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Lyrical Aspects of Samuel the Thirdʼs Poetry 47*
thematically focused. Allusions are an ingredient of Samuel’s style, but his
creativity is more directed towards pervasive features of language, most
clearly seen in the cultivation of a high degree of synonymity and overlapping
terms, and, often, these are nicely arranged in pairs and even triplets. This
characteristic of Samuel’s compositional style is not exclusively lyrical, but
also serves didactic and mnemotechnical purposes—that, eventually, people
may better understand the intentions of the composer. This is the ultimate
way of combining the intended message with the beauty of the Hebrew
language, because these synonyms and overlaps add to the tastefulness
of the verses. There are numerous examples, but let me confine myself to
Samuel’s festive compositions for holidays and outstanding Sabbaths, like
the Sabbath of Sheqalim: ִמי/ ְּב ָקְׁשב ֹו ָצג ר ֹו ֵת ַע ְור ֹו ֵתת/ ִאיׁש ּכ ֹו ֶפר ַנ ְפׁש ֹו ָל ֵתת
( יּו ַכל ִליֵּתן ִּפ ְדי ֹון ְלצ ֹו ֵתתish kofer nafsho latet / be-qoshvo tsag rotea‘ we-rotet
/ mi yukhal litten pidyon le-tsotet), “Each one must give a ransom for his
life. When Moses heard this, he stood there flinching and shaking. Who
can obey and give redemption?” Although the participles rotea’ and rotet
have one letter of difference between them, they have practically the same
connotation. Another striking grammatical feature is the juxtaposition of
both the classical and later infinitive forms of n-t-n. Some combinations are
derived from or based on Scripture and liturgy: ( יריב ריבךyariv rivkha),
( הקרבת קרבניhaqravat qorbanay),( מספר סופרmispar sofer), ( נין ונכדnin
we-nekhed), ( יחיד ומיוחדyachid u-meyuchad). However, the majority are
Samuel’s own invention: ( ְו ִלָּבם ִמ ְת ַמ ְס ֵמס ּו ִמ ְת ָמ ֵרְךwe-libbam mitmasmes
u-mitmarekh), “Their heart is melting and softening/fearing” (Zakhor); ִנ ְכ ַמס
( ֶנ ְע ַלם ְו ִנ ְסָּתרnikhmas ne‘elam we-nistar), “Hidden, concealed and covered”
(Miqqets); concerning Amaleq, this is stated: ִז ְכר ֹו ְל ַסּ ֵלק... א ֹו ֵבד ְל ַהְׁש ִמיד
(oved le-hashmid … zikhro le-salleq), three synonymous expressions for
his destruction. And, equally in his yotser composition for Pesach (zulat),
Samuel makes a triple request with regard to the sons of Esau: ּ ַגַּדע ּ ַגּ ַלע ַּבּ ַלע
( ְמ ֵתי ס ֹוד ָר ִעיםgadda‘ galla‘ balla‘ metey sod ra‘im), “Cut down, fight,
destroy the evil associates.” Overlap of words/terms belongs to Samuel’s
idiomatic pattern and is achieved by means of his abundant employment of
infinitive absolutes, without any strict grammatical necessity but obviously
