44:4 You are my 1 king, O God!
Decree 2 Jacob’s 3 deliverance!
For the music director; according to the tune of “Lilies;” 5 by the Korahites, a well-written poem, 6 a love song.
45:1 My heart is stirred by a beautiful song. 7
I say, “I have composed this special song 8 for the king;
my tongue is as skilled as the stylus of an experienced scribe.” 9
45:6 Your throne, 10 O God, is permanent. 11
The scepter 12 of your kingdom is a scepter of justice.
47:6 Sing to God! Sing!
Sing to our king! Sing!
47:7 For God is king of the whole earth!
Sing a well-written song! 13
47:8 God reigns 14 over the nations!
God sits on his holy throne!
48:2 It is lofty and pleasing to look at, 15
a source of joy to the whole earth. 16
Mount Zion resembles the peaks of Zaphon; 17
it is the city of the great king.
48:3 God is in its fortresses;
he reveals himself as its defender. 18
95:3 For the Lord is a great God,
a great king who is superior to 19 all gods.
149:2 Let Israel rejoice in their Creator!
Let the people 20 of Zion delight in their king! 21
33:22 For the Lord, our ruler,
the Lord, our commander,
the Lord, our king –
he will deliver us.
1 sn The speaker changes here to an individual, perhaps the worship leader or the king. The oscillation between singular (vv. 4, 6) and plural (vv. 1-3, 5, 7-8) in vv. 1-8 may reflect an antiphonal ceremony.
2 tc The LXX assumes a participle here (מְצַוֶּה [mÿtsavveh], “the one who commands/decrees”) which would stand in apposition to “my God.” It is possible that the MT, which has the imperative (צַוֵּה, tsavveh) form, has suffered haplography of the letter mem (ם). Note that the preceding word (אֱלֹהִים, ’elohim) ends in mem. Another option is that the MT is divided in the wrong place; perhaps one could move the final mem from אֱלֹהִים to the beginning of the next word and read מְצַוֶּה אֱלֹהָי (’elohay mÿtsavveh, “[You are my king,] my God, the one who decrees”).
3 tn That is, Israel. See Pss 14:7; 22:23.
4 sn Psalm 45. This is a romantic poem celebrating the Davidic king’s marriage to a lovely princess. The psalmist praises the king for his military prowess and commitment to justice, urges the bride to be loyal to the king, and anticipates that the marriage will be blessed with royal offspring.
5 tn Heb “according to lilies.” “Lilies” may be a tune title or musical style, suggestive of romantic love. The imagery of a “lily” appears frequently in the Song of Solomon in a variety of contexts (see 2:1-2, 16; 4:5; 5:13; 6:2-3; 7:2).
6 tn The meaning of the Hebrew term מַשְׂכִּיל (maskil) is uncertain. See the note on the phrase “well-written song” in the superscription of Ps 42.
7 tn Heb “[with] a good word.” The “good word” probably refers here to the song that follows.
8 tn Heb “my works [are] for a king.” The plural “works” may here indicate degree, referring to the special musical composition that follows.
9 tn Heb “my tongue [is] a stylus of a skillful scribe.” Words flow from the psalmist’s tongue just as they do from a scribe’s stylus.
10 sn The king’s throne here symbolizes his rule.
11 tn Or “forever and ever.”
12 sn The king’s scepter symbolizes his royal authority.
13 tn The meaning of the Hebrew term מַשְׂכִּיל (maskil) is uncertain. The word is derived from a verb meaning “to be prudent; to be wise.” Various options are: “a contemplative song,” “a song imparting moral wisdom,” or “a skillful [i.e., well-written] song.” The term also occurs in the superscriptions of Pss 32, 42, 44, 45, 52-55, 74, 78, 88, 89, and 142. Here, in a context of celebration, the meaning “skillful, well-written” would fit particularly well.
14 tn When a new king was enthroned, his followers would acclaim him king using this enthronement formula (Qal perfect 3ms מָלַךְ, malakh, “to reign,” followed by the name of the king). See 2 Sam 15:10; 1 Kgs 1:11, 13, 18; 2 Kgs 9:13, as well as Isa 52:7. In this context the perfect verbal form is generalizing, but the declaration logically follows the historical reference in v. 5 to the
15 tn Heb “beautiful of height.” The Hebrew term נוֹף (nof, “height”) is a genitive of specification after the qualitative noun “beautiful.” The idea seems to be that Mount Zion, because of its lofty appearance, is pleasing to the sight.
16 sn A source of joy to the whole earth. The language is hyperbolic. Zion, as the dwelling place of the universal king, is pictured as the world’s capital. The prophets anticipated this idealized picture becoming a reality in the eschaton (see Isa 2:1-4).
17 tn Heb “Mount Zion, the peaks of Zaphon.” Like all the preceding phrases in v. 2, both phrases are appositional to “city of our God, his holy hill” in v. 1, suggesting an identification in the poet’s mind between Mount Zion and Zaphon. “Zaphon” usually refers to the “north” in a general sense (see Pss 89:12; 107:3), but here, where it is collocated with “peaks,” it refers specifically to Mount Zaphon, located in the vicinity of ancient Ugarit and viewed as the mountain where the gods assembled (see Isa 14:13). By alluding to West Semitic mythology in this way, the psalm affirms that Mount Zion is the real divine mountain, for it is here that the
18 tn Heb “he is known for an elevated place.”
19 tn Heb “above.”
20 tn Heb “sons.”
21 sn The
22 sn The epithet great king was used to describe the Hittite rulers on their covenant documents and so, in the covenant ideology of Malachi, is an apt description of the