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.
The Pied Piper of Hamelin, who was understood as dressed in pied or multicolor vestments, may be a reference to the Biblical Joseph’s multicolor jacket. The story appears to have a church origin or at least an early church endorsement with the earliest reference to it appearing sometime in the 1300s in the stain-glass window of a Hamelin church. Hamelin is traditionally the setting of the story. Though the church was destroyed, written accounts survive.
Theories are various as to the story’s origin, where an effort is made to connect it to some historical event but few seem interested in understanding it primarily as allegory. Rather the story may be describing the deleterious effects of Christianity as a misleading force from a mischievous Jewish perspective that is common in JEM.
The Piper himself may also be a reference to Mercury who too is also known to have an enchanting or sleep inducing pipe and is also a thieving shepherd of flocks. This study connects Mercury as well to the Biblical prophets, such as Moses and Aaron, particularly through the common attributes of serpent staffs.
As this study discusses, Joseph’s pied or multi-colored vestment is likely a symbol akin to the multicolored sticks that Joseph’s father, Jacob, places before Laban’s white sheep so as to incite the darkening or admixture of the flock. Hence it may represent the passing down of a “trade” as it were. In other words, there may be in the pied piper parable an understanding of Christianity as a useful tendril of the Bride Gathering Cult of Judaism and a means to admixture with “Laban’s White Flock.”
When the elements of rats are introduced to the story, apparently sometime in the mid 1500s, we may see as well a reference to the Caducean aspects of Christianity. On one hand it promises to deal with the “rats,” but in the end it steals the children. To the extent we understand the piper as a wondering charlatan, who has perhaps practiced this racket in other town, maybe it is implied he has imported the rats in the first place.
After all, the appearance of rats would be associated in the medieval period with traders and migrants who unwittingly import them with their goods. Rats are not a salient symbol in Western myth but do gain a clear negative cultural reputation in Europe. The Rattenkönig or Rat King, for instance, was a term used to refer to parasitic persons or persons living off others. Martin Luther, for his part, will refer to the Pope as a “king of rats.” This is in contrast to a positive association rats will develop in China and India, for instance, at least as mythological or symbolic figures.
This reminds us of the positive association that Dragons will likewise develop in China in contrast to a negative Western association. In China, rats are the first animal of the Zodiac known for their honesty, of all things, among other attributes. In India they are the revered mounts of the elephant headed Ganesha. Theorist have speculated that within the context of the pied piper parable, rats are related to an equally theoretical black rat epidemic that brought in the black plague, ultimately hailing from China via merchants.
This could be true even if the plague was never understood as borne by rats among those living at the time. Subterranean, scavenging and unwanted vermin, rats may have developed some association with Jews, at least subconsciously, and possibly this is intended in the pied piper story. By the 1920s, Nazi propaganda will have made this association explicit and particularly in the 1940s film The Eternal jew.
Regardless we can see from the parable that rats are associated with an “evil” that has befallen Hamelin. Hence, possibly, the Pied Piper represents the Christian clergy as charlatan offering the “cure.” Underlying the parable is the understanding that Christians must pay the piper or else. Though as is common in JEM, they are reliant on a pied piper and doomed either way.
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.