, to be used as an accompaniment (Leannoth, "for singing") or, as others think, an enigmatic title (see on Psa 5:1, Psa 22:1, and Psa 45:1, titles), denoting the subject--that is, "sickness or disease, for humbling," the idea of spiritual maladies being often represented by disease (compare Psa 6:5, 6; 22:14, 15, &c.). On the other terms, see on Psa 42:1 and Psa 32:1. Heman and Ethan (see on Psa 89:1, title) were David's singers (1Ch 6:18, 33; 15:17), of the family of Kohath. If the persons alluded to (1Ki 4:31; 1Ch 2:6), they were probably adopted into the tribe of Judah. Though called a song, which usually implies joy (Psa 83:1), both the style and matter of the Psalm are very despondent; yet the appeals to God evince faith, and we may suppose that the word "song" might be extended to such compositions.