Although clearly recognizable as a royal psalm because of its concern
with the king, Psalm 45 is unique within the Psalter as the only one to praise
a human. Its title mentions a ‘song of love’ that links to the poem’s content
since it is addressed to a royal couple on their wedding day. Unusually, it
addresses both the king and his bride, albeit in idealized terms, encouraging
them to fulfil their respective royal roles. By general consent (contra Postell
2019, who argues it was intentionally messianic), it was written for a royal
wedding and its associated celebrations, but it lacks details that would allow
identification with a particular wedding (cf. Starbuck 1999: 114). This is
somewhat ironic given the composer’s vow to ensure the king’s name is remembered
perpetually, but that promise does not depend on this poem alone. (David G.
Firth, Psalms [Apollos Old Testament Commentary 14; London: Apollos,
2025], 253)
. . . the hyperbole reaches a new level in verse 6, where the king is
addressed as ‘God’ when he is assured that his throne endures for ever.
Although Israel recognized only one God, the word translated ‘God’ (’ĕlōhîm) can be flexible in meaning.
Here, it perhaps indicates that God stands so closely with the king because of
the Davidic covenant (cf. 2 Sam. 7:1–17), and as one appointed by God, that he
can be addressed as God (cf. Exod. 7:1; 21:6; 22:8–9, 28; Ps. 138:1; cf. Cheung
2016: 330). God’s throne is genuinely eternal, so the endurance of the king’s
reign reflects this. Moreover, that God is the one whose reign is marked by
righteousness indicates that the king’s reign should be modelled on God’s
reign. To the extent that the king’s reign demonstrates a love of righteousness
and rejection of wickedness, the king truly reigns as God’s representative and
so can be addressed this way. But that the king is ultimately not God is made
clear by the statement in verse 7 that God has anointed the king (cf. A. P.
Ross 2013: 63). The king was addressed as God, but there is one who stands
above him who is truly God, and the king reigns because God has anointed him
(cf. Ps. 2:7). Hence, even as the psalm borrows the courtly language of its
time, it limits its implications in a manner distinctive to Israel.
Nevertheless, as the one anointed by God, the king enjoys wealth and comfort,
symbolized by superior garments, luxury goods such as ivory and musical
instruments, all natural elements of a wedding party ultimately focused on the
queen (perhaps the queen mother, not the bride; cf. Schroeder 1996: 428), who
stands with her own signs of wealth. (David G. Firth, Psalms [Apollos
Old Testament Commentary 14; London: Apollos, 2025], 254-55)
