Psa 2:3 | KD | STEP | The Psalm begins with a seven line strophe, ruled by an interrogative Wherefore. The mischievous undertaking condemns itself, It is groundless and fruitless. This certainty is expressed, with a tinge of involuntary astonishment, in the question. למּה followed by a praet . enquires the ground of such lawlessness: wherefore have the peoples banded together so tumultuously (Aquila: ἐθορυβήθησαν)? and followed by a fut ., the aim of this ineffectual action: wherefore do they imagine emptiness? ריק might be adverbial and equivalent to לריק, but it is here, as in , a governed accusative; for הגה which signifies in itself only quiet inward musing and yearning, expressing itself by a dull muttering (here: something deceitful, as in ), requires an object. By this ריק the involuntary astonishment of the question justifies itself: to what purpose is this empty affair, i.e., devoid of reason and continuance? For the psalmist, himself a subject and member of the divine kingdom, is too well acquainted with Jahve and His Anointed not to recognise beforehand the unwarrantableness and impotency of such rebellion. That these two things are kept in view, is implied by , which further depicts the position of affairs without being subordinated to the למה. The fut . describes what is going on at the present time: they set themselves in position, they take up a defiant position (התיצּב as in ), after which we again (comp. the reverse order in ) have a transition to the perf . which is the more uncoloured expression of the actual: נוסד (with יחד as the exponent of reciprocity) prop. to press close and firm upon one another, then (like Arab. sâwada , which, according to the correct observation of the Turkish Kamus, in its signification clam cum aliquo locutus est, starts from the very same primary meaning of pressing close to any object): to deliberate confidentially together (as and נועץ ). The subjects מלכי־ארץ and רוזנים (according to the Arabic razuna , to be weighty: the grave, dignitaries, σεμνοί, augusti ) are only in accordance with the poetic style without the article. It is a general rising of the people of the earth against Jahve and His משׁיח, Χριστὸς, the king anointed by Him by means of the holy oil and most intimately allied to Him. The psalmist hears ( ) the decision of the deliberating princes. The pathetic suff. êmō instead of êhém refers back to Jahve and His Anointed. The cohortatives express the mutual kindling of feeling; the sound and rhythm of the exclamation correspond to the dull murmur of hatred and threatening defiance: the rhythm is iambic, and then anapaestic. First they determine to break asunder the fetters (מוסרות = מאסרות) to which the את, which is significant in the poetical style, points, then to cast away the cords from them (ממּנוּ a nobis , this is the Palestinian mode of writing, whereas the Babylonians said and wrote mimeenuw a nobis in distinction from ממּנוּ ab eo , B. Sota 35a ) partly with the vexation of captives, partly with the triumph of freedmen. They are, therefore, at present subjects of Jahve and His Anointed, and not merely because the whole world is Jahve’s, but because He has helped His Anointed to obtain dominion over them. It is a battle for freedom, upon which they are entering, but a freedom that is opposed to God.

‏ Psalms 2:3

The Psalm begins with a seven line strophe, ruled by an interrogative Wherefore. The mischievous undertaking condemns itself, It is groundless and fruitless. This certainty is expressed, with a tinge of involuntary astonishment, in the question. למּה followed by a praet. enquires the ground of such lawlessness: wherefore have the peoples banded together so tumultuously (Aquila: ἐθορυβήθησαν)? and followed by a fut., the aim of this ineffectual action: wherefore do they imagine emptiness? ריק might be adverbial and equivalent to לריק, but it is here, as in Psa 4:3, a governed accusative; for הגה which signifies in itself only quiet inward musing and yearning, expressing itself by a dull muttering (here: something deceitful, as in Psa 38:13), requires an object. By this ריק the involuntary astonishment of the question justifies itself: to what purpose is this empty affair, i.e., devoid of reason and continuance? For the psalmist, himself a subject and member of the divine kingdom, is too well acquainted with Jahve and His Anointed not to recognise beforehand the unwarrantableness and impotency of such rebellion. That these two things are kept in view, is implied by Psa 2:2, which further depicts the position of affairs without being subordinated to the למה. The fut. describes what is going on at the present time: they set themselves in position, they take up a defiant position (התיצּב as in 1Sa 17:16), after which we again (comp. the reverse order in Psa 83:6) have a transition to the perf. which is the more uncoloured expression of the actual: נוסד (with יחד as the exponent of reciprocity) prop. to press close and firm upon one another, then (like Arab. sâwada, which, according to the correct observation of the Turkish Kamus, in its signification clam cum aliquo locutus est, starts from the very same primary meaning of pressing close to any object): to deliberate confidentially together (as Psa 31:14 and נועץ Psa 71:10). The subjects מלכי־ארץ and רוזנים (according to the Arabic razuna, to be weighty: the grave, dignitaries, σεμνοί, augusti) are only in accordance with the poetic style without the article. It is a general rising of the people of the earth against Jahve and His משׁיח, Χριστὸς, the king anointed by Him by means of the holy oil and most intimately allied to Him. The psalmist hears (Psa 2:3) the decision of the deliberating princes. The pathetic suff. êmō instead of êhém refers back to Jahve and His Anointed. The cohortatives express the mutual kindling of feeling; the sound and rhythm of the exclamation correspond to the dull murmur of hatred and threatening defiance: the rhythm is iambic, and then anapaestic. First they determine to break asunder the fetters (מוסרות = מאסרות) to which the את, which is significant in the poetical style, points, then to cast away the cords from them (ממּנוּ a nobis, this is the Palestinian mode of writing, whereas the Babylonians said and wrote mimeenuw a nobis in distinction from ממּנוּ ab eo, B. Sota 35a) partly with the vexation of captives, partly with the triumph of freedmen. They are, therefore, at present subjects of Jahve and His Anointed, and not merely because the whole world is Jahve’s, but because He has helped His Anointed to obtain dominion over them. It is a battle for freedom, upon which they are entering, but a freedom that is opposed to God.