1952 Jewish LINOCUT Rare ART BOOK Bible SAMSON Hebrew ISRAEL Judaica EROTICA

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Seller: Top-Rated Seller judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285631749756 1952 Jewish LINOCUT Rare ART BOOK Bible SAMSON Hebrew ISRAEL Judaica EROTICA . DESCRIPTION Up for sale is an exquisite Judaica Jewish Israeli ARTISTIC Biblical BOOK with an original COLORFUL LINOCUT. The RICHLY ILLUSTRATED Hebrew book " The LOVE of SAMSON" is being an ARTISTIC VERSION of the poem of the acclaimed Jewish Israeli poet and writer LEA GOLDBERG as was exquisitely designed by the Israel - Jewish PAINTER - SHRAGA WEIL . The FRONTISPIECE is an ORIGINAL COLORFUL LINOCUT . The LINOCUT is protected as issued by a sheet of tissue paper.  The book was published in 1952 ( Dated - First and only edition ) by MIKRA STUDIO in a limited edition of only 1000 copies. Original illustrated HC. Gilt embossed image of SAMSON. 9.5" x 7". Around 48 unpaged throughout illustrated pp of heavy paper. Very good condition. The ORIGINAL LINOCUT is INTACT. Tightly bound. Clean. Slight cover foxing and wear. 2" missing in top of spine. ( Pls look at scan for accurate AS IS images ). Book will be sent inside a protective packaging . PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : SHIPP worldwide via registered airmail is $ 25 . Will be sent inside a protective packaging . Handling around 5-10 days after payment.  Shraga Weil (Hebrew: שרגא ווייל‎; September 24, 1918 – February 20, 2009) was an Israeli painter. Contents 1 Biography 2 Work 3 Awards 4 Gallery 5 References 6 Further reading 7 External links Biography[edit] Weil was born in Nitra, Czechoslovakia in 1918 to a family of teachers, journalists and merchants. His father was a building engineer. He was sent to study with a local sculptor, and then to the Academy of Art in Prague. He produced his first graphic works during World War II, during which he spent as a prisoner. After the War, he sailed for Israel on an illegal immigrant ship. He arrived in Israel in 1947 and became a member of Kibbutz HaOgen, where he lived until his death. In 1954, he studied murals and graphic techniques at the Ecole des Beaux-Arts, Paris. He also studied mosaics in Ravenna with Professor Severini. Weil died on February 20, 2009. Work[edit] Weil's works have been exhibited in the United States, South America, Canada, Australia, France, Slovakia, the USSR, Switzerland, and in the International Exhibition of Graphic Arts, in Lugano. Weil's artwork is in the permanent collections of Brandeis University, Waltham, Massachusetts, Israel Museum, Jerusalem, Fogg Museum, Harvard University, Los Angeles County Museum, Jewish Museum, New York, Philadelphia Museum of Art, Joslyn Museum, Omaha, Nebraska, Judah Magnes Museum, Berkeley, CA, as well as others. Awards[edit] In 1959, Weil was awarded the Dizengoff Prize for Painting.[1] ***** Shraga Weil is an Israeli artist. He was born in 1918 in Nitra, Czechoslovakia. Prior to the Second World War he studied at the National School of Arts in Prague. In 1953 he was trained in monumental and graphic techniques at the Academy of Arts in Paris. He made Aliyah in 1947 and became a member of Kibbutz HaOgen. In the 1950’s Weil worked as a designer and illustrator for books. In the 1960’s and 1970’s he created several architectural designs, including the doors of the main entrance to the Knesset building and to the President’s residence. He also created the ceramic walls at the great synagogue in Tel Aviv and painted wooden panels in the Israeli hall at the Kennedy Center in Washington D.C. His work is noted for its biblical and Jewish folklore motives. Weilwas awarded the Dizengoff Prize in 1959. ****  Shraga Weil 1918-2009 Artist - Painter - Sculptor Born in 1918 in Slovakia and was a member of "Hashomer HaZair" youth movement. Studied arts at the Arts Academy of Prague until the beginning of WWII. During the war Weil was an active member of the Hungarian resistance, mainly in forging certificates and documents. Weil and his wife were caught and put in prison. At the end of the war Weil worked as a graphic designer of the Jewish Zionists center ("Haluzim") and in 1947 went to Israel and joined Kibbutz HaOgen. During 1950's Weil worked as an illustrator and designer of "HaPoalim" books publishers. In the 1960-70s he has created significant architectural projects such as the main doors of the Knesset, main door of the Israeli president house and many more. Main motives of his art are biblical subjects, Jewish tradition, life in the Kibbutz and more Shraga Weil passed away in the age of 90 and was an active artist until he died. A large collection of his art works is available, representing different eras of his life on various art techniques.  **** Shraga Weil was born in Nitra, Czechoslovakia in 1918 to a family of teachers, journalists and merchants. His father, a building engineer, who was an amateur painter, sent him to study with a local sculptor and then to the Prague School of Art. He produced his first graphic works during World War II, part of which he spent as a prisoner. After the war, Weil sailed for Israel on an illegal immigrant ship, eventually arriving in the new country in 1947 and becoming a member of Kibbutz Haogen, where he has been living ever since. In 1954 Weil spent some time studying murals and graphic techniques at the Academie des Beaux Arts, Paris and Ravenna mosaics with Prof. Severinl. Shraga Weil's works have been exhibited in the United States, South America, Canada, Australia, France, the USSR, Switzerland, and in the International Exhibition of Graphic Arts, in Lugano. In 1959, Weil was awarded Tel Aviv's Dizengoff Art Prize. 1937-39 Art Academy, Prague 1947 Settled in Kibbutz Haogen 1953-54 Academic Des Beaux Arts, Paris 1959 Was awarded Dizengoff Art Prize, Tel Aviv. **** Leah Goldberg or Lea Goldberg[1] (Hebrew: לאה גולדברג‎; May 29, 1911, Königsberg – January 15, 1970, Jerusalem) was a prolific Hebrew-language poet, author, playwright, literary translator, and comparative literary researcher. Her writings are considered classics of Israeli literature. Contents 1 Biography 2 Literary career 2.1 Novel 3 Literary style and influences 4 Critical acclaim 5 See also 6 References 7 Further reading 8 External links Biography[edit] Leah Goldberg was born to a Jewish Lithuanian family from Kaunas, however her mother traveled to the nearby German city of Königsberg (today, Russian Kaliningrad) in order to give birth in better medical conditions. When asked about her place of birth, Goldberg often stated "Kaunas" rather than Königsberg. When the First World War broke out, three-year-old Goldberg had to escape with her parents to the Russian Empire, where they spent a year in hard conditions. In Russia, her mother gave birth to a baby boy, Immanuel, who died before reaching his first birthday. According to Goldberg's autobiographical account, in 1938, when the family traveled back to Kaunas in 1919, a Lithuanian border patrol stopped them and accused her father of being a "Bolshevik spy". They locked the father in a nearby abandoned stable, and abused him by preparing his execution every morning for about a week and cancelling it at the last moment.[2] When the border guards finally let the family go, Goldberg's father was in a serious mental state.[3] He eventually lost his ability to function normally and left Kaunas and his family to receive treatment, though it is unclear what his fate was and why he never returned to his family. Goldberg and her mother became very close and lived together until Leah Goldberg's death. Goldberg's parents spoke several languages, though Hebrew was not one of them. However, Goldberg learned Hebrew at a very young age, as she received her elementary education in a Jewish Hebrew-language school. She began keeping a diary in Hebrew when she was 10 years old. Her first diaries still show limited fluency in Hebrew and the influence of Russian language, but she was determined to write in Hebrew and mastered the language within a short period of time.[4] Even though she was fluent and literate in various European languages, Goldberg wrote her published works, as well as her personal notes, only in Hebrew. In 1926, when she was 15 years old, she wrote in her personal diary, "The unfavourable condition of the Hebrew writer is no secret to me [...] Writing in a different language than Hebrew is the same to me as not writing at all. And yet I want to be a writer [...] This is my only objective."[4] Goldberg received a PhD from the Universities of Berlin and Bonn in Semitic languages and German. Her erudition and renown was such that a leading newspaper in Palestine excitedly reported her plans to immigrate to that country.[5] In 1935, she settled in Tel Aviv, where she joined a group of Zionist Hebrew poets of Eastern-European origin known as Yachdav (Hebrew: יחדיו‎ "together"). This group was led by Avraham Shlonsky and was characterised by adhering to Symbolism especially in its Russian Acmeist form, and rejecting the style of Hebrew poetry that was common among the older generation, particularly that of Haim Nachman Bialik. She never married and lived with her mother, first in Tel Aviv and later in Jerusalem. Goldberg was a heavy smoker, and in her late years she became aware of the damage in this habit, as reflected in her poem "About the Damage of Smoking". In the spring of 1969, she was diagnosed with breast cancer. After removing one of her breasts, her physicians were optimistic. Goldberg went on a short visit to Switzerland, but returned in a bad physical condition, as the cancer spread through her body. She died on 15 January 1970.[6] Goldberg received the Israel Prize posthumously, her mother took the prize in her name. Literary career[edit] Leah Goldberg (1964) Leah Goldberg's poem Ha'omnam od yavo'u Goldberg worked as a high-school teacher and earned a living writing rhymed advertisements until she was hired as an editor by the Hebrew newspapers Davar and Al HaMishmar.[7] She also worked as a children’s book editor at Sifriyat Po'alim publishing house, while also writing theatre reviews and literary columns. In 1954 she became a literature lecturer at the Hebrew University of Jerusalem, advancing to senior lecturer in 1957 and full professor in 1963, when she was appointed head of the university's Department of Comparative Literature.[8] Goldberg wrote Hebrew poetry, drama, and children's literature. Goldberg's books for children, among them "A Flat for Rent" ("דירה להשכיר", dira lehaskir) and "Miracles and Wonders" (ניסים ונפלאות, nisim veniflaot), have become classics of Hebrew-language children's literature. With exemplary knowledge of seven languages, Goldberg also translated numerous foreign literary works exclusively into Modern Hebrew from Russian, Lithuanian, German, Italian, French, and English. Of particular note is her magnum opus of translation, Tolstoy's epic novel War and Peace, as well as translations of Rilke, Thomas Mann, Chekhov, Akhmatova, Shakespeare, and Petrarch, plus many other works including reference books and works for children. Novel[edit] In 1946, Goldberg published her first novel, והוא האור (Hebrew: Vehu ha'or, literally: "And he is the light"; also translated "it is the light", "this is the light"). The novel had a strong autobiographical basis, and has been received as shedding much light on the rest of her work.[9] The book opens with symbolic patricide: the protagonist, Nora, is pressed by someone she meets to describe her parents. She does not want to disclose the fact her father is at a psychiatric hospital and tries to evade the questions, but the other person wouldn't let go, until Nora explodes: "I have no father! My father is dead! Do you hear? Dead!". Despite this attempt, the specter of mental illness continues to haunt her throughout the novel. Literary style and influences[edit] Goldberg was widely read in Russian, German, and French poetry. Symbolism and Acmeism were strong influences on her style. Her poetry is notable for coherence and clarity, and for an emphasis on ideas over baroque forms. Nili Gold, Modern Hebrew Literature scholar and editor of the English translation of And This is the Light, has noted Goldberg's "high aestheticism, musicality, and unique merging of intellect and humanity".[10] Goldberg's poetics perceive the general in the specific: a drop of dew represents vast distances and the concrete reflects the abstract. Her poetry has been described as "a system of echoes and mild reverberations, voices and whispers," that recognizes the limitations of the poem and language. Her work is minor and modest, taking a majestic landscape like the Jerusalem hills and focusing on a stone, a thorn, one yellow butterfly, a single bird in the sky.[8] Unlike many of her contemporary peers, most notably Nathan Alterman, Goldberg avoided outright political poetry, and did not contribute occasional poetry to Hebrew periodicals with overt current-affairs discourse. Critical acclaim[edit] Goldberg received in 1949 the Ruppin Prize (for the volume "Al Haprikhá")[11] and, in 1970, the Israel Prize for literature.[12] The American Hebraist, Gabriel Preil, wrote a poem about Goldberg: "Leah's Absence". In 2011, Goldberg was announced as one of four great Israeli poets who would appear on Israel's currency (together with Rachel Bluwstein, Shaul Tchernichovsky, and Natan Alterman).[13]  **** LEA GOLDBERG 1911 – 1970 by Ma'ayan Harel Upon the publication in 1959 of a poetry collection entitled Mukdam u-Me’uhar (Sooner or Later), containing selected poems from Goldberg’s entire career, the poet Nathan Zach criticized what he considered the monotonous nature of her poetry. Accusing her of “narrowness,” he asserted: “Ultimately, Lea Goldberg writes a great many poems on a single subject: the torments of unrequited love.” Similar claims were made by other critics: they portrayed her as “the poet of the broken heart,” who harbored conservative tendencies. Nonetheless, an overview of Goldberg’s poetry and of her literary output as a whole yields a different picture. Not only did Goldberg work in a vast range of creative areas—as a poet, author of prose for adults and children, playwright, gifted translator, scholar and critic of literature and theater—but in every one of these fields, and certainly in her poetic output, one can discern many and varied “channels”—from diverse poetic genres to surprising and innovative uses of language and form. Goldberg was born on May 29, 1911 in the city of Königsberg, Prussia. She spent her childhood years in Kovno, Lithuania. During World War I, her family was exiled to Russia, returning afterwards to Lithuania. It was during this journey homeward that her father, Avraham Goldberg, an insurance expert, was arrested. As a result of the difficult events that he experienced, he suffered an emotional breakdown. He later left the family home and was hospitalized intermittently in various institutions, remaining in Europe until his death (the precise dates are unknown). In Lithuania, Goldberg studied at the Hebrew gimnazjum and later at the University of Kovno. In 1930 she continued her studies at the University of Berlin and later attended the University of Bonn, studying Semitic languages, history and pedagogy. Her dissertation examined the sources of the Samaritan translation of the Torah. At an early age (apparently twelve), Goldberg began to write poems—most of them in Hebrew and a small number in Russian—and it was not long before some of her works were published. In the early 1930s she belonged to the Lithuanian poets’ circle, P’tach, with her poems appearing in a periodical of that name as well as in the literary collection Pa’am and, later, in the periodicals Ketuvim and Turim. In 1935 she immigrated to Palestine, settling in Tel Aviv. One year later, she was joined by her mother, Tsila Goldberg (1885–1982). Lea Goldberg never married and the two lived together until Lea Goldberg’s death. Simultaneously with her aliyah her first poetry collection, Taba’ot Ashan (Smoke Rings), consisting largely of lyrical-modernist poems, was published. For the most part, these works feature a brave, direct and exposed form of expression, in which the speaker refers to herself as “an unattractive woman of twenty-two,” usually living in a closed room, surrounded on all sides by her reflection, sober but waiting for “love smells.” Other poems in this volume are marked, surprisingly enough, by a longing for the landscapes of the Christian villages, in a manner that perhaps expresses a “naïve individual perspective,” as argued by Ariel Hirschfeld. By her second collection of poems, Shibolet Yeroket ha-Ayin (Green-Eyed Spike, 1939), she has already drawn somewhat closer to the poetic style of the Yahdav circle (led by Avraham Shlonsky). Nature becomes a more central presence in these poems, along with a penchant for generalization (as is evident in both her language and choice of subject matter). Goldberg chose to respond to the events of World War II in an indirect but fascinating manner, in the two collections of poetry that she published during the 1940s. In Shir ba-Kefarim (Songs in the Villages, 1942), she writes poems that “masquerade” as well-known East European folk songs, thereby seeking to perpetuate the European world that is being destroyed, by painting a poetic portrait. Beneath the folkloristic gloss, the poems are replete with allusions to death and destruction. During this period, Goldberg compiled, together with Shlonsky, the well-known anthology of translations, Mi-Shirat Russiyah (Of Russian poetry, 1944), a further tribute to the culture of her childhood. In the collection entitled Mi-Beiti ha-Yashan (From My Old Home, 1944), the recollection of this world becomes more explicit. Throughout her career, Goldberg continued to portray herself as experiencing “the pain of both homelands.” Two later collections—Al ha-Perihah (Of Blossoming, 1948) and Barak ba-Boker (Morning Lightning, 1955)—mark the major period of her poetic oeuvre. They contain poems that are fully developed in form and expression while tending towards classical lyric genres (such as the sonnet and the terzina) and hints of Neosymbolism. Alongside poems dealing with love (and the dialogue that is part of love), Goldberg addresses the meaning of artistic creativity, the theme of speech versus silence, and the shadows of death. One of her most famous poem cycles, appearing in Barak ba-Boker, is “Ahavatah shel Teresa di Mon” (The Love of Thérèse du Meun). The majority of the poems in these collections are still metered and rhymed. In the early 1950s Goldberg moved to Jerusalem, where she served as a lecturer in the Department of General and Comparative Literature at Hebrew University, later becoming its chairwoman. In her academic work her primary area of interest was Russian literature. In the capital Goldberg gathered around her a circle of young poets who included Dalia Ravikovitch, Yehuda Amihai and Tuvia Ribner, exerting considerable influence on their poetic development and their publications. In 1959 Goldberg compiled the aforementioned collection, Mukdam u-Me’uhar, choosing to omit the bulk of her early works. The volume was poorly received by the younger generation of contemporary critics (Dan Miron and others). Goldberg did not lay down her pen as a result, but the final collection of poems published during her lifetime, Im ha-Laylah ha-Zeh (This Night, 1964), is generally described as “stripped” of such tools as style, meter or form, showing the influence of the poetic changes prevalent in Hebrew poetry of the 1950s and 1960s. Metaphoric richness seems to give way here to linguistic paucity, almost to the point of muteness. But Goldberg continued to write poetry until her death, of cancer, on January 15, 1970. These later works were collected in She’erit ha-Hayyim (The Rest of Life), which was published posthumously. Goldberg also produced works of prose, the most famous of them the novels Ve-Hu ha-Or (And He Is the Light, 1964), generally considered an autobiographical work, and Pegishah im Meshorer (Encounter with a Poet), a character study of the poet Avraham Ben-Yitzhak. In addition, she is well known as the author of hundreds of works of poetry and prose for children, which include Yedidai mi-Rehov Arnon (My Friends from Arnon Street, 1943); Mah Osot ha-Ayalot (What Do the Does Do? 1949); and Dirah le-Haskir (A Flat to Let, 1959), which are characterized by elements of humor, fantasy and imagination alongside a realistic, yet caring and compassionate, observation of the human condition. Goldberg also published numerous articles dealing with children’s literature and served as an editor of children’s books at Sifriyyat ha-Po’alim. In addition, Goldberg was well known as a playwright. Of the three plays that she wrote (Yam ba-Halon [Sea in the Window, 1938]; Ba’alat ha-Armon (Lady of the Castle, 1955); and the unpublished late-1950s manuscript, Ha-Har ha-Ilem (The Silent Mountain), only Ba’alat ha-Armon, about coping with post-World War II reality, was a stage success. Goldberg was also an accomplished translator. Her magnum opus was almost certainly her translation of Tolstoy’s epic novel War and Peace (1953), but she also translated Chekhov’s Stories (1945), selected poems by Petrarch (1953), Ibsen’s Peer Gynt (1958) and many other works, as well as reference books and works for children. Goldberg was undoubtedly one of the leading poets of twentieth-century Hebrew literature, her influence extending beyond the realm of Hebrew “women’s poetry” alone. Many of her poems have been set to music. She was awarded the Israel Prize posthumously in 1970. In her well-known essay, “The Courage of the Ordinary” (1938), Goldberg champions a life and literature centered around “hard everyday work that demands concentration and precision”—work that “does not involve any great celebrations of glowing ideals and colored lights. …” Yet what remarkable bounty lies hidden in her “ordinary world.” SELECTED WORKS BY LEA GOLDBERG Hebrew Poetry: Mukdam u-Meu’har: Mivhar Shirim. Tel Aviv: 1959; Sh’erit ha-Hayyim: Shirim, Rishumim min ha-Izavon. Tel Aviv: 1971; Leah Goldberg—Katavim, A-C (Shirim). Ribner, Tuvia, ed. Tel Aviv: 1972. Prose: Mikhtavim mi-Nesi’ah Medumah. Tel Aviv: 1937; Pegishah im Meshorer. Tel Aviv: 1952; Leah Goldberg—Katavim, D (Proza: Ve-Hu ha-Or; Sippurim; Pegishah im Meshorer). Ribner, Tuvia, ed. Tel Aviv: 1972; Diaries: Yomanei Lea Goldberg, edited by Rahel and Aryeh Aharoni. Tel Aviv: 2005; Plays: Leah Goldberg—Katavim, E (Mahazot: Ha-Har ha-Ilem; Ba’alat ha-Armon). Ribner, Tuvia, ed. Tel Aviv: 1979; Essays and Studies: Ahdut ha-Adam ve-ha-Yekum be-Yezirat Tolstoy. Tel Aviv: 1959; Ha-Ometz le-Hulin: Behinot u-Ta’amim be-Sifruteinu ha-Hadashah. Ribner, Tuvia, ed. Leah Goldberg—Katavim. Tel Aviv: 1976; Mi-Dor u-Mei’ever: Behinot u-Ta’amim be-Sifrut Kelalit. Ribner, Tuvia, ed. Leah Goldberg—Katavim. Tel Aviv: 1977; Children’s Works: Mah Osot ha-Ayalot? Tel Aviv: 1949; Nissim ve-Nifla’ot. Tel Aviv: 1954; Dirah le-Haskir. Tel Aviv: 1959; Tsrif Katan. Tel Aviv: 1959. English Lady of the Castle: A Dramatic Episode in Three Acts, translated from the Hebrew by T. Carmi. Tel Aviv: 1970; Russian Literature in the Nineteenth Century: Essays, translated into English by Hillel Halkin. Jerusalem: 1976; Selected Poems, translated and introduced by Robert Friend; foreword by Yehuda Amichai; afterword by Gershom Scholem. London: 1976; On the Blossoming, translated with an afterword by Miriam Billig Sivan. New York: 1992.   **** In the Hebrew Bible, Samson (/ˈsæmsən/; Hebrew: שִׁמְשׁוֹן‎, Shimshōn‎, "man of the sun")[1][a] was the last of the judges of the ancient Israelites mentioned in the Book of Judges (chapters 13 to 16) and one of the last leaders who "judged" Israel before the institution of the monarchy. He is sometimes considered to be an Israelite version of the popular Near Eastern folk hero also embodied by the Sumerian Enkidu and the Greek Heracles.[2] The biblical account states that Samson was a Nazirite, and that he was given immense strength to aid him against his enemies and allow him to perform superhuman feats,[3] including slaying a lion with his bare hands and massacring an entire army of Philistines using only the jawbone of a donkey. However, if Samson's long hair were cut, then his Nazirite vow would be violated and he would lose his strength.[4] Samson was betrayed by his lover Delilah, who, sent by the Philistines officials to entice him,[5] ordered a servant to cut his hair while he was sleeping and turned him over to his Philistine enemies, who gouged out his eyes and forced him to grind grain in a mill at Gaza. While there, his hair began to regrow. When the Philistines took Samson into their temple of Dagon, Samson asked to rest against one of the support pillars. After being granted permission, he prayed to God and miraculously recovered his strength, allowing him to bring down the columns, collapsing the temple and killing himself as well as all of the Philistines. In some Jewish traditions, Samson is believed to have been buried in Zorah in Israel overlooking the Sorek valley. Samson has been the subject of both rabbinic and Christian commentary, with some Christians viewing him as a type of Jesus, based on similarities between their lives. Notable depictions of Samson include John Milton's closet drama Samson Agonistes and Cecil B. DeMille's 1949 Hollywood film Samson and Delilah. Samson also plays a major role in Western art and traditions. Contents 1 Biblical narrative 1.1 Birth 1.2 Marriage to a Philistine 1.3 Delilah 1.4 Death 2 Interpretations 2.1 Rabbinic literature 2.2 Christian interpretations 2.3 Scholarly 3 Cultural influence 4 See also 5 Notes 6 References 7 External links Biblical narrative[edit] Birth[edit] See also: Nazirite The Sacrifice of Manoah (1640–50) by Eustache Le Sueur According to the account in the Book of Judges, Samson lived during a time of repeated conflict between Israel and Philistia, when God was disciplining the Israelites by giving them "into the hand of the Philistines".[6] Manoah was an Israelite from Zorah, descended from the Danites,[7] and his wife had been unable to conceive.[8][9] The Angel of the Lord appeared to Manoah's wife and proclaimed that the couple would soon have a son who would begin to deliver the Israelites from the Philistines.[10] The Angel of the Lord stated that Manoah's wife was to abstain[11] from all alcoholic drinks, unclean foods, and her promised child was not to shave or cut his hair. He was to be a Nazirite from birth. In ancient Israel, those wanting to be especially dedicated to God for a time could take a Nazirite vow which included abstaining from wine and spirits, not cutting hair or shaving, and other requirements.[8][9][10] Manoah's wife believed the Angel of the Lord; her husband was not present, so he prayed and asked God to send the messenger once again to teach them how to raise the boy who was going to be born. After the Angel of the Lord returned, Manoah asked him his name, but he said, "Why do you ask my name? It is beyond understanding."[12] Manoah then prepared a sacrifice, but the Angel of the Lord would only allow it to be for God. He touched it with his staff, miraculously engulfing it in flames, and then ascended into the sky in the fire. This was such dramatic evidence of the nature of the Messenger that Manoah feared for his life, since it was said that no one could live after seeing God. However, his wife convinced him that, if God planned to slay them, he would never have revealed such things to them. In due time, their son Samson was born, and he was raised according to the Angel's instructions.[9][10] Marriage to a Philistine[edit] See also: Samson's riddle When he was a young adult, Samson left the hills of his people to see the cities of Philistia. He fell in love with a Philistine woman from Timnah, whom he decided to marry, ignoring the objections of his parents over the fact that she was non-Israelite.[9][10][13] In the development of the narrative, the intended marriage was shown to be part of God's plan to strike at the Philistines.[10] According to the biblical account, Samson was repeatedly seized by the "Spirit of the Lord," who blessed him with immense strength. The first instance of this is seen when Samson was on his way to ask for the Philistine woman's hand in marriage, when he was attacked by a lion. He simply grabbed it and ripped it apart, as the spirit of God divinely empowered him. However, Samson kept it a secret, not even mentioning the miracle to his parents.[10][14][15] He arrived at the Philistine's house and became betrothed to her. He returned home, then came back to Timnah some time later for the wedding. On his way, Samson saw that bees had nested in the carcass of the lion and made honey.[10][15] He ate a handful of the honey and gave some to his parents.[10] At the wedding feast, Samson told a riddle to his thirty groomsmen (all Philistines). If they could solve it, he would give them thirty pieces of fine linen and garments, but if they could not solve it, they would give him thirty pieces of fine linen and garments.[9][10] The riddle was a veiled account of two encounters with the lion, at which only he was present:[10][15] Out of the eater came something to eat. Out of the strong came something sweet.[16] The Philistines were infuriated by the riddle.[10] The thirty groomsmen told Samson's new wife that they would burn her and her father's household if she did not discover the answer to the riddle and tell it to them.[10][15] At the urgent and tearful imploring of his bride, Samson told her the solution, and she told it to the thirty groomsmen.[9][10] Samson Slays a Thousand Men with the Jawbone of a Donkey (c. 1896–1902) by James Tissot Before sunset on the seventh day they said to him, What is sweeter than honey? and what is stronger than a lion? Samson said to them, If you had not plowed with my heifer, you would not have solved my riddle.[17] Samson then traveled to Ashkelon (a distance of roughly 30 miles) where he slew thirty Philistines for their garments; he then returned and gave those garments to his thirty groomsmen.[9][15][18] In a rage, Samson returned to his father's house. The family of his would-have-been bride instead gave her to one of the groomsmen as wife.[9][15][18] Some time later, Samson returned to Timnah to visit his wife, unaware that she was now married to one of his former groomsmen. But her father refused to allow Samson to see her, offering to give Samson a younger sister instead.[9][18] Samson went out, gathered 300 foxes, and tied them together in pairs by their tails. He then attached a burning torch to each pair of foxes' tails and turned them loose in the grain fields and olive groves of the Philistines.[19] The Philistines learned why Samson burned their crops and burned Samson's wife and father-in-law to death in retribution.[9][18][20] In revenge, Samson slaughtered many more Philistines, saying, "I have done to them what they did to me."[9][18] Samson then took refuge in a cave in the rock of Etam.[9][18][21] An army of Philistines came to the Tribe of Judah and demanded that 3,000 men of Judah deliver them Samson.[9][21] With Samson's consent, given on the condition that the Judahites would not kill him themselves, they tied him with two new ropes and were about to hand him over to the Philistines when he broke free of the ropes.[20][21] Using the jawbone of a donkey, he slew 1,000 Philistines.[20][21][22] Delilah[edit] Samson and Delilah (1887) by Jose Etxenagusia Later, Samson travels to Gaza, where he stays at a harlot's house.[18][21] His enemies wait at the gate of the city to ambush him, but he tears the gate from its very hinges and frame and carries it to "the hill that is in front of Hebron".[18][21] He then falls in love with Delilah in the valley of Sorek.[18][20][21][23] The Philistines approach Delilah and induce her with 1,100 silver coins to find the secret of Samson's strength so that they can capture their enemy,[18][21] but Samson refuses to reveal the secret and teases her, telling her that he will lose his strength if he is bound with fresh bowstrings.[18][21] She does so while he sleeps, but when he wakes up he snaps the strings.[18][21] She persists, and he tells her that he can be bound with new ropes. She ties him up with new ropes while he sleeps, and he snaps them, too.[18][21] She asks again, and he says that he can be bound if his locks are woven into a weaver's loom.[18][21] She weaves them into a loom, but he simply destroys the entire loom and carries it off when he wakes.[18][21] Delilah, however, persists and Samson finally capitulates and tells Delilah that God supplies his power because of his consecration to God as a Nazirite, symbolized by the fact that a razor has never touched his head, and that if his hair is cut off he will lose his strength.[24][25][18][23] Delilah then woos him to sleep "in her lap" and calls for a servant to cut his hair.[18] Samson loses his strength and he is captured by the Philistines who blind him by gouging out his eyes.[18] They then take him to Gaza, imprison him, and put him to work turning a large millstone and grinding grain.[21] Pushing or pulling? According to the biblical narrative, Samson died when he grasped two pillars of the Temple of Dagon and "bowed himself with all his might" (Judges 16:30, KJV). This has been variously interpreted as Samson pushing the pillars apart (left) or pulling them together (right). Death[edit] One day, the Philistine leaders assemble in a temple for a religious sacrifice to Dagon, one of their most important deities, for having delivered Samson into their hands.[21][26] They summon Samson so that people can watch him perform for them. The temple is so crowded that people are even climbing onto the roof to watch—and all the rulers of the entire government of Philistia have gathered there too, some 3,000 people in all.[23][26][27] Samson is led into the temple, and he asks his captors to let him lean against the supporting pillars to rest. However, while in prison his hair had begun to grow again.[28] He prays for strength and God gives him strength to break the pillars, causing the temple to collapse, killing him and the people inside.[29] After his death, Samson's family recovered his body from the rubble and buried him near the tomb of his father Manoah.[26] A tomb structure which some attribute to Samson and his father stands on the top of the mountain in Tel Tzora.[30] At the conclusion of Judges 16, it is said that Samson had "judged" Israel for twenty years.[21] The Bible does not mention the fate of Delilah.[23] Interpretations[edit] Rabbinic literature[edit] Main article: Samson in rabbinic literature The Blinded Samson (1912) by Lovis Corinth Rabbinic literature identifies Samson with Bedan,[9] a Judge mentioned by Samuel in his farewell address (1 Samuel 12:11) among the Judges who delivered Israel from their enemies.[31] However, the name "Bedan" is not found in the Book of Judges.[31] The name "Samson" is derived from the Hebrew word šemeš, which means "sun",[9][1][32] so that Samson bore the name of God, who is called "a sun and shield" in Psalms 84:11;[9] and as God protected Israel, so did Samson watch over it in his generation, judging the people even as did God.[9] Samson's strength was divinely derived (Talmud, Tractate Sotah 10a).[9][33] Jewish legend records that Samson's shoulders were sixty cubits broad.[9] (Many Talmudic commentaries, however, explain that this is not to be taken literally, for a person that size could not live normally in society. Rather, it means that he had the ability to carry a burden 60 cubits wide (approximately 30 meters) on his shoulders).[34] He was lame in both feet[35] but, when the spirit of God came upon him, he could step with one stride from Zorah to Eshtaol, while the hairs of his head arose and clashed against one another so that they could be heard for a like distance.[9][36] Samson was said to be so strong that he could uplift two mountains and rub them together like two clods of earth,[36][37] yet his superhuman strength, like Goliath's, brought woe upon its possessor.[9][38] In licentiousness, he is compared with Amnon and Zimri, both of whom were punished for their sins.[9][39] Samson's eyes were put out because he had "followed them" too often.[9][40] It is said that, in the twenty years during which Samson judged Israel, he never required the least service from an Israelite,[41] and he piously refrained from taking the name of God in vain.[9] Therefore, as soon as he told Delilah that he was a Nazarite of God, she immediately knew that he had spoken the truth.[9][40] When he pulled down the temple of Dagon and killed himself and the Philistines, the structure fell backward so that he was not crushed, his family being thus enabled to find his body and to bury it in the tomb of his father.[9][42] In the Talmudic period, some seem to have denied that Samson was a historical figure, regarding him instead as a purely mythological personage. This was viewed as heretical by the rabbis of the Talmud, and they attempted to refute this. They named Hazzelelponi as his mother in Numbers Rabbah Naso 10 and in Bava Batra 91a and stated that he had a sister named "Nishyan" or "Nashyan".[9] Christian interpretations[edit] Samson in the Treadmill (1863) by Carl Bloch Samson's story has also garnered commentary from a Christian perspective; the Epistle to the Hebrews praises him for his faith.[43] Ambrose, following the portrayal of Josephus and Pseudo-Philo,[44] represents Delilah as a Philistine prostitute,[44] and declares that "men should avoid marriage with those outside the faith, lest, instead of love of one's spouse, there be treachery."[44] Caesarius of Arles interpreted Samson's death as prefiguring the crucifixion of Jesus,[44] remarking: "Notice here an image of the cross. Samson extends his hands spread out to the two columns as to the two beams of the cross."[44] He also equates Delilah with Satan,[44] who tempted Christ.[44] Following this trend, more recent Christian commentators have viewed Samson as a type of Jesus Christ, based on similarities between Samson's story and the life of Jesus in the New Testament.[45][46] Samson's and Jesus' births were both foretold by angels,[45] who predicted that they would save their people.[45] Samson was born to a barren woman,[45] and Jesus was born of a virgin.[45] Samson defeated a lion; Jesus defeated Satan, whom the First Epistle of Peter describes as a "roaring lion looking for someone to devour".[47] Samson's betrayal by Delilah has also been compared to Jesus' betrayal by Judas Iscariot;[46] both Delilah and Judas were paid in pieces of silver for their respective deeds.[48] Ebenezer Cobham Brewer notes in his A Guide to Scripture History: The Old Testament that Samson was "blinded, insulted [and] enslaved" prior to his death, and that Jesus was "blindfolded, insulted, and treated as a slave" prior to his crucifixion.[49] Brewer also compares Samson's death among "the wicked" with Christ being crucified between two thieves.[49] Scholarly[edit] Samson Slaying the Lion (1628) by Peter Paul Rubens Academics have interpreted Samson as a demigod (such as Heracles or Enkidu) enfolded into Jewish folklore,[50] or as an archetypical folk hero.[32] In the late nineteenth and early twentieth centuries, some comparative mythologists interpreted Samson as a euhemerized solar deity,[51][52][53][32] arguing that Samson's name is derived from Hebrew: šemeš‎, meaning "Sun",[32][1] and that his long hair might represent the Sun's rays.[32] These solar theorists also pointed out that the legend of Samson is set within the general vicinity of Beth Shemesh, a village whose name means "Temple of the Sun".[32] They argued that the name Delilah may have been a wordplay with the Hebrew word for night, layla, which "consumes" the day.[54] Although this hypothesis is still sometimes promoted in scholarly circles,[32] it has generally fallen out of favor due to the superficiality of supporting evidence.[32] An interpretation far more popular among current scholars holds that Samson is a Hebrew variant of the same international Near Eastern folk hero which inspired the earlier Mesopotamian Enkidu and the later Greek Heracles (and, by extension, his Roman Hercules adaptation).[55][32][1] Heracles and Samson both slew a lion bare-handed (the former killed the Nemean lion).[32][1] Likewise, they were both believed to have once been extremely thirsty and drunk water which poured out from a rock,[55] and to have torn down the gates of a city.[55] They were both betrayed by a woman (Heracles by Deianira, Samson by Delilah),[32] who led them to their respective dooms.[32] Both heroes, champions of their respective peoples, die by their own hands:[32] Heracles ends his life on a pyre; whereas Samson makes the Philistine temple collapse upon himself and his enemies.[32] In this interpretation, the annunciation of Samson's birth to his mother is a censored account of divine conception.[55] Samson also strongly resembles Shamgar,[32] another hero mentioned in the Book of Judges,[32] who, in Judges 3:31, is described as having slain 600 Philistines with an ox-goad.[32] A monument of Samson in Poland These views are disputed by traditional and conservative biblical scholars who consider Samson to be a literal historical figure and thus reject any connections to mythological heroes.[32] The concept of Samson as a "solar hero" has been described as "an artificial ingenuity".[56] Joan Comay, co-author of Who's Who in the Bible: The Old Testament and the Apocrypha, The New Testament, believes that the biblical story of Samson is so specific concerning time and place that Samson was undoubtedly a real person who pitted his great strength against the oppressors of Israel.[57] In contrast, James King West considers that the hostilities between the Philistines and Hebrews appear to be of a "purely personal and local sort".[58] He also considers that Samson stories have, in contrast to much of Judges, an "almost total lack of a religious or moral tone".[58] Conversely, Elon Gilad of Haaretz writes "some biblical stories are flat-out cautions against marrying foreign women, none more than the story of Samson".[59] Gilad notes how Samson's parents disapprove of his desire to marry a Philistine woman and how Samson's relationship with Delilah leads to his demise.[59] He contrasts this with what he sees as a more positive portrayal of intermarriage in the Book of Ruth.[59] Some academic writers have interpreted Samson as a suicide terrorist portrayed in a positive light by the text, and compared him to those responsible for the September 11 attacks.[60][61][62] In August 2012, archaeologists from Tel Aviv University announced the discovery of a circular stone seal, approximately 15 mm (0.59 in) in diameter, which was found on the floor of a house at Beth Shemesh and appears to depict a long-haired man slaying a lion. The seal is dated to the 12th century BCE. According to Haaretz, "excavation directors Prof. Shlomo Bunimovitz and Dr. Zvi Lederman of Tel Aviv University say they do not suggest that the human figure on the seal is the biblical Samson. Rather, the geographical proximity to the area where Samson lived, and the time period of the seal, show that a story was being told at the time of a hero who fought a lion, and that the story eventually found its way into the biblical text and onto the seal."[63] Cultural influence[edit] Main article: Cultural references to Samson Statue of Samson and the lion in Peterhof, Russia Samson parade Mauterndorf, Austria Alleged site of Samson's tomb in the Zorah (Tzora) forest As an important biblical character, Samson has been referred to in popular culture and depicted in a vast array of films, artwork, and popular literature. John Milton's closet drama Samson Agonistes is an allegory for the downfall of the Puritans and the restoration of the English monarchy[64] in which the blinded and imprisoned Samson represents Milton himself,[64] the "Chosen People" represent the Puritans,[64] and the Philistines represent the English Royalists.[64] The play combines elements of ancient Greek tragedy and biblical narrative.[65] Samson is portrayed as a hero,[66] whose violent actions are mitigated by the righteous cause in whose name they are enacted.[66] The play casts Delilah as an unrepentant, but sympathetic, deceiver[67] and speaks approvingly of the subjugation of women.[67] In 1735, George Frideric Handel wrote the oratorio Samson,[68] with a libretto by Newburgh Hamilton, based on Samson Agonistes.[68] The oratorio is almost entirely set inside Samson's prison[68] and Delilah only briefly appears in Part II.[68] In 1877, Camille Saint-Saëns composed the opera Samson and Delilah with a libretto by Ferdinand Lemaire in which the entire story of Samson and Delilah is retold.[68] In the libretto, Delilah is portrayed as a seductive femme fatale,[68] but the music played during her parts invokes sympathy for her.[68] The 1949 biblical drama Samson and Delilah, directed by Cecil B. DeMille and starring Victor Mature and Hedy Lamarr in the titular roles, was widely praised by critics for its cinematography, lead performances, costumes, sets, and innovative special effects.[69] It became the highest-grossing film of 1950,[70] and was nominated for five Academy Awards, winning two.[71] According to Variety, the film portrays Samson as a stereotypical "handsome but dumb hulk of muscle".[72] Samson has been especially honored in Russian artwork[73] because the Russians defeated the Swedes in the Battle of Poltava on the feast day of St. Sampson, whose name is homophonous with Samson's.[73] The lion slain by Samson was interpreted to represent Sweden, as a result of the lion's placement on the Swedish coat of arms.[73] In 1735, C. B. Rastrelli's bronze statue of Samson slaying the lion was placed in the center of the great cascade of the fountain at Peterhof Palace in Saint Petersburg.[73] Samson is the emblem of Lungau, Salzburg[74] and parades in his honor are held annually in ten villages of the Lungau and two villages in the north-west Styria (Austria).[74] During the parade, a young bachelor from the community carries a massive figure made of wood or aluminum said to represent Samson.[74] The tradition, which was first documented in 1635,[74] was entered into the UNESCO list of Intangible Cultural Heritage in Austria in 2010.[74][75] Samson is one of the giant figures at the "Ducasse" festivities, which take place at Ath, Belgium.[76] Samson is also an important Biblical character in the African American community, with many people identifying with Samson and his African descent. Biblical scholars Nyasha Junior and Jeremy Schipper published a book entitled Black Samson: The Untold Story of an American Icon in July 2020. The book details how the Biblical character Samson was a figure used to represent individuals who would fight for racial equality in America. Detailing how Samson from Judges 13-16 became a central figure for Black Americans and was used in literature and other means of social revolution to discuss racial inequality in the United States.[77][25]   ebay 5339/196.
  • Condition: Used
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