Psalm 45 (44):1Meaning & Commentary from the Church Fathers

Formerly, it served the creations of its own hands, but now it serves the Creator who fashioned it. Consider the time when these words about transformation were spoken; the remaining Gentiles are already aware of the change in circumstances. Those unwilling to embrace transformation observe the churches thronged with followers while the temples stand empty, noticing crowds gathered here and desolation there. They marvel at this remarkable shift; let them read the prophecies or listen to Him who promised it, and trust in the One who fulfills that promise. Each of us, dear friends, also experiences a transformation: from the old self to the new, from unbelief to faith, from theft to generous giving, from immorality to righteousness, from wrongdoing to good deeds. Thus, the words about the transformed will be sung to us, and we shall commence our description of Him through whom this transformation occurs.

Moreover, what is to be transformed is given to the sons of Korey for insight; it is a song for the beloved. That Beloved One was seen by His adversaries but not understood. Had they recognized Him, they would not have crucified the Lord of Glory (1 Cor. 2:8). For this understanding, He required different eyes when He proclaimed, “He who sees Me sees My Father also” (Jn. 14:9). Therefore, let the psalm now resound about Him, let us celebrate the wedding feast, and let us be among those united in this sacred marriage; those invited are the Bride herself. The Church is the Bride, while Christ is the Bridegroom. Poets often compose verses celebrating the Bridegroom and Bride, known as Epithalamia. Everything proclaimed therein honors both the Bride and the Bridegroom. Is not the bridal feast to which we are summoned the chamber of the Bride? As another psalm states, “He hath set His tabernacle in the Sun”; He resembles a bridegroom emerging from his chamber. The union of marriage signifies the joining of the Word and the flesh, with the marriage altar symbolized by the Virgin’s womb. The flesh was united with the Word, as it is said, “Henceforth they are no longer two, but one flesh.” The Church, taken from the human race, is joined to Him so that the Flesh, united with the Word, might serve as the Head of the Church, while the faithful become the members of that Head.

A man's distinction lies in his physical strength and mental fullness compared to that of a youth. Likewise, as one matures, he gradually experiences the loss of vitality; physical vigor subtly declines, leading to the eventual frailty of old age. Thus, we undergo transformation, and in this respect, the psalm wisely refers to us. Angels, in contrast, do not experience such change. There are no stages of youth or old age among them; they remain in the state of creation as pure and immutable. We, however, change in body and soul, constantly reshaping our thoughts according to the ever-changing circumstances around us. We find unity in happiness when life unfolds favorably, and we transform in challenging situations, acting differently when faced with adversity. Anger can morph us into something beastly, while lust can reduce us to a state akin to animals engaged in indulgence. ‘Horses are made effeminate,’ consumed by desire for their neighbor’s wife (cf. Jer. 5:8). The deceitful are compared to a ‘fox,’ reminiscent of Herod (cf. Lk. 13:32), and the shameless are likened to a dog, as seen in Nabal of Carmel. Behold how diversely we are transformed! Yet, marvel at Him who aptly applies this designation to us! One interpreter has effectively expressed this notion differently, referring to it as ‘of the lilies,’ noting how flowers quickly wither as an analogy for the fragility of human nature. Given that the phrase is in the future tense, when referring to ‘of those who shall be changed,’ this may foreshadow the Resurrection, a transformation into a superior and spiritual state. For it is declared, ‘He that is sown in corruption shall rise in incorruption’ (1 Cor. 15:42). At that time, all creation will undergo change alongside us. Even the heavens will be altered ‘like a garment’ (cf. Ps. 101:27). According to Isaiah, the sun will shine sevenfold brighter, and the moon will compare to the sun as it shines now (see Isaiah 30:26). However, the words of God are intended not for all but for those with inner understanding. The prophet wrote ‘of those who are changed’ to indicate those who tend to their spiritual well-being, growing ever more fruitful through the practice of righteousness. This majestic transformation is granted by the right hand of the Most High. Blessed David recognized such transformation in himself, as he experienced the fruits of virtue and sought to move forward. He expresses, ‘And I say, Now begin, this is the treachery of the right hand of the Most High’ (Ps. 76:11). Therefore, for one who excels in virtue, there is never a moment free from change. He said, ‘When I was a child, I spake as a child, I understood as a child, I thought as a child. But when I became a man, I put away childish things’ (1 Cor. 13:11). Even as a man, he continued to be active, ‘forgetting those things which are behind, and reaching forth unto those things which are before, I press toward the mark for the prize of the high calling of God in Christ Jesus’ (cf. Phil. 3:13-14). Therefore, there is transformation as the inner self is renewed day by day. The prophet aims to reveal the ‘Beloved’ who undertook Incarnation for those who are deserving of such grace, stating that this song is given by ‘the son of Koreth.’ It is a song rather than a psalm, delivered with a single voice and solely in gentle melody, without the accompaniment of organs. This ‘song’ pertains to the ‘Beloved.’ Should I clarify which Beloved it refers to? Or do you already know, recalling the voice from the Gospel: ‘This is My beloved Son, in whom I am well pleased; hear ye Him’ (Matthew 17:5)? He is beloved by the Father as the only begotten, cherished by all creation as the loving Father and compassionate Advocate. The beloved and the good are inherently one. Some have rightly defined goodness as that which is desired by all. However, not all can attain the fullness of love or recognize the true Beloved, but only those who have shed the ‘old self, which is corrupt according to the deceitful desires’ (Eph. 4:22) and have clothed themselves with ‘the new self, which is being renewed in knowledge in the image of its Creator’ (Col. 3:10). Those who adore material wealth, who are seduced by transient beauty, or who seek hollow glory divert their gaze from the true Beloved. Thus, it is commanded, ‘You shall love the Lord your God with all your heart, with all your soul, and with all your mind’ (Mark 12:30). The phrase ‘with all’ indicates that love cannot be allocated to other pursuits. The extent of love spent on worldly matters directly detracts from the total love one possesses. Hence, few are called friends of God, like Moses, noted as a friend of God (see Exodus 33:11), and John, of whom it is said, ‘The friend of the Bridegroom rejoices greatly at the bridegroom’s voice’ (John 3:29), signifying that those steadfast in their love for Christ deserve His friendship. The Lord also tells those disciples who have achieved maturity: ‘No longer do I call you servants, for the servant does not know what his master is doing’ (cf. John 15:15). Therefore, it is the perfected who are capable of truly knowing the Beloved. Indeed, only the saints are friends of God and friends to one another; however, every wicked and ignorant person remains outside of friendship, as the benefits of camaraderie cannot coexist with a corrupted heart. Evil is contrary not only to good but also to itself. Let us now advance into the interpretation of the prophetic words.

There are four psalms sharing a similar opening phrase, though differing in their conclusions: the 44th, 59th, 68th, and 79th; the middle two are attributed to David, while the first and the last belong to the sons of Kore and Asaph. While it isn't the moment to delve into all of them, let us focus on the one at hand. The term end aligns well with those transformed at the culmination of the ages, of whom the apostle states, "We shall not all die, but we shall all be changed" (1 Cor. 15:51). This profound secret readies the reader for deeper insights. When the message is straightforward, there seems less need to prepare the listener for comprehension, hence, the call: "He who has ears to hear, let him hear!" (Matthew 11:15). Likewise, this song is directed to the Most Precious and Beloved, for through Him, the saints will receive the promised transformation. Such change can be seen as the renewing that happens in this life when we discard the old self for the new, refreshed in the image of the Creator, and as we gaze upon the Lord's glory, we are transformed into His likeness, going from glory to glory. There is never a moment when the saint is not changed, letting go of the past and striving toward the future, for our inner being is renewed daily. The unchangeable God, who declares through the prophet, "I am the Lord, I do not change" (Malachi 3:6), willingly transformed His image for our benefit, taking the form of a servant and journeying from Judea to the Philistines—those who have fallen away, besotted by the golden cup of Babylon. Initially, He was ridiculed for the foolishness of the Cross, yet ultimately, He embraced the glory of triumph. The Beloved is described by Isaiah: "I will sing to my Beloved the song of my Beloved of His vineyard" (Isaiah 5:1), and in the Gospel: "This is my beloved Son, in whom I am well pleased; listen to Him" (Matthew 17:5)—the One to whom not just one prophet, but an entire chorus of Kore's sons now offers praise. The identity of the sons of Kore, linked to Calvary, is elaborated in the forty-first Psalm. It is essential to understand that the lyrics of the song relate to the title; they convey a shift from one state to another, as the daughter is urged to forget her past and ready herself for the King's embrace. The Victor is He who proclaims, "Courage, I have overcome the world" (John 16:33), to whom the young man’s well-known words are directed: "From Thee is victory, and from Thee is wisdom, and Thy glory, and I am Thy servant" (2 Ezra 4:59); this truth is recognized fully by the one who has triumphed by the might of the Lord's victorious right hand and shares in His glorious victory, adorning the Savior with an everlasting crown of glory crafted from the radiant deeds of righteousness and various acts of courage.

Simmachus interpreted the term ‘changeable’ with the word ‘flowers,’ while Aquila and Theodotion used ‘lilies.’ Both flowers and lilies represent springtime plants, and the spiritual spring signifies the arrival of the Savior. In accordance with Isaiah's prophecy, the ancient wilderness rejoiced and flourished ‘like a crone’ (Isaiah 35:1). This prophecy points to the One who has sown and nurtured the earth, transforming all and rendering it abundant.

It is a song, which means it was not performed on the psalter's instrument but rather sung with a unified voice. The term Beloved succinctly encapsulates the entirety of the psalm's title, for this psalm speaks of Christ. He is beloved by the Father as the only begotten Son and is also cherished by us as our most compassionate Father, echoing the words of the Great Basil. The Father proclaimed, This is My beloved Son, in whom I am well pleased (Matthew 3:17).

Another translation offers an additional title: Of the crinums, or of the flowers, which the Great Basil interprets as reflecting the fleeting nature of flowers as a fitting metaphor for the brevity of human existence. St. Gregory of Nyssa observes that the title ‘of the changeable’ suggests that only the Divine nature transcends all variation and transformation. There is nothing that requires change, as it is untainted by evil and cannot improve, needing no alteration since it lacks deficiency. In contrast, we humans are subject to shifts and changes, improving or deteriorating based on our actions; we worsen when we stray from good deeds and improve when we are elevated by the transformation toward goodness. Therefore, having been joined with the good through conversion, we require a favorable change that leads to a better state. Some have written of flowers or crinums (lilies), as their colors symbolize the shift from winter to spring, representing the transition from a life of vice to one of virtue. The form of the lily illustrates the nature of this transformation. The one transformed through change emerges from darkness into light, appearing radiant and pure. Theodoret notes that Simmachus called the transformed individuals flowers, while Aquila and Theodotion referred to them as crinums. Flowers or lilies bloom in spring; thus, the spiritual spring signifies the coming of the Savior, during which, as prophesied by Isaiah, the ancient wilderness rejoiced and blossomed like a lily. Litinus in his recently published Psalter states that this psalm mirrors the themes of Solomon's Song of Songs and serves as a summary thereof. Consequently, it is acknowledged by all interpreters, including those from Jewish traditions, as a song of marriage and should be understood in a spiritual context, representing the divine union of Christ with the Church, the spiritual groom with His spiritual bride.

Here, the mention of lilies can signify brides (v.10), leading us to interpret this as a "song of the brides." Conversely, if lilies denote special beauty (v.3), it could refer to the bridegroom depicted within the psalm, making “of the lilies” synonymous with a song of the beloved—the bridegroom’s love for the brides and their reciprocal affection for him, thus encompassing the theme of love among them. The Septuagint translates "lilies" differently, implying a deeper understanding of this psalm in a Messianic context; the lilies can symbolize the brides of the bridegroom, that is, Christians called from both Jews and Gentiles to experience transformation (αλλοιωθησόμενοι) through the Messiah. The notion of transformation—affecting spirit, body, and external nature—was certainly familiar to the Septuagint translators as it is distinctly noted by the prophets. Christ is recognized as the beloved, adored by his brides. The phrase ‘υπερ αλλοιωθησομενων was rightly understood by the Church Fathers to signify both moral and physical changes in humanity, anticipated to occur at the resurrection to glory. This psalm was already integrated into divine worship (indicated in the title: lamnatzeach for the choir leader) and designated for the education and edification of the congregation, highlighting its significance; a mere wedding song would not have warranted such a role or secured a place in the canon. Those proposing a standard historical explanation of this psalm often connect it to Solomon's marriage to an Egyptian woman (3 Samuel 3:1), or others to Ahab and Jezebel, or Jehoshaphat and a Tyrian queen, even to Joram of Judah with Gophalia of Israel, or to the Syrian king Alexander with the Egyptian queen Cleopatra. However, such interpretations are unsustainable upon closer examination. The prophetic tone of the song clearly indicates that the king in question represents the Messiah. Furthermore, the psalm depicts a bridegroom who takes multiple brides simultaneously—a rarity—while asserting his eternal reign (v.7), elevating his sons to princes across the earth (v.17) and being glorified by all nations (v.18). Moreover, the royal Bridegroom is explicitly referred to as God (vv.7-8). These compelling internal factors lend weight against a purely historical perspective, leading the Septuagint to embrace an exclusively Messianic interpretation of this psalm, which was also widely accepted among the Jews during the time of Christ, as seen in Hebrews 1:8,9 (and corroborated by the Targum), a view that persists among many Jews today. The Church Fathers elucidated all aspects through the lens of the Messiah; the King is the Messiah, the first of the brides being the Old Testament people, the firstborn and the εκλογη of the nations. After the Forerunner fulfilled his role as a friend of the bridegroom (Jn.3:29), Christ addressed Israel—the people infused with the Logos and chosen as His inheritance (Sir.24:13), His possession (Jn.1:11)—before subsequently inviting Gentile nations to partake in Messianic salvation. The Church initially emerged from Judaism, presenting the Judeo-Christian congregation as the principal bride, while the Gentile nations who have come to Christ through her are viewed as allies. Thus, we affirm this psalm’s direct Messianic nature, even as we recognize that the psalmist drew inspiration from the contemporary circumstances of Solomon’s time to craft his poetic vision; a devout Israelite might readily see in Solomon, especially during the early years of his reign, a reflection of the Messianic age and its conditions.

Some scholars view this composition as a wedding song celebrating Solomon's union with the daughter of the Egyptian king; however, the lyrics, particularly verses 7, 8, 12, and 18, make it clear that this song cannot pertain to any earthly monarch, even Solomon himself. The Apostle Paul explicitly attributes the words of verse 7 to Jesus Christ. Consequently, the Church Fathers consistently interpret this hymn as a reference to Christ the Saviour, the eternal King, the Beloved Son of God, and the Bridegroom of the Church, as well as the subsequent changes resulting from God’s intervention for the redemption of the world. Even the Rabbis link this hymn to the Messiah (Yimchi, Abenezra, Rab. Solomon, and others). St. Chrysostom remarks that this psalm is written concerning Christ, which is evident in its titles: of the Beloved and of those who are transformed. For Christ has initiated a profound change within us, leading to a reversal and renewal in all aspects of life.

Symmachus describes it as 'a triumphant song of the flowers, of the sons of Korah.' Aquila translates it as 'to the victorious one about the lilies, of the sons of Kore.' Theodotion renders it as 'a song of the mind to the Beloved.' Calmet interprets it as an instructive song for the chief musicians of the sons of Korah to be sung on a six-stringed instrument. This is a melody meant for the friends of the bride.