As touched upon, in JEM we will encounter the esoteric conceit that Freemasonry is a Jewish development designed to utilize talented Aryans to Jewish ends. Here of course Aryans are also used as “Angels,” “Michaels” or Front-men. Doubtlessly, almost all Freemasons, while understanding themselves to be serving “God,” “the Architect,” a mysterious higher purpose or merely their wallet, remained ignorant of this reality.
On the other hand, the symbolism of this cult, with Jewish pyramid builders and the figure of King Solomon at its center, is worshipfully Jewish and philo-Semitic. Likewise, it is thoroughly oriental. Indeed, the largest lodge in France is simply called Grand Orient de France.
When one realizes the obvious fact that the guild members or “Craftsmen” of Freemasonry are references to the Four Craftsmen in the Hebrew Bible, the purpose of Freemasonry is made obvious. The “horns” below maybe understood as phallic symbols or in, any case, other tribes vying for breeding rights as if mountain goats:
“These are the horns which have scattered Judah so that no man lifts up his head; but these craftsmen have come to terrify them, to throw down the horns of the nations who have lifted up their horns against the land of Judah in order to scatter it.” 
In contemporary JEM, a common reference to freemasonry will be the name Scott. Four examples covered in the broader study appearing in the various comic book pantheons are Alan Scott (the first Green Lantern), Scott Summers (Cyclops), Scott Lang (the second Ant-man) and Jack Kirby’s Scott Free. This name, used in these contexts, appears to be a reference to the Scottish Rites and is used to indicate characters as Masonic. Names referencing Robert the Bruce, who is credited with effectively founding the Scottish Rites, also appear. Examples include Bruce Banner (the Hulk) and Bruce Wayne (Batman). 
Likewise names, particularly surnames meaning “craftsmen” and in combination with the above references, will appear indicating a Masonic character. Theoretically, the last of these can also be understood as a more general reference to Jewish or Proto-Jewish smith Gods like Ptah, Vulcan or Daedalus. However, the title of Craftsman and the expression the Craft are particular to Freemasonry. Then again, contextual clues lead us to the conclusion that these characters are Jewish figures if also Masonic. In other words, to one extent or another, Freemason, or at least Scottish Rite Freemason, is understood as a synonym of Jew in JEM.
The decoding of this messaging, doubtlessly appealing to the “conspiracy theorist,” should be an opportunity also to exorcize those harebrained notions that Jewry is operating as some pawn for a deeper more powerful form of “Satanic” Freemasonry rather than vice versa. It should also eliminate the slightly more plausible notion that Freemasonry has operated largely independent of Jewish influence or even originated independent of Jews. After all, the conceit among Jewish esotericists appears to be that, again, the liberal and “enlightened” institution of Freemasonry is Jewish in origin and in intended purpose, which is also intuitively gleaned.
That being said, some of the parables this study reviews will indicate cooperation between Jewish and Aryan Masonic figures, with the latter naturally subordinate. Likewise some of the parables we will review will describe conflict between Jewish and Aryan Masonic figures, with the latter villainized. The foundational parables involving the second Green Lantern, Hal Jordan, where he is an employee of the Ferris Aircraft Company, is an example of the first case. The foundational parables involving the first Green Lantern, where he is pitted against an arboreal Solomon Grundy, is an example of the second case.
We will even see instances where Aryan Masonic figures are lionized vis-à-vis Jewish Masonic figures, whilst, nevertheless, engaged in a merely caducean struggle, where both ends lead to Jewish goals if one through a more desirable path. We will also review parables that depict the struggle of Freemasonry against the Church, where the clear esoteric understanding is conveyed: this is also a caducean struggle. The conflict between the Hulk and The Leader, Samuel Stern, a Jewish Catholic figure, is one such example. Though the symbols are more opaque, possibly the conflict between Batman and the Penguin is another such example.
Indeed, the split between Freemasonry and the Church, particularly the Catholic Church, is not between “Gods,” both of whom are Yahweh, but between intelligent, curious and ambitious apprentices of this God and a broader, lower herd. Though, of course, it is a mistake to underestimate the intelligence, if not the sanity, of any theologically inclined Aryan in any sect of the Church, whether clergy or laity. Navigating this Cretan Cathedral Maze hones his mind in some odd and neurotic way.
As mentioned, it is important to understand that Robert the Bruce, according to Masonic legend, which is certainly unverifiable, was effectively, the founder of Freemasonry. Here we understand that, according to the legendary “history” of Freemasonry, Lodge Mother Kilwinning Scotland was not merely the first lodge in Scotland but the first freemason lodge in the world. Robert the Bruce, for his part, is understood as having offered the Templar knights safe haven from King Phillips of France whom had planned to arrest them and confiscate their wealth.
Again, the contemporary JEM treats Robert the Bruce as a Jew and even an equivalent of King David. Possibly they are both understood more specifically as a Jewish type that marries into wealth and power, whether royalty or otherwise. Robert the Bruce is even the subject of a parable, where, like David, he will find himself hiding in a cave while an adversarial king pursues him.
In David’s case the pursuer was King Saul, in Robert the Bruce’s case it was Edward I of England or “Longshanks.” In both cases, a lowly spider will prove the savior. With David, it will spin a web over the entrance of the cave, causing the pursuing Saul to believe the cave uninhabited. With Robert the Bruce it will, ostensibly, teach him the lesson of persistence so that he eventually succeeds against his adversaries.
Robert the Bruce will observe the spider attempt two times to attach his web to two walls of the cavern walls, succeeding only on the third attempt. The Bruce’s parable is clearly taken, with modification, from the Biblical story. It seems reasonable that this parable was developed and popularized by Jewish Esotericists to esoterically convey the idea that Robert the Bruce was a Jew, whatever the actual, unknowable case may be. To be sure, this simple parable is the most salient story associated with Robert the Bruce.
Here, as elsewhere, the use of the name Bruce in JEM becomes important, identifying a character as both Jewish and Masonic. Indeed, the name Bruce itself is likely derived from Robert the Bruce or from the French town of Brix from which he hailed. Hence, in JEM and generally, as much as David might be understood as a reference to the Biblical David, Bruce might be understood as a reference to Robert the Bruce.
The central figure in Freemasonry is King Solomon. The masonic temples where masonic lodges meet are metaphorically understood as Solomon’s Temple. Solomon’s Temple is understood as the first Jewish Temple hence also the model for synagogues. Solomon himself is a profound symbol of the Semitic Bride Gathering Cult much more explicitly rendered than Christ. Indeed, Solomon was famous especially for his taking of foreign wives. Solomon’s sin, to the extent it is even actually regarded as such in Esoteric Judaism, was one of degree, not type. Again, at some point there must be a closing of fences as a nation or nations under the sway of a Jewish dominion become “sour milk.”
Again, the Freemason’s ring is itself a reference to the “Seal of Solomon.” The “Seal of Solomon” is, as discussed, a symbolic synonym of the Star of David. Both, like the Hamsa and the Masonic Eye of Providence represent possession and control of the Aryan. Freemasonry traces itself back to the mythical Jewish builders of the pyramids and does so convincingly in my view. Of course, the lineage being traced here is simply the lineage of Judaism or proto-Judaism. Thus, Freemasonry contains another corroboration that the cult of Ptah was Jewish or proto-Jewish. Indeed, they were never “slaves” building these temples, any more than they have ever been “Shepherds” or “Fishermen.” They were, to their credit, powerful architects and propagandists, Hollywood Moguls.
One assumes that the utility of Freemasonry, like the utility of Christianity, dissipated as “philo-Semitism” spread, alleviating the need for Jews to operate through Non-Jewish intermediaries. Though of course this still occurs through Aryan actors, media personalities, politicians, academics and so forth. However, whereas the Aryan formerly worshiped a metaphor for the Jew, whether in Balder, Christ or “the Architect,” now he worships the Jew directly. Indeed, the Aryan who admires a proud Jewish class focused on its security, power and continuance at the expense of his own, worships them. Yet still this worship remains esoteric, unacknowledged.
Nevertheless, this assessment of “worship” is evidently objective, however Jews would insist it is false because nowhere is this worship made explicit. “He doesn’t worship. He’s just not a ‘bigot.’ He realizes his race is ‘guilty’ vis-à-vis Jews and others and thus is obligated to cede the world to them.” Indeed, it seems JEM transmitted through Academia, Television and Film has obviated the need to direct Aryan behavior through Churches or Freemason guilds.
The teaching of a Masonic symbol system drawn from the various bodies of world mythology to initiates is highly suggestive of a Jewish training in symbology. Here it does appear knowledge and symbol meaning has been retained and passed on from an ancient time rather than assessed and understood in hindsight, even if this has also occurred. Thus, it is corroborative of an ancient Chthonic cult persisting from ancient times of which Judaism is the clearest expression.
Here a craft in symbolism is learned, with meanings becoming less vague and symbols more significant as one ascends through the degrees. The “mystery” of the symbols, as the mystery of symbols in Art and Religion, is used to seduce, enchant. Here, of course, is JEM, with the Jewish God appearing in an especially obnoxious, inconsiderate and demoralizing form: “ladies’ man” Solomon.
This JEM is enforced through a positive reward system where one gains trade contacts through acquiescence. Yet as wealth and business increases so does a commensurate commitment to secrecy and servitude. Yet we have to assume, as in Christianity, that actual full meanings are only revealed to a few Jewish esotericists at the center. Like a bolt cast from Jupiter, this study opens the craft shop of Ptah and Vulcan, deduced through the careful study of world myth and contemporary JEM. Let’s see how Jews do in a “Symbolic and Religious free market.” Here we initiate Apollonian Transmission.
 Zechariah 1:21
 Creators are Jewish Esotericists Martin Nodell, Bill Finger, Stan Lee and Jack Kirby.