Psalm 45. The Mystical Marriage

Monastery of St. John the Baptist, Megara

PSALM 45 (Ps. 44 LXX) is another hidden gem.  The Book of Psalms is a magnificent work — even by itself one of the greatest treatises on spiritual life we possess.  The weakening of spiritual life in the West today is proportional to the loss in fervor with which people study and pray Psalms, which in previous centuries was a mainstay of Christian spiritual life. It’s not enough to read or hear isolated verses of Psalms during masses and liturgies.  A thorough, attentive, and repeated reading of the whole work is needed. Only then may one recognize it as an organic unity with an express aim. That aim is to help effect a transformation of soul.  Psalms not only give us a conceptual framework for understanding that process of transformation, but, insofar as we pray individual psalms (or perhaps sing them) devoutly and meditate on their meanings, it becomes a means of effecting that transformation.

The subject is a marriage involving the soul. The resemblance to the Song of Songs is evident and striking. It would be interesting to know which was written earlier: does the first epitomize the second, or the second expand the first?

To begin there is one verse of introduction, a masterpiece of economy and eloquence, and immediately rivets our attention on what is to follow:

[1] My heart is inditing a good matter: I speak of the things which I have made touching the king: my tongue is the pen of a ready writer.

There is no doubt — on this virtually all commentators agree — but that this psalm does not describe any historical event, but its meaning is found in symbolism and allegorical interpretation. There are two principal figures in the psalm: the King, and the Bride.

The King

[2] Thou art fairer than the children of men: grace is poured into thy lips: therefore God hath blessed thee for ever.
[3] Gird thy sword upon thy thigh, O most mighty, with thy glory and thy majesty.
[4] And in thy majesty ride prosperously because of truth and meekness and righteousness; and thy right hand shall teach thee terrible things.
[5] Thine arrows are sharp in the heart of the king’s enemies; whereby the people fall under thee.
[6] Thy throne, O God, is for ever and ever: the sceptre of thy kingdom is a right sceptre.
[7] Thou lovest righteousness, and hatest wickedness: therefore God, thy God, hath anointed thee with the oil of gladness above thy fellows.
[8] All thy garments smell of myrrh, and aloes, and cassia, out of the ivory palaces, whereby they have made thee glad.

The King here is almost universally understood to signify Christ.  However, it’s also possible to understand the figure as symbolic of an Inner Christ within the soul.  These two interpretations are not mutually exclusive, but to supply a satisfactory discussion of the relationship of Christ to the Inner Christ (however valuable that might be) is beyond the present scope. We may observe, though, that such a parallel is implied by the important Christian doctrine of theosis (becoming like God).  Most unfortunate it is that this doctrine receives so little attention today outside the Orthodox Churches. We come to see, know and love God only to the degree that we become like Him. Our spiritual life is one of gradual coming to be like God, as we proceed from glory to glory. (2 Cor.3:18)

Of what, then, does the beauty of the King consist? We are told that He has the qualities of truth, meekness and righteousness. As we read and reflect on the psalm, we rediscover a great truth of our own soul: that we find this figure of supreme righteousness innately and irresistibly attractive. We cannot help but love deeply and intensely these divine virtues, because these also constitute the deepest nature of our own soul. We love in others what we treasure — sometimes without realizing it — in ourselves.  Reading these verses and calling to our imagination a vision of this King, we are confronted with a great truth of our own soul: we love Righteousness and Moral Beauty — and  far more so than anything related to the material world.  This realization jolts us into a proper remembrance of our true nature.

Yet the King is not only great in moral beauty, but also awesome and sublime in a sense that is, we might say, terrifying.  The very perfection of truth and righteousness which we admire in the King makes falsehood and wickedness perfectly unacceptable to Him.  Hence He is also portrayed as taking an aggressive stance against evil. This creates a psychological paradox for us — one that, in a sense, is the same paradox inherent in that potent expression, fear of the LORD. The same pure King of Righteousness, whose beauty we find so irresistibly attractive, is also a source in like degree of great apprehensiveness.  For we do not believe we are pure and holy.  Even the best of us harbors a deep awareness of our carnal nature and selfish tendencies. As we are drawn toward the beautiful King, we recoil, as though feeling as St. Peter did when he said, Depart from me; for I am a sinful man, O Lord. (Luke 5:8)

Therefore, while Christ, loving and patient, continually beckons us forward, saying, “Fear not!  Come into your Father’s house, to the place that has been prepared for you,” we are divided.  We wish both to proceed and to draw back, lest, coming into the presence of the Father, our sinful side will be seen and incur rejection and wrath.

This is an elemental conflict which must be resolved within the psyche of the devoted reader.  The harder task, perhaps, is not so much the elimination of all sin, but to accept that God loves us completely despite our sins.  This is a matter of great import.  For insofar as guilt and shame dominates our mind, we will seek to by our own efforts to conquer sin — the polar opposite of what we need.  But if we focus our attention on God’s generosity, understanding and love, we will see that it is by grace we are saved. So far from human understanding is this great truth!

The Bride

[9] Kings’ daughters were among thy honourable women: upon thy right hand did stand the queen in gold of Ophir.
[10] Hearken, O daughter, and consider, and incline thine ear; forget also thine own people, and thy father’s house;
[11] So shall the king greatly desire thy beauty: for he is thy Lord; and worship thou him.
[12] And the daughter of Tyre shall be there with a gift; even the rich among the people shall intreat thy favour.
[13] The king’s daughter is all glorious within: her clothing is of wrought gold.
[14] She shall be brought unto the king in raiment of needlework: the virgins her companions that follow her shall be brought unto thee.
[15] With gladness and rejoicing shall they be brought: they shall enter into the king’s palace.
[16] Instead of thy fathers shall be thy children, whom thou mayest make princes in all the earth.
[17] I will make thy name to be remembered in all generations: therefore shall the people praise thee for ever and ever.

The bride here has traditionally been given three alternative meanings:  (1) the Church, (2) the soul, and (3) the Blessed Virgin Mary.  Examples of all three interpretations can be found throughout ancient and medieval commentaries on the Song of Songs. The meanings overlap and are interact, so we need not worry overmuch about making an exact distinction among them. The Church, after all, is a collection of individual souls, and what applies to one, generally applies to the other. Similarly, the Blessed Virgin is frequently taken as a kind of ideal for the individual soul.  This not withstanding, our focus of attention here is on the bride as an individual soul.

Why is the soul symbolized as a female figure, as it would seem to transcend distinctions of gender. Apparently what is symbolized is not the entire soul, but that part of it that is connected with such things as feeling, sensation, emotion and desiring.  This affective soul (anima) would be the counterpart of another part of our soul, the intellective (animus).  In that case, we might possibly interpret the King as a symbol of the animus, to which the anima soul is being united in some new and fundamentally improved way.  Such an inner marriage has many archetypal counterparts in mythology (e.g., Martinus Capella’s Marriage of Philology and Mercury and Apuleius’ Marriage of Eros and Psyche), and some alchemical literature. A Jungian would see this as a representation of a conjiunctio or marriage of the conscious and unconscious psyche.

It is not correct for Christians to summarily and completely dismiss secular psychological or esoteric writers merely because they depart from orthodox Christianity. Even if they are merely half-right, we must pay attention to the half that is right.  Just as St. Augustine in On Christian Doctrine reminds us to read Scripture charitably, so as to not miss important meanings, so the principle of charity applies to reading secular works and writings from other spiritual traditions.

That said, the orthodox Christian (or, for that matter Jewish) and the Jungian view produce two complementary psychological interpretations of the marriage. The former sees the mystical marriage as an ascent of human consciousness to God.  The latter sees it as an integration of psychic functions that produce an intensification and revitalization of waking consciousness in and of this world — that is, attainment of what Abraham Maslow called  Being-experience. Elsewhere I have suggested that Plato’s philosophy, as shown particularly in his myths, can be understood as helping to attain both: mystical ascent and Being-experience. These two meanings are not mutually exclusive, and there is much in the Gospel to suggest it is as much concerned with the latter as the former. The telos of Christian ethics must be complete and integral if it is to be satisfying and compelling.

To return to the psalm, the Queen has female attendants, which may symbolize particular powers or faculties of the soul.  For example, they could mean the senses, or perhaps higher-level creative powers such as are symbolized in Greek myth by the Muses. Her garment of finest gold and its fine embroidery suggest a radiant and beautiful assortment of virtues.

The bride is told to leave her father’s land.  Many commentators plausibly suggest that this refers to the soul leaving its natural homeland of attachment to sensory and worldly goods, and fixing its affection on spiritual things.  (See excerpt from St. Ambrose below.)

In verse 11 we see that it is precisely because the soul rejects the worldly and turns to heavenly things that the King finds her beautiful.  This is a key point, and a magnificent one. It addresses and solves the aforementioned paradox.  Despite our fears and misgivings about being acceptable to God, we here are taught that we already possess, at least in potential, something that God treasures dearly.  Our soul becomes not just good, but supremely beautiful — possessing the very kind of moral beauty that the King prizes — by making the moral choice to turn from flesh to spirit.  We need not recoil from God due to an our awareness of sinfulness, for God has endowed us with a nature He finds supremely beautiful.  We must constantly redirect our attention to that fact.

Attending the wedding as a guest is another female figure, the Queen of Tyre. Tyre is a Philistine (i.e., heathen) city — so this figure may indicate some ruling power or sub-personality (for clarification of these terms see my previous post on Philonic interpretation) concerned with worldly things.  Significantly, this woman bears a gift.  What that gift is we are not told, and it is up to us to learn experientially.  It might involve the ability to enjoy sensory goods and pleasures to a far greater degree than we could before.  That is, if we are attached to the senses, we cannot really enjoy their offerings, because we are divided: we are simultaneous aware of defection, of giving our allegiance to the wrong place, which degrades the integrity of consciousness and diminishes enjoyment.  But if our allegiance remains in heaven, then we my touch the world of sense delicately, savoring it as we would the delicate scent of a rose, rather than dulling our senses with cheap perfume.

Princely offspring of the bride are also promised. Perhaps these would be intellectual activities, projects, and works initiated by the redeemed, reformed and divinized mind.

Conclusion

These are some possible interpretations.  They are only tentative, approximate and suggestive — hints, hopefully to that fuller understanding attainable only by devout reading and meditation.

As said before, there is an important performative dimension to interpreting the psalms.  Understanding comes more from praying than analyzing them.  This is true generally of biblical exegesis, and perhaps especially the Wisdom Books. There is a self-referential or circular quality:  by spiritual mindedness we understand the deeper meanings, and a main purpose of the Bible is to help us gain spiritual mindedness.  Norris puts this well:

“[Gregory of Nyssa] says not only that the Song in some fashion narrates an exemplary soul’s progress in knowledge and love of God but also that readers of the Song may themselves, through their comprehension of it, be brought along as actual participants in the same progress. The text of the Song has a kind of symbolic or sacramental character, then, in that to understand it fully is to be involved with the reality it speaks of.” (p. xlv).

Similarly, Origen, in his Commentary on the Song of Songs, interprets the words behold, thou art fair; thou hast doves’ eyes (Song 1.15) to mean that the eyes of the exegete are illumined by the Holy Spirit and enabled to see spiritual meanings of Scripture. (Origen Comm. Cant. 3.1)

Thus it is not the purpose here or in other articles to replace the effort of each reader with formulaic interpretations.

Let us, then, simply close with a passage from St. Ambrose’s commentary on the Song (found in his work On Isaac, or the Soul) I encountered in preparing this article which seems very relevant:

(8.78) Let us then take up these wings, since like flames they aim for the higher regions. Let each man divest his soul of her baser coverings and approve her when she is cleansed of the mire just as he would approve gold cleansed by fire. For the soul is cleansed just like the finest gold. Moreover the beauty of the soul, her pure virtue and attractiveness, is her truer knowledge of the things that are above, so that she sees the good on which all things depend, but which itself depends on none. There she lives and receives her understanding. For that supreme good is the fountain of life; love and longing for it are enkindled in us, and it is our desire to approach and be joined to it, for it is desirable to him who does not see it and is present to him who sees it, and therefore he disregards all other things and takes pleasure and delight in this one only. …

Let us flee therefore to our real, true fatherland [cf. Plotinus, Enneads 1.6.5]. There is our fatherland and there is our Father, by whom we have been created, where there is the city of Jerusalem, which is the mother of all men. (8.79) … Let us flee with the spirit and the eyes and feet that are within. Let us accustom our eyes to see what is bright and clear, to look upon the face of continence and of moderation, and upon all the virtues, in which there is nothing scabrous, nothing obscure or involved. And let each one look upon himself and his own conscience; let him cleanse that inner eye, so that it may contain no dirt. For what is seen ought not to be at variance with him who sees, because God has wished that we be conformed to the image of His Son. … This is the eye that looks upon the true and great beauty. Only the strong and healthy eye can see the sun; only the good soul can see the good. Therefore let him become good who wishes to see the Lord and the nature of the good.

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References

Astell, Ann W. The Song of Songs in the Middle Ages. Cornell University Press, 1990.

McHugh, Michael P. (tr.). Saint Ambrose: Isaac, or the Soul (De Isaac vel anima). In: Michael P. McHugh (ed.), Saint Ambrose: Seven Exegetical Works, Fathers of the Church 65, CUA Press, 1972 (repr. 2010); pp. 9−65.

Lawson, R. P. (tr.). Origen: The Song of Songs Commentary and Homilies. Ancient Christian Writers 26. Newman Press, 1957.

Norris Jr., Richard A. (tr.). Gregory of Nyssa: Homilies on the Song of Songs. Society of Biblical Literature, 2012.

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