2:1-3: 1 Why do the nations conspirea
and the peoples plot in vain?
2The kings of the earth take their stand
and the rulers gather together
against the Lord
and against his Anointed One.b
3 "Let us break their chains," they say,
"and throw off their fetters."
The psalm opens with a rhetorical question expressing shock that the nations should think to revolt. Though the interrogative "why" is found only in v1, there is no doubt that its intent covers vv2-3 as well, so that the stanza is effectively saying:
Why do the nations conspire
and the peoples plot in vain?
Why do the kings of the earth take their stand
and the rulers gather together
against the Lord
and his Anointed One?
Why do they say,
"Let us break their chains
and throw off their fetters"?
By omitting the interrogative from vv2 & 3 the psalmist heightens the shock effect of the question. By putting the words of v3 in the mouths of the rebels, the psalmist also concretizes the nature of their revolt. So, while the "word 'why' (lmd) is used only once at the beginning of v1a . . . it dominates the whole introductory section (2:1-3) and is implied in the following lines."1
The rebels are depicted here by two pairs of synonyms. The first pair consists of the goyim, 'the nations,' and the le'ummim, 'the peoples.' Both nouns refer to people groups but are seen here united in their rebellion. Here both nouns lack the definite articles; they, therefore, do not designate any nation or people in particular but have in mind any nation or people "out there" who might contemplate such a foolish thing. These people, however, are not acting as if without cue or purpose. They are led by the second pair of synonyms, "the kings" and "the rulers." As with the earlier synonyms, these also lack the definite article.
While the sense of the stanza is fairly plain, what is not clear is what does a rebellion by the nations and their kings have to do with a coronation psalm?
There is a recurring pattern in the history of the politics of the ancient Near East that rebellion by subject-nations would break out upon the death of the suzerain. The new suzerain needs time to consolidate his power and claim to the throne, and often has to contend internally with other princeling claimants and externally with possible neighbouring rivals in the process. The power structure of the empire is, therefore, at its most fluid and precarious during these times; it is at such times that the empire is most vulnerable to its subject-nations rebelling against it. When Solomon died, for example, Israel took the opportunity to break off from Judah to become an independent nation under Jeroboam ben Nebat (1 Ki 12). A more complex version of this pattern is seen on the death of Jotham and his succession by Ahaz, kings of Judah. Confronted by the threat of an attack from a confederation of nations led by Israel, Edom — which had been subject to Judah — took the opportunity to rebel and even managed to drive the Judeans out of the southern port of Elath (Ezion-geber) while the Philistines set upon Judah from the west and south to take control of the Shephelah and Negev (2 Ki 16:6 & 2 Chr 28:17).2
This stanza does not report an actual revolt. By using this imagery the psalm affirms in a graphically gripping way the power and authority of Yahweh behind the king being crowned and, therefore, the futility of any opposition to him. This is also underlined by the reference to "the Lord and . . . his Anointed One." Behind the human drama of coronation stands Yahweh, the real and ultimate sovereign of Israel-Judah, and the Davidic king is "His Anointed."
As it turns out, then, though everything said in the stanza sounds like a pointed question, it is potent pronouncement of confidence in the king and the King behind the king and, all in all, a dramatically appropriate introduction to a coronation psalm.3
Though the psalm itself does not have a concrete historical act of revolt by the nations in mind, the early Christians saw things differently. Acts 3 describes how, after the healing of the crippled beggar near the gate called Beautiful, Peter and John were interrogated by the priests and Jewish leaders, then threatened and commanded "not to speak or teach at all in the name of Jesus." Upon their release they returned to their brethren, when they shared with them what had happened. In prayers, afterwards, they said (4:24-30):
Sovereign Lord," they said, "you made the heaven and the earth and the sea, and everything in them. You spoke by the Holy Spirit through the mouth of your servant, our father David:
Why do the nations rage
and the peoples plot in vain?
The kings of the earth take their stand
and the rulers gather together
against the Lord
and against his Anointed One.'
Indeed Herod and Pontius Pilate met together with the Gentiles and the people of Israel in this city to conspire against your holy servant Jesus, whom you anointed. They did what your power and will had decided beforehand should happen. Now, Lord, consider their threats and enable your servants to speak your word with great boldness. Stretch out your hand to heal and perform miraculous signs and wonders through the name of your holy servant Jesus.
What the psalms saw as a potential though very realistic situation, the apostles saw as a prophesy of opposition that arose in their days against Christ and His people.
Alas, such plotting and conspiration continues. Churches continue to be targets of bombing and arson in Egypt — where the historic Coptic Church is under threat — in Uganda, Sudan, Pakistan, and Afghanistan. Saudi Arabia remains adamant in its refusal to allow Christians to gather in open worship. But why? It is not a question for which Christians need an aswer. The why Christians ask is the surprise that these nations and people have not learned from the past. China and Russia, two nations that just a generation ago were the most oppressive of Christians, today are experiencing growth in the Lord's presence as never before. The Christian why is, like that of the psalmist, merely the quiet confidence of the utter futility of such oppositions.
Low Chai Hok
©Alberith, 2020