Expositions of Holy Scripture: Psalms

by Alexander Maclaren

The words of our text are thrice repeated in these two psalms. In the two former instances they are followed by a fresh burst of pained feeling. A moment of tranquillity interrupts the agitation of the Psalmist's soul, but is soon followed by the recurrence of 'the horrible storm' that 'begins afresh.' A tiny island of blue appears in his sky, and then the pale, ugly, grey rack drives across it once more. But the guiding self keeps the hand firm on the tiller, notwithstanding the wash of the water and the rolling of the ship, and the dominant will conquers at last, and at the third time the yielding soul obeys and is quiet, because the Psalmist's will resolved that it should be quiet, and it hopes in God because He, by a dead lift of effort, lifts it up to hope.

No effort at tranquillising our hearts is wholly lost; and no attempt to lay hold upon God is wholly in vain. Men build a dam to keep out the sea, and the winter storms make a breach in it, but it is not washed away altogether, and next season they will not need to begin to build from quite so low down; but there will be a bit of the former left, to put the new structure upon, and so by degrees it will rise above the tide, and at last will keep it out.

Did you ever see a child upon a swing, or a gymnast upon a trapeze? Each oscillation goes a little higher; each starts from the same lowest point, but the elevation on either side increases with each renewed effort, until at last the destined height is reached and the daring athlete leaps on to a solid platform. So we may, if I might say so, by degrees, by reiterated efforts, swing ourselves up to that steadfast floor on which we may stand high above all that breeds agitation and gloom. It is possible, in the midst of change and circumstances that excite sad emotions, anxieties, and fears—it is possible to have this calmness of hope in God. The rainbow that spans the cataract rises steadfast above the white, tortured water beneath, and persists whilst all is hurrying change below, and there are flowers on the grim black rocks by the side of the fall, whose verdure is made greener and whose brightness is made brighter, by the freshening of the spray of the waterfall. So we may be 'as sorrowful, yet always rejoicing,' and may bid dejected and disquieted souls to hope in God and be still.

THE KING IN HIS BEAUTY

'Thou art fairer than the children of men; grace is poured into Thy lips: therefore God hath blessed Thee forever. 3. Gird Thy sword upon Thy thigh, O mighty one, Thy glory and Thy majesty. 4. And in Thy majesty ride on prosperously, because of truth and meekness and righteousness: and Thy right hand shall teach Thee terrible things. 5. Thine arrows are sharp; the peoples fall under Thee; they are in the heart of the King's enemies. 6. Thy throne, O God, is for ever and ever: a sceptre of equity is the sceptre of Thy kingdom. 7. Thou hast loved righteousness, and hated wickedness: therefore God, Thy God, hath anointed Thee with the oil of gladness above Thy fellows.' —PSALM xlv. 2-7 (R.V.).

There is no doubt that this psalm was originally the marriage hymn of some Jewish king. All attempts to settle who that was have failed, for the very obvious reason that neither the history nor the character of any of them correspond to the psalm. Its language is a world too wide for the diminutive stature and stained virtues of the greatest and best of them, and it is almost ludicrous to attempt to fit its glowing sentences even to a Solomon. They all look like little David in Saul's armour. So, then, we must admit one of two things. Either we have here a piece of poetical exaggeration far beyond the limits of poetic license, or 'a greater than Solomon is here.' Every Jewish king, by virtue of his descent and of his office, was a living prophecy of the greatest of the sons of David, the future King of Israel. And the Psalmist sees the ideal Person who, as he knew, was one day to be real, shining through the shadowy form of the earthly king, whose very limitations and defects, no less than his excellences and his glories, forced the devout Israelite to think of the coming King in whom 'the sure mercies' promised to David should be facts at last. In plainer words, the psalm celebrates Christ, not only although, but because, it had its origin and partial application in a forgotten festival at the marriage of some unknown king. It sees Him in the light of the Messianic hope, and so it prophesies of Christ. My object is to study the features of this portrait of the King, partly in order that we may better understand the psalm, and partly in order that we may with the more reverence crown Him as Lord of all.

I. The Person of the King.

The old-world ideal of a monarch put special emphasis upon two things—personal beauty and courtesy of address and speech. The psalm ascribes both of these to the King of Israel, and from both of them draws the conclusion that one so richly endowed with the most eminent of royal graces is the object of the special favour of God. 'Thou art fairer than the children of men, grace is poured into Thy lips: therefore God hath blessed Thee for ever.'

Here, at the very outset, we have the keynote struck of superhuman excellence; and though the reference is, on the surface, only to physical perfection, yet beneath that there lies the deeper reference to a character which spoke through the eloquent frame, and in which all possible beauties and sovereign graces were united in fullest development, in most harmonious co-operation and unstained purity.

'Thou art fairer than the children of men.' Put side by side with that, words which possibly refer to, and seem to contradict it. A later prophet, speaking of the same Person, said: 'His visage was so marred, more than any man, and His form than the sons of men…. There is no form nor comeliness, and when we shall see Him there is no beauty that we should desire Him.' We have to think, not of the outward form, howsoever lovely with the loveliness of meekness and transfigured with the refining patience of suffering it may have been, but of the beauty of a soul that was all radiant with a lustre of loveliness that shames the fragmentary and marred virtues of the best of us, and stands before the world for ever as the supreme type and high-water mark of the grace that is possible to a human spirit. God has lodged in men's nature the apprehension of Himself, and of all that flows from Him, as true, as good, as beautiful; and to these three there correspond wisdom, morality, and art. The latter, divorced from the other two, becomes earthly and devilish. This generation needs the lesson that beauty wrenched from truth and goodness, and pursued for its own sake, by artist or by poet or by dilettante, leads by a straight descent to ugliness and to evil, and that the only true satisfying of the deep longing for 'whatsoever things are lovely' is to be found when we turn to Christ and find in Him, not only wisdom that enlightens the understanding, and righteousness that fills the conscience, but beauty that satisfies the heart. He is 'altogether lovely.' Nor let us forget that once on earth 'the fashion of His countenance was altered, and His raiment did shine as the light,' as indicative of the possibilities that lay slumbering in His lowly Manhood, and as prophetic of that to which we believe that the ascended Christ hath now attained—viz. the body of His glory, wherein He reigns, filled with light and undecaying loveliness on the Throne of the Heaven. Thus He is fairer in external reality now, as He is, by the confession of an admiring, though not always believing, world, fairer in inward character than the children of men.