{"commentary":{"id":"jamieson-fausset-brown","name":"Jamieson-Fausset-Brown Bible Commentary","website":"https://en.wikipedia.org/wiki/Jamieson-Fausset-Brown_Bible_Commentary","licenseUrl":"https://creativecommons.org/publicdomain/mark/1.0/","licenseNotes":null,"licenseNotice":null,"englishName":"Jamieson-Fausset-Brown Bible Commentary","language":"eng","textDirection":"rtl","sha256":"db3d4c8b3c1f32ef9d1430a57392e02bda3a17aac1f9bbe398461de021a3cb13","availableFormats":["json"],"listOfBooksApiLink":"/api/c/jamieson-fausset-brown/books.json","listOfProfilesApiLink":"/api/c/jamieson-fausset-brown/profiles.json","numberOfBooks":66,"totalNumberOfChapters":1187,"totalNumberOfVerses":17056,"totalNumberOfProfiles":0,"languageName":"English","languageEnglishName":"English"},"book":{"id":"PSA","commentaryId":"jamieson-fausset-brown","name":"Psalms","commonName":"Psalms","introduction":"The Hebrew title of this book is Tehilim (\"praises\" or \"hymns\"), for a leading feature in its contents is praise, though the word occurs in the title of only one Psalm (the hundred forty-fifth). The Greek title (in the Septuagint, a translation made two hundred years before Christ) is psalmoi, whence our word \"Psalms.\" This corresponds to the Hebrew word mizmoi by which sixty-five Psalms are designated in their inscriptions, and which the Syriac, a language like the Hebrew, uses for the whole book. It means, as does also the Greek name, an ode, or song, whose singing is accompanied by an instrument, particularly the harp (compare Ch1 16:4-8; Ch2 5:12-13). To some Psalms, the Hebrew word (shir) \"a song,\" is prefixed. Paul seems to allude to all these terms in Eph 5:19, \"singing . . . in psalms, hymns, and spiritual songs.\"\n\nTITLES.--To more than a hundred Psalms are prefixed inscriptions, which give one or more (and in one case, [Psalm 60], all) of these particulars: the direction to the musician, the name of the author or the instrument, the style of the music or of the poetry, the subject or occasion. The authority of these inscriptions has been disputed by some writers. They say that the earliest translators, as the Greek and Syriac, evince a disregard for their authority, by variations from a proper translation of some, altering others, and, in several instances, supplying titles to Psalms which, in Hebrew, had none. It is also alleged that the subject of a Psalm, as given in the title, is often inconsistent with its contents. But those translators have also varied from a right translation of many passages in the Bible, which all agree to be of good authority; and the alleged inconsistency may be shown, on more accurate investigation, not to exist. The admitted antiquity of these inscriptions, on the other hand, and even their obscurity, raise a presumption in their favor, while such prefaces to a composition accord with the usages of that age and part of the world (compare Isa 38:9).\n\n\"The Chief Musician\" was the superintendent of the music (compare \"to oversee,\" Ch1 15:21, Margin). \"To\" prefixed to this, means, \"pertaining to\" in his official character. This inscription is found in fifty-three Psalms and is attached to Habakkuk's prayer (Hab. 3:1-19). The same Hebrew preposition is prefixed to the name of the author and translated \"of,\" as \"a Psalm of David,\" \"of Asaph,\" except that to \"the sons of Korah,\" it is translated \"for,\" which is evidently wrong, as the usual direction, \"to the chief musician,\" is given, and no other authorship intimated. On the apparent exception to this last remark, see below, and see on Psa 88:1, title. The explanations of other particulars in the titles will be given as they occur.\n\nAUTHORS.--This book is often called \"The Psalms of David,\" he being the only author mentioned in the New Testament (Luk 20:42) and his name appearing in more titles than that of any other writer. Besides about one-half of the Psalms in which it thus appears, Psalms 2 and 95 are ascribed to him (Act 4:25 and Heb 4:7). He was probably the author of many others which appear without a name. He used great efforts to beautify the worship of the sanctuary. Among the two hundred eighty-eight Levites he appointed for singing and performing instrumental music, we find mentioned the \"sons of Korah\" (Ch1 9:19); including Heman (Ch1 6:33-38); and also Asaph (Ch1 6:39-44); and Ethan (Ch1 15:17-19). God was doubtless pleased to endow these men with the inspiration of His Spirit, so that they used those poetic talents which their connection with the kindred art of music had led them to cultivate, in the production of compositions like those of their king and patron. To Asaph are ascribed twelve Psalms; to the sons of Korah, eleven, including the eighty-eighth, which is also ascribed to Heman, that being the only instance in which the name of the \"son\" (or descendant) is mentioned; and to Ethan, one. Solomon's name appears before the seventy-second and hundred twenty-seventh; and that of Moses before the ninetieth. Special questions respecting authorship will be explained as they arise.\n\nCONTENTS.--As the book contains one hundred fifty independent compositions, it is not susceptible of any logical analysis. The Jews having divided it into five books, corresponding to the Five Books of Moses (First, Psalms 1-42; Second, Psalms 43-72; Third, Psalms 73-89; Fourth, Psalms 90-106; Fifth, Psalms 107-150), many attempts have been made to discover, in this division, some critical or practical value, but in vain. Sundry efforts have been made to classify the Psalms by subject. Angus' Bible Hand Book is perhaps the most useful, and is appended.\n\nStill the Psalms have a form and character peculiar to themselves; and with individual diversities of style and subject, they all assimilate to that form, and together constitute a consistent system of moral truth. They are all poetical, and of that peculiar parallelism (see Introduction to the Poetical Books,) which distinguished Hebrew poetry. They are all lyrical, or songs adapted to musical instruments, and all religious lyrics, or such as were designed to be used in the sanctuary worship.\n\nThe distinguishing feature of the Psalms is their devotional character. Whether their matter be didactic, historical, prophetical, or practical, it is made the ground or subject of prayer, or praise, or both. The doctrines of theology and precepts of pure morality are here inculcated. God's nature, attributes, perfections, and works of creation, providence, and grace, are unfolded. In the sublimest conceptions of the most exalted verse, His glorious supremacy over the principalities of heaven, earth, and hell, and His holy, wise, and powerful control of all material and immaterial agencies, are celebrated. The great covenant of grace resting on the fundamental promise of a Redeemer, both alike the provisions of God's exhaustless mercy, is set forth in respect of the doctrines of regeneration by the Spirit, forgiveness of sins, repentance toward God, and faith toward Jesus Christ, while its glorious results, involving the salvation of men \"from the ends of the earth\" [Act 13:47], are proclaimed in believing, prophetic prayer and thankful praise. The personal history of the authors, and especially David's in its spiritual aspects, is that of God's people generally. Christian biography is edifying only as it is truth illustrated in experience, such as God's Word and Spirit produce. It may be factitious in origin and of doubtful authenticity. But here the experience of the truly pious is detailed, under divine influence, and \"in words which the Holy Ghost\" taught [Co1 2:13]. The whole inner life of the pious man is laid open, and Christians of all ages have here the temptations, conflicts, perplexities, doubts, fears, penitent moanings, and overwhelming griefs on the one hand, and the joy and hope of pardoning mercy, the victory over the seductions of false-hearted flatterers, and deliverance from the power of Satan on the other, with which to compare their own spiritual exercises. Here, too, are the fruits of that sovereign mercy, so often sought in earnest prayer, and when found, so often sung in rapturous joy, exhibited by patience in adversity, moderation in prosperity, zeal for God's glory, love for man, justice to the oppressed, holy contempt for the proud, magnanimity towards enemies, faithfulness towards friends, delight in the prosperity of Zion, and believing prayer for her enlargement and perpetuity.\n\nThe historical summaries of the Psalms are richly instructive. God's choice of the patriarchs, the sufferings of the Israelites in Egypt, their exodus, temptations of God, rebellions and calamities in the wilderness, settlement in Canaan, backslidings and reformations, furnish illustrations of God's providential government of His people, individually and collectively, tending to exalt His adorable grace and abase human pride. But the promises and prophecies connected with these summaries, and elsewhere presented in the Psalms, have a far wider reach, exhibiting the relations of the book to the great theme of promise and prophecy:\n\nTHE MESSIAH AND HIS KINGDOM.--David was God's chosen servant to rule His people, as the head at once of the State and the Church, the lineal ancestor, \"according to the flesh\" [Act 2:30; Rom 1:3], of His adorable Son, and His type, in His official relations, both in suffering and in triumph. Generally, David's trials by the ungodly depicted the trials of Christ, and his final success the success of Christ's kingdom. Typically, he uses language describing his feelings, which only finds its full meaning in the feelings of Christ. As such it is quoted and applied in the New Testament. And further, in view of the great promise (Sa2 7:12-16) to him and his seed, to which such frequent reference is made in the Psalms, David was inspired to know, that though his earthly kingdom should perish, his spiritual would ever endure, in the power, beneficence, and glory of Christ's. In repeating and amplifying that promise, he speaks not only as a type, but \"being a prophet, and knowing that God had sworn with an oath to him, that of the fruit of his loins, according to the flesh, he would raise up Christ to sit on his throne,\" he \"foretold the sufferings of Christ and the glory that should follow. His incarnation, humiliating sorrows, persecution, and cruel death are disclosed in the plaintive cries of a despairing sufferer; and His resurrection and ascension, His eternal priesthood, His royal dignity, His prophetical office, the purchase and bestowal of the gifts of the Spirit, the conversion of the nations, the establishment, increase, and perpetuity of the Church, the end of time, and the blessedness of the righteous who acknowledge, and the ruin of the wicked who reject this King in Zion, are predicted in the language of assured confidence and joy.\" While these great themes have supplied the people of God with a popular theology and a guide in religious experience and Christian morality, clothed in the language of devotion, they have provided an inspired liturgy in which the pious, of all creeds and sects, have, for nearly three thousand years, poured out their prayers and praises. The pious Jew, before the coming of Christ, mourned over the adversity, or celebrated the future glories, of Zion, in the words of her ancient king. Our Saviour, with His disciples, sang one of these hymns on the night on which He was betrayed [Mat 26:30]; He took from one the words in which He uttered the dreadful sorrows of His soul [Mat 27:46], and died with those of another on His lips [Luk 23:46]. Paul and Silas in the dungeon [Act 16:25], primitive Christians in their covert places of worship, or the costly churches of a later day, and the scattered and feeble Christian flocks in the prevalence of darkness and error through the Middle Ages, fed their faith and warmed their love with these consoling songs. Now, throughout the Christian world, in untold forms of version, paraphrase, and imitation, by Papists and Protestants, Prelatists and Presbyterians, Independents, Baptists, Methodists--men of all lands and all creeds, in public and private worship, God is still adored in the sentiments expressed in these venerable Psalms. From the tone of sorrow and suffering which pervade their earlier portions we are gradually borne on amid alternate conflicts and triumphs, mournful complaints and awakening confidence; as we approach the close the tones of sorrow grow feebler, and those of praise wax louder and stronger--till, in the exulting strains of the last Psalm, the chorus of earth mingles with the hallelujahs of the multitude, which no man can number, in the sanctuary above. \n\n\n\nNext: Psalms Chapter 1\n\n","order":19,"numberOfChapters":149,"sha256":"bce573c5d547438781f40f59aab598ce89543e427dcc5c370e3d07d4ea20b442","firstChapterNumber":1,"firstChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/1.json","firstChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":1},"lastChapterNumber":150,"lastChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/150.json","lastChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":150},"totalNumberOfVerses":799},"chapter":{"number":45,"content":[{"type":"verse","number":2,"content":["To rich personal attractions is added grace of the lips, captivating powers of speech. This is given, and becomes a source of power and proves a blessing. Christ is a prophet (Luk 4:22).\n\n"]},{"type":"verse","number":3,"content":["The king is addressed as ready to go forth to battle. \n\nsword--(Compare Rev 1:16; Rev 19:15). \n\nmighty--(Compare Isa 9:6). \n\nglory and . . . majesty--generally used as divine attributes (Psa 96:6; Psa 104:1; Psa 111:3), or as specially conferred on mortals (Psa 21:5), perhaps these typically.\n\n"]},{"type":"verse","number":4,"content":["ride prosperously--or conduct a successful war. \n\nbecause of--for the interests of truth, &c. \n\nmeekness . . . righteousness--without any connection--that is, a righteousness or equity of government, distinguished by meekness or condescension (Psa 18:35). \n\nright hand--or power, as its organ. \n\nshall teach thee--point the way to terrible things; that is, in conquest of enemies.\n\n"]},{"type":"verse","number":5,"content":["The result. \n\npeople--Whole nations are subdued.\n\n"]},{"type":"verse","number":6,"content":["No lawful construction can be devised to change the sense here given and sustained by the ancient versions, and above all by Paul (Heb 1:8). Of the perpetuity of this government, compare Sa2 7:13; Psa 10:16; Psa 72:5; Psa 89:4; Psa 110:4; Isa 9:7.\n\n"]},{"type":"verse","number":7,"content":["As in Psa 45:6 the divine nature is made prominent, here the moral qualities of the human are alleged as the reason or ground of the mediatorial exultation. Some render \"O God, thy God,\" instead of \n\nGod, thy God--but the latter is sustained by the same form (Psa 50:7), and it was only of His human nature that the anointing could be predicated (compare Isa 61:3). \n\noil of gladness--or token of gladness, as used in feasts and other times of solemn joy (compare Kg1 1:39-40). \n\nfellows--other kings.\n\n"]},{"type":"verse","number":8,"content":["The king thus inaugurated is now presented as a bridegroom, who appears in garments richly perfumed, brought out from \n\nivory palaces--His royal residence; by which, as indications of the happy bridal occasion, He has been gladdened.\n\n"]},{"type":"verse","number":9,"content":["In completion of this picture of a marriage festival, female attendants or bridesmaids of the highest rank attend Him, while the queen, in rich apparel (Psa 45:13), stands ready for the nuptial procession.\n\n"]},{"type":"verse","number":10,"content":["She is invited to the union, for forming which she must leave her father's people. She representing, by the form of the allegory, the Church, this address is illustrated by all those scriptures, from Gen 12:1 on, which speak of the people of God as a chosen, separate, and peculiar people. The relation of subjection to her spouse at once accords with the law of marriage, as given in Gen 3:16; Gen 18:12; Eph 5:22; Pe1 3:5-6, and the relation of the Church to Christ (Eph 5:24). The love of the husband is intimately connected with the entire devotion to which the bride is exhorted.\n\n"]},{"type":"verse","number":12,"content":["daughter of Tyre-- (Psa 9:14); denotes the people. Tyre, celebrated for its great wealth, is selected to represent the richest nations, an idea confirmed by the next clause. These gifts are brought as means to conciliate the royal parties, representing the admitted subjection of the offerers. This well sets forth the exalted position of the Church and her head, whose moral qualities receive the homage of the world. The contribution of material wealth to sustain the institutions of the Church may be included (compare \"riches of the Gentiles,\" Psa 72:10; Isa 60:5-10).\n\n"]},{"type":"verse","number":13,"content":["the king's daughter--a term of dignity. It may also intimate, with some allusion to the teaching of the allegory, that the bride of Christ, the Church, is the daughter of the great king, God.\n\nwithin--Not only is her outward raiment costly, but all her apparel is of the richest texture. \n\nwrought gold--gold embroidery, or cloth in which gold is woven.\n\n"]},{"type":"verse","number":14,"content":["The progress of the procession is described; according to the usual custom the bride and attendants are conducted to the palace. Some for the words-- \n\nin raiment of needlework--propose another rendering, \"on variegated (or embroidered) cloths\"--that is, in the manner of the East, richly wrought tapestry was spread on the ground, on which the bride walked. As the dress had been already mentioned, this seems to be a probable translation.\n\n"]},{"type":"verse","number":15,"content":["shall they be brought--in solemn form (compare Job 10:19; Job 21:22). The entrance into the palace with great joy closes the scene. So shall the Church be finally brought to her Lord, and united amid the festivities of the holy beings in heaven.\n\n"]},{"type":"verse","number":16,"content":["As earthly monarchs govern widely extended empires by viceroys, this glorious king is represented as supplying all the principalities of earth with princes of his own numerous progeny.\n\n"]},{"type":"verse","number":17,"content":["The glories of this empire shall be as wide as the world and lasting as eternity. \n\ntherefore--Because thus glorious, the praise shall be universal and perpetual. Some writers have taxed their ingenuity to find in the history and fortunes of Christ and His Church exact parallels for every part of this splendid allegory, not excepting its gorgeous Oriental imagery. Thus, by the dresses of the king and queen, are thought to be meant the eminent endowments and graces of Christ and His people. The attendant women, supposed (though inconsistently it might seem with the inspired character of the work) to be concubines, are thought to represent the Gentile churches, and the bride the Jewish, &c. But it is evident that we cannot pursue such a mode of interpretation. For, following the allegory, we must suspend to the distant future the results of a union whose consummation as a marriage is still distant (compare Rev 21:9). In fact, the imagery here and elsewhere sets before us the Church in two aspects. As a body, it is yet incomplete, the whole is yet ungathered. As a moral institution, it is yet imperfect. In the final catastrophe it will be complete and perfect. Thus, as a bride adorned, &c., it will be united with its Lord. Thus the union of Christ and the Church triumphant is set forth. On the other hand, in regard to its component parts, the relation of Christ as head, as husband, &c., already exists, and as these parts form an institution in this world, it is by His union with it, and the gifts and graces with which He endows it, that a spiritual seed arises and spreads in the world. Hence we must fix our minds only on the one simple but grand truth, that Christ loves the Church, is head over all things for it, raises it in His exaltation to the highest moral dignity--a dignity of which every, even the meanest, sincere disciple will partake. As to the time, then, in which this allegorical prophecy is to fulfilled, it may be said that no periods of time are specially designated. The characteristics of the relation of Christ and His Church are indicated, and we may suppose that the whole process of His exaltation from the declaration of His Sonship, by His resurrection, to the grand catastrophe of the final judgment, with all the collateral blessings to the Church and the world, lay before the vision of the inspired prophet.\n\n\n\n\nNext: Psalms Chapter 46\n\n"]}],"introduction":"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 Gen 24:60; Rut 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 Isa 54:5; Isa 62:4-5; Mat 22:3; Mat 25:1; Joh 3:29; Eph 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 (Heb 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)\n\nAn animated preface indicative of strong emotion. Literally, \"My heart overflows: a good matter I speak; the things which I have made,\" &c. \n\ninditing--literally, \"boiling up,\" as a fountain overflows. \n\nmy tongue is the pen--a mere instrument of God's use. \n\nof a ready writer--that is, it is fluent. The theme is inspiring and language flows fast.\n\n"},"thisChapterLink":"/api/c/jamieson-fausset-brown/PSA/45.json","thisChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":45},"nextChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/46.json","nextChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":46},"previousChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/44.json","previousChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":44},"numberOfVerses":15}