Psalm 2 Poetics

Psalm Overview

• Grammar
• Semantics
• Story behind the Psalm
• Discourse
• Poetics

About the Poetics Layer

Exploring the Psalms as poetry is crucial for understanding and experiencing the psalms and thus for faithfully translating them into another language. This layer is comprised of two main parts: poetic structure and poetic features. (For more information, click 'Expand' to the right.)

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Poetic Structure

In poetic structure, we analyse the structure of the psalm beginning at the most basic level of the structure: the line (also known as the “colon” or “hemistich”). Then, based on the perception of patterned similarities (and on the assumption that the whole psalm is structured hierarchically), we argue for the grouping of lines into verses, verses into strophes, strophes into stanzas, etc. Because patterned similarities might be of various kinds (syntactic, semantic, pragmatic, sonic) the analysis of poetic structure draws on all of the previous layers (especially the Discourse layer).

Poetic Features

In poetic features, we identify and describe the “Top 3 Poetic Features” for each Psalm. Poetic features might include intricate patterns (e.g., chiasms), long range correspondences across the psalm, evocative uses of imagery, sound-plays, allusions to other parts of the Bible, and various other features or combinations of features. For each poetic feature, we describe both the formal aspects of the feature and the poetic effect of the feature. We assume that there is no one-to-one correspondence between a feature’s formal aspects and its effect, and that similar forms might have very different effects depending on their contexts. The effect of a poetic feature is best determined (subjectively) by a thoughtful examination of the feature against the background of the psalm’s overall message and purpose.

Poetics Visuals for Psalm 1

Poetic Structure

Poetic Macro-structure

Notes

Psalm 2 has four sections: vv. 1-3; vv. 4-6; vv. 7-9; vv. 10-12. This division is widely accepted. As van der Lugt notes, "The division is so obvious that there is no discussion among scholars about this fact." The main reasons for the four-fold division are as follows:

• Content, discourse topic, illocution. The first section describes the futile rebellion of the earthly nations and their rulers (vv. 1-3); the second section describes the response of YHWH, the Lord enthroned in heaven (vv. 4-6); the third section tells about the decree (vv. 7-9); and the fourth section warns and exhorts the earthly kings (vv. 10-12). The topic of each section is mentioned in the first line of that section (bolded in the visual above). See further Macrosyntax and Speech Act Analysis.
• Similar endings. Each of the first three sections ends with quoted speech. The two-line speech of the nations concludes the first section (v. 3); YHWH's two-line speech in response to the nations concludes the second section (v. 6); and YHWH's seven-clause decree concludes (and constitutes the bulk of) the third section (vv. 7-9). The fact that there is no direct speech concluding the final section might be a poetic feature: how will the nations respond? See further Poetic Features.
• Balance. Each section is three verses long.

These four sections are connected in multiple ways, such that multiple patterns emerge. For example,

• ABBA.
  • A...A: There are clear connections between the first and last sections (vv. 1-3 // vv. 10-12), indicating an ABBA chiastic structure.
    • Sections 1 and 4 are both about the earthly kings, and both sections use the words "kings" and "earth" (v. 2, v. 10).
    • There is a clear thematic reversal: vv. 1-3 describe the nations' rebellion against YHWH and against his anointed, and vv. 10-12 summon the nations to submit to YHWH and his anointed.
    • Numerous sound correspondences connect the speech of the kings in v. 3 with the warning to the kings in v. 10. See Poetic Features.
  • BB: There is also continuity between the middle sections (vv. 4-6 // vv. 7-9). Both sections present YHWH's speaking to legitimate his king's right to rule.
  • Of the various patterns identified here, this pattern (ABBA) brings out the inner logic of the psalm most powerfully in the way it highlights the reversal of the earthly kings in vv. 1-3, 10-12.
• AABB. In addition to the chiastic structure, there are ways in which the psalm divides into two halves (vv. 1-6; vv. 7-12).
  • AA: Some features bind together vv. 1-6.
    • The first two sections (vv. 1-3; vv. 4-6) are bound together by their similar endings (vv. 3, 6). Both sections end with quoted speech that is two lines long and not introduced by any quotative frame. Furthermore, the waw beginning the speech in v. 6 explicitly connects this speech to the speech in v. 3. See Macrosyntax.
    • The similarity between v. 2c and v. 6c is striking. Both lines begin with the preposition עַל and continue the clause of the previous line: "...against (עַל) YHWH and against (עַל) his anointed one" (v. 2c) // "...on (עַל) Zion, my holy mountain" (v. 6b).
    • The repetition of the sound o and, specifically, the suffix מוֹ at the ends of lines (vv. 3a, 3b, 4b, 5b).
  • BB: Some features bind together vv. 7-12.
    • Both sections mention the "son" (vv. 7b [בן], 12a [בר]).
    • Both sections describe the potential destruction of the nations and their kings (vv. 9, 12).
• ABAB. There are also correspondences between the first and third sections and between the second and fourth sections. E.g.,
  • A...A: "nations" (vv. 1a, 8a), "earth" (vv. 2a, 8b), מִן "from" (vv. 3b, 8a)
  • B...B: "his anger" (vv. 5a, 12b)

Line Division

Notes

• All line divisions in the psalm agree with the Masoretic accents as interpreted by de Hoop and Sanders 2022, §6.2. The divisions in vv. 1-11 agree also with the Septuagint according to Rahlfs (1931). (Note, however, that Rahlfs' division of v. 1 goes against most LXX witnesses, which present v. 1 as a single stich.)
• The line division of v. 12, specifically the first half of v. 12, is difficult to determine. At least four different divisions would be plausible:
  • One line, following the accents (?)
    
  • Two lines, following the LXX
    
  • Two lines, following the syntax
    
  • Two lines, grouping v. 12a with v. 11b
    

• The Septuagint's division appears to work against the syntax, according to which פֶּן־יֶאֱנַ֤ף ׀ and וְתֹ֬אבְדוּ דֶ֗רֶךְ are coordinate clauses within the scope of the same subordinating conjunction פֶּן. (The Septuagint's division might also be influenced by the addition of a word at the end of the clause: καὶ ἀπολεῖσθε ἐξ ὁδοῦ δικαίας).
• We could keep the two subordinate clauses together and divide instead after בַ֡ר, but this would result in a very short line: נַשְּׁקוּ־בַ֡ר (one prosodic word, four syllables), which would be the shortest line in the psalm. If, however, we do not divide at all—נַשְּׁקוּ־בַ֡ר פֶּן־יֶאֱנַ֤ף ׀ וְתֹ֬אבְדוּ דֶ֗רֶךְ—, then v. 12a would be the longest line in the psalm (12-14 syllables, depending on how they are counted). In either case, the beginning of v. 12 is marked in terms of its prosodic structure.
• In the end, we have followed the Masoretic accents in dividing v. 12. Jerome (iuxta Hebr.) appears to follow the same division (see Weber-Gryson 5th edition).

Poetic Features

1. Heaven and Earth and In Between

Feature

The first section of the Psalm (vv. 1-3) is about the "kings of earth" (v. 2a). Similarly, the last section of the Psalm (vv. 10-12) is addressed to the "rulers of earth" (v. 10b). The second section (vv. 4-6) is about YHWH, referred to as the "one who rules in the heavens" (v. 4a). The third section (vv. 7-9) is spoken by the king who is on YHWH's "holy mountain" (v. 6b), the meeting place between heaven and earth.

The movement of the Psalm is from earth up to heaven and then downward (heaven --> mountain --> earth).

Effect

The Psalm takes on the character of a cosmic drama. At the beginning of the psalm, the earthly kings are rebelling against the ruler of heaven, and at the end of the psalm they are summoned to submit to God’s king on Zion, and thereby submit to the king of heaven. The center of the drama—and the point where the conflict is resolved—is Mt. Zion, the meeting place between heaven and earth. This is the place where YHWH’s heavenly rule comes to bear on earth, the place where YHWH’s anointed ruler is placed as king.

2. Dramatic Conversation

Feature

Psalm 2 features multiple speakers. The psalm begins and ends with an anonymous psalmist speaking (see Participant Analysis). In v. 3, the nations speak; in v. 6, YHWH speaks; and in vv. 7-9, the king speaks and quotes YHWH's decree (vv. 7b-9).

The embedded speeches occur at seams in the poetic structure. Each of the first three sections (vv. 1-3; vv. 4-6; vv. 7-9) end with an embedded speech (see Poetic Structure). The only section that does not have direct speech is the final section (vv. 10-12).

Effect

The speeches are part of what make Ps 2 unique compared to other poems in the Psalter. In particular, the speeches give the psalm "a dramatic character." It is as though we are watching a play in which each of the major characters has a speaking part.

The pattern of each section concluding with a speech leads us to expect a speech at the end of the fourth section. Instead, there is no speech, and the fourth section concludes with an ultimatum to the earthly kings. We are left wondering what the nations will say in response. Will they accept the king's dominion and join those who "take refuge in him" (v. 12c), or will they continue their rebellion and perish in their way (v. 12b)?

3. Think Again

Feature

In the first section of the psalm (vv. 1-3), the psalmist describes the rebellion of the earthly kings, and he presents their rebellious words (v. 3). Then, in the last section of the psalm, he issues an ultimatum to the kings, calling them to reverse their behavior (vv. 10-12).

Several of the words near the beginning of this final section (vv. 10-12) sound similar to the words from the nations' speech in v. 3. In fact, every verb and noun from the nation's speech in v. 3 has some echo in vv. 10-11.

• נַשְׁלִ֖יכָה (v. 3) // הַשְׂכִּ֑ילוּ (v. 10) - similar sounds (sh/s + l + k), also only two hiphil verbs in the psalm
• מֽוֹסְרוֹתֵ֑ימוֹ (v. 3) // הִ֝וָּסְר֗וּ (v. 10) - similar sounds (samek + r + o/u vowel)
• עֲבֹתֵֽימוֹ (v. 3) // עִבְד֣וּ (v. 10) - similar sounds (ayin + bet + dental [t/d])
• נְֽ֭נַתְּקָה (v. 3) // וְ֭עַתָּה (v. 10) - similar sounds (plosive tav, -ah ending. Note also that ע and ק might have sounded similar in biblical Hebrew; for example, ע sometimes had a g sound).

Effect

The address to the earthly kings in vv. 10-12 recycles the same sounds that the kings used in their own speech in v. 3. The echo of this previous rebellious speech underscores the reversal in behavior that the psalmist is calling for in vv. 10ff. He contrasts what they are doing and saying (v. 3) with what they should be doing and saying (vv. 10ff). Instead of "throwing off" the "ropes" of YHWH and his anointed (v. 3b), the kings should "wise up" and "serve" them (vv. 10-11a). Instead of "tearing off" "their bonds" (v. 3a) they should "now... accept discipline" (v. 10). Their original declaration of independence (v. 3) is futile, and they are called to change their defiant posture to one of submission and service.

Repeated Roots

The repeated roots table is intended to identify the roots which are repeated in the psalm.

For legend, click "Expand" to the right

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Legend for Repeated Roots

Notes

• Verses 1-2 (boxed in black) present the conflict of the psalm: the "nations" and the "kings" of "earth" are rebelling against "YHWH." Verses 8-11 then describe the resolution of this conflict using some of the same words: the "nations" and the "earth" become the property of YHWH's anointed, and the "kings" and rulers of "earth" serve "YHWH."
• The three-fold repetition of the word "king" (circled in green) highlights a contrast: YHWH's "king" (v. 6) vs the "kings" of earth (vv. 2, 10).
• The repetition of the root אנף ("anger"; circled in red) in v. 5 and v. 12 draws a comparison between YHWH and YHWH's king. Both respond to the nation's rebellion with "anger."

Bibliography

Craigie, Peter C. 1983. Psalms 1–50. WBC 19. Waco, TX: Word.

Fokkelman, J. P. 2000. Major Poems of the Hebrew Bible: At the Interface of Hermeneutics and Structural Analysis. Studia Semitica Neerlandica. Assen, The Netherlands: Van Gorcum.

Hossfeld, Frank-Lothar, and Erich Zenger. 1993. Die Psalmen I: Psalm 1–50. Neue Echter Bibel. Würzburg: Echter.

Lugt, Pieter van der. 2006. Cantos and Strophes in Biblical Hebrew Poetry: With Special Reference to the First Book of the Psalter. Vol. 1. 3 vols. Oudtestamentische Studiën 53. Leiden: Brill.

Weber, Beat. 2016. Werkbuch Psalmen. 1: Die Psalmen 1 bis 72. Zweite aktualisierte Auflage. Stuttgart: Verlag W. Kohlhammer.