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Behemoth
Behemoth
Behemoth
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Behemoth as depicted in the Dictionnaire Infernal by Collin de Plancy

Behemoth (/bɪˈhiːməθ, ˈbiːə-/; Hebrew: בְּהֵמוֹת, bəhēmōṯ) is a beast from the biblical Book of Job, and is a form of the primeval chaos-monster created by God at the beginning of creation. Metaphorically, the name has come to be used for any extremely large or powerful entity.

Etymology

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The Hebrew word behemoth has the same form as the plural of the Hebrew noun בהמה behemah, meaning "beast", suggesting an augmentative meaning "great beast". However, some theorize that the word might originate from an Egyptian word of the form pꜣ jḥ mw "the water-ox", meaning "hippopotamus", altered by folk etymology in Hebrew to resemble behemah.[1] However, this phrase with this meaning is unattested at any stage of Egyptian.[2] Even before the decipherment of Ancient Egyptian in the early 19th century, there was widespread identification of the biblical behemoth with the hippopotamus. The word for "hippopotamus" in Russian remains derivative of behemoth (бегемот), a meaning that entered the language in the mid-18th century.[3][4]

Biblical description

[edit]
Behemoth and Leviathan, watercolour by William Blake from his Illustrations of the Book of Job (1826).
Leviathan the sea-monster, with Behemoth the land-monster and Ziz the air-monster. "And on that day were two monsters parted, a female monster named Leviathan, to dwell in the abysses of the ocean over the fountains of the waters. But the male is named Behemoth, who occupied with his breast a waste wilderness named Duidain." (1 Enoch 60:7–8)

The Hebrew word behemoth is mentioned only once in Biblical text, in a speech from the mouth of God in the Book of Job. It is a primeval creature created by God and so powerful that only God can overcome him:[5]

Take now behemoth, whom I made as I did you;
He eats grass, like the cattle.
His strength is in his loins,
His might in the muscles of his belly.
He makes his tail stand up like a cedar;
The sinews of his thighs are knit together.
His bones are like tubes of bronze,
His limbs like iron rods.
He is the first of God’s works;
Only his Maker can draw the sword against him.
The mountains yield him produce,
Where all the beasts of the field play.
He lies down beneath the lotuses,
In the cover of the swamp reeds.
The lotuses embower him with shade;
The willows of the brook surround him.
He can restrain the river from its rushing;
He is confident the stream will gush at his command.
Can he be taken by his eyes?
Can his nose be pierced by hooks?

— Job 40:15-24[6]

The passage later pairs Behemoth with the sea-monster Leviathan, both composite mythical creatures with enormous strength that humans could not hope to control, yet both are reduced to the status of divine pets.[7]

Later interpretations

[edit]

In Jewish apocrypha and pseudepigrapha, such as the 2nd century BC Book of Enoch (60:7–10), Behemoth is the unconquerable male land-monster, living in an invisible desert (Duidain) east of the Garden of Eden, as Leviathan is the primeval female sea-monster, dwelling in "the Abyss", and Ziz the primordial sky-monster. Similarly, in the most ancient section of the Second Book of Esdras (6:47–52), written around AD 100 (3:1), the two are described as inhabiting the mountains and the seas, respectively, after being separated from each other, due to the sea's insufficiency to contain them both. Likewise, in the contemporaneous Syriac Apocalypse of Baruch (29:4), it is stated that Behemoth will come forth from his seclusion on land, and Leviathan out of the sea, and that the two gigantic monsters, created on the fifth day, will serve as food for the elect, who will survive in the days of the Messiah.[8]

A Jewish rabbinic legend describes a great battle that will take place between them at the end of time: "they will interlock with one another and engage in combat, with his horns the Behemoth will gore with strength, the fish [Leviathan] will leap to meet him with his fins, with power. Their Creator will approach them with his mighty sword [and slay them both];" then, "from the beautiful skin of the Leviathan, God will construct canopies to shelter the righteous, who will eat the meat of the Behemoth and the Leviathan amid great joy and merriment." In the Haggadah, Behemoth's strength reaches its peak on the summer solstice of every solar year (around 21 June). At this time of year, Behemoth lets out a loud roar that makes all animals tremble with fear, and thus renders them less ferocious for a whole year. As a result, weak animals live in safety away from the reach of wild animals. This mythical phenomenon is shown as an example of divine mercy and goodness. Without Behemoth's roar, traditions narrate, animals would grow more wild and ferocious, and hence go around butchering each other and humans.[9]

Modern interpretations of Behemoth tend to fall into several categories:

  1. Behemoth is an animal of the modern natural world, most often the hippopotamus (e.g. in Russian where the word begemot refers more often to hippopotamus rather than the Biblical animal), although the elephant and water buffalo could also be candidates. All three consume grass and chew it as an ox would, and the elephant and water buffalo both have mobile, sprucy tails that sway in a similar manner to a Lebanese cedar-tree sapling (though the text does not specify a sapling).
  2. Behemoth was an invention of the poet who wrote the Book of Job.
  3. Behemoth and Leviathan were both separate mythical chaos-beasts.[10]

Additionally, some creationist fundamentalists, such as the Christian organization Answers in Genesis, claim that the Behemoth is some species of sauropod or other dinosaur based on the comparison of the tail to a cedar tree.[11]

Literary references

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Behemoth

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Behemoth is a massive, powerful land creature described in the Hebrew Bible's (40:15–24), where presents it to the suffering protagonist Job as an emblem of divine sovereignty and the wonders of creation. Depicted as an enormous that "eats grass like an ," Behemoth exhibits extraordinary physical might, with "strength in his loins" and "power in the muscles of his belly," a that "sways like a cedar," and bones likened to "tubes of bronze" and limbs to "bars of iron." The beast is portrayed as inhabiting marshy, riverine environments, untroubled by rushing waters like the , and as "the first of the works of ," underscoring its primordial status among created beings. Within the poetic structure of Job's divine speeches (chapters 38–41), serves as a to humble Job, illustrating the incomprehensible scope of God's dominion over even the most formidable elements of the natural world. The description employs hyperbolic imagery to evoke , positioning the creature as untamable by humans—no one can "take him by his eyes" or "pierce his nose with a snare"—yet fully subject to the Creator who "made him bring near his sword." This portrayal immediately precedes the even more fearsome (Job 41), forming a pair that contrasts land and sea chaos monsters, reinforcing themes of and human limitation in questioning divine justice. Etymologically, "Behemoth" (Hebrew bəhēmôt) is an intensive plural form of beḥēmâ, denoting "beast" or "dumb animal," intensified here to signify a singular, archetypal monster of unparalleled scale. Scholarly consensus often equates Behemoth with the hippopotamus (Hippopotamus amphibius), citing its semi-aquatic habitat in Nile-like marshes, grass-eating diet, and robust build, though discrepancies such as the prominent tail description challenge a strictly naturalistic reading and suggest mythological augmentation drawn from ancient Near Eastern motifs. Interpretations emphasize its symbolic role as an embodiment of untamed natural forces—vast, complex, and unpredictable—over which God maintains absolute control, reminding humanity of its relative insignificance. In broader Jewish and Christian traditions, evolves into an eschatological figure, paired with as primordial chaos agents destined for , as seen in texts like 1 Enoch 60:7–10, where they are separated to the ends of the until the final age. This mythic dimension highlights theological motifs of creation's order emerging from disorder, influencing later and reflections on God's might through bodily and cosmic dominance.

Origins and Etymology

Linguistic Roots

The term "" originates from the Hebrew word בְּהֵמוֹת (bəhēmôṯ), an intensive form of בְּהֵמָה (bəhēmâ), which denotes "beast," "animal," or "." This plural construction functions as an , emphasizing superlative size or monstrous proportions, akin to a "beast of beasts" or "great beast." Scholars have proposed possible external influences on the term, including an Egyptian from *pꜣ-jḥ-mw (p-ehe-mau), meaning "water-ox" and referring to , though this connection remains debated and was rejected by some linguists like due to phonetic and morphological discrepancies. In ancient translations, the rendered bəhēmôṯ as θηρίον (thēríon), the Greek term for "wild beast," generalizing it within the context of Job 40:15 without preserving the Hebrew specificity. The Latin , translated by , transliterated it directly as "behemoth," maintaining the original form in Job 40:15. This Latin version influenced subsequent European renderings, culminating in the English King James Bible of 1611, which adopted "behemoth" verbatim, introducing the term into modern languages. Post-biblically, in Hebrew and texts like the Targums and rabbinical , bəhēmôṯ evolved semantically to denote a primeval monster or king of land beasts, often in eschatological contexts such as the Messianic banquet. Phonetically, it adapted in European languages through Latin intermediaries, with semantic shifts toward metaphorical uses signifying overwhelming power or chaos, as seen in English by the where "behemoth" broadly describes any colossal entity.

Biblical Context

Behemoth is introduced in the within the , specifically in verses 40:15–24, as part of 's extended address to Job from the . This passage occurs during the divine speeches that form the climax of the poetic section, following 's initial rhetorical questions about the foundations of the and the governance of natural phenomena in chapters 38–39, and immediately preceding the depiction of in chapter 41. The narrative frames Behemoth as a creature made by alongside Job himself, emphasizing its role within the broader discourse on creation. The , part of the tradition in the , is attributed to an anonymous author or authors and is generally dated by scholars to the 6th–4th centuries BCE, likely composed during or after the Babylonian Exile. This timeframe aligns with linguistic features that resonate with exilic and post-exilic prophetic texts, such as echoes of Second Isaiah, while the prose frame (chapters 1–2 and 42) may reflect an earlier folkloric core expanded by later poetic insertions. In the narrative structure, the description of serves to underscore God's unparalleled creative authority and mastery over the wildest elements of the natural order, creatures that dwell peacefully under divine provision yet remain untamable by human hands. This portrayal contrasts Job's quest for justification amid suffering with the vast, inscrutable scope of divine wisdom, prompting Job's eventual submission and restoration by highlighting humanity's limited perspective relative to God's . The primary textual witness for Job 40:15–24 is the , the standardized Hebrew version from the 7th–10th centuries CE, which emphasizes Behemoth's habitat among reeds and rivers as a place of security under God's eye. Surviving fragments of Job (primarily from caves 4 and 11, dated 2nd century BCE–1st century CE) preserve portions of the book but do not include this specific passage, though where extant, they demonstrate close alignment with the Masoretic phrasing and overall content, suggesting textual stability in the tradition.

Biblical Description

Physical Attributes

In the Book of Job, Behemoth is described as a massive creature created by alongside humanity, emphasizing its formidable physical presence through vivid poetic . It is portrayed as an that "feeds on grass like an ," with extraordinary strength evident in its and the powerful muscles of its belly. Its tail sways like a cedar tree, a striking for its size and flexibility, while the sinews of its thighs are tightly knit for unyielding support. The creature's skeletal structure is likened to tubes of for its bones and rods of iron for its limbs, underscoring an almost indestructible robustness. Behemoth's habitat is depicted as aquatic and riparian, dwelling securely in marshy environments where it lies hidden under lotus plants amid reeds and surrounded by poplars along streams. It remains unalarmed by raging rivers or even the surging flooding its mouth, suggesting an amphibious nature adapted to watery domains without fear of inundation. For sustenance, it grazes on the produce brought forth by hills, with wild animals playing nearby, reinforcing its role as a dominant yet peaceful in mountainous and riverine landscapes. The text ranks as "first among the works of ," highlighting its unparalleled scale and power, accessible only to its Creator with a , while humans lack the means to approach or subdue it. Verses 15-24 poetically illustrate its movements—tail swaying gracefully, body emerging from concealment—and invulnerability, as no one can capture it by sight alone or trap and pierce its nose, evoking an image of majestic, untamable might. This portrayal serves as a divine exemplar in Job's , showcasing over creation's grandest forms.

Symbolic Role

In the Book of Job, serves as a potent symbol of primordial chaos subdued by divine order, echoing ancient Near Eastern myths such as the Babylonian Enuma Elish and tales where deities like or battle massive beasts representing disorder to establish cosmic stability. Unlike those narratives, however, Job portrays not as an adversarial force overcome in a primordial conflict but as a creature fully under Yahweh's dominion, emphasizing creation's inherent harmony rather than a violent conquest. This depiction underscores the theological theme of Yahweh's absolute sovereignty, as God invokes in Job 40:15-24 to humble the protagonist by demonstrating mastery over even the most formidable elements of the natural world, thereby addressing Job's existential questions about suffering without providing direct explanations. Behemoth functions as the terrestrial counterpart to , the aquatic chaos monster described in Job 41, together reinforcing biblical motifs of dualistic creation where land and sea threats are tamed by the creator. This pairing evokes broader scriptural imagery, such as Psalm 74:13-14, where crushes sea dragons, but in Job, it highlights ongoing divine control rather than eschatological judgment, affirming that all creation—chaotic or otherwise—exists at God's pleasure. Early Jewish exegesis in rabbinic literature, particularly the Midrash, interprets Behemoth's role in the messianic era. In texts like Bava Batra 74a, Behemoth's flesh is reserved for a banquet for the righteous at the advent of the Messiah, signifying divine provision and triumph over worldly forces. Additionally, midrashic traditions in Vayikra Rabbah 13:3 portray the righteous hunting Behemoth, symbolizing enjoyment and divine triumph in the Messianic age rather than pagan sports.

Historical Interpretations

Ancient and Medieval Views

In ancient Jewish , Behemoth was often viewed as a primeval creature preserved for eschatological purposes, such as the Messianic banquet described in . (Rabbi Shlomo Yitzchaki), in his 11th-century commentary on Job 40:15, interprets "Behemoth" as a beast "prepared for the future," emphasizing its role in divine plans rather than a specific zoological identification, though later traditions drew on the biblical description to associate it with large river-dwelling animals like . The Zohar, the foundational 13th-century kabbalistic text attributed to Moses de León, offers an esoteric interpretation, portraying Behemoth as a cosmic force tied to the material world and demonic influences, symbolizing the untamed energies of creation that must be subdued in the divine order. This view aligns with broader kabbalistic themes of balancing chaotic primordial elements. Early Christian patristic writers employed allegorical methods to interpret Behemoth. Augustine of Hippo (354–430 CE), in works like The Literal Meaning of Genesis and City of God, took a more naturalistic approach, linking Behemoth to known animals such as the hippopotamus to illustrate God's power over creation, while still noting its moral lessons against carnal excess. In the medieval period, Thomas Aquinas, in his Commentary on Job, allegorized Behemoth as a metaphor for the devil or carnal desires, emphasizing its role in demonstrating human limitations before divine wisdom. Islamic traditions parallel with , a colossal or whale in medieval cosmography that supports the earth on its back, preventing cosmic collapse. This concept appears in the 11th-century Qiṣaṣ al-Anbiyāʾ by al-Thaʿlabī, where (sometimes called Lutiya) is subdued by and integrated into the foundational structure of the world, echoing themes of divine control over chaotic forces. In European medieval , was frequently depicted as a monstrous land beast ridden by a , serving as a moral symbol of and uncontrolled appetite, warning against the of overindulgence in earthly pleasures. The 12th-century , for example, illustrates such creatures in contexts that emphasize ethical lessons, aligning with the tradition of using animals for Christian moral instruction.

Early Modern Perspectives

During the Reformation era, Martin Luther's 1545 translation of the promoted a literalist approach to Scripture, interpreting in Job 40 as a real creature, potentially an extinct land animal known to ancient observers, to underscore God's over creation. This view aligned with the period's emphasis on the Bible's historical accuracy, bridging medieval symbolism with emerging empirical observation, where Behemoth served as evidence of divine power manifested in tangible beasts. In 17th-century , scholars began integrating biblical descriptions with observed fauna. Edward Topsell's Historie of Foure-Footed Beastes (1607) symbolically associated with the , highlighting its immense strength and grass-eating habits as emblematic of Job's passage, while incorporating classical and contemporary accounts of exotic animals. Similarly, John Jonston's Historiae Naturalis de Quadrupedibus (1650) illustrated as akin to a or buffalo, classifying it among large herbivores to reconcile scriptural text with emerging zoological catalogs. These works marked a proto-scientific shift, treating as a historical rather than pure . The 18th century's rationalist Enlightenment brought skepticism toward . , in his critiques of the , derided the Behemoth description as mythological exaggeration, portraying it as an Oriental fable inflated for effect to humble human presumption, as seen in his broader assaults on scriptural inconsistencies. Concurrently, Carl Linnaeus's taxonomic system influenced tentative classifications of biblical beasts, aligning Behemoth with pachydermatous mammals like elephants or rhinoceroses under orders emphasizing thick hides and herbivorous diets, reflecting efforts to systematize ancient references within . By the , advanced source analysis. Building on documentary methods, scholars questioned the Book of Job's compositional unity, viewing the (Job 40:15–24) as a possible later added to the poetic dialogues during the post-exilic period to enhance theological motifs of divine mastery over chaos. This perspective integrated linguistic and historical evidence, prioritizing textual evolution over literal historicity.

Modern Interpretations

Scientific and Zoological Theories

One of the most enduring zoological interpretations identifies with (Hippopotamus amphibius), a view advanced by 20th-century biblical scholars including Robert Gordis in his commentary The Book of Job. This hypothesis aligns with the biblical portrayal of as a grass-eating creature (Job 40:15) that dwells among reeds and rivers (Job 40:21–23), reflecting the hippopotamus's herbivorous diet and semi-aquatic habitat in ancient Near Eastern river systems. Gordis emphasized these behavioral and ecological matches as evidence of the text's grounding in observable wildlife known to the author. However, this identification faces challenges, particularly the description of Behemoth's tail as "like a cedar" (Job 40:17), which contrasts with the hippopotamus's short, thin appendage measuring only about 35–50 cm in length; scholars note this poetic exaggeration may emphasize strength rather than literal anatomy but still creates a mismatch. Alternative zoological proposals include the (Loxodonta africana) or (Ceratotherium simum), as suggested in modern study Bibles like the , which highlight anatomical parallels such as massive bone structure—"bones like bars of iron" and "limbs like rods of bronze" (Job 40:18)—capable of supporting immense weight up to 6,000 kg for elephants or 3,600 kg for rhinoceroses. These large herbivores also graze on grass like oxen (Job 40:15), and their robust limbs and overall scale position them as "chief of the ways of God" (Job 40:19) among terrestrial mammals, though the tail description again poses interpretive difficulties, potentially referring poetically to the elephant's trunk or the rhinoceros's stubby tail. In paleontological circles, particularly among young-earth creationists, Behemoth has been linked to extinct sauropod dinosaurs like , a theory articulated by in The Genesis Record (1976), who compared the cedar-like tail to the long, whip-like tails of sauropods reaching up to 12 meters and capable of high-speed movement. Morris argued that the creature's enormous size, with bones strong enough to support a body over 20 meters long and weighing 30–50 tons, fits the text's emphasis on unmatched terrestrial power (Job 40:19), suggesting post-Flood survival of dinosaurs into human history. This interpretation gained broader popular traction following the 1993 release of , which revitalized public fascination with dinosaurs and encouraged retroactive biblical associations in non-academic discussions. Critiques of these theories underscore significant anachronisms and evidential gaps: the Book of Job, composed between the 7th and 4th centuries BCE, predates the 19th-century discovery of dinosaurs by Richard Owen, making direct reference to sauropods implausible without modern paleontological knowledge. Moreover, 21st-century fossil records confirm sauropod extinction around 66 million years ago at the Cretaceous-Paleogene boundary, with no transitional forms or DNA evidence linking them to biblical-era fauna, while living candidates like the hippopotamus or elephant fail to match all attributes simultaneously, such as the tail or habitat versatility. These discrepancies lead many scholars to view the descriptions as hyperbolic depictions of familiar animals rather than precise zoological portraits.

Mythological and Cryptozoological Views

In mythological traditions, Behemoth is often interpreted as a land-based chaos monster paralleling ancient Near Eastern deities, such as the Babylonian , whose serpentine form embodied primordial disorder subdued by divine order. This connection draws from shared motifs in Semitic lore, where Behemoth represents untamed terrestrial forces, contrasting with sea-dwelling counterparts like . Similarly, links Behemoth-like descriptions to the god Set, depicted in hippo form as a chaotic entity battling order, with the Hebrew term "behemoth" echoing the Egyptian "pehemu," denoting a massive water ox or symbolizing destructive power. Cryptozoological speculation in the mid-20th century positioned as a potential surviving , with Belgian zoologist describing reports of elephant-killing beasts in the during the 1950s, terming one the "Emela-ntouka" or "Congo " in his 1978 work Les Derniers Dragons d'Afrique. , a foundational figure in , cataloged these as horned, rhinoceros-like herbivores evading extinction, based on indigenous accounts from the Likouala . Later explorers, such as Mackal in his 1987 expedition reports, extended this to the legend, a long-necked swamp dweller in Congolese , proposing it as a modern echo of through shared traits like immense size and riverine habitat. Esoteric interpretations within 19th-century , founded by , frame Behemoth as a relic of Atlantean eras, symbolizing the degenerate fauna of the fourth root-race destroyed in cataclysms, as outlined in her 1888 . Blavatsky's cosmology posits such biblical beasts as distorted memories of pre-human evolutionary stages, blending chaos symbolism with lost continent lore. Post-2000 pseudoscientific theories, prevalent in young-earth creationist circles, recast Behemoth as a pre-Flood monster tied to hybrids—offspring of and humans—whose genetic corruption allegedly produced aberrant mega-fauna before Noah's deluge. Proponents, including authors like in his 2010s series on ancient myths, argue these hybrids explain Job's description as evidence of rapid post-Edenic speciation, aligning with a 6,000-year timeline where dinosaurs coexisted with early humans. Online forums and publications from organizations like reinforce this by portraying Behemoth as a sauropod-like survivor of Edenic perfection warped by angelic rebellion.

Cultural Depictions

In Literature and Poetry

Behemoth originates as a literary figure in the (Job 40:15–24), where it serves as a divine exemplar of untamable natural power, challenging human comprehension of God's creation and underscoring themes of and cosmic order. In , invokes Behemoth in (1667), Book VII, as part of Raphael's account of creation: "Behemoth, biggest born of earth, upheaved / His vastness." Here, the creature embodies the raw, primordial forces shaped into divine harmony, contrasting chaos with ordered to illustrate God's sovereignty over all matter. reimagines Behemoth in his 1825 engravings for Illustrations of the Book of Job, particularly plate 15, "Behold now Behemoth," portraying it as a coiled, vital energy symbolizing the dynamic interplay of divine imagination and earthly vitality in human experience. Blake's depiction, integrated with biblical verse, elevates the beast to a prophetic emblem of creative exuberance amid suffering. Nineteenth-century works draw on Behemoth for explorations of nature's immensity and human insignificance. alludes to biblical monsters like Behemoth in (1851), where the white whale evokes Job's land-sea ambiguities, representing evolutionary strife and uncontrollable forces; scholarly analysis positions Behemoth as the whale's terrestrial counterpart, amplifying themes of monstrous scale in a post-Darwinian world. Alfred Lord Tennyson's In Memoriam A.H.H. (1850) indirectly engages such motifs through reflections on nature's brutality and evolutionary flux, though without direct naming, aligning Behemoth-like imagery with grief over lost order. Twentieth-century authors adapt Behemoth metaphorically for speculative and theological ends. C.S. Lewis references it in his poem "Le Roi S'Amuse" (published posthumously in Poems, 1964), envisioning "gay Behemoth on a sable field" amid resurrected creation, symbolizing joyful renewal in a Christian eschatology where beasts partake in divine festivity. In Philip Pullman's His Dark Materials trilogy (1995–2000), daemons echo Behemoth as archetypal animal-soul companions, embodying primal instincts and human-nature bonds in a multiverse of moral conflict, though not explicitly named. Contemporary literature twists Behemoth into eco-horror paradigms. Jeff VanderMeer's Dead Astronauts (2019) features "Botch Behemoth," a colossal, mutating entity born from corporate biotech ruin, embodying environmental collapse and the fusion of with biblical monstrosity. Seamus Heaney's , such as in Human Chain (2010), adapts ancient beast motifs in explorations of human-nature tensions, evoking Behemoth's scale in bog-preserved relics to meditate on historical and ecological memory.

In Art, Film, and Media

In medieval illuminated manuscripts, Behemoth is frequently portrayed as a formidable, hybrid beast embodying chaos and divine creation from the . One notable depiction appears in the 12th-century Liber Floridus, a encyclopedic manuscript compiled by Lambert of Saint-Omer, where rides a massive, horned Behemoth-like creature, emphasizing its role as a symbol of infernal power subdued by . This representation aligns with broader medieval traditions, where Behemoth is illustrated as an ox-like monster with exaggerated strength to illustrate biblical themes of 's sovereignty over nature. During the , artistic interpretations of remained sparse but influential in symbolic engravings and sketches exploring biblical mythology. Although no confirmed sketches of Behemoth by exist, his detailed studies of fantastical creatures in works like the series (1498) influenced later depictions of biblical monsters, blending realism with mythic exaggeration. In 19th- and 20th-century illustrations, Behemoth gained more realistic yet dramatic portrayals in biblical art. Gustave Doré's 1866 engravings for La Grande Bible de Tours include a striking image of Behemoth as a massive, hippopotamus-inspired beast emerging from reeds, capturing its immense tail "like a cedar" and herbivorous might from Job 40:15–24 to evoke awe at divine creation. This style carried into modern comics, such as Mike Mignola's series, where Behemoth is depicted as a demonic, tentacled spawn of the Ogdru Jahad, reimagined as an apocalyptic harbinger tied to occult lore. Behemoth features in film and television as a symbol of ancient mysteries, often blending with speculative effects. Documentaries like (2009–present) on the portray Behemoth as evidence of extraterrestrial engineering or lost , linking it to ancient theories in episodes exploring biblical giants and chaos monsters. In video games and contemporary media, Behemoth manifests as an interactive antagonist drawing from its mythic ferocity. The Polish black metal band Behemoth, formed in 1991, explicitly references the creature in its name and lyrics, subverting biblical imagery—such as inverting passages from Job and —to critique religious dogma, as seen in tracks like "Blow Your Trumpets " from The Satanist (2014).

References

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  2. https://www.researchgate.net/publication/373299828_The_Metaphor_of_Behemoth_in_Job_4015-24
  3. https://www.academia.edu/2204832/_Behemoth_and_Leviathan_Biblica_93_2012_261_67
  4. https://en.wikisource.org/wiki/The_Book_of_Enoch_(Charles)/Chapter_60
  5. https://www.etymonline.com/word/behemoth
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  8. https://www.biblegateway.com/passage/?search=Job+40%3A15&version=VULGATE
  9. https://www.kingjamesbibleonline.org/Job-40-15/
  10. https://www.bibleodyssey.org/articles/authorship-of-job/
  11. https://www.jstor.org/stable/43727916
  12. https://www.biblicalarchaeology.org/daily/biblical-topics/bible-versions-and-translations/the-masoretic-text-and-the-dead-sea-scrolls/
  13. https://www.bible.ca/manuscripts/Book-of-Job-Bible-Manuscript-Textual-Variants-Old-Testament-Tanakh-Septuagint-LXX-Masoretic-Text-MT-scribal-gloss-copying-error.htm
  14. https://www.biblegateway.com/passage/?search=Job%2040:15-24&version=NIV
  15. https://pdfs.semanticscholar.org/3404/2d88b6bc4e5115e92799d7eff2a08af313bf.pdf
  16. https://www.biblicaltraining.org/learn/institute/ot624-the-book-of-job/ot624-32-the-identity-of-behemoth-40-15-24
  17. https://www.chabad.org/library/bible_cdo/aid/16442/jewish/Chapter-40.htm
  18. https://academic.oup.com/book/46654/chapter/410119518
  19. https://www.newadvent.org/fathers/1201.htm
  20. https://aquinas.cc/la/en/~Job
  21. https://pdsh.fandom.com/wiki/Bahamut
  22. https://bestiary.ca/beasts/beast104445.htm
  23. https://www.abdn.ac.uk/bestiary/
  24. https://www.bible-researcher.com/luther02.html
  25. https://oxfordre.com/religion/display/10.1093/acrefore/9780199340378.001.0001/acrefore-9780199340378-e-654
  26. https://publicdomainreview.org/collection/the-history-of-four-footed-beasts-and-serpents-1658/
  27. https://www.biodiversitylibrary.org/item/137923
  28. https://creatureandcreator.ca/?tag=voltaire
  29. https://library.biblicalarchaeology.org/sidebar/what-is-a-behemoth/
  30. https://www.iranicaonline.org/articles/wellhausen-julius
  31. https://apologeticspress.org/wp-content/uploads/2021/08/0101.pdf
  32. https://www.biblegateway.com/passage/?search=Job+40&version=NIV
  33. https://www.thenivbible.com/blog/how-to-choose-the-best-study-bible/
  34. https://www.talkgenesis.org/behemoth-cant-be-a-sauropod/
  35. https://www.asa3.org/ASA/PSCF/2019/PSCF12-19Senter.pdf
  36. https://prodigy.ucmerced.edu/scholarship/yBqXMk/0OK008/MythicalCreaturesInTheBible.pdf
  37. https://facultyshare.liberty.edu/files/40294843/fulltext.pdf
  38. https://apologeticspress.org/behemoth-the-hippo-and-egyptian-pehemu-5953/
  39. https://creation.com/images/pdfs/tj/j15_2/j15_2_62-68.pdf
  40. https://contingentmagazine.org/2019/03/18/hunting-dinosaurs-africa/
  41. https://www.theosociety.org/pasadena/etgloss/ba-be.htm
  42. https://creationtoday.org/mythical-creatures-in-the-bible/
  43. https://godawa.com/of-myth-and-the-bible-part-5-behemoth/
  44. https://answersingenesis.org/bible-characters/giants-in-the-bible/
  45. https://www.biblegateway.com/passage/?search=Job+40%3A15-24&version=NIV
  46. https://milton.host.dartmouth.edu/reading_room/pl/book_7/text.shtml
  47. https://www.metmuseum.org/art/collection/search/383509
  48. https://www.jstor.org/stable/2922649
  49. https://www.poetryfoundation.org/poems/45336/in-memoriam-a-h-h-obiit-mdcccxxxiii-27
  50. https://www.cslewis.com/a-look-at-lewiss-poetry/
  51. https://www.philip-pullman.com/hdm
  52. https://www.meisterdrucke.us/fine-art-prints/French-School/521879/Satan-Riding-a-Behemoth%2C-from-Liber-Floridus-by-Lambert-de-Saint-Omer-c.1120.html
  53. https://bestiary.ca/beasts/beastsource104445.htm
  54. https://www.metmuseum.org/art/collection/search/336215
  55. https://www.gutenberg.org/files/8710/8710-h/8710-h.htm
  56. https://hellboy.fandom.com/wiki/Behemoth_(Ogdru_Hem)
  57. https://www.history.com/shows/ancient-aliens
  58. https://blabbermouth.net/news/nergal-on-behemoths-anti-religious-imagery-its-my-art-and-my-temple-and-if-you-dont-want-it-stay-away
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