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T H E LEGENDS OF SAMSON/HERACLES
by
OTHNIEL MARGALITH
Ramat-Gan
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OTHNIEL MARGALITH
65
him up from the rock", and the name Plateau of the Jawbone
denotes a summit. As Y. Kaufmann points out (Judges [Hebrew]
[Jerusalem, 1962], p.235) the story stresses the random nature of
the object used as a weapon. Just as Heracles picks up an olive
sapling and turns it into a lethal weapon, so Samson picks up an
ass's jawbone to slay a thousand men. 5 Although the motif of the
' e i g h t y club" appears also in Canaanite mythology, the clubs
with which Baal smites Yam are of an entirely different nature from
those of Samson and Heracles. The latter are essentially natural objects picked up at random in the field and only the superhuman
powers of their wielders confer upon them their mighty effects. O n
the other hand, the clubs of Baal are fashioned by Kothar-andHasis, the god of smiths and artisans, and endowed with divine
magic powers by their maker; it is not the supernatural power with
which Baal wields a natural object that defeats Yam but, on the
contrary, the magic power of the clubs that rescues defeated Baal. 6
There is no similarity between this motif and that of the olive
sapling picked up by Heracles on Helicon 7 (or, according to another version, at Nemea, 8 or cut there 9 or at the Saronic bay 10 )
which became the weapon preferred by him even to his bow and arrows as well as an everyday tool used to uproot a tree from which he
fashioned an oar. 11 Similarly, Samson uses his jawbone-club not
only as a weapon but also to dig a well " . . . he cast away the
jawbone out of his hand and called that place Ramath-lehi ... but
God clave a hollow place that was in the J a w (lehi) and there came
water thereout . . . " (Judg. xv 17-19). Interestingly, a tradition sur5
Archaeological finds have shown that flint knives were fixed in the sockets of
such jawbones, turning them into maces or sickles. We cannot consider here the
case of Shamgar who slew a thousand Philistines with a malmd, because the meaning of this word is not known.
6
G. R. Driver, Canaanite Myths and Legends (Edinburgh, 1956), pp. 80-3. Baal
III* A ( = CTA 2.IV) 11-26: smdm is a dual form, and Driver suggests that the
names of the clubs Yagrush and Aymurr are a hendiadys like Kothar-and-Hasis,
Gepen-and-Ugar. A. Jirku, Kanaanische Mythen und Epen aus Ras Schamra-Ugant
(Gtersloh, 1962), pp.24-5, renders smdm "eine Doppelkeule" (a double-club). J.
Obermann, Ugaritic Mythology (New Haven, Conn., 1948), pp.3, 15-17, 93-4,
speaks of a staff (singular). Driver, pp.112-13, Baal III ( = CTA 6) v.2-3,
translates the parallelism bktplbsmd (singular form) = with a sword/a mace.
7
Theocritus, Idyll xxv.207-10.
8
Apollodorus II.5.1.
9
Apollodorus II.4.11.
10
Pausanias 11.31.10.
11
Ovid, Metamorphoses, IX.234; Apollonius Rhodius, 1.1196.
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OTHNIEL MARGALITH
12
A. Scheiber, "Samson Uprooting a T r e e " , JQR N . S . 50 (1959/60),
pp. 176-80; " F u r t h e r Parallels to the Figure of Samson the Tree-Uprooter", JQR
N . S . 52 (1961/62), pp.35-40.
13
David smote (wayyak) Goliath with a slingshot (1 Sam. xvii 49-50), and the
Israelite army smote Kir-hareseth by slingshots (wayyakkha) (2 Kgs iii 25); Saul intended to smite {^akkeh) David with his spear (1 Sam. xviii 11), and Abishai wanted
to smite Saul with the spear (^akkennu) (1 Sam. xxvi 8); Abner smote (wayyakkh)
Asahel with his spear (2 Sam. ii 23). As for the sword, the idiom "smite with the
edge of the sword" is too numerous to enumerate here.
14
For the meaning of salsm = heavily armoured, see my " A n d all Egypt's
chariots and slsym over t h e m " (Hebrew), Beth Mikra 72 (23rd year, 1977-8),
pp.68-73.
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OTHNIEL MARGALITH
the lion, and it is not stated when he separated from his parents and
when they met again. Similarly, in xiv 1-3 " . . . Samson went down
to Timnath and saw a woman in Timnath ... and told his father
and his mother and said have seen a woman in T i m n a t h ... get
her for me to wife ... get her for me for she pleases me well'... ' ' ; but
in .7 after his encounter with the lion " h e went down and talked
with the woman and she pleased Samson well", and it appears that
he had not met her before. Furthermore, xiv 3 begins " T h e n his
father and his mother said", using wayyo^mer the masculine singular
form, " . . . among all my people" using the singular " m y " : the
mother has disappeared from the scene, and the continuation,
" a n d Samson said to his father", emphasizes this. The story con
tinues in v. 7: " . . . he went down and talked with the w o m a n " ; and
in v. 10 " s o his father went down unto the woman, and Samson
made there a feast". Since Samson had met her before (v. 7) and he
made the feast, the role of the father is altogether unclear and
redundant. Some commentators, like Radak, endeavour to recon
cile these contradictions by saying that his parents separated from
him in the vineyard (though this is not mentioned in the Scriptures'
and leaves some questions unanswered), and others by saying that
the story is a patchwork (which merely states the fact but does not
explain it). However, neither the biblical narrators, writers, redac
tors, etc., nor their hearers and readers were bothered by these
discrepancies, for they simply felt that they were dealing with a
legend and not with factual history. Their concern was with the im
age of the heroic bridegroom who on his way to his nuptials tradi
tionally slays a wild beast with " n o t h i n g in his h a n d " . The phrase
" a n d nothing in his h a n d " (xiv 6), although superfluous after " a n d
he rent him as he would have rent a k i d " , is added in order to em
phasize the affinity with the other bridegrooms who emptyhandedly slew lions on their bridal quests and the distinction from
David and the other lion-hunters.
The gate and the pillars
O n e of the strangest stories about Samson is the one depicting
him carrying the doors of the city-gate with their posts on his
shoulders up to the top of a hill " t h a t is before H e b r o n " (Judg. xvi
3). This story cannot refer to a real city-gate, as archaeological facts
prove. The city-gates of the period that have been excavated con-
T H E LEGENDS OF SAMSON/HERACLES
69
sisted of two " p o s t s " , huge monoliths dovetailed into the threshold
and the lintel which were also huge monoliths, and the whole upper
part of the wall rested on them. The doors of the gate turned on
bosses protruding top and bottom which fitted into sockets in the
threshold and lintel. Thus, in order to remove the two doors intact
" b a r and all" (xiv 3) one had to lift off the lintel with the whole upper city-wall (usually including a tower) resting on it, and when the
posts were removed the whole wall would collapse. Such unrealistic
stories are usually aetiological, trying to explain the origin of
names of heroes or places, like the story of "En-hakkore which is in
L e h i " (xv 19) or rather in " R a m a t h L e h i " (v. 17), which means
" t h e spring of the supplicant in the Plateau of the J a w b o n e " . Such
stories usually end with the phrase " a n d they called it/him . . . " or
" a n d they called it ... to this d a y " . The story of the city gates of
Gaza does not have this ending nor is there a place named " t h e Hill
that is Before H e b r o n " , and so it does not appear to have an
aetiological purpose. The story gives no hint of Samson's object in
carrying the gates some twenty miles to the summit of the nearest
hill from which Hebron could be seen, nor of what he did with them
there. Since he also took the posts one must assume that he set them
up on the hilltop, and therefore the image of the hero setting up the
doorposts of a city-gate on a hilltop while the two doors rested on his
shoulders must itself be the central motif of the legend. This image
is well known in Greek mythology: it is Heracles, the gate-keeper of
the gods' abode on top of Olympus. The legend tells 25 that Heracles
was deified by Zeus on his death (see " M o r e Samson legends",
p.404) and appointed Keeper of the Gates of Olympus, in which
capacity he holds the doors open for the gods who are late coming
home, especially the huntress Artemis.
However, the image most widely known connecting pillars with
both Samson and Heracles is that of the hero embracing two
pillars: 26 Samson in the temple of Dagon (xvi 29) and Heracles setting up " h i s " pillars. The story of Samson tells that he was in a
temple and stood between " t w o middle pillars upon which the
house stood and on which it was borne u p " (xvi 29) " a n d there
were upon the roof about three thousand men and w o m e n " (v. 27).
25
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OTHNIEL MARGALITH
^ s
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