Superman Mythos: Near Eastern/Hebraic Comparison
Mosaic Parallels
Essentially, the origins of Superman/Kal-El/Clark Kent mirror a strong (and markedly) parallel to the origins of the Hebraic Moses- a child is sent forth among foreigners to avoid destruction of his own people or his people’s own place. (Some observers even drew a more tragic comparison with the Kindertransport of sending out Jewish children to escape Nazi-controlled territories during this time.)
Said child is sent adrift in a vessel down a risky course- (Moses, a reed basket down the Nile, Kal-El, a small spaceship through space unto Earth.)
Child is found by foreigners and adopted, assimilated into their culture and language. (Moses, Egyptian- Kal-El/Clark Kent, Midwestern American)
Child grows into youth, into manhood. The man keeps his real ethnic identity secret, or remains ignorant until a pivotal age. (Moses, most of his life, prior to his flight from Egypt to the Midianite region, Kal-El/Clark Kent, depending on the version, either late teens or early adulthood when in conflict of his unbelievable super-powers.)
Allegory for Assimilation:
The dual identities of Clark Kent/Kal-El resonated, esp in the mid-late 30’s, with Jewish Immigrants being forced, by social and economic pressure, to change names and assimilate into American WASP culture.
Whenever Clark tears away from his civilian clothes into his Superman outfit, and then returns to his civilian clothing to hide his identity, some Jewish American readers of this time likened this twist to the idea of hiding their tallit under their shirts, another strike of necessary assimilation.
On the surface, Clark embodies the Midwestern ideal of the polite farm boy acclimating to a booming metropolis. In reality, this adaptation could be seen as another form of assimilation from old world rural to American urban. (We can argue that nice farm boy is akin to nice Jewish boy).
The midwest is not as removed as it seems, given Siegel and Schuster hailed from Ohio.
Clark’s introversion can be viewed as fitting with a certain stereotype of young Jewish-American men, (or rural men dealing with the brusque city life) though according to the experiences of their youth and early manhood, Siegel and Schuster felt this reflected on their own struggles with introversion and “talking to girls”. Even the glasses and shyness are nods to this.
Clark’s relationship with his parents vary. In the original Golden Age, Clark leaves the farm and ventures to the city to go into journalism after his parents’ death. There’s nothing left to tether him to their farm in Kansas. Later Silver Age canon (Non-Siegel/Schuster) has his parents still living, but Clark makes the conscious decision to venture into the city and see how he can use powers for good. In various canons, especially in Animated DC-verse and modern DCEU Cinema, Clark’s relationship is further explored with his parents. It borders on emotional vulnerability and loneliness on Clark’s part, his powers isolating him from connecting fully to others. His parents are seen as supportive, loving, if a bit too indulgent and overprotective. As a result, Clark’s parents are his Achilles’ Heel, after Lois Lane. Enemies and allies know this. This gets used as leverage against Clark in various incarnations. The close relationship could reflect the interdependent relationship shared with first generation immigrant parents and second generation children during the time of Siegel and Schuster. (@fortunusgames Sam/Joel Vibes much, no?)
Clark’s appearance at this point in time, really clashed with the American/Western ideal of a heroic appearance. He was not blonde, blue-eyed (Silver Age Comic/Modern and various screen versions often show Clark with blue eyes- this is not the original design). Dark and curly-haired (though many note, it looks like Clark followed 30’s fashion of hair straightening or “crimping with brilliantine”). Made fashionable by Hollywood leading men, some viewed this as another nod to assimilation to tame the curls. But Clark’s appearance and design overall, inspired by co-creator Siegel in his youth, (a dark, curly-haired man of a sturdy build and strong jawline), challenged the blonde, blue-eyed WASP. A number of immigrants could more identify with Clark’s appearance, even beyond Jewish. Italian/Siclian, Irish, Greek, Southern Slavic, etc. This was significant, given the whiplash against the xenophobic ideas of “white” and “white-passing”, though the majority of the Jewish-American society passed as “white”, because of diversity. Still, darker-haired and darker-complexioned people faced “othering” from their WASP counterparts.
Politics and Religion:
During the 30’s/40’s, various publications, especially those featuring Jewish and crypto-Jewish artists and writers faced accusation of Communistic views. Siegel and Schuster were not immune from this. Clark’s pursuit of righting wrongs in a broken world without gain or reward embodied not only the Tikkun Olam of Judaism, but also a gentler version of first wave Socialism. Faced with this, an emphasis on the American identity and wartime patriotism became the focus to lessen the pressure of this political whiplash. Siegel and Schuster’s social message, embodied in Clark’s determined chutzpah, if you will, even rattled their Jewish-American peers, who preferred the toned-down conveyances. (Lev would like this!)
Earlier incarnations focused on systematic corruption, critiquing the flaws within the Capitalist system. Clark’s sympathy for the working class is attuned with him, for he comes from working class farmers. Clark refuses bribery or gain exploitation from his abilities.
These critiques on systematic corruption also tie in closely with the character of Lois Lane. It is hinted that Lois Lane could be seen as an assimilated Jewish-American woman. She embodies, at the time, the progressive woman valuing education, social justice, and exposing corruption. Her boldness reflects a fierce political stance. Lois’ appearence, like Clark’s, reflects a dark-haired, dark-eyed design. Lois was modeled after Siegel’s future wife, Joanne. Siegel imbued a majority of Joanne’s personality in Lois.
Conflicts with Golden Age Canon and DCEU Cinema:
Recently, the DCEU Cinema had drawn its fair share of criticism- for its “darkening” of Clark/Ka-El’s character, the various faux pas in pacing and editing mishaps with directorial conflicts. The other criticism stems from the Christian allegory and imagery evoked, most notably in 2013’s Man of Steel. While the origin aspects maintained the Mosaic parallel, Snyder’s ambitious vision enlarged the scope and reach of Clark’s purpose and journey to a god-like level, which, while epic and sharply handled in its own right, diminished the human aspect, or rather that approachable warmth we encountered in the original Golden Age, and experienced somewhat throughout the chaos of Silver Age and its drastic overhaul of the character and canon.
The shift in this human/god ratio (in Golden Age canon, Clark/Kal-El’s powers began as decidedly less OP. His powers reflected more on a scale of strength and effort enhanced by his DNA reacting favorably to Earth’s atmosphere and close approximation to the Sun. Silver Age amped his power range to 10X, perhaps 100X. DCEU and Snyder’s version(s) have even taken this to god-like levels. This sacrifices much of the human connection of Siegel’s and Schuster’s vision, which is what creates the conflict and character journey for the DCEU/Snyder version.
Because of these god-like powers, Clark finds the world has thrusted the responsibility of a god upon, and is overwhelmed, desiring the connection of humanity. He is at odds with accepting humanity for himself, which onsets limitations he views as dangerous or irresponsible, or accepting the mantle of responsibility, which will take away his goal of a simpler life with connection. Clark avoids this responsibility most of his youth and early manhood. He only questions whether he should accept the responsibility as he encounters Lois and forms an understanding with her. In this version, Lois knows Clark as Superman, and they work as journalists later, after Clark’s battle with General Zod, a fellow Kryptonian. This changes the dynamic already, which alters the approach and the characters’ personalities. However, this works, primarily because of the subtle beauty showed in the formation of their relationship.
Unlike Lois of Golden and Silver canon, this Lois knows Clark first as Superman/Kal-El. The dynamic has shifted from the derring-do, to a somber contemplation, marked with an ebb and flow of fear and security. The struggle is to connect Clark to his humanity with her own, and take on the challenges of the grind of responsibility can have on a relationship these two are trying to figure out. Simply put, this is canon in reverse- Lois trying to find Clark Kent of Kansas through Superman on the global stage.
In Batman vs. Superman: Dawn of Justice, this further explored, with the world’s dependence proving detrimental to Clark, his well-being, and his command of his responsibility and powers. Bruce Wayne’s extremist views, while understandable from a wholly human, jaded side, only further drive this detriment to tragic results. Clark’s only tethering line for human connection and realigning his faltering path lie in Lois and his surviving parent, his mother Martha.
In Justice League (Snyder’s Cut), the resurrection of Superman/Kal-El is not based in the Christian concept of Resurrection. It only takes on a Christian connection, if we connected the theme of self-sacrifice from the previous story, Dawn of Justice. While the concept of Self-Sacrifice is not Christian (again, it is universal, and bears more, in the context of Clark’s character, a Judaic tone), and neither is Resurrection, combining these two evoke a nod to a more Christian idea, than opposed to these concepts separately presented. Still, even combined, these themes are not claimed by Christianity solely, but owe its ideation to Judaic religious thought.
In the dialogue in the Snyder cut of Justice League, Clark opens up with Lois about his time in death. His description, though brief, evokes more of the Hebraic concept of Sheol- a dark place of stillness after Death.
The Resurrection process, entirely science-based, (science fiction, we should clarify) originates more from Transhumanism than anything else. (Or more accurately, the idea formed in the Russian school of Transhumanism, Cosmism, which emphasized a technological-based approach of “Resurrection”.)
The Christian allegory and imagery seem questionable, with many concepts of what many deem “Christian” are recycled or corrupted concepts taken from Judaic thought. Nonetheless, while we lose the warmth, down to earthness, the approachablity and relatability (and the clear Judaic concepts of ethics, devoid of the reliance on authority, power, or expectation, which comprise the basic elements of Christianity, better or WORSE) of Golden Age, we gain an interesting alternative and perspective of questioning the definition of humanity, connection, and sense of self in the bigger picture.
Near Eastern/Sumerian/Hebraic Comparison across Canons
Strengths and Powers:
Originally, Siegel and Schuster’s version of Superman possessed powers of a more realistic scale, though still fantastical. They aimed for a science fictional proportion of power and feat for Superman. Initially, he did not fly- he only leapt over buildings in a singular attempt. He did not have the laser eyes, though did have x-ray vision. Coincidentally, Clark/Superman struggled with myopia. While he could see off for miles, anything up close, (especially reading print) proved a challenge, hence besides a good disguise, Clark really needed those glasses. (His health problem costed him entrance in the US Army during WWII. Despite being exceptionally fit, he failed the eye exam for his astigmatism, though ironically, he tried to cheat by using x-ray vision to read the exam from the other room, because of his far-sightedness. The rejection caused Clark much consternation, which resonated with a number of Jewish-American men, seeking to the American War effort to combat Nazism and Anti-Semitism.) Clark makes a conscious decision not to reveal his powers to the government, fearing governmental exploitation. Thus, this rejection prompts Clark to focus on utilizing his powers to combat systemic corruption and other crimes in Metropolis.
Other powers not shown in this early canon, include frost-breath, wind power, and limitations of strength and duration.
But how does this tie in with comparison of Near Eastern and Judaic texts?
Simple. Clark’s powers are more humanly realized, and thus limited, his feats come at a cost. He evokes the awesome strength of the Judaic Samson, and the god-like feats of strength enacted by the Sumerian legends of Gilgamesh and Enkidu, respectively. But like these men, Clark’s strength does have its limitations, even more so than the figures in Judaic and Sumerian literature and myth.
The feats of these figures also resonate with Superman’s feats. One could compare Samson taking down 300 Philistines with Superman’s taking on several criminals (or better yet, during wartime, Nazis) at once. Gilgamesh and Enkidu stopping and slaying the Bull of Heaven evokes a feeling of resistance comparable to Superman stopping a runaway train, or slowing a crashing plane down.
As comical or inimitable as Superman’s design and clothing is, (which served as the pioneering template for the cookie-cutter design base for most superheroes following him), the clothing is not without context.
During the first conceptualizations of Siegel and Schuster, they sought a realistic look, of Clark, when seeking to use his powers during crisis, would wear more work-like clothes, tighter than the boxy suit he wears as a reporter. But wanting Superman to stick out more, and differentiate more from Clark’s civilian appearance, Siegel and Schuster drew on the theatrical, inspired by the tight-fitting leotards sported by circus strongmen of the time, most notably the famed circus strongman, Zishe Breitbart. (Though, it should be noted, that Siegel and Schuster remained reticent on their actual inspirations.)
But the clothing, especially in the context of the reimagined texture and drastic redesigns, takes on another meaning.
Given the glossier, streamlined look, the clothing fits the body closer. This evokes the description in Hebraic texts of celestial messengers, particularly the vivid description the prophet Daniel gives in Daniel 10:6, “His body also was like beryl [with a golden luster], his face had the appearance of lightning, his eyes were like flaming torches, his arms and his feet like the gleam of burnished bronze, and the sound of his words was like the noise of a multitude [of people or the roaring of the sea].” (Amp).
Sound familiar?
The cape, which grace many a superhero’s design, is not without significance, either. Although Siegel and Schuster cited no inspiration for the cape, aside from the above mentioned sources, the cape itself bears a symbol in the equivalent of the ancient mantle. The mantle, or cloak, carried great significance. It indicated status, position, and what role or rank a person held in their society. It also served as a conduit of power, but also as a transfer of power and role.
For example, the Prophet Elisha laid his mantle over the Shumenite Widow’s son (some texts omit this part) and revived the dead child. Previously, the Prophet Elisha inherited the mantle from the Prophet Elijah, as Elijah was taken upon the chariot of fire, who passed his mantle unto Elisha, indicating that he passed his prophethood unto Elisha, or that, after learning under him, Elijah indicated Elisha had became a prophet in his own right. (2nd Kings 2:11).
But the cape, as parodied and lampooned as it has been (especially with it being pinned on almost every superhero for no reason), holds an interesting symbolism. The cape signifies a conduit of power and control (Superman uses the cape for better flight control and speed), but also a status for the collective meaning of Superman. It indicates his Kryptonian heritage, but also his status from a high family on the lost planet. The cape holds its own power, seemingly indestructible (latter Golden Age and Fleischer’s animated adaptation) against bullets, debris, and even lava (instance where Superman shields Lois from an onslaught of molten metal).
Although the “S” began as a simple symbol, many have seen similarities with the “S” symbol with the Hebrew letter, the lamedh.
By itself, the lamedh is the rough approximation of the Grecian lambda, and the Cyrllic “El”. When combined the letter Vav, lamedh takes on a new meaning. According to Talmudic texts, this combination creates the term and concept, Lamed Vav Tzadikim, the 36 individuals chosen to sustain the world. These Lamedvavniks, (Yiddish term), are people of exemplary humility, who, to quote Rebbe Emelech Spira of Dinov, “...in every generation, there are great righteous people who could perform wondrous acts, but the generation is not deserving of that, so the stature of the righteous people is hidden and they are not known to the public; sometimes they are woodchoppers or water-drawers." Or perhaps they could be mild-mannered reporters…
A further explanation of the Lamedvavniks,
“The Lamed-Vav Tzaddikim are also called the Nistarim ("concealed ones"). In our folk tales, they emerge from their self-imposed concealment and, by the mystic powers, which they possess, they succeed in averting the threatened disasters of a people persecuted by the enemies that surround them. They return to their anonymity as soon as their task is accomplished, 'concealing' themselves once again in a Jewish community wherein they are relatively unknown. The lamed-vavniks, scattered as they are throughout the Diaspora, have no acquaintance with one another. On very rare occasions, one of them is 'discovered' by accident, in which case the secret of their identity must not be disclosed. Since the 36 are each exemplars of anavah, ("humility"), having such a virtue would preclude against one’s self-proclamation of being among the special righteous. The 36 are simply too humble to believe that they are one of the 36.”
In Golden Age Canon, few would embody the concept of anonymity and humility better than Clark who guards his identity to such painstaking measures.
This is maintained in Silver Age and Modern canon, though it is corrupted externally in the DCEU Cinema/Snyder’s version. However, anonymity in our global modern age is impossible to achieve than opposed to 1930’s urban America. The humility falters in the newer cinema version a bit, but there’s a humbling arc to counter this.
As we discussed in the beginning, Kal-El’s origins mirror Moses’ birth and early life. The Kryptonian people and their history bears some parallels that could resonate with Jewish American readers. Krypton, a planet (canon varies) that obliterated by an explosion, resulting years of conflict and technological exploitation, could be seen as an allegory for the Old World, which, like the doomed planet, was destroyed by political and social ailments, especially rising AntiSemitism in Eastern Europe. This especially strikes poignant in the Golden Age (and Silver Age canon in the 1986 Man of Steel series).
Clark’s original Kryptonian name (which many readers probably identified with the name change of Anglicizing their Yiddish names for necessity), Kal-El bears significance as well. Though tossed in debate about the actual definition and translation of the name, Kal-El, some have reached the conclusion, that it roughly equates to, in the succinct explanation offered by ScreenRant’s Joshua Isaak:
“The name Kal-El has two parts, and each can be translated into Hebrew. Kal, or קל, means "easy" or "light" - but it's important to remember that with the creators' accents at the time, Kal would be read as Kol, or קול, meaning "voice." El in Hebrew, אל, means "God," thus Superman's name in Hebrew is קול-אל, which loosely translates to "the voice of God." This does not necessarily mean that Superman is God incarnate or even directly sent by God, but rather is an instrument of God - a person with incredible powers who saves lives and fights for the weak and downtrodden.”
We touched upon the symbols and its parallel with Semitic lettering earlier. Depending on the canon (in Golden Age, Siegel and Schuster remained more vague, or rather, because of DC’s later interference, their creative input in canon lessened until they were completely barred from any input, unfortunately), Kal-El’s family, or rather his “house” (a nod to how families were referred to house in ancient times, notably Semitic regions/groups), is named El. His father is Jor-El, so the family’s name also corresponds, (translation error?) to this letter, “El”, hence, the Houses of Krypton are formed by family names, and thus, the name in Kryptonian Script, evokes the importance of a name and its letter as an indicator to be worn, hence again, the symbol of lamedh.
The symbol has been adapted by more modern canon to mean “hope” (especially in DCEU Cinema), as opposed to the nod to the concept of the Lamedvavniks.
Some have compared, in later/modern canon, the Kryptonian Script bearing resemblance to Semitic letters. This is up to interpretation, though the Script bears similarities in curve and shaping.
Although not part of the Golden Age canon, Silver Age/Modern/DCEU Cinema canon features an opponent, General Zod, a supposed survivor from the planet Krypton. Although his motivations vary on interpretation, his major conflict with Kal-El lies in controlling the Earth, which Kal-El opposes. This bears similarity to the concept of the Sumerian deities in conflict. The Older gods (Tiamat and Appsu, for example) were viewed as more primal and severe. The Younger gods (see the hero-god, Marduk, who took on Tiamat directly), credited for creating and sustaining human life, found themselves clashing with the older gods. We could easily compare Kal-El’s clash with Zod as a parallel, Zod, being the older god, if we will, and Kal-El, the younger god of humanity- or at least championing humanity in Kal-El’s case.
Last but not least, the technology of Krypton, and the extraterrestrial characters encountered through the various incarnations of this mythos, all could be compared to the wonders described in Enochian texts and the prophecies of the Hebraic prophets, such as the passage describing the Cherubim in Ezekiel 1.
It would be a grave injustice to ignore the biblical, Talmudic, Judaic, and Hebraic significance of a very Yiddishe character- perhaps, taking inspiration from the open-endness of the original canon from Siegel and Schuster, we can see the Man of Steel for he truly was meant to be- an immigrant in diaspora, balancing his true self against assimilation, and seeking to fix the world where he lives better than when he found it.
Links for further reading:
Canon Referenced:
Golden Age (Siegel/Schuster original creation)
Silver Age (1986’s Man of Steel Comic series only)
DCEU Cinema/ Zack Snyder’s Canon
Fleischer’s Animated Adaptations (Taken from Siegel and Schuster Original Golden Age Canon)