There is nothing quite like a good, old-fashioned wedding. And nowadays, we have to emphasize “old-fashioned”—not to be nostalgic per se, as if the weddings of yesteryear were always better— but because so many odd things can be done in a modern wedding. Some of these new oddities include vows that do not promise ʼtil death do us part but until someone does not feel it anymore; or weird spiritualism; or no kids allowed; or so much social media it is more like a movie set than a celebration. Instead, what makes a wedding so wonderful are timeless classics: committed love, a decked-out couple, joyful families, plenty of food and drink, and an active dance floor. In one sense, even though weddings can be a big to-do, they are also simply amazing. And in Psalm 45, we are invited to such a wedding that is adorned with the classics but also directs to something way beyond the ordinary or typical to an everlasting beauty.
The superscription to this psalm provides us with some significant details that shape our hearing of it. There are the usual suspects about the choirmaster and the sons of Korah, which are typical. We have also seen the term “Maskil,” which means something about teaching, imparting understanding and wisdom. We gain learning from this psalm. But then we find the new phrase “according to the lilies,” or the lotus flowers. This seems to identify the tune or tempo of the song; it is sung to the tune of the lotus blossoms. And the bloom of the lotus was the flower of love. This ornate vegetation prevails in the romantic imagery of the Song of Songs. The lotus represents life at its fullest, perfumed with the vigorous fragrances of beauty and love. Sadly, we do not know what this tune sounded like, but it was one of those songs that when you hear it, the warmth of love cascades over your heart.
And so to match the lotus tune, this psalm is labeled a love song. This sacred work of art did not start its life as a fledgling track that grew up to be sung in the temple, but from its composition, it was a love song. And the sense of love here leans heavily toward the affectionate, the intimate, the romantic. On a few occasions, this refers to the love for a child or bosom friend, but mostly it is used for the love between a husband and a wife. So this superscription calibrates our listening to the channel of love.
After this, we find another standout feature as the poet introduces his music by referring to his writing process. Presumably, the author is a Levite of the Korah clan, but he gushes with excited inspiration. It is like when you are so happy about something that you just feel like singing. The poet’s heart is moved to author a good word; he has to write eloquent literature. Also, he is no amateur, as the skill of his tongue equals the pen of an expert scribe. His prowess with the pen matches that of a Pulitzer-winning author, Shakespeare level. All of Scripture is true, most of it is delightful, but this psalm is extra beautiful.
Furthermore, he cooks it up for a distinct audience; it is dedicated to an individual—the king. The psalmist’s sublime creation serenades the monarch as a love song for the king. Levi is singing to Judah; Aaron chants to David. We are not told what Davidic king is being addressed. If this was composed for a specific ruler, like David, Hezekiah, or Josiah, it has been lost. The monarch is a general Davidic king who stands in for the Davidic dynasty. The whole Davidic line of kings is embodied in this one crown prince.
But what is the occasion for this love song to the king? The song commences properly in verse 2. And immediately, the poet marvels at the beauty of the king. Yes, for us and for other cultures, beauty belongs more often to the feminine, but this does not exclude men from being lovely. And this king is the most dashing of all. No other guy comes close to his adorable and glamorous appearance. Men and women stop and stare. Wow, that is one beautiful man! He was crowned the sexiest man alive in perpetuity.
Also, grace and charm are on his lips. Charisma traces every line on his face. The words radiating from him are lovely and appealing. The smile of his countenance allures and enchants you with pure delight. Yet the abundance of his masculine beauty is not limited to just looking nice but is a sign of deeper, more heavenly attributes. In the Old Testament, natural beauty indicated the favor of God, a gift from above, so being the prettiest equals being the most blessed. The Lord has blessed the king forever; this is why he is so handsome. The favor of God preserves the charm of the king as if untouched by time or as a wine that gets prettier with age.
The king, though, is not just something you look at like a doll in a glass case, but his office is one of action; productivity is his majesty. Thus, now, he springs forth as the heroic warrior. The poet summons him to gird on his sword, to ride forth in royal chariot. As you know, a major element in any warfare is psychological, to dishearten the enemy before the battle even begins. In ancient times, the prime weapon of psychological combat was the grandeur of the king. Draped in splendor, blanketed in shining terror, just a vision of the pomp of the king sent foes scurrying like rabbits. So the king’s arms are trained in heroic deeds; his sword swings with death, and his arrows never miss their mark. Gleaming like the sun, darkness riding before him, entire armies fall at his feet.
War is a messy business, however; it is often the domain of evil, oppression, and cruelty where peasants perish for the selfish whims of the king. But not this battle, not this king. He rides forth for truth. The banner unfurled over him dances with the truth and fidelity of heaven. Also, the fuel of his chariot is meekness and righteousness—or, better, the meekness of righteousness. Such righteousness is the conformity to God’s law to execute justice and not oppression. But the righteousness of this king is also flavored with meekness. This is the humility and gentleness that does not inflict unnecessary violence; it is not power hungry or addicted to personal glory. Such meekness serves the Lord’s glory first, does only what aligns with God’s will, and administers balanced justice for all.
And for his virtuous splendor in battle, the Lord has given him a forever throne. Verse 6 is a bit ambiguous, and it has been much debated, but the better reading of this line is “Your throne is of God.” That is, God has granted the king his throne, and the Lord constructed his reign as enduring; it will last forever. This is clearly reflecting the Davidic covenant, where God promised David an eternal throne. As God’s second-in-command, as the vice-regent of God’s kingdom, the king’s throne shares in the everlasting dominion of God himself. And such a high honor is given because the king loves righteousness and hates wickedness. To love the right and hate the evil is a classic honorific for God; this is his moral holiness. It becomes more than evident that the jaw-dropping beauty of the king is not skin deep, but it permeates into his whole character and all of his labors and actions. Gorgeous on the outside, beautiful within, and all he touches is righteously dashing.
It is for this purpose that God anointed him. Anointing signifies the election and good pleasure of the Lord. By anointment, the Lord sets one apart as pleasing to him and for the sacred purposes of the Lord. Through anointing, though, God actually confirms blessings. By it comes the office, the authority, the power, and the Spirit-endowed ability to wield it well. Moreover, the mention of anointing gives us our first clue about the setting of this psalm. We know it is a love song to the king, but what is the occasion?
Anointing points to coronation and enthronement. Was this psalm authored when the son of David was installed as king? It seems like it, until we read the next line. The ointment poured over the king is the oil of gladness, the olive oil of joy. And we know from elsewhere in the Old Testament that this oil was not pulled out for enthronement but for that other most happy event of life, weddings. Yes, this was the special treat for marriage celebrations that cranked up the festivities to 11. This oil was like the drug of happiness.
Weddings were the epitome of joyful times in the Old Testament. The king getting married would harken back to his enthronement; it would replay parts of his coronation, but it was a distinct event. Therefore, this love song for the king celebrates his wedding bells. And with the occasion clarified, the scene is painted with stunning colors.
As the groom, he wears robes perfumed with myrrh, aloes, and cassia. He smells intoxicating. Such spices are exotic, as they hail from far-off places; they are expensive, the best money can buy. And they are the fragrance of romance. In the Song of Songs, these aromatics puts you in the mood. They adorn him with loveliness, and they express his pure desire for his bride to be.
And with the king adorned in every way for his honeymoon, the wedding hall is ready for the ceremony to begin. Music fills the ivory halls with rhapsody. Each note played, every bar sounded punctures your soul with deep joy and happy wonderment. Then, there are those in attendance. A wedding honors a very private relationship in the most public way; the ceremony is the couple’s way to shout their love to the world. People-watching the attendees, however, is reserved for the rest of the ceremony.
©Zach Keele. All Rights Reserved.
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Zach Keele
Rev. Zachary Keele grew up on a ranch in a small town named Crawford, Colorado. He attended Geneva College in Beaver Falls, Pennsylvania and received his Master of Divinity from Westminster Seminary California. He has served as the pastor of Escondido OPC since 2006.
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