Commentaries:
Jamieson, Fausset, and Brown
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 Psalms 8:1, title). A song of loves, or, of beloved ones (plural and feminine)--a conjugal song. Maschil--(See on Psalms 32:1, title, and Psalms 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 Genesis 24:60; Ruth 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 (Hos. 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 Isaiah 54:5; Isaiah 62:4-5; Matthew 22:3; Matthew 25:1; John 3:29; Ephesians 5:25-32, etc.). 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 Psalms 45:6-7 by Paul (Hebrews 1:8-9), as applicable to Christ, ought to be conclusive, and their special exposition shows the propriety of such an application. (Psa. 45:1-17)
An animated preface indicative of strong emotion. Literally, "My heart overflows: a good matter I speak; the things which I have made," etc.
inditing--literally, "boiling up," as a fountain overflows.
my tongue is the pen--a mere instrument of God's use.
of a ready writer--that is, it is fluent. The theme is inspiring and language flows fast.
Other commentary entries containing this verse:
Numbers 26:11
Psalms 60:1-3
Psalms 69:1-2
Psalms 80:1-2
Psalms 88:1-2
Song of Solomon 2:16
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