Pharisee Tales

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

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

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

“Fiction is the lie through which we tell the truth.”
Albert Camus


1. Vampires

2. Witches

3. LepreCOHENS

4. Trolls

5. Jack and the Beanstalk

6. Snow White and the Seven Dwarfs

7. Rumpelstiltskin

8. Goblins

9. Elves

10. Hansel and Gretel

11. Werewolves

12. GOLDilocks

13. Giants

14. The Legend of Zelda

15. James and the Giant Peach

16. Oliver Twist and Fagin

17. Smurfs and Gargamel

18. Dragons

19. Snakes and Serpents

20. Lord of the Rings

21. The Holy Bible

22. Pinocchio (Stromboli)

23. The Game of the Goose

24. Jack the Ripper

25. FrankenSTEIN

26. Fairies (Pharisees), Sprites, Elves

27. The Smith and the Devil

28.The Jew in the Brambles

29. Three Little Pigs

The Tides Turn – It’s a Bird, It’s a Plane, It’s the Jews


Grimm’s Fairy Tales

Aesop’s Fables

Fairy Tales – Global Grey Ebooks

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.”

“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”

“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”

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.

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.

Revelation 20:1-3 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.

2. 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.

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]

3. 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).

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.

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

““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.

“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.

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

4. Trolls

Trollin early Scandinavian folkloregiant, monstrous being, sometimes possessing magic powers. Hostile to men, trolls lived in castles and haunted the surrounding districts after dark. If exposed to sunlight they burst or turned to stone. In later tales trolls often are man-sized or smaller beings similar to dwarfs and elves. They live in mountains, sometimes steal human maidens, and can transform themselves and prophesy. In the Shetland and Orkney islands, Celtic areas once settled by Scandinavians, trolls are called trows and appear as small malign creatures who dwell in mounds or near the sea. In the plays of the Norwegian dramatist Henrik Ibsen, especially Peer Gynt (1867) and The Master Builder (1892), trolls are used as symbols of destructive instincts. Trolls in modern tales for children often live under bridges, menacing travelers and exacting tasks or tolls.

5. Jack and the Beanstalk

“Jack and the Beanstalk” is an English fairy tale. It appeared as “The Story of Jack Spriggins and the Enchanted Bean” in 1734[1] and as Benjamin Tabart’s moralised “The History of Jack and the Bean-Stalk” in 1807.[2] Henry Cole, publishing under pen name Felix Summerly popularised the tale in The Home Treasury (1845),[3] and Joseph Jacobs rewrote it in English Fairy Tales (1890).[4] Jacobs’ version is most commonly reprinted today and it is believed to be closer to the oral versions than Tabart’s because it lacks the moralising.

Notice the hunched over man yielding a walking cane. His use of magick is a warning to Christian children to stay away from the nefarious jew.


I smell the blood of an Englishman. 

Be he alive, or be he dead,

I’ll grind his bones to make my bread.

This is of course a warning to Christians of the practices of the jews.  They have been known for hundreds of years to capture children -usually under the age of 7- and torture them, drain their blood, and mix it into their Purim and Passover bread. (Passover is another tradition that the jews have stolen from us; they were never slaves in Egypt.  Jews are not the Israelites of the Old Testament)

Christogenea Europe: The Jewish Ritual Murder of White Christian Children

Notice the nose and the Nephilim type persona of the villain as drawn in this 1918 illustration. (one year after Red October)  The fingers are also long and pointed, as shown in the German film Nosferatu. The ears are pointed, which is another characteristic of the jew, in addition to the Bolshevik looking hat. 

Illustration by Arthur Rackham, 1918, in English Fairy Tales by Flora Annie Steel

Jack and the Beanstalk, also known as The Boy Who Stole Ogre’s Treasure, was traced back 5,000 years when eastern and western Indo-European languages split.

“Our findings suggest that these tales were passed down from generation to generation long before they were first written down, showing the remarkable stability of oral transmission and enduring appeal of these stories,” Tehrani told Durham University-source

6. Snow White and the Seven Dwarfs

In Germanic mythology, a dwarf is a human-shaped entity that dwells in mountains and in the earth, and is variously associated with wisdom, smithing, mining, and crafting. Dwarfs are often also described as short and ugly

The Poisoned Apple is a magic blood-red apple which, when bitten, will send its victim into the Sleeping Death. A victim of that can only be revived by love’s first kiss.

It is used by the Witch in an attempt to do away with Snow White in Snow White and the Seven Dwarfs. It is also well known as her trademark object.

The apple is symbolic of the serpent in the garden.  Even was seduced by Satan and bore Cain.

“The words ‘eat’ or ‘ate’ when used in these passages do not mean the literal consumption of food. The words ‘eat’ or ‘ate’ when used in the first 15 verses of Genesis chapter three means ‘(lit. or fig.) to consume, devour (partake).’ Consult Strong’s one more time. When you partake in something, that means you are engaging in an activity. And Eve certainly did partake here! She engaged in sex with Satan (the ‘serpent’) who appeared to her in human form and sexually seduced her. ” -Wesley Swift

7. Rumpelstiltskin

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

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

“Precious” Jewish Names and Metals

Goldberg, Goldman, Silverstein, Ruby, Green

Goldstein, Diamond, etc.

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:



Stein=Mug or Cup



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

Edom= Red

8. 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.”

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.

9. Elves

When it comes to elves, there seems to be two kinds, the good, and the bad.  The following is taken from wikipedia.

An elf (plural: elves) is a type of human-shaped supernatural being in Germanic mythology and folklore. In medieval Germanic-speaking cultures, elves seem generally to have been thought of as beings with magical powers and supernatural beauty, ambivalent towards everyday people and capable of either helping or hindering them.[1] However, the details of these beliefs have varied considerably over time and space, and have flourished in both pre-Christian and Christian cultures.

Illustration of Shakespeare’s A Midsummer Night’s Dream by Arthur Rackham. (notice the aquiline nose)

Historically, people have taken three main approaches to integrating elves into Christian cosmology, all of which are found widely across time and space:

  • Identifying elves with the demons of Judaeo-Christian-Mediterranean tradition.[4] For example:
    • In English-language material: in the Royal Prayer Book from c. 900, elf appears as a gloss for “Satan”.[5] In the late-fourteenth-century Wife of Bath’s TaleGeoffrey Chaucer equates male elves with incubi (demons which rape sleeping women).[6] In the early modern Scottish witchcraft trials, witnesses’ descriptions of encounters with elves were often interpreted by prosecutors as encounters with the Devil.[7]
    • In medieval Scandinavia, Snorri Sturluson wrote in his Prose Edda of ljósálfar and døkkálfar (‘light-elves and dark-elves’), the ljósálfar living in the heavens and the døkkálfar under the earth. The consensus of modern scholarship is that Snorri’s elves are based on angels and demons of Christian cosmology.[8]
    • Elves appear as demonic forces widely in medieval and early modern English, German, and Scandinavian prayers.[9]
    • Historically, people have taken three main approaches to integrating elves into Christian cosmology, all of which are found widely across time and space:
      • Identifying elves with the demons of Judaeo-Christian-Mediterranean tradition.[4] For example:
        • In English-language material: in the Royal Prayer Book from c. 900, elf appears as a gloss for “Satan”.[5] In the late-fourteenth-century Wife of Bath’s TaleGeoffrey Chaucer equates male elves with incubi (demons which rape sleeping women).[6] In the early modern Scottish witchcraft trials, witnesses’ descriptions of encounters with elves were often interpreted by prosecutors as encounters with the Devil.[7]
        • In medieval Scandinavia, Snorri Sturluson wrote in his Prose Edda of ljósálfar and døkkálfar (‘light-elves and dark-elves’), the ljósálfar living in the heavens and the døkkálfar under the earth. The consensus of modern scholarship is that Snorri’s elves are based on angels and demons of Christian cosmology.[8]
        • Elves appear as demonic forces widely in medieval and early modern English, German, and Scandinavian prayers.[9]
      • Viewing elves as being more or less like people, and more or less outside Christian cosmology.[10] The Icelanders who copied the Poetic Edda did not explicitly try to integrate elves into Christian thought. Likewise, the early modern Scottish people confessed to encountering elves seem not to have thought of themselves as having dealings with the Devil. Nineteenth-century Icelandic folklore about elves mostly presents them as a human agricultural community parallel to the visible human community, that may or may not be Christian.[11] It is possible that stories were sometimes told from this perspective as a political act, to subvert the dominance of the Church.[12]
      • Integrating elves into Christian cosmology without identifying them as demons.[13] The most striking examples are serious theological treatises: the Icelandic Tíðfordrif (1644) by Jón Guðmundsson lærði or, in Scotland, Robert Kirk‘s Secret Commonwealth of Elves, Fauns and Fairies (1691). This approach also appears in the Old English poem Beowulf, which lists elves among the races springing from Cain’s murder of Abel.[14] The late thirteenth-century South English Legendaryand some Icelandic folktales explain elves as angels that sided neither with Lucifer nor with God, and were banished by God to earth rather than hell. One famous Icelandic folktale explains elves as the lost children of Eve.[15]

A passage mentioning elves, from Beowulf, England, 1st quarter of 11th century, Cotton MS Vitellius A XV, f. 134r

“Unlike the heroic and otherworldly beings of J.R.R. Tolkien’s Middle-earth saga or Santa’s jolly assistants in American literature, the elf in this text seems to be rather sinister. The prayer in which the elf is mentioned seems to be an exorcism: ‘I conjure you, devil of Satan, of (an/the) elf, through the living and true God…that he is put to flight from that person’ (translated from the original Latin by Alaric Hall, Elves in Anglo-Saxon England (Woodbridge: Boydell, 2007), p. 72).

“in Beowulf, elves (spelt ylfe) were included amongst the races of monsters. They are mentioned in a passage which, translated from the Old English by Seamus Heaney, claims:

‘…out of his (Cain’s) exile there sprang
ogres and elves and evil phantoms
and the giants too who strove with God’’

10. Hansel and Gretel

Hänsel und Gretel 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.

Illustration by Arthur Rackham, 1909

Despite the misleading thread title, this is still an interesting read. An authentic folk version of the fairy tale I have just found. We all know the famous story about a boy and a girl abandoned by their parents in the woods and captured by a wicked witch that lived in a house made of gingerbread, who wanted to eat them up. A common folk story told for centuries throughout Europe, written and standardized by Grimm brothers in 1857 (first version in 1812), based on ‘various stories from Hessen’ of the time.

An interesting version of the folk story was being told in Serbia at the time, with that difference that there weren’t the gingerbread house and the wicked witch, but the Jews and the Jews’ mother.

(After finding out that forest beasts have eaten the crumbs they dropped to mark their way home).

When the children saw that, they burst into tears, and returned to the fire. At that moment, some Jews appeared from somewhere, and when they saw the fire they approached the siblings asking them what they were doing there, and if they were alone. And when they told them what happened, the Jews invited the siblings to come with them, promising that everything would be alright.

The siblings accepted the offer and went off with the Jews, so they took them to their house. They had no one else there but their mother, and when they came they locked the boy to fatten and left the girl to serve the mother. One day when the Jews went to work, they saw that the boy was fat enough and they ordered their mother to bake him, so they could eat him in the evening, when they return.

But the girl had learned a few Jewish words during the time, so she was able to understand what the Jews told their mother about her brother.  What follows is very similar: the girl tricks the old woman, throws her into the oven and frees the brother.

Jacob and Wilhelm Grimm’s collection of folktales contains some of the best-known children’s characters in literary history, from Snow White and Rapunzel to Cinderella and Little Red Riding Hood. Yet the brothers originally filled their book, which became known as “Grimm’s Fairy Tales,” with gruesome scenes that wouldn’t be out of place in an R-rated movie. The Grimms never even set out to entertain kids. The first edition of “Grimm’s Fairy Tales” was scholarly in tone, with many footnotes and no illustrations. Only later, as children became their main audience, did they take out some of the more adult content. Their stories were then further sanitized as they were adapted by Walt Disney and others. Check out some of the surprisingly dark themes that appear in the Grimms’ work.

11. Werewolves

“Werewolves are kind of like good Jewish boys, only more so,” says a character in Wen Spencer’s young adult novel, The Black Wolves of Boston. And it’s true. When 30 Rock debuted the novelty song “Werewolf Bar Mitzvah” (think “Monster Mash,” but with a nice cut of brisket), the joke seemed random, even unsustainable.  If you count off the usual tenets of a werewolf story—following a lunar calendar, dashing off when the sun goes down, making excuses for weird disappearances, accusations, hunts, being driven off by suspicious townspeople—it’s easy to guess why Jewish creators throughout the years have chosen the werewolf as a central horror figure. After all, who could know better how it feels to be both a part of a nation and a nation apart?

Germany fairy tales warned children not to go into the woods, lest they be snatched; Yiddish folk tales warned readers not to go into the wood lest they be accused of snatching children and baking them into matzo.

The Jewish werewolf once more emerges from the shadows in The Wolfman (1941) and An American Werewolf in London (1981), two films in conversation about the possibility of Jewish existence in Europe during and after the dehumanizing effect of the ((Holocaust)).

Flashforward and suddenly you have Jewish werewolves overrunning genre television—between Oz on Buffy(they may never have said it, but he’s played by Seth Green, okay?) and George of Being Human UK and Josh of its North American remake, werewolves are young and cool and holding down nine-to-five jobs, assimilated into the greater world. Or are they?

One of the biggest sources of unease in a werewolf story is the inability to pick one out of a crowd. They look like you, they sound like you, they could be any of you.

The Moon, Lunatics, Werewolves, Lycanthropy, 666, Canaanites,

In 2016 (666+666+666 + 6+6+6) A.D.  NASA (not a scientist around) said that the moon measures 2160 (6! x 6! x 6!) miles across.

(the ! means factorial, i.e. 3! equals 6 because 1x2x3 is 6)

It’s incredibly accurate according to NASA’s 2016 measurement, over 99.99%.

216, the number found when you remove the zero, is 6x6x6

The sun is anthropologically male, and the moon female. Sun is phonetically the same as ‘son’. Am I  just a ‘lunatic’ or is there some kind of connection between (them) and the moon, those people that trace their genetic line maternally as opposed to the children of God who do so paternally.

They are also known to have the most neurological disease among any other group, hence the term lunatic.

Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.

The beast is that of a man, a man-beast.

Beware of false prophets, which come to you in sheep’s clothing, but inwardly they are ravening wolves.

Enter Werewolves:

“The belief that the Moon influences the brain comes from the classical world; both Aristotle and Pliny the Elder brought forth the notion that the brain was the organ with the most water and thus can be influenced by the Moon.

…The Moon, madness and wolves are all joined together in the myth of the werewolf. From classical to medieval Europe, rumors of wolf-men roaming the woods, murdering the innocent and leaguing with the devil have been a central feature in European folklore. [[so called blood libel]]

…The concept of evil animal shape-shifters [[people able to assume different identities hint-hint]] is not exclusive to Western culture, though. There are myths about were-tigers in Asia, were-hyenas in Africa and were-jaguars in South America. In Europe, the wolf has been the most fearsome predator throughout most of its history, so it’s not surprising it has become a symbol of terror.

…Another condition associated with werewolves is hypertrichosis, the abnormal growth of hair over the body. [[Remember that Cain was very hairy]] It can be congenital (present from birth) or acquired later in life and can be restricted to certain areas or occur across the entire body.”

[[emphasis mine]]

The moon is tidally locked to Earth and we only see one side. Like the moon, the Canaanites only display one side of themselves, the brighter half, the altruistic side, seemingly doing good while esoterically summing the darkness within themselves, causing chaos and destruction.

“The idea of men who turned into wolves appears in battle accounts written by Greek historian Herodotus, as well in works by Roman writers such as Ovid, Virgil, and Pliny the Elder.

…In fact, one popular term for werewolves, lycanthrope, comes from Greek word lykos, meaning “wolf.” One Greek myth concerns a man named Lycaon who was turned into a wolf by the gods as a punishment for trying to trick the god Zeus into eating human flesh.”

12. Goldilocks

Rabbi’s perspective on the 3 Bears

13. Giants

“In addition to Enoch, the Book of Jubilees () also states that ridding the Earth of these Nephilim was one of God’s purposes for flooding the Earth in Noah’s time. These works describe the Nephilim as being evil giants.”

The Amalakites (amala-kikes), the people God said to destroy but we didn’t… Hmmmmmmm.  We should have listened to the Almighty.

The nephilim are the fallen angels, synonymous with Lucifer, the prince of darkness.

The Giants that we see in story books are merely a warning of the deceitful nature of the jew, or giant, as seen in James and the Giant Peach, another tale about jews. Go figure….

14. 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.  (((link doesn’t work anymore)))

15. 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.

Peach means to inform

16. Oliver Twist

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.

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”

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

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.

17. Smurfs and Gargamel

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.

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.

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.

 18. Dragons

And I hated Esau, and laid his mountains and his heritage waste for the dragons of the wilderness. 

 And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.

 19. Snakes and Serpents

 Now the serpent was more subtil than any beast of the field which the LordGod had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?

And the woman said unto the serpent, We may eat of the fruit of the trees of the garden:

But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die.

And the serpent said unto the woman, Ye shall not surely die:

For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil.

And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.

And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons.

And they heard the voice of the Lord God walking in the garden in the cool of the day: and Adam and his wife hid themselves from the presence of the Lord God amongst the trees of the garden.

And the Lord God called unto Adam, and said unto him, Where art thou?

10 And he said, I heard thy voice in the garden, and I was afraid, because I was naked; and I hid myself.

11 And he said, Who told thee that thou wast naked? Hast thou eaten of the tree, whereof I commanded thee that thou shouldest not eat?

12 And the man said, The woman whom thou gavest to be with me, she gave me of the tree, and I did eat.

13 And the Lord God said unto the woman, What is this that thou hast done? And the woman said, The serpent beguiled me, and I did eat.

14 And the Lord God said unto the serpent, Because thou hast done this, thou art cursed above all cattle, and above every beast of the field; upon thy belly shalt thou go, and dust shalt thou eat all the days of thy life:

15 And I will put enmity between thee and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel.

16 Unto the woman he said, I will greatly multiply thy sorrow and thy conception; in sorrow thou shalt bring forth children; and thy desire shall be to thy husband, and he shall rule over thee.

17 And unto Adam he said, Because thou hast hearkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it: cursed is the ground for thy sake; in sorrow shalt thou eat of it all the days of thy life;

18 Thorns also and thistles shall it bring forth to thee; and thou shalt eat the herb of the field;

19 In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return.

20 And Adam called his wife’s name Eve; because she was the mother of all living.

21 Unto Adam also and to his wife did the Lord God make coats of skins, and clothed them.

22 And the Lord God said, Behold, the man is become as one of us, to know good and evil: and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for ever:

23 Therefore the Lord God sent him forth from the garden of Eden, to till the ground from whence he was taken.

24 So he drove out the man; and he placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life.

Genesis 3

 20. 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’ “ -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.”


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.”


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)’s_Works#Light_vs._Dark

21. The Holy Bible

The Bible contains parables, idioms, and metaphors that are not always meant to be taken literally. While the Bible is not a fairy tale, but a history of the White race, the text was interpreted to be welcoming to all ages.

The translators made it so that scripture could remain a family reading and be seen in good taste around the presence of children. This is akin to the way we explain ‘the birds and the bees’.  We use metaphors to introduce these touchy concepts that would otherwise be seen as vulgar if explained at face value.

Instead of explaining exactly what happened in the garden, that of Eve being sexually beguiled(or seduced) and having intercourse with Satan, a gentler approach is employed.  For instance Eve was beguiled by the serpent and ate the fruit of the tree of knowledge of good and evil. These words ‘beguiled and ate” have explicit sexual connotation when found in Strong’s Concordance and other Bible dictionaries and lexicons.  Similar are the words ‘touch and know’ found elsewhere in scripture.

While I admit this could be a stretch, perhaps this is why we use the word “touchy” to mean “”apt to take offense at slight provocation,”

[provocation: Action or speech that makes someone annoyed or angry, especially deliberately.]

I sure would be annoyed if someone was teaching my child about sex at an early age, that is a “touchy” subject.

touch (v.) From c. 1300 in transitive sense “bring into physical contact,” …. Also from early 14c. as “have sexual contact with.”

The following are the Strong’s Concordance definition of these words previously mentioned:

[Word: Strong’s #, ‘(H)ebrew or (G)reek word’ ,pronunciation, Strong’s definition]

beguile: H#5377 ‘nâshâ, naw-shaw’; a primitive root; to lead astray, i.e. (mentally) to delude, or (morally) to seduce: beguile, deceive, X greatly, X utterly.’ Here the word beguile can mean seduce, which in turn means, to induce (a woman) to surrender her chastity.

eat: H#398 ‘akal, ’aw-kal; a primitive root; to eat (literally or figuratively): -X at all, burn up, consume, devour (er, up), dine, eat (-er, up), feed (with), food, X freely, X in… wise (-deed, plenty), (lay) meat, X quite’ [X = Hebrew idiom].

; “Such is the way of an adulterous woman; she eateth, and wipeth her mouth (vagina/vulva), and saith, I have done no wickedness.”

touch: H#5060 nâga; … to touch; also to have sexual intercourse.
(naga, to touch, also to have sexual intercourse) Scripture — : “But of the fruit of the tree which is in the midst of the garden, God hath said, Ye shall not eat of it, neither shall ye touch it, lest ye die.”

know/knew/known: H#3045 yada:  know a person carnally, of sexual intercourse.

‘know’ occurs frequently as a euphemism for sexual relations (; ). When Adam and Eve acquired the knowledge of good and evil, they recognized their nakedness and experienced feelings of shame. Finally, several parallel passages containing the phrase ‘knowing good and evil’ can be reasonably interpreted as referring to sexual knowledge (; ; 1QSa )

references: (trees) (beguilded)

22. 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.

23. 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

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

24. 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

25. FrankenSTEIN

26. Fairies (Pharisees), Sprites, Elves

27. The Smith and the Devil

And a folk tale called The Smith And The Devil, about a blacksmith selling his soul in a pact with the Devil in order to gain supernatural abilities, was estimated to go back 6,000 years to the Bronze Age.

A blacksmith strikes a deal with a malevolent supernatural being, such as the Devil, Death or a genie. The blacksmith exchanges his soul for the power to weld any materials together.

He then uses this power to stick the villain to an immovable object, such as a tree, to renege on his side of the bargain. This basic plot is stable throughout the Indo-European speaking world, from India to Scandinavia. source

28. The Jew in the Brambles

In the tale, a Jewish merchant is forced to dance by a magic violin while stuck in a thicket of painful brambles. Safe to say, Jews are not presented sympathetically in the tale.  The player of the magic violin, an honest servant who got the violin from a gnome, tells the Jew, “You’ve skinned people plenty of times. Now the brambles can give you a scraping.”  Only when the Jews offers his sack of coins does the torture stop.

From there, the Jew is portrayed as mouthy, a tattletale (he complains about the torture to the local judge). Ultimately, he is hanged as a thief for having stolen the coins himself in the first place.

29. Three Little Pigs

One of Disney’s most successful cartoons was the Three Little Pigs. In the original Three Little Pigs, there was a scene where the Big Bad Wolf disguised himself as a Jewish peddler to trick one of the pigs into opening the door. As soon as word leaked out about this scene, representatives of a number of Jewish organizations beat a path to Disney to get the “offensive” scene removed. Disney removed the scene and told the Jews that the scene was a spoof depicting Carl Laemmle’s continuous efforts to “blow down the house of Disney.”

 Honorable Mentions:

Thoughts on “The Good Bargain”

 The Tides Turn – It’s a Bird, It’s a Plane, It’s the Jews

As the adversary gained control of the media, comics, in particular, were used to sway the centuries old positive propaganda into a tool of brainwashing children to their cause, namely, Philo-Semetism, as exoterically understood.

We can thank Jewish creators for the propaganda contained in comic ‘heroes’ like Superman, Captain America, The X-Men, Fantastic Four, and the list goes on and on.

Superman is a great example

“What led me into creating Superman in the early thirties? … Hearing and reading of the oppression and slaughter of helpless, oppressed Jews in Nazi Germany … seeing movies depicting the horrors of privation suffered by the downtrodden … I had the great urge to help… help the downtrodden masses, somehow. How could I help them when I could barely help myself? Superman was the answer.”   – Jerry Siegel (jewish co-creator of Superman)

Clark Kent became the embodiment of the jew in disguise.  Just as jews can easily pass as non-jews without much camouflage, all Superman has to do is put on glasses to “pass” as a non-Superman(jew).

The Comic from 1940

“Children of Jewish immigrants, like Siegel and Shuster, often found themselves juggling identities. In order to succeed in the United States, they knew they had to pass as Anglo-American. And yet, their attempts to pass as Anglo-American separated them from their families. And many simply tried to blend into mainstream society, just as Clark Kent attempts to do. Rabbi Scolnic makes the connection to Judaism by saying, “But if you’re just Clark Kent, you can’t help save the world, and this world desperately needs to be saved. That’s why we’re here. But without our real identities, we can’t do a thing.” The idea of living a double life and attempting to pass within mainstream culture would have likely resonated with early Jewish comic creators, and out of these experiences, Superman was created.”  –

More Übermensch links:

It’s the same story with X-men

According to the LA Times,  “Singer not only brought the Holocaust to the comic book world, he used social and political allegory to shine a light on homosexuality.”

“Director Bryan Singer, who is credited with launching the “X-Men” film franchise did so with an unexpected Jewish twist: he set the opening scene of a comic book adaptation at Auschwitz.” – jewishjournal

They mutants are a symbol for the jew, being an outcast in society.  The jewish producer of the recent films also uses the mutants to represent homosexuality.

It’s important for jews to keep the stigma of “anti-semetism” alive.  They need to claim to be the eternal victim to carry out their nefarious agenda.

“Who exactly is Bryan Singer? He is the openly gay producer, director, and/or writer of X-Men, X2, and X-Men First Class, and a reviewer on the Fridae website (“Empowering Gay Asia”) noted that Singer stated in an interview on BBC “that ‘mutant’ was a stand-in for ‘gay.’””

Thompson explains, “In a world where some are born ‘normal’ and others are born with genetic mutations that give them superpowers, those without the mutations decide to formulate a serum that can normalize the mutants. Most of the mutants argue that they don’t need a cure, asserting that their mutations are innate to their identities, but still some who aren’t happy with their mutations embrace the chance to change.”

…Alyssa Rosenberg, writing on the website, called X-Men First Class “a great gay rights metaphor,”


Gay Marvel Superheroes

…to be continued

6 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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