In some important cases, contemporary JEM (Jewish Esoteric Moralization) appears in an especially concise and comprehensive form providing for us, as it were, a “Rosetta stone” more rich in insight than a larger body of JEM. The 1968 film Rosemary’s Baby and the 1967 book from which it was adapted are such works.
The Plot of Rosemary’s Baby runs as follows. Rosemary (Mia Farrow) is a woman living in New York City with her actor husband, Guy Woodhouse (John Cassavetes). Her husband, Guy Woodhouse, a Protestant, is by degrees more sophisticated. In the end, though, he’s your typical oblivious, vain, career-oriented actor. The two are interested in living in an upscale apartment building called the Bramford. Though a swanky setting, the building has a past shrouded in mystery and occult bloodshed.
Indeed, during the early 20th century it is said to have been the base of operations for a notorious coven of witches headed by the Arch-Warlock Adrian Marcato. Among these witches are included the Trent Sisters who “cooked and ate several young children.” Also, the building is a bit out of their price range.
Nevertheless, despite the caveats of their concerned friend “Hutch” (Maurice Evans), they move in. Shortly thereafter they meet the Castevets, an eccentric older couple living in the adjacent unit. Odd happenings steadily occur from there. As the film reveals, the Castevets, Minnie (Ruth Gordon) and Roman (Sidney Blackmer), are ostensibly “Satanists,” the heirs of the Marcato Cult. Their interest in the young couple is with Rosemary’s womb.
Eventually Rosemary finds herself drugged and raped by a serpentine humanoid during what appears to be a “Satanic” ritual. It is clear she’s been sold out by her careerist husband Guy Woodhouse whom effectively bartered her off to the Castevets in exchange for valuable contacts in the theater world. Though, on the other hand, being a woman, Rosemary’s the one who pushed Guy to live in the otherwise unaffordable Bramford.
Finally, at the end of the film, Rosemary gives birth to a devil child who is given the name “Adrian” doubtlessly in honor of Adrian Marcato. Readers should understand that this film depicts the Semitic Bride Gathering Cult of Judaism, particularly as it is aided by the assisting intermediary cult of Christianity. Here youthful Aryan stock is used to continue and maintain a more racially aged Jewry. Below is the evidence.
NAMES & THE BRAMFORD AS THE CATHOLIC CHURCH
The references in Rosemary’s name should be immediately recognizable to readers. The last name, Woodhouse, taken from her husband an Aryan Protestant, Guy Woodhouse, conveys the arboreal. This, as our broader study reveals, is a reference to the Aryan or Aryan “stock.” Indeed, the name Guy Woodhouse refers twice to the arboreal. To wit, the name Guy is the Norman French form of Wido. Wido was originally a short form of names beginning with the Germanic element witu “wood” or wit “wide.”
The name Rosemary is a triple reference to the Biblical Mary. To wit, the name may be understood as a reference to the herb ros marinus meaning “dew of the sea.” Hence it becomes a reference to both the sea borne Venus and Mary. The element “Rose” is, as our broader study reveals, a reference to the blood admixture of the Aryan Venus and the Semitic Adonis. There we understand the blood of a Semitic Adonis mixed with the tears of the Aryan Venus to form the first rose. In fact, the building name Bramford is also a reference to this.
Bramford is comprised of two elements, Bram, which is a shortened form of Abraham, and ford meaning: “a place where a river or other body of water is shallow enough to be crossed by wading.” This is certainly a reference to Abraham’s River in Lebanon. This river is also known as Adonis’ River. There the water turns red every February due to soil erosion. In mythology, this reddening is understood as caused by the spilt blood of the slain Adonis flowing into the river’s water. Again it symbolizes intermixture between the Semite and the Aryan.
Hence the author Levin neatly and knowledgeably conflates Christianity and its directly preceding earlier form, the Adonis cult. Again, the Rose, particularly through rosary beads, is also a reference to Mary’s devotion to Christ in Christianity. Esoterically, the setting of the Bramford is the Catholic Church. In fact, in Ira Levin’s book, it is even indicated that the building is owned by the Catholic Church. Yet the clues are multiple.
The name of their neighbor, Roman Castevet, who will turn out to be the chief “Satanist” and witch, is clearly a reference to the Roman Catholic Church. Indeed, the word Roman as an adjective may mean: “of or relating to the Roman Catholic Church.” Likewise, as a noun, it may be a disparaging reference to a member of the Roman Catholic Church.
During Rosemary’s ceremonial rape at the hands of a serpentine devil, the Pope himself will appear assuring her capitulation in this case is not sinful. Obviously, the filmmaker and author intend this to be interpreted as a “Satanic corruption” of church vis-à-vis audiences. Yet through the symbols of the film, it is clear that, instead, the esotericists convey the notion that Christianity is itself “Satanic” or rather, more objectively, a vehicle of Jewish continuance and dominance.
Likewise, it will become evident that Levin and Polanski are making the connection between nuns, witches and even Jewesses that are made in this broader study. Indeed, during one scene, while Rosemary is drifting off to sleep to the muffled voice of Minnie Castevet in the adjoining apartment, she will hear Minnie essentially plotting with Roman to obtain a womb for the “devil baby.” She will dream, however, it is the voice of a scolding nun appearing in a childhood memory. Here we may even find an esoteric suggestion that nuns served as willing accomplices or Trivia-like attendants in a Semitic Bride Gathering Cult during a benighted, medieval period. The broader study will find other such suggestions.
Indeed, one of the Castevets accomplices in the Bramford is an older woman named Ms. Gilmore. The name Gilmore means “Servant of the Virgin Mary.” It is suggestive in this context. More compelling, the last name Castevets, apparently invented, is comprised of the words Caste and vets. Here the Bride Gathering Cult is made explicit. The Castevets have vetted the Aryan breeding stock to breed the “higher caste”, to wit, Jews.
The mysterious Trench sisters, whose reputation haunts the Bramford, are exoterically a reference to a famous murder case where two french maids were convicted of murdering their employer’s wife and daughter in Le Mans France on 1933. The surname Trench means derives from the Old French verb trenchier ‘to cut.’
Terry Gionoffrio, an important figure appearing in the film, has a name containing similar elements as this study reviews. Though with her, a victim figure, it seems suggested that she is the “cut” as opposed to the “cutter.” Here we may find a common circumcision or emasculation reference as well.
In the film and the book, one of the Woodhouses friends, “Jimmy,” attending their housewarming party, will mispronounce the name referring to them as the “Trent Sisters,” only to be corrected by another party guest. Though posing as a bit of naturalistic dialog the mistake is obviously inserted by the careful symbolist Levin as a reference.
The surname Trent is typically considered a topographical name referencing any of the several rivers named “Trent,” in Staffordshire, Derbyshire, and Dorset, for instance. Ultimately it is guessed derived from the British name “Trisanton.” Here “tri” means through, across, and “santon” means road. Possibly this is a reference to the Goddess Hecate or Trivia, a Goddess of “cross roads” and a clear precedent for the witch of European folklore. If so it may be a double or triple reference.
Indeed, the reference may also be to the 16th century council of Trent where the Catholic Church initiated a counter-reformation vis-à-vis a rebelling Protestantism. Even more likely it is a reference to Simon of Trent. Simon of Trent is a famous case occurring in 1475 Italy wherein Jews were accused of the ritualistic sacrifice of a non-Jewish child. In Rosemary’s Baby the Trent sisters are understood as having carried out their murders in the basement of the Bramford. The clip below sets this up.
It is possible, Levin and Polanski are esoterically endorsing the idea that Jewish ritual child-sacrifice or “blood gathering” did or does occur as entertained by the Jewish author Ariel Toaff in his 2007 book Passovers of Blood: The Jews of Europe and Ritual Murders. However the symbolism here is deeper and far-reaching.
Here, again, the ritual cannibalism of children is at once a Eucharistic reference and a reference to the destruction of Aryan racial youth and health by absorption into a more aged Semitic element. This is consistent with a common “Consumption motif” pervasive in JEM in which Aryans are understood as fuel or food such as unleavened bread, olive oil or sheaves of wood.
Regardless, the reference to it here, in Rosemary’s Baby, reinforces the idea of a hidden controlling Jewry in the “basement” of the Catholic Church. Likewise it reinforces the idea of the church and Christianity more broadly functioning as an accomplice to the Semitic Bride Gathering Cult. After all, as we will see, the Catholic Church is presented in Rosemary’s Baby as simply a front for a hidden controlling Jewry.
HUTCH THE APOLLONIAN & MARCATO THE FALSE “ROMAN” CATHOLIC
The character Hutch appearing in Rosemary’s Baby is another figure that is useful in confirming our understanding of Greco-Roman Religion. By name, manner and appearance we class Hutch a WASP. He is also an Aryan Apollo-figure and this is indicated by his name Edward “Hutch” Hutchinson. The word “Hutch” means “a pen or enclosed coop for small animals.”
Hence we encounter the “enclosure motif” which is explicated in the larger study. In short, it is a reference to Apollo, “the Protector of Flocks”, whose name is often understood to mean “enclosure.” Edward meaning “wealth guard” is also suggestive in the context of a protector. This, of course, is precisely his role in the film. He warns the Woodhouses against moving into the Bramford. He plays a concerned, parental role vis-à-vis the couple and remains their friend after they move into the Bramford.
Hence we encounter Jewish minds, in Levin and Polanski, conscious of Jews thieving Aryan stock from an Apollonian enclosure a la the Mercury of mythology. Here it is important to note a transactional relationship that will also occur in other works of JEM. Here the Aryan stock is purchased through career and wealth opportunities. But, of course, how else might Mercury, the God of Merchants, steal Apollo’s flock? Likewise, though, we see a contrast between secular “Apolloism,” Hutch, and Christianity, the Bramford.
When Hutch sees that Rosemary has grown gaunt and ill during her pregnancy and learns that she is being prescribed a mysterious “Tannis Root” by Minnie Castevet, he begins looking for answers. Eventually Hutch will succeed in warning Rosemary that the Castevets are, in fact, witches.
Though Hutch will mysteriously fall into a coma during his research, doubtlessly stricken by the sorcery of the Castevets, he will have a book delivered to Rosemary. The book, entitled “All of them Witches,” is a book on witches that details, in particular, the cult of witches believed to have operated in the Bramford. Written in the book, Hutch has scrawled: “the name is an anagram.”
The name in question, found in the book, is Steven Marcato, the son of Adrian Marcato, the notorious Arch-warlock believed to have run a “Satanic Cult” in the Bramford. Indeed, when the letters of the name Steven Marcato are rearranged they become the name of Rosemary’s neighbor Roman Castevet.
The significance here lies partially in the name Roman. Hutch is symbolically revealing to Rosemary that their neighbor is not “Roman”, to wit, he is not a Roman Catholic. Rather, of course, he is a Jew. The name Marcato may have a double significance, the second and more complex of which we will discuss shortly. The word Marcato means: “(of notes or chords in a musical score) strongly accented.” Hence it may suggest foreignness and hence Jewishness.
“TANNIS ROOT” & MINNIE’S CORRUPTION OF ROSEMARY
As mentioned, Minnie Castevet will give Rosemary a pendant shortly after meeting her. The pendant will contain a bad smelling fungus or mold, green in coloration. Here the JEM color symbolism indicating Green as Jewish or sexual, such as with the Semitic God Osiris, seems to apply. Minnie calls the plant “Tannis Root.” Later, when the Aryan Rosemary has already been impregnated by “The Devil”, a being surely indicated as Jewish as we will discover, Minnie will give Rosemary a foul tasting drink containing “Tannis Root” as an herbal aid for her pregnancy.
Rosemary detests the drink but Minnie insists on it. The dark joke here is certainly that Rosemary is wearing and drinking Jewish semen or “root.” Here we see, perhaps, a metaphor for a sexually advanced, Jewish Trivia functioning in a corrupting way vis-à-vis the more naïve and innocent Aryan Venus Urania. Hence, Hutch’s concern about the plant metaphorically indicates an Aryan concern about the sexual debasement of Aryan women.
Indeed, the name “Tannis” is a reference to Tanis Egypt where Moses was discovered in the marshes of the Nile River. Minnie’s first name is doubtlessly intended here as a diminutive of Miriam. Miriam, again, is Moses sister who put Moses in the basket of reeds or bulrushes. With reeds and bulrushes, ostensibly, we have a phallic symbol contrasted with the vaginal symbol of the Nile River. Hence we find confirmation for admixing and racial cuckoldry as a primary means to power for Jews. This we must understand is encoded as a Religious prerogative. To be clear, Moses is understood in the symbolism as a cuckolding seed or scion entering Egypt, a cuckoo’s egg.
The name of the city Tanis itself might be understood esoterically as related to the Hebrew word Tannin, תַּנִּין, meaning “serpent”, “dragon” or “sea monster” or tannah or tan, תן/תַּן, meaning “jackal”, “dragon” or “sea monster.” In Modern Hebrew, Tanis תנים may be translated as “jackals.” In other words, it is possible, if not likely, “Tannis Root” is more directly a reference to the phallus or seed of the reptilian “serpent” that eventually rapes Rosemary.
The racial cuckoldry theme is clear in Rosemary’s Baby. After all, in the film, Rosemary’s Aryan husband, Guy Woodhouse, will even be present at the insemination ceremony, willingly cuckolded by “the Devil.” Here, again, Guy Woodhouse has traded his wife’s womb for career success, an acting career secured through the “magic” machinations of the Castevets.
RELIGION AS A FORM OF BLINDING
Guy Woodhouse will only get his break after the Castevets cause a rival actor to go blind, thereby ceding the part to Guy. This loosing of sight or senses is a reoccurring motif in JEM related to the Hamsa symbol. Here we find an esoteric admission of “Jewish conspiracy.”
Likely blindness as a symbol in Judaism is a reference especially to the Biblical city of Dothan. As the broader study reveals, the city of Dothan appears twice in the Hebrew Bible, in the second book of Kings, where Elisha blinds the Arameans, and in Genesis, where Judah, a synonym for the Jewish God, convinces his brothers to sell his Aryan brother Joseph, likely as a catamite, to merchants. As the broader study discusses, in Modern Hebrew Dothan, בְּדֹתָֽן, means “Religion”, “Faith”, “Denomination” and “Edict.” Hence straight away we understand the meaning and purpose of Jewish “Religion”, whether Christian or Jewish. Here the subtext is clearly Jewish dominance, cultural, religious and economic.
NUMEROLOGY IN ROSEMARY’S BABY
Rosemary learns that she is pregnant and is due on June 28, 1966. That’s 6/66. Our study reveals this as a solar number or a reference to the Aryan. Simply Rosemary is the sought after solar Tipheret, the Aryan breeding stock. Indeed, the day in this date is a solar references as well that confirms this interpretation.
To wit, the number 28 is likely also significant. In Jewish tradition there is a 28-year solar cycle in which the sun returns to its place in Creation every 28 solar years. This is commemorated in April every 28 years with the recitation of Birkat Hachama, ברכת החמה, the “Blessing of The Sun.”
Interestingly, the Hebrew expression itself doesn’t appear to contain the word sun. Rather it is comprised of Birkat, ברכת, meaning “blessing” but also “pool”, “pond” and “lake” and the word, Hachama, החמה meaning “the hot” and “browning.”
Perhaps, as with the metaphor of Baptism, these aqueous references are suggestive of intermixture. The broader metaphor does suggest this. For instance, Jewish tradition indicates that when the Sun completes this 28-year cycle, it has returned to the position when the world was created. Hence metaphorically, the Semite joins with the Aryan, Adonis joins with Venus, to be “recreated.” This is not the only bit of numerology in the film.
Indeed, the apartment unit that the Woodhouses move into was an apartment partitioned from a ten-room apartment unit, the other portion of which is occupied by the Castevets. The ten rooms are doubtlessly a reference to the ten seriphot of the Cabala and, as the broader study discusses, by my estimation, a theme of “multiplicity” or pluralism, a dividing and breaking up of the Aryan monad. The apartment is on the seventh floor. This, perhaps the most common number in Jewish numerology, at least as it appears in JEM, is a reference to Saturn, the Reaper and Castrator.
Indeed, Rosemary’s first ascent into the apartment, up the seven floors, is highly symbolic. During this scene, these numeric details outlined here are oddly emphasized by the realtor as the Woodhouses ascend in the elevator to view the apartment for the first time. Here is Venus Urania being cut from the Aryan father Caelus represented by Guy Woodhouse and the Aryan race more broadly. Yet this motif is implied even more strongly elsewhere in the film.
Terry Gionoffrio & Ms. Gardenia the “Caste-vets” exhausted resources
Indeed, the Castevets had their sights set on another womb before Rosemary’s arrival, a dark brunet, ex-junky named Terry Gionoffrio. Yet Terry will kill herself shortly after the Woodhouses move in, leaping from the seventh floor, seemingly in an effort to deny the Castevets her womb.
Perhaps though, as likely, she was killed when the better and fairer option of Rosemary appeared. With Terry there are strong suggestions of a Saturnine castration or circumcision motif. Indeed, Terry Gionoffrio’s last name appears to be invented. Rather it appears to be comprised of two actual names, Gion and Onofrio. Gion is a family and personal name that appears to be a form of Gidon. Gidon is a Hebrew name that means “hewer.”
This appears verified by Terry’s first name Terry or Theresa which means “to harvest.” The name Onofrio is an adaptation of the Egyptian name Onnophris which means “always happy.” This fits with Terry who will be described by Minnie Castevet after her suicide as “a very happy girl with no reason for self-destruction.” More importantly, Onnophris is an epithet of the god Osiris who is best understood as a Symbolic Synonym of Adonis or Christ. Thus the notion of a harvested vegetation god emerges. That Terry is a brunet and ex-junky is relevant. She is, in a sense, an exhausted resource. With her, the milk has “gone sour.”
We learn in the beginning of the film, as well, that a woman named Ms. Gardenia occupied the Woodhouses’ Apartment unit before they moved in. Her name is clearly a reference to the Garden of Eden as much as the reptilian devil that impregnates Rosemary is a reference to the Serpent. The apartment as well, filled with plants that she had been growing, reinforces this idea.
According to the building manager, ostensibly Gardenia was an older women who, like Hutch, fell into a coma and died. Clearly the film indicates that she was seeking to escape the Castevets. Indeed, when the Woodhouses are first viewing the apartment an unfinished letter penned in Gardenia’s name reads cryptically: “I can no longer associate myself….”
Likewise, they find a massive secretary which had been inexplicably pushed in front of a closet containing only towels and a vacuum cleaner. Importantly the closet is also a conduit to the adjoining Castevets apartment, in some sense, symbolically, a gate to Eden as well as a vagina. As this study discusses, the symbol of Baptism, which is a symbol of Semitic and Aryan intermixture, is understood as a “purification ritual.” It functions this way vis-a-vis the Jew who is made more pure through intermixture with the Aryan. Perhaps these cleaning appliances are cleansing or purification symbols.
Certainly Gardenia was at some point “breeding stock” as well, thus Levin and Polanski corroborate the symbol of the Garden of Eden as a symbol for Aryan Genetics, as is explicated in our broader study. That both Gardenia and Terry have Italian last names may suggest an esoteric understanding that Rome, in particular, through the Roman Church, was an important stage of Semitic Bride Gathering for Jews. We remember again that Jews are understood to owe half their lineage to Italian women according to genetic studies. Yet both Gardenia and Terry here become symbols of racial exhaustion.
Dr. Abe Sapirstein, Servant of the Jewish Saturn
Additional confirmation for the “Jewishness” of the Castevets plot comes in the form of the sinister Dr. Abe Sapirstein. Dr. Sapirstein is a doctor that Castevets insist Rosemary go to during her pregnancy. By his last name one might guess that he is a Jew, even a Rabbinical figure. While it is true he is indicated a Jew in the book, understanding him as a Jew, while other figures in the film as not, would be a mistake.
Abe is, of course, a reference to the Biblical Abraham. As this study explicates, Abraham is an Aryan figure who has entered into a blood covenant with the Jewish God. This study explicates the Jewish God as a monetary figure, hence, in a sense, Abraham might be regarded a bribed Aryan. He is certainly a cuckolded figure as this study explicates. But Sapirstein’s surname provides the deeper meaning. It is a Jewish surname but that is its least important aspect. The name Sapirstein means Sapphire Stone.
Linguists propose that the word Sapphire derives from Sanskrit, Shanipriya (शनिप्रिय). “Shani” (शनि) means “Saturn” and “priya” (प्रिय) means dear, i.e. literally “dear to Saturn.” The reader already knows that Saturn is a reference to the Jewish God. Indeed, Saturn the Reaper and Castrator is a form of the Jewish God especially connected to circumcision. Thus this would especially relate him to Abraham, the first to enter into the circumcision “covenant” with the Jewish God.
“Stone,” suggested by the suffix stien, is more curious here. Normally names meaning “stone” would indicate a Jew and perhaps that is the case here. However the stone may be a reference to the sharpened stones used for circumcision in the Hebrew Bible. Hence perhaps the name is meant to be understood as “Abraham, dear to Saturn’s stone.” Ostensibly, given the broader metaphor, Abe Sapirstein’s status as doctor may also be a reference to “Doctor of the Church,” the great ecclesiastics honored by the Church.
Rosemary eventually becomes ill from Minnie’s Tannis Root but Sapirstein also insists she take it. Eventually she will defy both of them and go to another doctor named Dr. CC. Hill (Charles Gordin). But much to her horror, Hill will betray her and summon Sapirstein to his office to take her away. The name Hill, a chthonic or montane reference is very likely a Jewish identifier.
The symbol of the mountain, for instance, is, like the stone, a Jewish identifier in JEM. Indeed, the Hebrew word Geba, גֶבַע, means “hill” and “a stone.” This may suggest that the symbol of the stone and hill might be treated as synonyms in JEM.
The Jew as Typhon son of Saturn
The impregnating Devil is also given a specific Semitic identity. The clue will be given in a dream, a drugged Rosemary has before the impregnation ceremony. In the dream she will find herself in a nautical setting, on a dock, then eventually on a boat. Much of this is setup, however, to introduce the name and identity of the “Devil” whom will impregnate her. Indeed, at some point, during this sequence, a sailor or boat captain warning of a storm will shout: “Typhoon. Typhoon.” This is a reference to the Greek monster Typhon from which the word Typhoon is derived.
Typhon is generally described as scaled and serpentine in the myths. The devil who rapes Rosemary will appear likewise. Typhon is the son of the Jewish God Saturn. As this study explicates, Typhon is a synonym of the Egyptian God Set or Seth and Seth, the Jewish or proto-Jewish son of Adam. Set is the slayer of Osiris so he is also referenced in Terry Gionoffrio’s name. The deceased character of Ms. Gardenia also seems to conflate this Typhon with the Serpent in the Garden of Eden. In any case, serpents and dragons are Jewish identifiers in JEM.
Jew as “Black” lover in Song of Solomon and color symbolism in Rosemary’s Baby
When Rosemary’s “Devil child” is finally conceived it will be given the name “Adrian.” The name “Adrian” has various etymologies. It is a form of Hadrian with the emperor Hadrian being its most famous bearer. Yet this is not the reference here. Indeed, that this devil is no beast of Aryan or “Nazi” despotism is made clear when Roman Castevet celebrates the birth of the child.
Roman cries: “He shall overthrow the mighty and lay waste to their temples. He shall redeem the despised and reap vengeance in the name of the burned and the tortured.” Indeed, “The Devil” is a good democrat! “Burned”?
Given when the book and film were released, 1967 and 1968, possibly this is a reference to the Holocaust, a term only then beginning to circulate. Yet our broader study reveals that “fire” as a motif and in name meanings is a reference to the Jewish God who is described in the Hebrew Bible as a “consuming fire.” This, as this study argues, is also the meaning of the “Holocaust” which may be understood as synonymous with the Jewish God.
Regardless, the name Adrian may also mean “dark or black” or it may mean “sea.” “Black”, particularly in name meanings, is a Jewish identifier in JEM as the broader study will reveal. That this likely the intended meaning of the name is corroborated in the nickname given to the Bramford because of Adrian Maracto’s activities there. As Hutch mentions toward the beginning of the film, it is the “Black Bramford.” In my estimation, remarkably, the name “Adrian” may be a reference, at least in part, to a series of old 9th or 10th Century English works under the Generic name Solomon and Saturn.
Indeed, these works, a series of answer and question dialogs between figures identified as Solomon and Saturn, and dealing with Biblical questions, also fell under the names Adrian and Ritheus as well as Solomon and Marcolf. In short, where Solomon and Saturn are not indicated as the interlocutors, the interlocutors are nevertheless understood as Solomon and Saturn, only under a different name. Hence Adrian becomes Solomon.
Perhaps corroborative of this is the name of Roman Castevets deceased, Arch-Warlock ancestor Adrian Marcato who features centrally in the plot and after whom doubtlessly the Devil Baby is named. Indeed, Marcato may be a reference to Marcolf, and therefore Saturn, as both Marcato and Marcolf are derived, in part, from the Latin name Marcus or Mars.
This is supported by the reference to Saturn in Dr. Sapirstein’s name. On the other hand, again, “Black,” as a name meaning, appears commonly in JEM as a Jewish identifier. As this study will explicate, it may be a reference to the Song of Solomon. There the mysterious lover, identified in Judaism and Christianity as the Jewish God, announces to his fair lover “I am black!”
To the extent “Adrian” might be understood as a reference to Solomon and not the Jewish God more generally, what is the significance of Solomon as “Devil”? The reader will know already that he is the central figure in Freemasonry. Yet it would, of course, be a mistake to regard the reference to Freemasonry and not Jewry. Indeed, it would be wholly unimaginable for a Jewish author and Jewish filmmaker to regard the famous Jewish King, King Solomon, non-Jewish or not representing a Jewish power.
Here it may be meaningful to note that King Solomon was remembered as something of a sorcerer and demonologist. Yet he’s also of the Davidic line and according to Matthew an ancestor of Christ. Indeed, even Christ will laud his wisdom. In any case, would an ancestor of Christ, let alone a direct descendent of David, be also the Devil?
In a manner, yes. After all, what is being indicated in the esotericism of Rosemary’s Baby is simply that “The Devil” is really “The Jew”, whether Solomon or Christ or otherwise. This is also indicated in the esotericism of the Garden of Eden as this study explicates. Indeed, as specific as the reference to Solomon may be taken, it is better understood more broadly. Solomon, like any of the Jewish patriarchs, particularly those descending from Judah, is himself, The Jewish God, by virtue of being a Jew.
In fact, the “Devil” in Rosemary’s Baby may as readily be identified as Christ. After all, Rosemary, a clear reference to Mary in the Bible, is the child’s mother, whilst Solomon’s mother is a woman named Bathsheba.
Other color symbolism in the film includes Rosemary’s striking red outfit on the day of her rape by the reptilian creature. Red is a reference to Semitic and Aryan blood admixture or the racially “wounded” Aryan as this study explicates. Further, Polanski depicts the Woodhouses’ apartment in golden and yellow hues. This is a reference to the sought after golden, blonde, Aryan “Tipheret.” Gold as this study explicates is an Aryan identifier or an identifier of Aryan surfaces, exteriors or appearances.
Rosemary’s Baby as valuable Rosetta Stone
Rosemary’s Baby is in many ways of tremendous value to us. Here we see clearly the Jewish esotericist view of the Aryan Christian. The understanding is certainly of something inferior, at least in knowledge or gnosis, but nevertheless invaluable, coveted, necessary. It seems evident that the Jew, or Jewish Esotericist more specifically, knows precisely what the Christian is thinking but never vice versa. It is a difficult assessment to challenge.
We see here, for instance, the Jewish understanding that Christianity is especially meaningful to women. We see here, also, the Jewish understanding that the Christian religion is entirely mysterious to the Aryan laity or flock of Christianity. Hence the Christian is unmoored, dependent on a God he or she can neither see, understand, nor even trust.
Unable to trust their “own God” and purpose, the Aryan Christian is rendered directionless, malleable. In the end, they may only be told what is good or evil, rather than understand it instinctively. Indeed, dissimilar from the Jew they are not their own God nor do they understand him thus they lack executive powers. If the Pope says its not sinful to have sex with a reptilian humanoid than it is not sinful.
There is also the suggestion that “sin”, that curious Semitic, Mesopotamian moon God, no matter how repulsive and initially unpleasant, is made erotic by Christianity, even if by taboo. Lastly the Jewish Esotericist understands fully that Christianity is a “horror movie.”
Eternal damnation is the consequence of any misstep. All of this may be applied to Multiculturalism. Today the Aryan multiculturalist is governed psychologically by the Jewish Multiculturalist who is, again, the Gnostic, who “understands bigotry”, who has the moral authority and “sapience” to determine who is a sinner and who is not, one misstep and it is, indeed, eternal damnation.
Likewise we begin to understand why Polanski holds such a high place in the mind of world Jewry. Films like Rosemary’s Baby that are widely celebrated while gleefully depicting Jewish antagonism to Aryan civilization are profound works of JEM, greatly moralizing to Jews and demoralizing to Aryans, whether common members of either group understand the messaging clearly or not. Jews would have at least understood it as depicting Aryan Christians as mad, psychologically vulnerable, sexually accessible, easily manipulated and ultimately degenerate, whatever their pretensions.
In fact Polanski’s unpunished abuse of Aryan children, broadly forgiven or pooh-poohed by world Jewry, also functions as JEM. Consider it in this context: Polanski’s most famous film includes a Devil worshiper, bearing his own uncommon first name, involved in Child sacrifice. That he himself led a cult implicated in drugged rape, child abduction and murder, doubtlessly, likewise, adds to his “gangsta” mystique.
Lastly we should consider if Polański had a particular insight and even connection to the cult of Catholicism, which is evidently still quite strong in Poland, a land where he may trace his father’s roots. He suggests much but what exactly does he know? And what should the Catholic laity know?
 Song of Solomon 1:5 “I am black, yet lovely, O daughters of Jerusalem, like the tents of Kedar, like the curtains of Solomon. Do not stare because I am black, for the sun has gazed upon me.” Christians commonly assert this is a description of the woman and not the man (presumed to be Yahweh) in the poem. However no evidence suggests this. Though it is clear that the poem is a dialog between lovers, speakers are not identified from this passage to that. While scholars are able to reach consensus on later passages of the poem as to which speaker is speaking, 1:1–6 is commonly classed “introduction” while 1:17 -2:7 simply Dialogue between lovers. The speaker is addressing the daughters of Jerusalem. Perhaps this suggests a male perspective particularly in the context of a love poem where the male is understood a courter. Likewise 1:6 indicates the speaker a vintner, a male profession in the ancient world, arguably equating him the Semitic Bacchus as was Yahweh by ancient mythographers. Elsewhere in the poem the female, possessing breasts or “shad,” שַׁד, is praised as “fair” or Japheth such as in 4:1. There experts are in agreement, the man is addressing the “Japheth” women. All of this, of course, is weighed against a consistent self-perception appearing in Jewish Esoteric Moralization, where Jews commonly feel themselves to be the darker man vying for fairer stocks.