It’s worth a moment to review the cannon of European fairytales and folklore. Here we find JEM (Jewish Esoteric Moralization) among some of the more important tales. For example, Snow White, a black-haired beauty, is likely intended a Jewess. Before her birth, her mother pricks her finger and the blood falls to the snow and utters: “How I wish that I had a daughter that had skin as white as snow, lips as red as blood, and hair as black as ebony.” This blood motif, appearing continuously in JEM as this study explicates, is a a reference to Semitic blood admixture.
Later Snow White will ally herself with Seven Dwarfs, obviously a Saturnian reference. Again, Dwarfs are clearly intended as Jewish figures in the European mythology. Possibly this is a parable about positioning a Jewess for marriage with a noble or within royalty. Here the goal is to pawn off the Jewess.
Little Red Riding Hood likewise contains JEM. There we find the blood admixture reference in her very name and vestment. She is in a sense the Scarlet Woman of Revelation. Possibly as well the name Little Red Riding Hood contains sexual innuendo. Perhaps it is even related to the riding of the seven headed beast of Revelation.
The wolf, who will eventually end up devouring Little Red Riding Hood, is again a reference to the Aryan, to Apollo slurred with the epithet of wolf and to the Aryan Benjamin of the Hebrew Bible. Thus, the rescuing woodsman becomes a Semitic figure. Here he is a cutter of “Aryan wood.” The wolf in the parable functions much like the Aryan Jupiter in the birth or “emancipation” of Minerva. Here the desired female Aryan stock is extracted by the Semite, separated in blood and fealty from the Aryan man.
Pinocchio is more opaque but seems to describe the admixing of an Aryan man and Jewish woman, though may describe the admixing of an Aryan woman and Jewish man. Here the wooden Pinocchio is turned human by the blue fairy. The blue fairy is an oceanic Venus figure perhaps intended here as “Marah,” “bitter sea” or Semitized. In either scenario, we suspect the tale is about admixture.
This is doubtlessly the reason Spielberg and Kubrick became interested in the myth when developing the heavily encoded film A.I. which references it throughout. In the original myth, remarkably “a wooden boy” gains the ability to lie, when he becomes “human,” or admixed and racially camouflaged. No longer are his lies revealed by a nose that grows.
Stan Lee and Jack Kirby make a clear reference to the existence of JEM in European Fairytales and Folklore with the character the Thing in Fantastic Four. His alias, Benjamin Jacob Grimm, is clearly a reference to the Grimm brothers if in particular Jacob Grimm. Indeed, the esoteric naming convention, as this study reveals, indicate that both the Biblical figures of Benjamin and Jacob vis-à-vis Judah are ultimately Aryan figures.
The character of the thing himself is clearly a golem figure, “formed of earth” and almost certainly a reference to Adam as the broader study explores. This is what Lee and Kirby are saying: The Grimm brothers were a golem by which JEM was transmitted. Here it is trusted that an uncritical Aryan, insensitive to art and symbols, cuckolded like Adam, unwittingly transmits these myths into the future. As discussed, the unwitting non-Jew is an important mechanism of the Promethean Transmission. There is no more profound example of this than, of course, Christianity.
It’s not the objective of this study to parse this European myth body of fairytales in its entirety, but rather to alert the reader to the obvious fact that it does contain JEM. Hence even tales that seem very much of an Aryan perspective should be parsed closely. Here one must always keep in mind the Caducean Phenomenon. In other words, as in all myth bodies, the presence of ostensibly pejorative or belittling, even “dwarfish” Semitic figures does not, of course, exclude the possibility this or that myth is actually JEM.