Pharisee Tales

Fables, folklore, legends, stories, myths, and historiography warning children of the adversary:

Throughout the ages of time, Adamic man has been leaving clues for his grandchildren, in hopes of teaching them to identity and avoid their life long rival.

In these pharisee tales you will find breadcrumbs that lead to the understanding of our adversary.

Contents:

1. Vampires

2. Witches

3. LepreCOHENS

4. Trolls (short and greedy little devils)

5. Jack and the Beanstalk

6. Dwarfs (Snow White)

7. Rumpelstiltskin

8. Goblins

9. Elves

10. Hansel and Gretel

11. Werewolves 

12 GOLDilocks

13 Giants  (Nephilim)

14 Zelda

15 James and the Giant Peach

16 Oliver Twist (Fagin)

17 Smurfs and Gargamel

18 Dragons

19 Snakes and Serpents

20 Lord of the Rings

21 The Holy Bible (that old dragon, a brood of vipers, the slithering serpent)

22. Pinocchio (Stromboli)

23. The Game of the Goose (Der wandernde Jude)

24 Jack the Ripper

25. FrankenSTEIN

26. Sprites, Elves, Fairies (Pharisees)

Fairy Pharisee Tales

Esau hidden in plain sight in popular culture, folklore, books, fables, stories, myths, songs, games, movies, plays, etc.

Part I. Vampires and Dracula:

“Dracula’s role as racial outsider results from Stoker giving him Jewish attributes and largely basing him on depictions of the Wandering Jew.

Stoker was very interested in the legend of the Wandering Jew, whose attributes are echoed in Dracula.

Dracula’s evil and supernatural nature and his blasphemy of Christianity ultimately cast him in the role of Antichrist.

Stoker may have known the works of Lewis and Maturin, but he was most fascinated by French author Eugene Sue’s The Wandering Jew (1845),

Dracula’s debt to the Wandering Jew is most obvious in their shared physical characteristics. An 1873 stage version of Eugene Sue’s novel, produced by George Lander, describes the Wandering Jew as having “long jet-black hair and jet-black eyebrows, dressed in a long black robe” (Malchow 156-7).

The obvious physical similarity between the Wandering Jew and all vampires is the emphasis upon the eyes. Dracula has the same powerful hypnotic eyes attributed to the Wandering Jew

In the natural world, the living feed on the dead, but Dracula is the dead who feeds on the living, and by this feeding he prolongs his life

Dracula’s ability to “vanish and come unknown” also links him to the Wandering Jew who inexplicably can appear and disappear from places, especially at moments of historical importance

Stoker also builds upon the Wandering Jew’s connection to the biblical Cain in his depiction of Dracula. The Wandering Jew traditionally bears a mark on his forehead that recalls the mark God gave to Cain for murdering Abel.

Stoker made one final connection between Dracula and the Wandering Jew that he later deleted from the final version of Dracula. In the original second chapter that was later removed, Jonathan Harker’s journey to Dracula’s castle includes a stop in Munich, where he sees a performance of Wagner’s opera, The Flying Dutchman. The story of the Flying Dutchman is similar to that of the Wandering Jew; the Dutch captain must roam the seas forever in a cursed phantom ship until Judgment Day because he defied God by committing murder like the biblical Cain (Belford 217).

Stoker’s decision to have the novel center around Dracula’s migration to England is intended to symbolize the migration of Eastern European Jews to England in the late nineteenth century

Eastern and dark skinned men, including Africans and Jews, have greater sexual prowess than Western European men (Hatten 129, Malchow 149, 151). Such sexual fears of the “Other” resulted in numerous stereotypes of the Jewish people during the Victorian period, including their being rapists, cannibals, and polygamists.

Jewish people were stereotyped with various forms of sexual deviance, including intended corruption of women and the innocent.

Jews were also depicted as corrupting children. In Oliver Twist (1838), Fagin preys upon boys, using them as tools for his acquisition of wealth.

More severe depictions included Jewish men as cowardly homosexual degenerates who preyed upon innocent boys; such representations easily extended to the metaphor that Jews were like vampires, for vampires seek their victims during nocturnal hours, the same time when homosexuals are most likely to contact one another (Malchow 141, 163).

Vampires, Jews, and homosexuals were also all associated with strange smells believed to arise from the bodily emissions of masturbation or the fecund odor of sodomy (Malchow 141). Jewish men were even believed to menstruate; this bleeding provided yet another metaphorical link to vampires (Mulvey-Roberts, “Dracula” 830).

After Oscar Wilde’s trial in 1895, anxieties increased over gender issues, and Stoker, who had his own anxieties over his homosexuality, used such anxieties to make Dracula all the more frightening by suggesting his sexual deviance (Gary Day 82).

More popular as a Jewish stereotype than their perverted sexuality was the belief that Jews were wealthy. Because many Jews were usurers, they were comparable to vampires because they could financially drain their debtors.

Blood and money became metaphors for one another because both are necessary to sustain life. Consequently, Jews, and especially usurers, were treated as types of vampires in literature. In Mary Shelley’s Valperga (1823), usury is associated with vampirism when Castruccio, upon learning that Pepi has engaged in usury, calls Pepi, “Thou vile Jew…A usurer, a bloodsucker!” (216). In Charles Dickens’ Dombey and Son (1848), during an estate auction “herds of shabby vampires, Jew and Christian, over-run the house” (Pool 98).

Jews were frequently depicted as murdering Christians to obtain blood for their Passover feasts (Zanger 37). Dracula’s blood consumption, therefore, aligns his activities with the Jewish religion, and makes both appear as the reverse of Christianity.”

https://thegothicwanderer.wordpress.com/2014/01/30/dracula-the-new-wandering-jew-and-anti-semitism/

“As he wanders the globe, the Wandering Jew remarkably appears without explanation at the sites of great historical events such as the sack of Rome, the crusades, and decisive Napoleonic battles; these appearances at great events suggest that the Jew may have supernatural powers that allow him to appear wherever he chooses (Tennyson 212)The Jew’s constant wandering is enhanced by his fear that Christians will learn his true identity, so he must continually move from place to place”

https://thegothicwanderer.wordpress.com/tag/the-sorrows-of-young-werther/

“The Wandering Jew”

“One can draw many parallels between the …jew and the image of the vampire: both are parasitic and drain the life force out of the host –in the case of the vampire the victim and in the case of the Jews an unwitting nation. Both have a symbolic connection to blood, and contact with either of them taints the blood.

The etymology of the word is unclear, related probably to the Old Russian term “Upir”. In Serbian the word is “Vampir”, and it passed in this form in German after the vampire hysteria of 1725-1730 forced the Austrian bureaucracy to write official reports in German. The English “vampire” and the French “vampyre” are derived from the German version of the word.

As mentioned, the belief in blood drinking demonic beings seems universal and is present in all ancient cultures. The iron toothed “asanbosam” of the African Ashanti is a vampiric being that hunts people from trees. The Chinese ”pinyin” kills the living by robbing them of their life essence. The Philippinese ”Mandurugo” , the Malaysian “Pennanggallan”, the Indonesian ”Leyak” prey on pregnant women or their children In India, the goddess Kali is linked to the drinking of blood, and the vetalas are undead ghouls who possess bodies. The Colombian “Tunda” and the “Soucouyant” of Trinidad are female monsters while the Aztec “Cihuateteo”, the spirits of those who died in childbirth, steal children and drive the living insane by seducing them.

The ancient Persians depicted blood drinking demons on pottery. The Babylonian goddess Lamashtu is described as a “flesh eating, blood sucking monster” that preys on pregnant women, drinks the blood of newborn babies and eats them. The related Babylonian and/or Sumerian myth of Lilitu, which is at the origin of the Jewish myth of Lilith, also describes a female sexual predator, a demon who feeds on the blood of babies In Greek mythology, Lamia, feeds on sleeping children, and Empusa seduces men before drinking their blood.

Just as the bite of the vampire caries the contagion with it, the contact with the Jews taints the blood. In these context depictions of the Jews as sexual predators suggest that the Jews are determined to racially undermine the host nation. The relationship between vampire and victim has its parallel in the relationship between the host nation and the Jews..

“Count Dracula is the faithful embodiment of the caricature of the Jew as greedy and parasitic.”

One does not have to travel far to reach Goebbels point of view that “The Jews are…a pseudopeople wielded together by a history of hereditary criminality.”

in [National Socialist Germany] the anxiety evoked by the vampire was used to amplify the anxiety and resentment created by the Jews.

In the cartoons and posters of the Nazi era, the Jew is represented both as bloated with the blood and wealth of other nations, as a pedophile, or as a monstrous creature bent on world domination”

https://www.academia.edu/4913745/How_Vampires_Became_Jewish

http://www.peterdanpsychology.ro/ro/pagina/26/how%2520vampires%2520became%2520jewish.html

This truth is absolutely amazing.  As explained in the excerpt of an article reproduced below, the jews, as literal children of Satan, have blood of a different type than other humans.  It is defective and has no life in it, to the extent that after a few generations their descendants will develop various disorders and diseases leading to the extinction of the line.  In order to perpetuate their race, they must either practice mongrelization (ie, mixing their bloodline with other human races), or literally consume the blood of other humans (as has been recorded down through history with jews practicing ritual sacrifice of children and drinking their blood).

This puts a whole new perspective on the stories of vampires.

The imminent B.F. Jackson in his series of books entitled “the Mystery of the Serpent,” has indeed documented the detailed information concerning the “dead” blood of a Jew. We shall not quote, but will paraphrase some of this enlightening information.

http://truthseeker-archive.blogspot.com/2015/05/the-jews-are-literal-vampires-who.html

There are a multitude of scriptures that identify the Jews as being (spiritually and materially) dead from the womb, from birth.

They are not children of Yahweh, they are a cabal of Luciferian children that are literal vampires and parasites, deriving their physical existence from the blood and material assets of the children of Yahweh. All deceit, crime, corruption, perversion, and anti-Christ activity in the world, can be traced to it’s origin, the Jew and his proselytes.

tells us that Satan and his minions of Jews will be isolated from the world for a thousand years, in which time most of all of these vampires shall be consumed by Ta Sachs disease for lack of man’s blood.

http://israelect.com/reference/WillieMartin/OriginOfTheJews.htm

Witches

In Mediaeval Europe jews were forced to wear pointy hats for the sake of identification. There were strict laws against miscegenation at that time. A White European was forbidden to marry a jew, often by the punishment of death.

The Jewish hat also known as the Jewish cap, Judenhut (German) or Latin pilleus cornutus (“horned skullcap”), was a cone-shaped pointed hat, often white or yellow, worn by Jews in Medieval Europe

Jews were known for their use of magic and other esoteric cabalistic practices.  Later in films and stories this knowledge was preserved; they were portrayed as hook-nosed witches with their nefarious use of magic while always donning those weird pointy hats.

Margaret Hamilton (1902-1985) in the role of Miss Gulch, The Wicked Witch of the West, in the musical ‘The Wizard of Oz’, directed by Victor Fleming for MGM.

According to Robert Wistrich:

The literal understanding of horns in the Psalter inspired the horned hat (pileum cornutum) that Jews were forced to wear from the thirteenth century on. It too began to appear in art in the ninth century and is visually derived from late versions of the Magi’s hats and from the Phrygian caps worn by deniers of Christ in the Stuttgart Psalter. These hats vary in form but have one thing in common: a single point or hump which simultaneously covers and calls attention to the horn the Jew was believed to have. That these hats denote an identification with the devil is shown in thirteenth century illuminations in which there is no clear differentiation between a demon’s single horn and pointed hats. By revealing the horn the Jews skillfully hide, these pointed hats acted as a mark of Cain. (pg 55-56)

While continuing their role as Christ’s torturers and deniers, from the thirteenth century on they also appear – identified by the Jew’s hat – as Apocalyptic riders, false prophets, worshipers of Antichrist, and companions of the heretics in Hell. In such works, Antichrist, demons, apocalyptic killers, heretics, and Jews often have hooked noses. This originally demonic feature became associated specifically with Jews by the thirteenth century, and has remained an accepted stereotype to this day.

https://thetwistedrope.wordpress.com/2014/09/24/reconsidering-the-witchs-uniform/

 

Judenhut – Jewish hat (German)

By the 1380s the weakened condition of the Jewish communities and the relativistic philosophy then popular among Jewish intellectuals were producing numerous conversions.[6] After the rioting of 1391, Jews converted en masse, led by their rabbis, and from then on Spain’s Jewish communities became smaller and more impoverished while the converted Jews grew in numbers, wealth, and political importance. By the middle of the fifteenth century, however, resentment of the conversos was giving rise to a polemical literature that rejected the possibility of their true conversion to Christianity and blamed them for all the crimes normally attributed to Jews. The most interesting and important of these writings was the Fortalitium Fidei (Fortress of the Faith) by the Franciscan Alonso de Espina, first published in 1460.

According to Espina, Jewish law, which is equally binding on both Jews and converts, commands the destruction of Christians and Christianity, which they actively strive to accomplish by starting fires, poisoning wells, and doing other evil deeds.[7]

[The jews were considered]…a kind of bogyman, a larger-than-life image of the Jew/converso who was at once child murderer, blood sucker, rebel, and demonic sorcerer who sought to reverse the divinely established order of things by destroying Christianity so that, according to Licenciado Vegas, the Holy Child’s first chronicler, the Jews “would become the absolute lords of the earth.”[8]

Leprechauns (LepreCOHENS)

As the Jews of Europe began to seize more control, the White Europeans were forced to encode meaning into their folklore.  Leprechauns are an excellent example of this.

Leprechauns are known for their rapacious demeanor, always striving after gold.

The word “leprechaun” is derived from the Irish Gaelic word “leipreachán”. It is defined as “a pigmy, a sprite, or leprechaun” by Patrick Dinneen, the Irish historian, lexicographer and Gaelic revivalist. Further derivation is uncertain; the word may be a corruption of “luchrupán” (Middle Irish) from the Old Irish “luchorpán”, itself a compoud of the root “lú” (small) and “corp” (body). The latter is derived from the Latin word “corpus” (body).  http://mythology.wikia.com/wiki/Leprechaun

Leprechans  can also mean leath bhrogan (shoemaker) Shoemakers Schumacher is a common jewish occupational name.

Before the 20th century, leprechauns were described as wearing red, as opposed to green.

http://www.haaretz.com/jewish/features/.premium-1.584816

Shoemaking was a jewish occupation

These shoe makers are the sons of evil spirits.  Irish storytellers typically depicted them in red, showing their relation to Esau-Edom (Edom means red in scripture)

Most people at that time, and still today, are convinced that the jews are the people of the Old Testament, which is why we might find them with seven buttons on their coats, since 7 was such a salient number in these ancient books.  However this is a misconception since the Jews are not the people of the Old Testament, but are the descendants of Cain and Esau, both of which violated the law to not adulterate, and take foreign wives. Cain himself was the son of Satan.  Eve, in Genesis tell us, “The serpent beguiled(seduced) me and I did eat(consummate)”

Magically delicious!

Jews are known for their use of magick.

Polish shoemakers

Irish Folklore http://www.pitt.edu/~dash/ireland.html

““The Little Shoemakers” is Singer’s fantasy of the immigrant’s experience. It is a

story of Abba Shuster (Father shoemaker) who has no desire ever to leave the city of Frampol. Assimilation is not in his vocabulary. He is the eighth generation of shoemakers living in this city in Poland…..The name of Abba Shuster is recorded, on parchment, in the annals of the Frampol Jewish community. …The secret of strengthening leather and making it more durable has been divulged from one generation to the next. In character, all the Shuster men are “sound, honest workmen” and in appearance they are all short and sandy-haired.”

Notice the aquiline(hooked) nose, This is typical across all folklore depicting the enemy.

http://dc.etsu.edu/cgi/viewcontent.cgi?article=1145&context=etd

“The Little Shoemakers,” by Nobel Prize-winner Isaac Bashevis Singer, reclaims a pre-World War II Polish village. The tale depicts an emigrating family of Jewish shoemakers whose sustaining craft goes back 15 generations.

http://articles.chicagotribune.com/1995-04-21/entertainment/9504210021_1_family-affair-piven-theatre-workshop-shoemakers

Irish word for fairy is “sheehogue” [sidheog] banshee , deenee shee “fairy people”

Rumpelstiltskin

Sniveled, hook-nosed villain with difficult-to-pronounce name (meaning “little rattle stilt,” basically a type of goblin)

https://chavalah.wordpress.com/2011/11/26/rumpelstiltskin-and-antisemitism-in-fairytales/

http://www.renegadetribune.com/conversations-fairy-tales-william-scott-rumpelstiltskin-part-1/

In order to make himself appear superior, a miller lies to the king, telling him that his daughter can spin straw into gold.

https://en.wikipedia.org/wiki/Rumpelstiltskin

Precious Jewish Names

Goldberg, Goldman, Silverstein, Ruby, Green

Goldstein, Diamond, etc.  “precious names”

http://www.subvertednation.net/jew-lists/jewish-surnames/

https://www.reddit.com/r/NoStupidQuestions/comments/1n3h08/why_do_so_many_jewish_people_have_gold_silver_or/

Lots of Askenazi Jews (Northern/Eastern European, as opposed to Sephardim, from the Middle East, North Africa and Spain) lived in Germany and adopted German names towards the end of the Middle Ages, when most Europan families began using surnames. These are fairly common (singly or in combination) names in Germany, even among gentiles, and often refer to a place or profession associated with the family back in the days:

Berg=Mountain

Burg=Town

Stein=Mug or Cup

Gold=Gold

Silver=Silver

Roth is probably a variant of the German word “Rot”, meaning Red.

Edom= Red

I

https://books.google.com/books?id=XsIqAAAAYAAJ&printsec=titlepage#v=onepage&q=fallen%20angels&f=false

“Fallen angles who were not good enough to be saved”

Hänsel und Gretel[a] [ˈhɛnzl̩ ʊnt ˈɡʁeːtl̩]) is a well-known fairy tale of German origin, recorded by the Brothers Grimm and published in 1812. Hansel and Gretel are a young brother and sister kidnapped by a cannibalistic witch living deep in the forest in a house constructed of cake and confectionery. The two children save their lives by outwitting her

https://en.wikipedia.org/wiki/Hansel_and_Gretel

https://en.wikipedia.org/wiki/Jack_and_the_Beanstalk

Goblins

“Goblins are.. stereotypical Jewish?

“What I want to discuss though is something I can’t get out of my head, every time I see a goblin in wow. There mannerisms, there accent, how they have this obsession with gold all the time and big noses. Your probably thinking right now ‘what, is this how you think all jewish people are like?’, No, it is not.

However, this IS how comedy shows like south park, family guy, american dad, and sometimes the simpsons portrays the Jewish community.”

http://www.mmo-champion.com/threads/1163823-Goblins-are-stereotypical-Jewish

http://www.gutenberg.org/files/17034/17034-h/17034-h.htm#JACK_AND_THE_BEANSTALK

They are the Jews of the wizarding world. Anyone else notice this?

1. The Goblins run the wizard bank called Gringotts.

2. They are known for making high quality jewelry and metal.

3. They are short, ugly and have black eyes and long pointy noses.

4. They feel they have been mistreated by the wizarding community.

https://www.stormfront.org/forum/t406780/

Jack and the Beanstalk

Fee-fi-fo-funiy

I smell the blood of an Englishman.

Be he alive, or be he dead,

I’ll grind his bones to make my bread,**

The Legend of Zelda

The protagonist of ‘The Legend of Zelda’ Nintendo game series is the blond and blue-eyed Aryan natural-born warrior known as ‘Link’.  Link fights the eternal enemy Jew with untiring vigor and bravery. Nothing will stop this European legend from putting the slimy throat of Zion to the cold steel of his viking sword.

‘Link’ does everything in his power to save his blond blue-eyed Aryan princess ‘Zelda’ from the Jewish kidnappers who hold her hostage. The entire legend is an adventurous love story filled with action and necessary bloodshed. ‘Link’ must save his golden-haired White woman from the dark clutches of Zion, by any means necessary.  All is fair in love and war against the Jew.

It is no coincidence that the evil antagonist and arch-nemesis ‘Ganondorf’ has red kinky hair with long earlocked sideburns, dark beady eyes, a giant hook-nose and the typical look of a creepy smirking pedophile. ‘Ganon’ symbolizes the Jew: the timeless cosmic fiend and bloodthirsty adversary to the Aryan race.

ugly red haired jew

He routinely and systematically kidnaps blond White women and hold them hostage. His agenda is total World domination and ruthless enslavement of all the so-called “Goyyim”. This devious kike is even wearing a ‘tefillin’ on his forehead and arms. The only thing missing is a yarmulke, and you would have a fully equipped baby-penis sucking Orthodox Hasidic Chabad-Lubavitch rabbi.

In his quest to rescue his Golden-haired princess, the Aryan warrior Link will obliterate all Jews who stand in his path. Worthless kike villains will line the sides of the White road to victory. The ultimate foe is a swarthy beady-eyed hook-nosed maniac

The discretely anti-Semitic “Legend of Zelda” game series was incredibly appealing to the non-Jewish populations of the World, due to the implicit anti-Jewish symbolism and pure Nordic Aryan Jew-hating hero Link. The popularity was so explosive that a cartoon series was put into production, both in magazine form and also in motion as a TV-series.

-smoloko.com

https://crushzion.k0nsl.org/japanese-legend-of-zelda-game-series-symbolic-for-the-aryan-struggle-against-the-jew/  (((link doesn’t work anymore)))

James and the Giant Peach

other books by Roald Dahl: Witches, Matilda, Willy Wonka, James and the Giant Peach

Was beloved children’s author Roald Dahl a raging bigot?

“There is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason”  -Roald Dahl

“There is a trait in the Jewish character that does provoke animosity, maybe it’s a kind of lack of generosity towards non-Jews,” said Dahl in a 1983 interview with New Statesman. “I mean there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn’t just pick on them for no reason,” Dahl told the British magazine.

“Must Israel like Germany, be brought to her knees before she learns how to behave in this world?”

A book review Dahl penned for Britain’s Literary Review in 1983 allowed him to point out “those powerful American Jewish bankers” who “utterly dominate the great financial institutions over there,” for instance. He also lambasted the media for being “entirely” owned by Jews who cover up Israel’s atrocities.

“I am certainly anti-Israel, and I have become anti-Semitic,” Dahl told The Independent in 1990, eight months before his death.

https://en.wikipedia.org/wiki/James_and_the_Giant_Peach_(film)

http://www.timesofisrael.com/was-beloved-childrens-author-roald-dahl-a-raging-bigot/

http://offbeat.topix.com/slideshow/18027/slide12

Peach means to inform

http://www.thefreedictionary.com/peach

Oliver Twist

https://en.wikipedia.org/wiki/Fagin

https://en.wikipedia.org/wiki/Fagin#/media/File:Fagin_by_Kyd_1889.jpg

Fagin is a fictional antagonist in Charles Dickens’s novel Oliver Twist. In the preface to the novel he is described as a “receiver of stolen goods”, but within the text he is more frequently identified simply as “the Jew.”

Dickens describes jews as clever and crafty

He is the leader of a group of children (the Artful Dodger and Charley Bates among them) whom he teaches to make their livings by pickpocketing and other criminal activities, in exchange for shelter.

Although portrayed humorously[citation needed], Fagin is a self-confessed miser(one who hoards wealth and spends as little money as possible.) who, despite the wealth he has acquired, does very little to improve the squalid lives of the children he guards, or his own.

Dickens took Fagin’s name from a friend he had known in his youth while working in a boot-blacking factory

Jews are known to be shoe makers

JOINTLY WITH Shakespeare’s Shylock, Charles Dickens’s Fagin is probably the best-known Jewish character in English literature — and perhaps also the most repellent. Fagin’s portrayal, in Oliver Twist, as “a very old shrivelled Jew whose villainous looking and repulsive face was obscured by a quantity of matted old hair” has shined a spotlight on Dickens’s attitude towards Jews and on the effect his second novel may have had on the British people’s attitude towards Jews.

Oliver Twist, Dickens’s second novel, appeared serially between 1837 and ’39. It referred to the odious, criminal Fagin as “the Jew” more than 250 times in its first thirty-eight chapters. Yet by the mid-1860s, Dickens was repentant enough to suspend republication of the novel and edit its later chapters (while the first thirty-eight, already set in type, went unchanged). The great author’s action was provoked by a Jewish woman’s protest, as we shall describe shortly.

http://jewishcurrents.org/charles-dickenss-anti-semitism/

Dickens, who had extensive knowledge of London street life, wrote that he had made Fagin Jewish because: “it unfortunately was true, of the time to which the story refers, that the class of criminal almost invariably was a Jew”

https://en.wikipedia.org/wiki/Fagin_the_Jew

https://en.wikipedia.org/wiki/Our_Mutual_Friend#Jews_in_Our_Mutual_Friend

Fagin caused an understandable stir when the film came out, and it wasn’t released in the U.S. until 1951 and then only in a version in which twelve minutes or so of Fagin had been excised. The movie was also banned in Israel for being antisemitic. It was also banned in Egypt, for not being antisemitic enough. I’m not making that up

http://criterioncollection.blogspot.com/2005/07/32-oliver-twist.html

Pickwick Papers (1837) has Mr. Pickwick mentioning gratuitously that one of the “principal productions” of the towns of Stroud, Rochester, Chatham and Brompton are Jews. There is also Mr. Solomon Pell, an attorney; his kind, writes Dickens, is “generally a youth of the Jewish persuasion,” and Pell himself has a nose that was “all on one side.”

The Old Curiosity Shop (1840-1) has Quilp saying, “He’s richer than any Jew.” In Barnaby Rudge (1841), when Gashford thinks of Jews, he thinks of money and beards. Montagu Tigg in Martin Chuzzlewit (1843-4) refers to a pawnbroker needing to “weigh out his pound of flesh,” and in Dombey and Son (1846-8), a Jew of “Mosaic Arabian cast of countenance” is both vulgar and insolent. Mr. Micawber in David Copperfield (1849-50) refers to bills as “a convenience to the mercantile world for which I believe we are originally indebted to the Jews who appear to me to have a devilish deal too much to do with them ever since.”

English actor Ron Moody at Shepperton Studios, in costume for his role as Fagin in ‘Oliver’, directed by Carol Reed, 1968. (Photo by Graham Stark/Hulton Archive/Getty Images)

A number of Dickens’s short stories also clearly show anti-Jewish sentiment. “Bonomye the Usurer,” published in Bentley’s Miscellany, tells of a heartless medieval Jewish moneylender with the “strongly-marked features of his race” who “wears a sinister expression” and sells himself to the devil. He is a “merciless creditor” who “hated a Christian, never renewed a loan and never abated  one farthing of his due.” Another story, “The Professor of Toledo,” is set in the Middle Ages and contains a repellent Jewish money-lender, Mordecai, whose daughter converts to Christianity. She is about to be married when fifty Jews led by Mordecai enter the cathedral and try to take her away. They are massacred by the congregation.

http://jewishcurrents.org/charles-dickenss-anti-semitism/

Gargamel from the Smurfs

http://www.motherjones.com/mixed-media/2013/07/communist-anti-semitic-smurfs-2-wizard-hitler

The physical characteristics and profile of Gargamel—with his hook nose and unquenchable lust for gold.

Gargamel, the mean-spirited sorcerer and primary antagonist in the Smurfs universe, is driven by his desire for world domination and by his plot to throw Smurfs into his magic-harvesting concentration camps. 

https://www.youtube.com/watch?v=Qra0hlO6hZk

The Communist Smurfs

According to French sociologist Antoine Buéno, Gargamel is suggestive of a stereotype of a Jew, having a big nose, magic powers,  and a love of gold.

In addition, Gargamel’s cat Azrael’s name in Hebrew actually means “God is my helper” (in Israel he is called “Hathattul” which is composed of the Hebrew words `Hat` – which is fear in Hebrew, and `hatul` – cat; literally meaning “fearsome cat”). In both Jewish and Muslim tradition, Azrael is the name of the angel of death. In addition to that, it was a Jewish name, so it could be used as an injoke for Delporte’s Jewish wife.[6][7]

On the other hand, the name “Gargamel” is not a Jewish name but taken from Rabelais’ classic Gargantua and Pantagruel, where Gargamelle is the mother of Gargantua and a giant, which is appropriate since Gargamel is a giant compared to the Smurfs. The name was suggested by Yvan Delporte. Azrael was also suggested by Delporte, who considered “angel of death” an appropriate name for the would-be killer of Smurfs, and he also liked the rhyme with Gargamel.

Jews have the genes for dwarfism and that of giants. They are called the nephilim in the bible.

https://en.wikipedia.org/wiki/Gargamel#Jewish_stereotype

Gargamel was the “anti-Semitic” caricature of the Jew.

Looking at the image and symbol of Gargamel it is apparent that the Smurfs invested their villain with anti-Semitic stereotypes from both the Christian and Communist traditions.

First off, the names Gargamel and his cat Azriel, sound a lot like Hebrew. In fact, Azriel’s name in Hebrew actually means “God will help” (it is interesting to note that in Israel he was simply called “Hathattol” which means something like “caty”). In both Jewish and Muslim tradition, Azriel is the name of the angel of death.

In addition, Gargamel’s Godfather was named, Balthazar (another version of God will help – albeit the God “Baal”).

Second, Gargamel looked like the stereotypical image of the Jew. He is old, bolding with unkempt hair, big-nosed, hump-backed, and wears raggedy black clothes. The only thing that Gargamel is missing is a beard and kippah. He is, in short, in the tradition of Charles Dickens’ Fagin, a classic example of the ugly old Jew.

Third, Gargamel is a miserly, two-faced, and diabolic sorcerer who obsessively plots against the Smurfs, and uses his magic powers to capture them so that he can either eat them or turn them into gold.

Gargamel’s personality and occupation are in line with the medieval Christian belief that the Jews possessed malevolent magical powers (originating in the New Testament assertion that the Jews were children of the devil), and that they would employ those powers in order to capture Christians and use their blood for ritualistic food. Similarly, Gargamel’s desire to turn the Smurfs into Gold is in accord with the Communist belief that the Jewish capitalists (whose God was money) sought to exploit the worker.

Finally, the size of Gargamel’s body in comparison to the Smurfs (who stand at three apples high) also adds to his image as the all-powerful Jew. Although in the mind of the medieval Christian and communist the Jew was not known for his/hers impressive physical dimensions, the Jew was understood symbolically as a larger than life figure (who else could have committed Deicide or oppressed the masses?).

In the end, it is clear that in name, appearance, character, and deed, Gargamel comes across as the archetypal Jewish Villain.

https://roiword.wordpress.com/2008/02/08/the-smurfs-communist-allegory-with-an-undercurrent-of-misogyny-and-anti-semitism/

 Lord of the Rings

Mount Doom/Mordor = Edom  On the LOTR map, Mordor is placed in the south just like Edom.

Sauron = Satan

The Elves, who are shown in bright white light, are the Adamic race, Yahweh’s elect, even though Tolkien was oblivious of who the true Israelites are.

The short ill-tempered money-hungry Dwarves are the Edomite Jews.

“”The dwarves of course are quite obviously – wouldn’t you say that in many ways they remind you of the Jews? Their words are Semitic obviously, constructed to be Semitic.””

― J.R.R. Tolkien

“Tolkien’s redheaded dwarves are the characteristically Jew media-diminished Edomite Jews, who rule the world by the ‘One Ring’ “  firslightforum.wordpress.com -no longer working website

“..One of the weaknesses of the Dwarves was their greed for gold and other riches, amplified by the Seven Rings. Some see a connection between this and the stereotype of the Jewish usurer. It is also possible to draw a connection between the bearded Dwarves and the beards of Orthodox Jews.” (3)

The orcs are born out of the soil of Earth, which makes the connection in scripture about how Yahshua says he and his racial sheep are from above, and the beasts of the field and the other races are from below.

Orcs are Mongoloids with slanty eyes

The Wizards are angels (fallen angels) or Istari (Ishtar) who use black magic.

Melkor is Lucifer, one of the fallen angels

“Tolkien himself, it turns out, publicly said the Jews inspired Middle Earth’s dwarves.

…a letter the author sent his daughter in which he wrote “I do think of the ‘Dwarves’ like Jews: at once native and alien in their habitations, speaking the languages of the country, but with an accent due to their own private tongue.”

It’s true that the Hobbit occasionally describes the dwarves in ways Jews would be unlikely to welcome – as Soloveichik points out, Tolkien’s description in “The Hobbit” of dwarves as “not heroes, but calculating folk with a great idea of the value of money; some are tricky and treacherous and pretty bad lots,”

Tolkien was approached about the possibility of a German translation of “The Hobbit,” during the negotiations over which he was asked if he was Aryan. “[If] I am to understand that you are enquiring whether I am of Jewish origin, I can only reply that I regret that I appear to have no ancestors of that gifted people,” he wrote. He had always been, he wrote, proud of his own German heritage, but “if impertinent irrelevant inquiries of this sort are to become the rule in matters of literature, then the time is not far distant when a German name will no longer be a source of pride.”

(1)http://forward.com/culture/349108/how-jews-helped-inspire-jrr-tolkiens-the-hobbit/

J.R.R. Tolkien’s Middle Earth will inspire some fans to see parallels with Jewish history – mostly through the epic tale of twelve displaced dwarves, hell-bent on reclaiming their homeland from the dragon Smaug.  (12 lost tribes of Israel. Tolkein mistakenly thought that the jews are Israelites)

“I didn’t intend it, but when you’ve got these people on your hands, you’ve got to make them different, haven’t you?” said Tolkien during the 1971 interview. “The dwarves of course are quite obviously, wouldn’t you say that in many ways they remind you of the Jews? Their words are Semitic, obviously, constructed to be Semitic. The hobbits are just rustic English people,”

“Anyway, I have in this war a burning private grudge…  against that ruddy little ignoramus Adolf Hitler,” wrote Tolkien in a 1941 letter to his son. “[Hitler is] ruining, perverting, misapplying, and making forever accursed, that noble northern spirit, a supreme contribution to Europe, which I have ever loved, and tried to present in its true light.”

(2)http://www.timesofisrael.com/are-tolkiens-dwarves-an-allegory-for-the-jews/

Christine Chism mentions the issue of racism in the J.R.R. Tolkien Encyclopedia, where she distinguishes accusations as falling into three categories: intentional racism, unconscious Eurocentric bias, and an evolution from latent racism in Tolkien’s early work to a conscious rejection of racist tendencies in his late work.

In the Foreword to the revised edition of The Lord of the Rings, Tolkien cautioned strongly against viewing it as an allegory, saying that he disliked allegory himself. Furthermore, according to his own claims, Tolkien denounced Hitler, Nazi beliefs, “race-doctrine” and apartheid and praised the Jews, calling them a “gifted people”

Of the orcs, the Uruk-Hai are described as “black [2] and a smaller orc, a tracker, is described as “black-skinned”.[3] All orcs are often described as “slant-eyed” and the Uruk-Hai at least refer to the Rohirrim as ‘white skins.’ In one of his letters, Tolkien described Orcs as “…squat, broad, flat-nosed, sallow-skinned, with wide mouths and slant eyes; in fact degraded and repulsive versions of the (to Europeans) least lovely Mongol-types.”(Letter 210)

While Tolkien’s statement comparing Orcs to the “Mongol-types” is undoubtedly insensitive given today’s standards, he does put a disclaimer, “(to Europeans,)” before “least lovely”, at least recognizing Western cultural bias and also points out that they were “degraded and repulsive versions” of “Mongol-types”, not actual “Mongol-types”. It is worth noting that some Orcs use crooked or bent swords (Tolkien also uses the term scimitar, which are historically associated with the Middle-East)

http://tolkiengateway.net/wiki/Racism_in_Tolkien’s_Works#Light_vs._Dark

Pinocchio and Stromboli

 Pinochios nose gets bigger because jews are stereotypically known for their big noses and Walt disney might have purposely associated jews and their big noses with lying.

In order for Pinocchio to become a real boy the beautiful blonde fairy tells him he must first prove himself worthy by exhibiting a few noble traits – bravery, selflessness and most important of all, honesty.
He must also learn to tell right from wrong and good from evil with the all American, Jiminy Cricket, volunteering to guide him as his conscience.

Unfortunately for Pinocchio, he has been brought to life in a world full of evil temptations, deceit and greed.
The perfect example of this??? Why, the world of show business of course!

Pinocchio is on his way to school when “Honest John” and his sidekick Gideon pretend to befriend Pinocchio and convince the young boy that hard-work and a good education are not important. In order to make a quick buck they bring the naïve young boy to Stromboli.


What I find most interesting here is how Walt Disney has chosen to portray Stromboli. Surely enough Pinocchio’s new boss and puppet-master is a wandering gypsy. With his long dark beard, olive skin and prominent beak nose Stromboli, who is blatantly Jewish, hopes to travel the world and make as much money as possible with his new puppet.

While Stromboli first appears as kind and friendly it soon becomes clear that Pinocchio will only serve as his slave and will be used for firewood when he is no longer useful in Stromboli’s puppet show.

https://en.wikipedia.org/wiki/Pinocchio

Three Little Pigs

The Game of the Goose – Jeu de l’Oie – The Coil of the Serpent

The Game of the Goose, or Game of the Snake, as it’s been called over the millennia, is a board game and probably the oldest known to this day.  It involves throwing two or three “die” and ultimately trying to land on the last spot, number sixty-three. It involves “chutes and ladders” type game play,

This next one looks like it was used with three dice. It shows 666

When you add up the numbers on three die it equals 63, the jews favorite number besides 6. They choose to include exactly 63 books in their Babylonian Talmud, broken up in 6 orders.

Carpet baggers

http://www.rense.com/general63/waron.htm

CHT174140 The Wandering Jew Game, inspired by the novel by Eugene Sue (1804-57) c.1870 (coloured engraving); by French School, (19th century); Private Collection; Archives Charmet; French, out of copyright
The Wandering Jew

http://www.giochidelloca.it/index.php

http://bibliodyssey.blogspot.com/2008/11/board-games.html

Jack the Ripper

Among the suspects for the identity of Jack the Ripper was a Jewish kosher butcher who had the instruments and the skills required to carry out the mutilations the Ripper inflicted upon his victims (Zanger 42). Of the one hundred thirty people questioned as suspects for being Jack the Ripper, a high proportion of them were Jewish, and ultimately, the police decided Jack the Ripper was probably a lower-class Jew from London’s East End {a disproportionate number compared to the percentage of Jews in the general population.}

Illustrated Police News
Jack the Ripper

As Gilman (1991) notes, the description of Jack the Ripper printed in the press: “dark beard and moustache, dark jacket and trousers, dark felt hat, spoke with a foreign accent” was modified in the accompanying published portrait by the addition of a hooked nose, thick eyebrows and prominent ears


Fairies (Pharisees)

continually updated…

2 Replies to “Pharisee Tales”

  1. Thanks for linking to my website. I’m also a huge fan of the Smurfs and never thought of Gargamel as having Jew similarities – I find the comparison disturbing but you make some excellent points to back up your case.

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