The Controversial Article: Norse Mythology as JEM

By far the two most important sources of Norse Myth or the Poetic Edda and the Prose Edda.  We receive both through the careful hands of Christian compilers, well within the period of Christian hegemony.  Norse Myth is the consequence of “Promethean transmission.”   To wit, it was developed by Jews, if through the cultivating of rough, primitive Aryan myths and stories.  Regardless, it was developed toward a Jewish end.   Hence, like Christianity, it still serves that end.

Here we find a “Christian rock”, catered to an audience and designed to prepare the barbarian mind for a feminine Christianity.   Of course, since highly intelligent Jews were behind its design, it was several times more “badass” than the universally and deservedly mocked phenomena of “Christian Rock”.  Indeed, the latter is obviously developed by benighted Aryan Christians and lazy, low-end, unimaginative Jews picking up a paycheck.  These are holdouts in a dying brand where seven eighths of the corporate headquarter consist of empty cubicles.

Norse myth in contrast, developed warfare, masculinity and “racism” to enthrall a Barbarian audience.  Indeed, it even required an afterlife where one continued fighting!  Instinctively, Barbarians, racially youthful and healthy, if uncultivated, disliked the idea of a tranquil afterworld.  After all, it implicitly suggested docile dominated descendants.   This is to ignore, for the moment, the unworkable premise of a heaven that “ends suffering” yet then has nothing to define its euphoria by, except perhaps unending boredom.  Indeed, those who did not die fighting for Odin suffered the ultimate indignity.  They were given to a woman, Hel, the equivalent of Proserpina, a Jewess or Semitized woman.

In any case, a “psychological prep” for a more sheep-like, afterworld-oriented, Christian future was not the only goal of the Norse myth. Here, as in Christianity, we find an esoteric work of art that develops JEM toward Jewish and Aryan audiences alike.   The average Viking surely would never have guessed in a thousand years that Odin was essentially a Jew, any more than the average American might suspect that Spiderman is a Jew.  Yet in the JEM, as in the JEM of Christianity, it was critically meaningful that Odin was essentially a Jew.

To the extent we see Odin worshipers pitted against Christians during any period of medieval history or Vikings raiding English monasteries ostensibly compelled by Odin, we find something no more meaningful than the various schisms and wars appearing in Christianity more broadly or between Christianity and Islam.   Often we find merely, a “caducean struggle” or false dichotomy, where two Jewish brands within the same Jewish company, compete for dominion.   Norse myth vis-à-vis Christianity obviously represented the “right” (as in politics) end of the caduceus.

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Viking and Monk, both Europeans dying for the Jewish God.

But what is the proof?  First, and perhaps most painfully, these myths, while evidently inferior to classical myths are, nevertheless, quite sophisticated. Betraying a knowledge of both Biblical, Jewish, Classical and arguably World Myth more broadly.  Likewise, they are frequently humorous.  Aryan Barbarians did not create this, even if they followed it, anymore than Christianity, which they would also eventually follow.  This should be obvious.  One might as soon adopt the “black Athena” thesis.

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Yggdrasil and the Cabalistic Tree of Life are clear “Symbolic Synonyms”, the first a reference to the second.

The “smoking gun” here though is, the myth itself and the symbolism it employs which is decipherable to us via Interpretatio Romana.  First, Yggdrasil with its nine worlds.  This is obviously a reference to the Cabalistic tree.   Here the earthly sephorit, or the earth upon which the tree rests, is omitted, as it is in the Hanukkah candelabra.  Though the number nine in both cases may also be a reference to the nine months of pregnancy thus “Aryanness” more generally.  Here we remember the Aryan represents the womb or breeding “stock”  vis-à-vis the Jewish seed. Here we remember Odin hung for nine days and travel nine worlds.

Second the hanging of Odin on the tree is obviously a reference to Christ’s crucifixion.   Here Norse enthusiasts will argue that Christianity took hold precisely because of a “preceding hanging God.”   This is an acceptable thesis with the important provision that any preceding “Hanging God” arrived via “Promethean transmission”, with Jews prepping the way for Christianity.

Third, Balder is obviously Christ as well, and therefore, Yahweh, Judah and Jewry embodied.  Ragnarok is obviously drawn from the Christian apocalypse narrative.  Here “Odinists” should pay special attention.   After Ragnarok , which represents a slaughter of pagan Gods, a destruction of idols, and Tikkun Olam writ large,  it is prophesied Balder will return and rule.  Balder is Adonis and Christ hence Jewry incarnate.   Consider how Jewish the cause of the war was as well.  Some Giantess crank refused to cry for a slain Balder who was “suffering” and “profound” in his lifetime.

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The “Fairest God” Balder is consciously a reference to both Christ and Adonis.  He is a clear synonym of the Jewish God.

Who doubts, for instance, that Jews, suddenly given carte blanche, wouldn’t spark world war three on the premise that some Middle Eastern potentate has denied the Holocaust?  In other words, because someone refused to cry for Balder!  Yet Christianity ruled on the same premise during its height.  He who denied Christ and his suffering was as good as dead.   Consider the Ragnaroks that Europe has abided because some group of Christians was perceived as merely incorrectly mourning “Balder.” Could it have been more insane?  There are men who want back to this? We, friends, are the lucky ones!

But Balder was the “fairest God”, it will be argued, hence Aryan.   Yet the Phoenician and obviously Semitic god Adonis too was necessarily developed as a beautiful god. Does Warner Sallman’s famous portrait of a fair, handsome Christ stop Christ from being a Jew? Do any images of a fair, handsome, even blue-eyed Christ stop Christ from being a Jew?  Do the Jewish developed Superman or Captain America look like your typical Jews? Again here it is understood by myth developers that their audience is, yes, naturally “racist.”

This also addresses the clear racial hierarchy found in the world tree of Yggdrasil where it seems Dark Elves are placed beneath Dwarfs, Dwarfs beneath men, men beneath the Nordic, angelic Light Elves, and Light Elves beneath the “Trojan” Aesir.  As with Christianity, on one hand, the Aryan was permitted to look with a mixture of pity and envy on “greedy, Dwarfish” Jews, whom Dwarfs clearly represent, yet on the other hand, worship Jews and their angelic Aryan front men in the Church.  The structure here, with Aryan Light Elves standing between governing Gods, mirrors directly the idea of Angels, front men, standing as messengers between man and a Jewish God.

But what about that story where some Dwarf trying to marry Thor’s daughter is stalled and questioned until the sun rises so that he turns to stone?  Doesn’t this make Thor an anti-Semite?  Let’s not forget the sun also turns giants to stone, hence “pagans” of all stripes.  Here again we see the division between Jewish God and the Jewish class, between Christ, Yahweh and the Pharisee.  The sun here is not Apollonian.  Rather the firmament itself is carved from the skull of a northern, Aryan founder and forebear, “Ymir” and rests on the backs of four Dwarfs.   It blocks out the real sun.

These Dwarfs may represent as well the ubiquity of Jewish diaspora spread out to the four corners of the world.   The Jews have the role of money keeping, seen in the greed of Norse Dwarfs.  The “Aesir” have the role of leading Aryans into cataclysmic wars on the behalf of Balder.  Hence it is necessary to flatter the servant, Janissary, Aryan by placing him above the “pitiful”, “ridiculous” merchant Jews.   With this simple flattery of simple men, he may rule them.  To wit, “Don’t be greedy and power seeking like Jews.  Instead, be honorable, ready to die for Balder and you will see Valhalla.”  With the Dwarf as a symbol of Jewry we find a self-deprecation akin to that found in Woody Allen films or on a Howard Stern radio show.

Dwarves forging Thor’s hammer, Mjolnir.  I suggest that Thor’s hammer marks Thor as a reference to the Semitic fire God Vulcan.

Norse Mythology’s most important child, the Arthurian myth, becomes perfect propaganda vis-à-vis the Crusades, which listed as its primary goal “strangely” the recapture of Jerusalem.  Jews, among Barbarians whom might kill for a slight, were forced to be especially subtle and careful.  Though not in all cases.  Indeed, Frigga will even sleep with four Dwarfs to obtain the Necklace of the Brisings.  We don’t remember even Adonis’ lover Venus Pandemos stooping that low.  Otherwise, the Semitic Bride Gathering Cult is expressed through Aesir intermixing with Frost Giants and with Vanir, especially Frigga.

The figure of Volund the smith, a clear reference to both Daedalus, Vulcan, and therefore, as I’ve argued, King Solomon, becomes an especially Jewish figure.  He is a dark one as well.   He will kill the children of an Aryan king, carve the skulls of his children into goblets and deceive the latter to drink from them.   Here we find as well a Symbolic Synonyms of Christ’s Semitic Blood Wine.  Hence esoterically the myth may even be describing Christianity and the Eucharist as revenge.

I am even inclined to argue that that most beloved Thor is the Semitic “Vulcan as Jupiter.” To wit, he is a Dwarf-God!  The short-handled hammer is the obvious clue here.  After all, the war hammer didn’t appear as a weapon on battlefields until the 14th century, where it developed as a counter to plate armor.  There it resembled an ice axe and was at least as long as a mace, sometimes as long as a halberd.  Certainly it wasn’t a hurled weapon as developed Thor’s Hammer, Mjolnir.

Yes, there is a myth in the Norse myth that explains why the hammer is short handled because it was at some point broken.  But such explanatory details are common in JEM, as we will discover, where it is evident additional layers of concealment are desired, so that this or that symbol is less easily decoded.  In contemporary JEM, Authors will mislead with false explanations of symbols and these “Exoteric Alibi’s” appear also within myths.

Thor’s Hammer, Vulcan’s anvil hammer?

Like Vulcan, and like Loki (a clear “Samael figure”), Thor is a redhead as well.  It connects him to fire but also Jewishness and admixture more generally. Indeed, during the medieval period, redheadness would be associated especially with Jews and witches.

But isn’t Thor a Celestial God, a thunder God and therefore Aryan?  In Exodus we see clearly the conflation of a thundering storm god and a volcano god.  As this study explicates, heaven as a symbol, if Aryan in essence, also becomes emblematic of dominance.  In the Modern Hebrew we find the word Gaash, געש, which means “volcano” and “storm”.  In the ancient Hebrew its verb root Gaash means “to shake, quake.” Hence we imagine the “thundering hammer” of Thor as synonymous with the thundering, forging hammer of Vulcan.  In the Norse mythology Thor’s hammer becomes associated with thunder and lightning.   In the Greco-Roman myth body it also has this association.   There Vulcan is forging Jupiter’s lightning bolts.

Certainly Jormungandr or the Midgard serpent that encircles the boundaries of the sea and whom Thor slays during Ragnarok is Leviathan appearing in the Hebrew Bible.  As described in Isaiah 27:1, the “coiling serpent” and “dragon of the sea” suffers the same fate at the hands of Yahweh during the apocalypse.

Norse myth describes Thor hooking the enormous Midgard serpent on a fishing trip and pulling him into a boat prior to their fateful encounter during Ragnarok. [1] This is a reference to Job 41:1. “Can you pull in Leviathan with a hook or tie down his tongue with a rope? Can you put a cord through his nose or pierce his jaw with a hook?”  Here Job is marveling at the strength of Yahweh.   Thor’s fishing parable contains the same upshot.  To wit, the God may subdue Leviathan/Jormungandr.

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Thor’s conflict with the Midgard Serpent is a reference to Yahweh’s destruction of the beast during the Apocalypse.

Here I contend the adversarial Frost Giants describe “Hyperborean”, the tall, northern, dominating Aryan akin to the gigantic watchers of the Book of Enoch whom fathered the Nephilim.   To wit, Northmen from a Jewish perspective.  Here with the giant slaying Thor, we find David versus Goliath.  As in the Hebrew Bible, the giants Gog and Magog aren’t our devils too, rather they are descriptions of us. The Light Elves, in Norse myth, are the “Frost Giants” Christianized brothers.  Yes, the myth describes how the good light Elves are destine for a heaven called Gimle.

The Frost Giant describes the “Hyperborean” or Nordic adversary. 

Stan Lee, for his part, seems to have posited Thor as a Jew.   Again, name meanings constitute primary clues.  There Thor’s alter ego is Donald Blake.   The name Donald which means “world leader” appears in my estimation —at least to the extent I have encountered it— to have no particular ethnic meaning in the JEM.  Hence the name is most likely a status identifier in the context of JEM.

With the last name Blake, Lee is being deliberately vague, as the name may mean either “white” or, more commonly, “black.”  According to naming conventions in JEM, if it means the former, Thor is indicated as an Aryan, if it means the latter, a Jew.    Here Lee appears to play a game that he will play with other Jewish characters we encounter in his work who are intended as especially WASP-appearing crypto-Jews, where names may indicate either Aryan or Jewish identities, yet where other clues establish Jewishness.  These are, most notably, Hank Pym (Ant-man) and Hawkeye, both whom we will have an opportunity to discuss.

Thor’s girlfriend Jane Foster, a redheaded nurse in the initial series, is certainly a Jew.  Here Lee, as with the Ant-man and the Wasp, departs from a more common Jewish man, Aryan woman pairing.  The last name Foster is likely a reference to the medieval position of forester from which the name is often believed to be derived.  Hence there is a sense of Jane managing the Aryan arboreal element perhaps even as a cutter of wood.  Yet the much stronger proof of her Jewishness is her first name, which is a form of John, a common Jewish identifier in the JEM.

In the first issue, Thor fights belligerent stone, green men from the planet Saturn.  Clearly, here, by use of multiple symbols, he intends these green men as Jewish figures.  But here we encounter the aforementioned “caducean phenomena” that will appear throughout the Marvel works.

Indeed, the decisive indication that the Marvel Thor is indicated as a Jew is that he begins as a lame man who may walk only with a cane.  Here we appear to find a corroboration from a Jewish esoteric source that Thor and Vulcan, who was also lame, are synonyms.  Here also we see the transition of a lame Jewish God to a dominant Aesir.   We count it as significant as well that in his second appearance Thor uses a volcano, activated by thunder, to repel his adversaries.  Vulcan is of course a Volcano God. [2]

Lee’s Thor using a Volcano to defeat adversaries in his second appearance.

But the worst insult of all in the Norse Myth?  The wolves of Ragnarok whom were chained by a conspiracy of Aesir and Dwarfs!  These are clearly references to Apollo “Lycegenes” or Aryan Benjamin the “ravenous wolf.”  Here we have the Aryan himself enchained, by the Church or Odin, on one hand, and the Jews or Dwarfs, on the other.  Here the “Dwarfs” are clearly depicted fashioning the unbreakable “chains of myth”.  Indeed, the wolf Fenrir will even eat the sun.  Worst of all, Mars, in the form of Tyr, will betray him, placing his hand in the wolf’s mouth as promise that he will not be chained.   And what does Tyr get for his service to Odin and the Aesir?  He gets demoted, loses power and his hand.

The chaining of Fenrir is a profound development in mythology.  This is the chaining of the Aryan Benjamin or Apollo Lycegenes through Christianity and JEM more generally.

Both with Odin’s lost eye and Tyr’s lost hand we see a “Hamsa” motif.   We see the Aryan losing his five senses, denying his senses, denying the world itself, to serve and die for “Balder.”   The radical Matthew articulates it in Christ’s Sermon on the mound:  “If your right eye causes you to sin, gouge it out and throw it away…if your right hand causes you to sin, cut it off and throw it away.  It is better for you to lose one part of your whole body than to depart into hell.”[3]

Perhaps here the one-eyed Mercurial Odin becomes Aryan by a degree, the half-blind Mercurial, the emotional radical whose very name is believed to mean “Frenzy.” Here he is second to the Jewish, full-sighted, Vulcanian Thor, whom is nevertheless posited as Odin’s son.   Of course, that Jacob was the father of Judah, did not stop the latter from being the true Jew, “Son of Man” and inheritor.

Indeed, between Odin and Thor we may have, on one level, the Twin Messiahs, Joseph and David, Mercury and Vulcan, Christian Church and Old Testament Jew.   Yet the correspondences may be loose here.  After all, Odin is certainly a Christ figure.  His hanging on the tree and his drinking of the well are references to crucifixion, the vine and the tree, the Eucharist and Baptism.  Thus, as Jacob or Israel, Odin may be suggested at one point the Jewish son then, at a later point, the Aryan forefather.

The phrase “in the land of the blind, the one-eyed man is king” we attribute to Desiderius Erasmus, the Dutch Catholic and humanist. However, in the 4th or 5th century Jews were using a similar phrase in the midrash Genesis Rabbah: “In the street of the blind, the one-eyed man is called the Guiding Light.”   Here we should understand that the adage suggests not merely that the sighted are masters over the blind but specifically that the half-blind are masters over the blind.   Hence Odin, possessing knowledge on a need-to-know-basis, becomes the more relatable, the self-deceived and the more convinced in “the lie.”  The man known as “Frenzy”[4] does not have that demoralizing appearance which suggests he knows it all to be a lie, to wit, that Valhalla or Yahweh’s Heaven is a ploy.

Even the Runic language by which the myth ostensibly arrives is suggestive of JEM. The name comes from the Germanic root run meaning “mystery” or “secret.”  It is typically understood as having arrived to the Germanic people through contact with the Roman Army during the Roman Imperial period.   Hence Odin worship is merely another form of a subversive Mercury worship delivered to the Germanic people via crypto-Jews.  In this manner it might be seen as similar to Mithras worship.   Yet whereas the latter was an internal development in Roman society, the first developed among rustic barbarians.

For “Odinists” and followers of Asatru, I recommend the epithet “Marvel Fans.” Indeed, if it is good enough for Stan Lee, who clearly perceived or received the Jewish nature of these myths and their value as JEM, it is good enough for them.  We are envious! It’s a golden age for “Odinists!”  The temples of the lands, movie theaters, accurately celebrate their Gods in a manner keeping pace with the Christianity it ultimately describes!   Let them send black Heimdalls into their Ragnaroks, Apollo Leo is free of their magic, dwarf wrought chains.  If Apollo fights a war, it will be for himself, not “Fairest Balder.”

Heimdall in Marvel’s Thor series. If Jews invented Heimdall, haven’t they the right to reinvent him?

This article on the meaning of Ravens, a central symbol in Norse lore, is also relevant: Esoteric Apollo: The Crow or Raven, Symbol of Racial Cuckoldry

This topic is debated here with the foremost expert in Odinism, Stephen McNallen:

A discussion of the closely related myth body of Arthurian Legend is also valuable:

Arthurian Legend as Deleterious Myth

This article, as well, goes into some of my ideas on myth transmission: Etymology, mythography and the “Promethean transmission”

In this article I address some of the more general, common criticisms of my work: The Jewish Reaction to Brahminism, “over excited pattern recognition,” and Christian Opposition

[1] Sturluson, Gylfaginning ch. xlviii, 2008:54-56

[2] Stan Lee, Journey into Mystery #84, 1962, pg 13

[3] Matthew 5:29

[4] The name Odin ostensibly means “Frenzy” or “madness.”