Psa 45:15 | KD | STEP | (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 she is nothing but splendour (כּל־כּבוּדּה, prop. mere splendour, fem. of כבוד as in ; cf. כּל־הבל, , 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 ( ), is being led to the king, her husband, and this takes place לרקמות, in variegated, embroidered garments (ל used just as adverbially as in , 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.

‏ Psalms 45:15

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.