Psa 45 | KD | STEP | (Hebrew_Bible_45:2-3) The verb רחשׁ, as מרחשׁת shows, signifies originally to bubble up, boil, and is used in the dialects generally of excited motion and lively excitement; it is construed with the accusative after the manner of verbs denoting fulness, like the synonymous נבע, (cf. Talmudic לשׁונך תרחישׁ רננות, let thy tongue overflow with songs of praise). Whatever the heart is full of, with that the mouth overflows; the heart of the poet gushes over with a “good word.” דּבר is a matter that finds utterance and is put into the form of words; and טּוב describes it as good with the collateral idea of that which is cheerful, pleasing, and rich in promise ( ; Zec 1:13). The fact that out of the fulness and oppression of his heart so good a word springs forth, arises from the subject in which now his whole powers of mind are absorbed: I am saying or thinking (אני pausal form by Dechî , in order that the introductory formula may not be mistaken), i.e., my purpose is: מעשׁי למלך, my works or creations (not sing ., but plur ., just as also מקני in ; Num 20:19, where the connection leads one to expect the plural) shall be dedicated to the king; or even: the thought completely fills me, quite carries me away, that they concern or have reference to the king. In the former case למלך dispenses with the article because it is used after the manner of a proper name (as in ; ); in the latter, because the person retires before the office of dignity belonging to it: and this we, in common with Hitzig, prefer on account of the self-conscious and reflecting אמר אני by which it is introduced. He says to himself that it is a king to whom his song refers; and this lofty theme makes his tongue so eloquent and fluent that it is like the style of a γραμματεὺς ὀξύγραφος. Thus it is correctly rendered by the lxx; whereas סופר מהיר as an epithet applied to Ezra (Ezr 7:6) does not denote a rapid writer, but a learned or skilled scribe. Rapidly, like the style of an agile writer, does the tongue of the poet move; and it is obliged to move thus rapidly because of the thoughts and words that flow forth to it out of his heart. The chief thing that inspires him is the beauty of the king. The form יפיפית, which certainly ought to have a passive sense (Aquila κάλλει ἐκαλλίωθης), cannot be explained as formed by reduplication of the first two radicals of the verb יפה (יפי); for there are no examples to be found in support of quinqueliterals thus derived. What seems to favour this derivation is this, that the legitimately formed Pealal יפיפה (cf. the adjective יפהפי = יפיפי, ) is made passive by a change of vowels in a manner that is altogether peculiar, but still explicable in connection with this verb, which is a twofold weak verb. The meaning is: Thou art beyond compare beautifully fashioned, or endowed with beauty beyond the children of men. The lips are specially singled out from among all the features of beauty in him. Over his lips is poured forth, viz., from above, חן (gracefulness of benevolence), inasmuch as, even without his speaking, the form of his lips and each of their movements awakens love and trust; it is evident, however, that from such lips, full of χάρις, there must proceed also λόγοι τῆς χάριτος ( ; ). In this beauty of the king and this charm of his lips the psalmist sees a manifestation of the everlasting blessing of God, that is perceptible to the senses. It is not to be rendered: because Elohim hath blessed thee for ever. The assertion that על־כּן is used in some passages for על־כּן אשׁר cannot be proved (vid., on ). But the meaning of the psalmist is, moreover, not that the king, because he is so fair and has such gracious lips, is blessed of God. If this were the idea, then the noble moral qualities of which the beauty of this king is the transparent form, ought to be more definitely expressed. Thus personally conceived, as it is here, beauty itself is a blessing, not a ground for blessing. The fact of the matter is this, beauty is denoted by על־כן as a reason for the blessing being known or recognised, not as a reason why the king should be blessed. From his outward appearance it is at once manifest that the king is one who is blessed by God, and that blessed for ever. The psalmist could not but know that “grace is deceitful and beauty vain” ( ), therefore the beauty of this king was in his eyes more than mere earthly beauty; it appears to him in the light of a celestial transfiguration, and for this very reason as an imperishable gift, in which there becomes manifest an unlimited endless blessing.

‏ Psalms 45

Psa 45:1-2 (Hebrew_Bible_45:2-3) The verb רחשׁ, as מרחשׁת shows, signifies originally to bubble up, boil, and is used in the dialects generally of excited motion and lively excitement; it is construed with the accusative after the manner of verbs denoting fulness, like the synonymous נבע, Psa 119:171 (cf. Talmudic לשׁונך תרחישׁ רננות, let thy tongue overflow with songs of praise). Whatever the heart is full of, with that the mouth overflows; the heart of the poet gushes over with a “good word.” דּבר is a matter that finds utterance and is put into the form of words; and טּוב describes it as good with the collateral idea of that which is cheerful, pleasing, and rich in promise (Isa 52:7; Zec 1:13). The fact that out of the fulness and oppression of his heart so good a word springs forth, arises from the subject in which now his whole powers of mind are absorbed: I am saying or thinking (אני pausal form by Dechî, in order that the introductory formula may not be mistaken), i.e., my purpose is: מעשׁי למלך, my works or creations (not sing., but plur., just as also מקני in Exo 17:3; Num 20:19, where the connection leads one to expect the plural) shall be dedicated to the king; or even: the thought completely fills me, quite carries me away, that they concern or have reference to the king. In the former case למלך dispenses with the article because it is used after the manner of a proper name (as in Psa 21:2; Psa 72:1); in the latter, because the person retires before the office of dignity belonging to it: and this we, in common with Hitzig, prefer on account of the self-conscious and reflecting אמר אני by which it is introduced. He says to himself that it is a king to whom his song refers; and this lofty theme makes his tongue so eloquent and fluent that it is like the style of a γραμματεὺς ὀξύγραφος. Thus it is correctly rendered by the lxx; whereas סופר מהיר as an epithet applied to Ezra (Ezr 7:6) does not denote a rapid writer, but a learned or skilled scribe. Rapidly, like the style of an agile writer, does the tongue of the poet move; and it is obliged to move thus rapidly because of the thoughts and words that flow forth to it out of his heart. The chief thing that inspires him is the beauty of the king. The form יפיפית, which certainly ought to have a passive sense (Aquila κάλλει ἐκαλλίωθης), cannot be explained as formed by reduplication of the first two radicals of the verb יפה (יפי); for there are no examples to be found in support of quinqueliterals thus derived. What seems to favour this derivation is this, that the legitimately formed Pealal יפיפה (cf. the adjective יפהפי = יפיפי, Jer 46:20) is made passive by a change of vowels in a manner that is altogether peculiar, but still explicable in connection with this verb, which is a twofold weak verb. The meaning is: Thou art beyond compare beautifully fashioned, or endowed with beauty beyond the children of men. The lips are specially singled out from among all the features of beauty in him. Over his lips is poured forth, viz., from above, חן (gracefulness of benevolence), inasmuch as, even without his speaking, the form of his lips and each of their movements awakens love and trust; it is evident, however, that from such lips, full of χάρις, there must proceed also λόγοι τῆς χάριτος (Luk 4:22; Ecc 10:12). In this beauty of the king and this charm of his lips the psalmist sees a manifestation of the everlasting blessing of God, that is perceptible to the senses. It is not to be rendered: because Elohim hath blessed thee for ever. The assertion that על־כּן is used in some passages for על־כּן אשׁר cannot be proved (vid., on Psa 42:7). But the meaning of the psalmist is, moreover, not that the king, because he is so fair and has such gracious lips, is blessed of God. If this were the idea, then the noble moral qualities of which the beauty of this king is the transparent form, ought to be more definitely expressed. Thus personally conceived, as it is here, beauty itself is a blessing, not a ground for blessing. The fact of the matter is this, beauty is denoted by על־כן as a reason for the blessing being known or recognised, not as a reason why the king should be blessed. From his outward appearance it is at once manifest that the king is one who is blessed by God, and that blessed for ever. The psalmist could not but know that “grace is deceitful and beauty vain” (Pro 31:30), therefore the beauty of this king was in his eyes more than mere earthly beauty; it appears to him in the light of a celestial transfiguration, and for this very reason as an imperishable gift, in which there becomes manifest an unlimited endless blessing. Psa 45:3-5 (Hebrew_Bible_44:4-6) In the ever blessed one the greatest strength and vigour are combined with the highest beauty. He is a hero. The praise of his heroic strength takes the form of a summons to exert it and aid the good in obtaining the victory over evil. Brightness and majesty, as the objects to חגור, alternating with the sword, are not in apposition to this which is their instrument and symbol (Hengstenberg), but permutatives, inasmuch as חגור is zeugmatically referable to both objects: the king is (1) to gird himself with his sword, and (2) to surround himself with his kingly, God-like doxa. הוד והדר is the brilliancy of the divine glory (Psa 96:6), of which the glory of the Davidic kingship is a reflection (Psa 21:6); mentioned side by side with the sword, it is, as it were, the panoply that surrounds the king as bright armour. In Psa 45:5 והדרך, written accidentally a second time, is probably to be struck out, as Olshausen and Hupfeld are of opinion. Hitzig points it והדרך, “and step forth;” but this is not Hebrew. As the text runs, wa - hadārcha (with Legarme preceded by Illuj, vid., Accentsystem xiii. §8 c, 9) looks as though it were repeated out of Psa 45:4 in the echo-like and interlinked style that we frequently find in the songs of degrees, e.g., Psa 121:1-2; and in fact repeated as an accusative of more exact definition (in the same bold manner as in Psa 17:13-14) to צלח, which, like Arab. ṣlḥ, starting from the primary notion of cleaving, breaking through, pressing forward, comes to have the notion of carrying anything through prosperously, of being successful, pervadere et bene procedere (cf. the corresponding development of signification in Arab. flḥ , 'flḥ), and, according to Ges. §142, rem. 1, gives to רכב the adverbial notion of that which is effectual (victorious) or effective and successful. We cannot determine whether רכב is here intended to say vehi curru or vehi equo; but certainly not upon a mule or an ass (1Ki 1:33; Zec 9:9), which are the beasts ridden in a time of peace. The king going forth to battle either rides in a war-chariot (like Ahab and Jehoshaphat, 1 Kings 22), or upon a war-horse, as in Rev 19:11 the Logos of God is borne upon a white horse. That which he is to accomplish as he rides forth in majesty is introduced by על־דּבר (for the sake of, on account of), which is used just as in Psa 79:9, 2Sa 18:5. The combination ענוה־צדק-is very similar to עריה־בשׁת, Mic 1:11 (nakedness - ignominy = ignominious nakedness), if ענוה = ענוה is to be taken as the name of a virtue. The two words are then the names of virtues, like אמת (truth = veracity, which loves and practises that which is true and which is hostile to lying, falseness, and dissimulation); and whereas צדק ענוה would signify meek righteousness, and צדק ענות, righteousness meekness, this conjunction standing in the middle between an addition and an asyndeton denotes meekness and righteousness as twin-sisters and reciprocally pervasive. The virtues named, however, stand for those who exemplify them and who are in need of help, on whose behalf the king is called upon to enter the strife: the righteous, if they are at the same time ענוים (עניּים), are doubly worthy and in need of his help. Nevertheless another explanation of ענוה presents itself, and one that is all the more probable as occurring just in this Psalm which has such a North-Palestinian colouring. The observation, that North-Palestinian writers do not always point the construct state with ath, in favour of which Hitzig, on Psa 68:29, wrongly appeals to Hos 10:6; Job 39:13, but rightly to Jdg 7:8; Jdg 8:32 (cf. Deu 33:4, Deu 33:27), is perfectly correct. Accordingly ענוה may possibly be equivalent to ענות, but not in the signification business, affair = ענין, parallel with דּבר, but in the signification afflictio (after the form ראוה, Eze 28:17); so that it may be rendered: in order to put a stop to the oppression of righteousness or the suffering of innocence. The jussive ותורך, like ויתאו in Psa 45:12, begins the apodosis of a hypothetical protasis that is virtually there (Ew. §347, b): so shall thy right hand teach thee, i.e., lead thee forth and cause thee to see terrible things, i.e., awe-inspiring deeds.

But in Psa 45:6 both summons and desire pass over into the expression of a sure and hopeful prospect and a vision, in which that which is to be is present to the mind: thine arrows are sharpened, and therefore deadly to those whom they hit; peoples shall fall (יפּלוּ) ^{▼▼It is not יפּלוּ; for the pause falls upon שׁנוּנים, and the Athnach of יפלו stands merely in the place of Zekaph (Num 6:12). The Athnach after Olewejored does not produce any pausal effect; vid., Psa 50:23; Psa 68:9, Psa 68:14; Psa 69:4; Psa 129:1, and cf. supra, p. 56, note 2.} under thee, i.e., so that thou passest over them as they lie upon the ground; in the heart of the enemies of the king, viz., they (i.e., the arrows) will stick. The harsh ellipse is explained by the fact of the poet having the scene of battle before his mind as though he were an eye-witness of it. The words “in the heart of the king’s enemies” are an exclamation accompanied by a pointing with the finger. Thither, he means to say, those sharp arrows fly and smite. Crusius’ explanation is similar, but it goes further than is required: apostrophe per prosopopaeiam directa ad sagittas quasi jubens, quo tendere debeant. We are here reminded of Psa 110:2, where a similar בּקרב occurs in a prophetico-messianic connection. Moreover, even according to its reference to contemporary history the whole of this strophe sounds Messianic. The poet desires that the king whom he celebrates may rule and triumph after the manner of the Messiah; that he may succour truth and that which is truly good, and overcome the enmity of the world, or, as Psa 2:1-12 expresses it, that the God-anointed King of Zion may shatter everything that rises up in opposition with an iron sceptre. This anointed One, however, is not only the Son of David, but also of God. He is called absolutely בּר, ὁ υἱὸς. Isaiah calls Him, even in the cradle, אל גּבּור, Isa 9:5, cf. Isa 10:21. We shall not, therefore, find it to be altogether intolerable, if the poet now addresses him as אלהים, although the picture thus far sketched is thoroughly human in all its ideality. Psa 45:6-7 (Hebrew_Bible_45:7-8) In order to avoid the addressing of the king with the word Elohim, Psa 45:6 has been interpreted, (1) “Thy throne of God is for ever and ever,”, - a rendering which is grammatically possible, and, if it were intended to be expressed, must have been expressed thus (Nagelsbach, §64, g); (2) “Thy throne is God (= divine) for ever and ever;” but it cannot possibly be so expressed after the analogy of “the altar of wood = wooden” (cf. Psa 45:9), or “the time is showers of rain = rainy” (Ezr 10:13), since God is neither the substance of the throne, nor can the throne itself be regarded as a representation or figure of God: in this case the predicative Elohim would require to be taken as a genitive for אלהים כּסּא, which, however, cannot possibly be supported in Hebrew by any syntax, not even by 2Ki 23:17, cf. Ges. §110, 2, b. Accordingly one might adopt the first mode of interpretation, which is also commended by the fact that the earthly throne of the theocratic king is actually called יהוה כסא in 1Ch 29:23. But the sentence “thy throne of God is an everlasting one” sounds tautological, inasmuch as that which the predicate asserts is already implied in the subject; and we have still first of all to try whether אלהים cannot, with the lxx ὁ θρόνος σου, ὁ Θεὸς, εἰς αἰῶνα αἰῶνος, be taken as a vocative. Now, since before everything else God’s throne is eternal (Psa 10:16; Lam 5:19), and a love of righteousness and a hatred of evil is also found elsewhere as a description of divine holiness (Psa 5:5; Psa 61:8), אלהים would be obliged to be regarded as addressed to God, if language addressed to the king did not follow with על־כּן. But might אלהים by any possibility be even addressed to the king who is here celebrated? It is certainly true that the custom with the Elohim-Psalms of using Elohim as of equal dignity with Jahve is not favourable to this supposition; but the following surpassing of the אלהים by אלהים אלהיך renders it possible. And since elsewhere earthly authorities are also called אלהים, Exo 21:6; Exo 22:7., Psa 82:1-8, cf. Psa 138:1, because they are God’s representatives and the bearers of His image upon earth, so the king who is celebrated in this Psalm may be all the more readily styled Elohim, when in his heavenly beauty, his irresistible doxa or glory, and his divine holiness, he seems to the psalmist to be the perfected realization of the close relationship in which God has set David and his seed to Himself. He calls him אלהים, just as Isaiah calls the exalted royal child whom he exultingly salutes in Psa 9:1-6, אל־גּבּור. He gives him this name, because in the transparent exterior of his fair humanity he sees the glory and holiness of God as having attained a salutary of merciful conspicuousness among men. At the same time, however, he guards this calling of the king by the name Elohim against being misapprehended by immediately distinguishing the God, who stands above him, from the divine king by the words “Elohim, thy God,” which, in the Korahitic Psalms, and in the Elohimic Psalms in general, is equivalent to Jahve, thy God” (Psa 43:4; 48:15; Psa 50:7); and the two words are accordingly united by Munach. ^{▼▼The view that the Munach is here vicarius Tiphchae anterioris (Dachselt in his Biblia Accentuata) is erroneous, vid., Accentuationssystem, xviii. §4. It is the conjunctive to אלהיך, which, in Heidenheim and Baer, on the authority of the Codices, has Tiphcha anterior, not Athnach as in the editions heretofore published. The proper place for the Athnach would at first be by שׁשׁון; but according to Accentuationssystem, xix. §6, it cannot stand there.}

Because the king’s sceptre is a “sceptre of uprightness” (cf. Isa 11:4), because he loves righteousness and consequently (fut. consec.) hates iniquity, therefore God, his God, has anointed him with the oil of joy (Isa 61:3; cf. on the construction Amo 6:6) above his fellows. What is intended is not the anointing to his office (cf. Psa 89:21 with Act 10:38) as a dedication to a happy and prosperous reign, but that God has poured forth upon him, more especially on this his nuptial day, a superabundant joy, both outwardly and in his spirit, such as He has bestowed upon no other king upon the face of the earth. That he rises high above all those round about him is self-evident; but even among his fellows of royal station, kings like himself, he has no equal. It is a matter of question whether the writer of the Epistle to the Hebrews (Heb 1:8) has taken the first ὁ Θεὸς of the expression ὁ Θεὸς ὁ Θεὸς σου as a vocative. Apollinaris does not seem so to have understood him; for he renders it τοὔνεκά σοι Θεὸς αὐτὸς ἑὴν περίχηευεν ἀλοιφήν χηρίσας τερπωλῆς μετόχηοις παρὰ πάντας ἐλαίῳ, and the Greek expositors also take ὁ Θεὸς here as a nominative. Psa 45:8-9 (Hebrew_Bible_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; 2Sa 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). ^{▼▼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, ^{▼▼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. Psa 45:10-12 (Hebrew_Bible_45:11-13) The poet next turns to address the one bride of the king, who is now honoured far above the kings’ daughters. With שׁמעי he implores for himself a hearing; by ראי yb ;gni he directs her eye towards the new relationship into which she is just entering; by הטּי אזנך he bespeaks her attention to the exhortation that follows; by בּת he puts himself in a position in relation to her similar to that which the teacher and preacher occupies who addresses the bridal pair at the altar. She is to forget her people and her father’s house, to sever her natural, inherited, and customary relationships of life, both as regards outward form and inward affections; and should the king desire her beauty, to which he has a right, - for he, as being her husband (1Pe 3:6), and more especially as being king, is her lord, - she is to show towards him her profoundest, reverent devotion. ויתאו is a hypothetical protasis according to Ges. §128, 2, c. The reward of this willing submission is the universal homage of the nations. It cannot be denied on the ground of syntax that וּבת־צר admits of being rendered “and O daughter of Tyre” (Hitzig), - a rendering which would also give additional support to our historical interpretation of the Psalm, - although, apart from the one insecure passage, Jer 20:12 (Ew. §340, c), there is no instance to be found in which a vocative with ו occurs (Pro 8:5; Joe 2:23; Isa 44:21), when another vocative has not already preceded it. But to what purpose would be, in this particular instance, this apostrophe with the words בּת־צר, from which it looks as though she were indebted to her ancestral house, and not to the king whose own she is become, for the acts of homage which are prospectively set before her? Such, however, is not the case; “daughter of Tyre” is a subject-notion, which can all the more readily be followed by the predicate in the plural, since it stands first almost like a nomin. absol. The daughter, i.e., the population of Tyre - approaching with presents shall they court (lit., stroke) thy face, i.e., meeting thee bringing love, they shall seek to propitiate thy love towards themselves. (פּני) חלּה corresponds to the Latin mulcere in the sense of delenire; for חלה, Arab. ḥlâ (root חל, whence חלל, Arab. ḥll , solvit, laxavit), means properly to be soft and tender, of taste to be sweet (in another direction: to be lax, weak, sick); the Piel consequently means to soften, conciliate, to make gentle that which is austere. Tyre, however, is named only by way of example; עשׁירי עם is not an apposition, but a continuation of the subject: not only Tyre, but in general those who are the richest among each separate people or nation. Just as אביוני אדם (Isa 29:19) are the poorest of mankind, so עשׁירי עם are the richest among the peoples of the earth.

As regards the meaning which the congregation or church has to assign to the whole passage, the correct paraphrase of the words “and forget thy people” is to be found even in the Targum: “Forget the evil deeds of the ungodly among thy people, and the house of the idols which thou hast served in the house of thy father.” It is not indeed the hardened mass of Israel which enters into such a loving relationship to God and to His Christ, but, as prophecy from Deut. 32 onward declares, a remnant thoroughly purged by desolating and sifting judgments and rescued, which, in order to belong wholly to Christ, and to become the holy seed of a better future (Isa 6:13), must cut asunder all bonds of connection with the stiff-neckedly unbelieving people and paternal house, and in like manner to Abram secede from them. This church of the future is fair; for she is expiated (Deu 32:43), washed (Isa 4:4), and adorned (Isa 61:3) by her God. And if she does homage to Him, without looking back, He not only remains her own, but in Him everything that is glorious belonging to the world also becomes her own. Highly honoured by the King of kings, she is the queen among the daughters of kings, to whom Tyre and the richest among peoples of every order are zealous to express their loving and joyful recognition. Very similar language to that used here of the favoured church of the Messiah is used in Psa 72:10. of the Messiah Himself. Psa 45:13-15 (Hebrew_Bible_45:14-16) Now follows the description of the manner in which she absolutely leaves her father’s house, and richly adorned and with a numerous train is led to the king and makes her entry into his palace; and in connection therewith we must bear in mind that the poet combines on the canvas of one picture (so to speak) things that lie wide apart both as to time and place. He sees her first of all in her own chamber (פּנימה, prop. towards the inside, then also in the inside, Ges. §90, 2, b), and how there ^{▼▼In Babylonia these words, according to B. Jebamoth 77 a, are cited in favour of domesticity as a female virtue; in Palestine (במערבא), more appropriately, Gen 18:9. The lxx Codd. Vat. et Sinait. has Ἐσεβών (Eusebius), which is meaningless; Cod. Alex. correctly, ἔσωθεν (Italic, Jerome, Syriac, Chrysostom, Theodoret, Apollinaris).} she is nothing but splendour (כּל־כּבוּדּה, prop. mere splendour, fem. of כבוד as in Eze 23:41; cf. כּל־הבל, Psa 39:6, mere nothingness), her clothing is gold-interwoven textures (i.e., such as are interwoven with threads of gold, or woven in squares or diamond patterns and adorned with gold in addition). She, just like Esther (Est 2:12), is being led to the king, her husband, and this takes place לרקמות, in variegated, embroidered garments (ל used just as adverbially as in 2Ch 20:21, להדרת), with a retinue of virgins, her companions, who at the same time with herself become the property of her spouse. According to the accents it is to be rendered: virgines post eam, sociae ejus, adducuntur tibi, so that רעותיה is an apposition. This is also in harmony with the allegorical interpretation of the Psalm as a song of the church. The bride of the Lamb, whom the writer of the Apocalypse beheld, arrayed in shining white linen (byssus), which denotes her righteousness, just as here the variegated, golden garments denote her glory, is not just one person nor even one church, but the church of Israel together with the churches of the Gentiles united by one common faith, which have taken a hearty and active part in the restoration of the daughter of Zion. The procession moves on with joy and rejoicing; it is the march of honour of the one chosen one and of the many chosen together with her, of her friends or companions; and to what purpose, is shown by the hopes which to the mind of the poet spring up out of the contemplation of this scene. Psa 45:16-17 (Hebrew_Bible_45:17-18) All this has its first and most natural meaning in relation to contemporary history but without being at variance with the reference of the Psalm to the King Messiah, as used by the church. Just as the kings of Judah and of Israel allowed their sons to share in their dominion (2Sa 8:18; 1Ki 4:7, cf. 2Ch 11:23; 1Ki 20:15), so out of the loving relationship of the daughter of Zion and of the virgins of her train to the King Messiah there spring up children, to whom the regal glory of the house of David which culminates in Him is transferred, - a royal race among which He divides the dominion of the earth (vid., Psa 149:1-9); for He makes His own people “kings and priests, and they shall reign on the earth” (Rev 5:10). Those children are to be understood here which, according to Psa 110:1-7, are born to Him as the dew out of the womb of the morning’s dawn - the every-youthful nation, by which He conquers and rules the world. When, therefore, the poet says that he will remember the name of the king throughout all generations, this is based upon the twofold assumption, that he regards himself as a member of an imperishable church (Sir. 37:25), and that he regards the king as a person worthy to be praised by the church of every age. Elsewhere Jahve’s praise is called a praise that lives through all generations (Psa 102:13; Psa 135:13); here the king is the object of the everlasting praise of the church, and, beginning with the church, of the nations also. First of all Israel, whom the psalmist represents, is called upon to declare with praise the name of the Messiah from generation to generation. But it does not rest with Israel alone. The nations are thereby roused up to do the same thing. The end of the covenant history is that Israel and the nations together praise this love-worthy, heroic, and divine King: “His name shall endure for ever; as long as the sun shall His name bud, and all nations shall be blessed in Him (and) shall praise Him” (Psa 72:17). A Sure Stronghold Is Our God ^{▼▼“Ein feste Burg is unser Gott.”}

When, during the reign of Jehoshaphat, the Moabites, Ammonites, and Edomites (more particularly the Maonites, for in 2Ch 20:1 it is to be read מהמּעוּנים) carried war into the kingdom of David and threatened Jerusalem, the Spirit of the Lord came upon Jahaziël the Asaphite in the temple congregation which the king had called together, and he prophesied a miraculous deliverance on the morrow. Then the Levite singers praised the God of Israel with jubilant voice, viz., singers of the race of Kohaath, and in fact out of the family of Korah. On the following day Levite singers in holy attire and with song went forth before the army of Jehoshaphat. The enemy, surprised by the attack of another plundering band of the sons of the desert, had turned their weapons against one another, being disbanded in the confusion of flight, and the army of Jehoshaphat found the enemy’s camp turned into a field of corpses. In the feast of thanksgiving for victory which followed in Emek ha - Beracha the Levite singers again also took an active part, for the spoil-laden army marched thence in procession to Jerusalem and to the temple of Jahve, accompanied by the music of the nablas, citherns, and trumpets. Thus in the narrative in 2Ch 22:1-12 does the chronicler give us the key to the Asaphic Ps 83 (76?) and to the Korahitic Ps 46-48. It is indeed equally admissible to refer these three Korahitic Psalms to the defeat of Sennacherib’s army under Hezekiah, but this view has not the same historical consistency. After the fourteenth year of Hezekiah’s reign the congregation could certainly not help connecting the thought of the Assyrian catastrophe so recently experienced with this Psalm; and more especially since Isaiah had predicted this event, following the language of this Psalm very closely. For Isaiah and this Psalm are remarkably linked together.

Just as Psa 2:1-12 is, as it were, the quintessence of the book of Immanuel, Isa 7:1, so is Psa 46:1-11 of Isa. 33, that concluding discourse to Isa 28:1, which is moulded in a lyric form, and was uttered before the deliverance of Jerusalem at a time of the direst distress. The fundamental thought of the Psalm is expressed there in Psa 46:2 in the form of a petition; and by a comparison with Isa 25:4. we may see what a similarity there is between the language of the psalmist and of the prophet. Isa 33:13 closely resembles the concluding admonition; and the image of the stream in the Psalm has suggested the grandly bold figure of the prophet in v. 21, which is there more elaborately wrought up: “No indeed, there dwells for us a glorious One, Jahve - a place of streams, of canals of wide extent, into which no fleet of rowing vessels shall venture, and which no mighty man-of-war shall cross.” The divine determination expressed in ארוּם we also hear in Isa 33:10. And the prospect of the end of war reminds us of the familiar prediction of Isaiah (Isa 2), closely resembling Micah’s in its language, of eternal peace; just as Psa 46:8, Psa 46:11 remind us of the watch-word עמנו אל in Isa 7:1. The mind of Isaiah and that of Jeremiah have, each in its own peculiar way, taken germs of thought (lit., become impregnated) from this Psalm.

We have already incidentally referred to the inscribed words על־עלמות, on Psa 6:1. Böttcher renders them ad voces puberes, “for tenor voices,” a rendering which certainly accords with the fact that, according to 1Ch 15:20, they were accustomed to sing בּנבלים על־עלמות, and the Oriental sounds, according to Villoteau (Description de l'Egypte), correspond aux six sons vers l'aigu de l'octave du medium de la voix de tenor. But עלמות does not signify voces puberes, but puellae puberes (from עלם, Arab. glm, cogn. חלם, Arab. ḥlm, to have attained to puberty); and although certainly no eunuchs sang in the temple, yet there is direct testimony that Levite youths were among the singers in the second temple; ^{▼▼The Mishna, Erachin 13b, expressly informs us, that whilst the Levites sang to the accompanying play of the nablas and citherns, their youths, standing at their feet below the pulpit, sang with them in order to give to the singing the harmony of high and deep voices (תּבל, condimentum). These Levite youths are called צערי or סועדי הלויים, parvuli (although the Gemara explains it otherwise) or adjutores Levitarum.} and Ps 68 mentions the עלמות who struck the timbrels at a temple festival. Moreover, we must take into consideration the facts that the compass of the tenor extends even into the soprano, that the singers were of different ages down to twenty years of age, and that Oriental, and more particularly even Jewish, song is fond of falsetto singing. We therefore adopt Perret-Gentil’s rendering, chant avec voix de femmes, and still more readily Armand de Mestral’s, en soprano; whereas Melissus’ rendering, “upon musical instruments called Alamoth (the Germans would say, upon the virginal),” has nothing to commend it.