The Treasury of David is one of several C.H. Spurgeon books that are in the public domain. If you propose to study the Psalms, I suggest you download this as a companion for your other references.
TITLE. The many titles of this Psalm mark its royalty, its deep and solemn import, and the delight the writer had in it. To the Chief Musician upon Shoshannim. The most probable translation of this word is upon the lilies, and it is either a poetical title given to this noblest of songs after the Oriental manner, or it may relate to the tune to which it was set, or to the instrument which was meant to accompany it. We incline to the first theory, and if it be the true one, it is easy to see the fitness of borrowing a name for so beautiful, so pure, so choice, so matchless a poem from the golden lilies, whose bright array outshone the glory of Solomon. For the sons of Korah. Special singers are appointed for so divine a hymn. King Jesus deserves to be praised not with random, ranting ravings, but with the sweetest and most skillful music of the best-trained choristers. The purest hearts in the spiritual temple are the most harmonious songsters in the ears of God; the acceptable song is not a matter so much of tuneful voices as of sanctified affections, but in no case should we sing of Jesus with unprepared hearts. Maschil, an instructive ode, not an idle lay, or a romancing ballad, but a Psalm of holy teaching, didactic and doctrinal. This proves that it is to be spiritually understood. Blessed are the people who know the meaning of its joyful sound. A Song of loves. Not a carnal sentimental love song, but a celestial canticle of everlasting love fit for the tongues and ears of angels.
SUBJECT. Some here see Solomon and Pharaoh’s daughter only—they are short-sighted; others see both Solomon and Christ—they are cross-eyed; well focused spiritual eyes see here Jesus only, or if Solomon is present at all, it must be like those hazy shadows of by-passers which cross the face of the camera and therefore are dimly traceable upon a photographic landscape. “The King, “the God whose throne is forever and ever, is no mere mortal and his everlasting dominion is not bounded by Lebanon and Egypt’s river. This is no wedding song of earthly nuptials, but an Epithalamium for the Heavenly Bridegroom and his elect spouse.
DIVISION. Ps 45:1 is an announcement of intention, a preface to the song; Ps 45:3 adores the matchless beauty of Messiah; and from Ps 45:3-9, he is addressed in admiring ascriptions of praise. Ps 45:10-12 are spoken to the bride. The church is further spoken of in Ps 45:13-15, and the Psalm closes with another address to the King, foretelling his eternal fame, Ps 45:16-17.
Verse 17. I will make thy name to be remembered in all generations. Jehovah by the prophet’s mouth promises to the Prince of Peace eternal fame as well as a continuous progeny. His name is his fame, his character, his person; these are dear to his people now—they never can forget them; and it shall be so as long as men exist. Names renowned in one generation have been unknown to the next era, but the laurels of Jesus shall ever be fresh, his renown ever new. God will see to this; his providence and his grace shall make it so. The fame of Messiah is not left to human guardianship; the Eternal guarantees it, and his promise never fails. All down the ages the memories of Gethsemane and Calvary shall glow with inextinguishable light; nor shall the lapse of time, the smoke of error, or the malice of hell be able to dim the glory of the Redeemer’s fame. Therefore shall the people praise thee for ever and ever. They shall confess thee to be what thou art, and shall render to thee in perpetuity the homage due. Praise is due from every heart to him who loved us, and redeemed us by his blood; this praise will never be fully paid, but will be ever a standing and growing debt. His daily benefits enlarge our obligations, let them increase the number of our songs. Age to age reveals more of his love, let every year swell the volume of the music of earth and heaven, and let thunders of song roll up in full diapason to the throne of him that liveth, and was dead, and is alive for evermore, and hath the keys of hell and of death.
“Let him be crowned with majesty
Who bowed his head to death,
And be his honors sounded high
By all things that have breath.”
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