Fables, folklore, legends, stories, and myths warning children of the adversary Throughout the ages of time, man has been leaving clues for his progeny in the hopes of teaching them to identity and…
Pharisee Tales – Esau Today Skip to content Esau Today Jacob shall be a fire, and the house of Joseph a flame, and the house of Esau for stubble Menu Home About Posted on March 29, 2017October 16, 2023 by Esoteric NousPharisee Tales Fables, folklore, legends, stories, and myths warning children of the adversary Throughout the ages of time, man has been leaving clues for his progeny in the hopes of teaching them to identity and avoid their life long enemy. In these pharisee tales you will find breadcrumbs that lead to a better understanding of the adversary. “Fiction is the lie through which we tell the truth.” Albert Camus Contents: 1. Vampires 2. Witches 3. LepreCOHENS 4. Trolls 5. Jack and the Beanstalk 6. Snow White and the Seven Dwarfs 7. Rumpelstiltskin 8. Goblins 9. Elves 10. Hansel and Gretel 11. Werewolves 12. GOLDilocks 13. Giants 14. The Legend of Zelda 15. James and the Giant Peach 16. Oliver Twist and Fagin 17. Smurfs and Gargamel 18. Dragons 19. Snakes and Serpents 20. Lord of the Rings 21. The Holy Bible 22. Pinocchio (Stromboli) 23. The Game of the Goose 24. Jack the Ripper 25. FrankenSTEIN 26. Fairies (Pharisees), Sprites, Elves 27. The Smith and the Devil 28.The Jew in the Brambles 29. Three Little Pigs The Tides Turn – It’s a Bird, It’s a Plane, It’s the Jews More: Grimm’s Fairy Tales Aesop’s Fables Fairy Tales – Global Grey Ebooks Fairy Pharisee Tales Esau hidden in plain sight in popular culture, folklore, books, fables, stories, myths, songs, games, movies, plays, etc. Part I. Vampires and Dracula: “Dracula’s role as racial outsider results from Stoker giving him Jewish attributes and largely basing him on depictions of the Wandering Jew. Stoker was very interested in the legend of the Wandering Jew, whose attributes are echoed in Dracula. Dracula’s evil and supernatural nature and his blasphemy of Christianity ultimately cast him in the role of Antichrist. Stoker may have known the works of Lewis and Maturin, but he was most fascinated by French author Eugene Sue’s The Wandering Jew (1845), Dracula’s debt to the Wandering Jew is most obvious in their shared physical characteristics. An 1873 stage version of Eugene Sue’s novel, produced by George Lander, describes the Wandering Jew as having “long jet-black hair and jet-black eyebrows, dressed in a long black robe” (Malchow 156-7). The obvious physical similarity between the Wandering Jew and all vampires is the emphasis upon the eyes. Dracula has the same powerful hypnotic eyes attributed to the Wandering Jew In the natural world, the living feed on the dead, but Dracula is the dead who feeds on the living, and by this feeding he prolongs his life Dracula’s ability to “vanish and come unknown” also links him to the Wandering Jew who inexplicably can appear and disappear from places, especially at moments of historical importance Stoker also builds upon the Wandering Jew’s connection to the biblical Cain in his depiction of Dracula. The Wandering Jew traditionally bears a mark on his forehead that recalls the mark God gave to Cain for murdering Abel. Stoker made one final connection between Dracula and the Wandering Jew that he later deleted from the final version of Dracula. In the original second chapter that was later removed, Jonathan Harker’s journey to Dracula’s castle includes a stop in Munich, where he sees a performance of Wagner’s opera, The Flying Dutchman. The story of the Flying Dutchman is similar to that of the Wandering Jew; the Dutch captain must roam the seas forever in a cursed phantom ship until Judgment Day because he defied God by committing murder like the biblical Cain (Belford 217). Stoker’s decision to have the novel center around Dracula’s migration to England is intended to symbolize the migration of Eastern European Jews to England in the late nineteenth century Eastern and dark skinned men, including Africans and Jews, have greater sexual prowess than Western European men (Hatten 129, Malchow 149, 151). Such sexual fears of the “Other” resulted in numerous stereotypes of the Jewish people during the Victorian period, including their being rapists, cannibals, and polygamists. Jewish people were stereotyped with various forms of sexual deviance, including intended corruption of women and the innocent. Jews were also depicted as corrupting children. In Oliver Twist (1838), Fagin preys upon boys, using them as tools for his acquisition of wealth. More severe depictions included Jewish men as cowardly homosexual degenerates who preyed upon innocent boys; such representations easily extended to the metaphor that Jews were like vampires, for vampires seek their victims during nocturnal hours, the same time when homosexuals are most likely to contact one another (Malchow 141, 163). Vampires, Jews, and homosexuals were also all associated with strange smells believed to arise from the bodily emissions of masturbation or the fecund odor of sodomy (Malchow 141). Jewish men were even believed to menstruate; this bleeding provided yet another metaphorical link to vampires (Mulvey-Roberts, “Dracula” 830). After Oscar Wilde’s trial in 1895, anxieties increased over gender issues, and Stoker, who had his own anxieties over his homosexuality, used such anxieties to make Dracula all the more frightening by suggesting his sexual deviance (Gary Day 82). More popular as a Jewish stereotype than their perverted sexuality was the belief that Jews were wealthy. Because many Jews were usurers, they were comparable to vampires because they could financially drain their debtors. Blood and money became metaphors for one another because both are necessary to sustain life. Consequently, Jews, and especially usurers, were treated as types of vampires in literature. In Mary Shelley’s Valperga (1823), usury is associated with vampirism when Castruccio, upon learning that Pepi has engaged in usury, calls Pepi, “Thou vile Jew…A usurer, a bloodsucker!” (216). In Charles Dickens’ Dombey and Son (1848), during an estate auction “herds of shabby vampires, Jew and Christian, over-run the house” (Pool 98). Jews were frequently depicted as murdering Christians to obtain blood for their Passover feasts (Zanger 37). Dracula’s blood consumption, therefore, aligns his activities with the Jewish religion, and makes both appear as the reverse of Christianity.” https://thegothicwanderer.wordpress.com/2014/01/30/dracula-the-new-wandering-jew-and-anti-semitism/ “As he wanders the globe, the Wandering Jew remarkably appears without explanation at the sites of great historical events such as the sack of Rome, the crusades, and decisive Napoleonic battles; these appearances at great events suggest that the Jew may have supernatural powers that allow him to appear wherever he chooses (Tennyson 212)The Jew’s constant wandering is enhanced by his fear that Christians will learn his true identity, so he must continually move from place to place” https://thegothicwanderer.wordpress.com/tag/the-sorrows-of-young-werther/ “The Wandering Jew” “One can draw many parallels between the …jew and the image of the vampire: both are parasitic and drain the life force out of the host –in the case of the vampire the victim and in the case of the Jews an unwitting nation. Both have a symbolic connection to blood, and contact with either of them taints the blood. The etymology of the word is unclear, related probably to the Old Russian term “Upir”. In Serbian the word is “Vampir”, and it passed in this form in German after the vampire hysteria of 1725-1730 forced the Austrian bureaucracy to write official reports in German. The English “vampire” and the French “vampyre” are derived from the German version of the word. As mentioned, the belief in blood drinking demonic beings seems universal and is present in all ancient cultures. The iron toothed “asanbosam” of the African Ashanti is a vampiric being that hunts people from trees. The Chinese ”pinyin” kills the living by robbing them of their life essence. The Philippinese ”Mandurugo” , the Malaysian “Pennanggallan”, the Indonesian ”Leyak” prey on pregnant women or their children In India, the goddess Kali is linked to the drinking of blood, and the vetalas are undead ghouls who possess bodies. The Colombian “Tunda” and the “Soucouyant” of Trinidad are female monsters while the Aztec “Cihuateteo”, the spirits of those who died in childbirth, steal children and drive the living insane by seducing them. The ancient Persians depicted blood drinking demons on pottery. The Babylonian goddess Lamashtu is described as a “flesh eating, blood sucking monster” that preys on pregnant women, drinks the blood of newborn babies and eats them. The related Babylonian and/or Sumerian myth of Lilitu, which is at the origin of the Jewish myth of Lilith, also describes a female sexual predator, a demon who feeds on the blood of babies In Greek mythology, Lamia, feeds on sleeping children, and Empusa seduces men before drinking their blood. Just as the bite of the vampire caries the contagion with it, the contact with the Jews taints the blood. In these context depictions of the Jews as sexual predators suggest that the Jews are determined to racially undermine the host nation. The relationship between vampire and victim has its parallel in the relationship between the host nation and the Jews.. “Count Dracula is the faithful embodiment of the caricature of the Jew as greedy and parasitic.” One does not have to travel far to reach Goebbels point of view that “The Jews are…a pseudopeople wielded together by a history of hereditary criminality.” in [National Socialist Germany] the anxiety evoked by the vampire was used to amplify the anxiety and resentment created by the Jews. In the cartoons and posters of the Nazi era, the Jew is represented both as bloated with the blood and wealth of other nations, as a pedophile, or as a monstrous creature bent on world domination” https://www.academia.edu/4913745/How_Vampires_Became_Jewish http://www.peterdanpsychology.ro/ro/pagina/26/how%2520vampires%2520became%2520jewish.html This truth is absolutely amazing. As explained in the excerpt of an article reproduced below, the jews, as literal children of Satan, have blood of a different type than other humans. It is defective and has no life in it, to the extent that after a few generations their descendants will develop various disorders and diseases leading to the extinction of the line. In order to perpetuate their race, they must either practice mongrelization (ie, mixing their bloodline with other human races), or literally consume the blood of other humans (as has been recorded down through history with jews practicing ritual sacrifice of children and drinking their blood). This puts a whole new perspective on the stories of vampires. The imminent B.F. Jackson in his series of books entitled “the Mystery of the Serpent,” has indeed documented the detailed information concerning the “dead” blood of a Jew. We shall not quote, but will paraphrase some of this enlightening information. http://truthseeker-archive.blogspot.com/2015/05/the-jews-are-literal-vampires-who.html There are a multitude of scriptures that identify the Jews as being (spiritually and materially) dead from the womb, from birth. They are not children of Yahweh, they are a cabal of Luciferian children that are literal vampires and parasites, deriving their physical existence from the blood and material assets of the children of Yahweh. All deceit, crime, corruption, perversion, and anti-Christ activity in the world, can be traced to it’s origin, the Jew and his proselytes. Revelation 20:1-3 tells us that Satan and his minions of Jews will be isolated from the world for a thousand years, in which time most of all of these vampires shall be consumed by Ta Sachs disease for lack of man’s blood. http://israelect.com/reference/WillieMartin/OriginOfTheJews.htm http://www.unimasr.net/ums/upload/files/2010/Jul/UniMasr.com_1d35854caa59d84fb4c19721cb24373f.pdf http://www.sacred-texts.com/goth/vkk/vkk06.htm#page_217 2. Witches In Mediaeval Europe jews were forced to wear pointy hats for the sake of identification. There were strict laws against miscegenation at that time. A White European was forbidden to marry a jew, often by the punishment of death. The Jewish hat also known as the Jewish cap, Judenhut (German) or Latin pilleus cornutus (“horned skullcap”), was a cone-shaped pointed hat, often white or yellow, worn by Jews in Medieval Europe Jews were known for their use of magic and other esoteric cabalistic practices. Later in films and stories this knowledge was preserved; they were portrayed as hook-nosed witches with their nefarious use of magic while always donning those weird pointy hats. Margaret Hamilton (1902-1985) in the role of Miss Gulch, The Wicked Witch of the West, in the musical ‘The Wizard of Oz’, directed by Victor Fleming for MGM. According to Robert Wistrich: The literal understanding of horns in the Psalter inspired the horned hat (pileum cornutum) that Jews were forced to wear from the thirteenth century on. It too began to appear in art in the ninth century and is visually derived from late versions of the Magi’s hats and from the Phrygian caps worn by deniers of Christ in the Stuttgart Psalter. These hats vary in form but have one thing in common: a single point or hump which simultaneously covers and calls attention to the horn the Jew was believed to have. That these hats denote an identification with the devil is shown in thirteenth century illuminations in which there is no clear differentiation between a demon’s single horn and pointed hats. By revealing the horn the Jews skillfully hide, these pointed hats acted as a mark of Cain. (pg 55-56) While continuing their role as Christ’s torturers and deniers, from the thirteenth century on they also appear – identified by the Jew’s hat – as Apocalyptic riders, false prophets, worshipers of Antichrist, and companions of the heretics in Hell. In such works, Antichrist, demons, apocalyptic killers, heretics, and Jews often have hooked noses. This originally demonic feature became associated specifically with Jews by the thirteenth century, and has remained an accepted stereotype to this day. https://thetwistedrope.wordpress.com/2014/09/24/reconsidering-the-witchs-uniform/ Judenhut – Jewish hat (German) By the 1380s the weakened condition of the Jewish communities and the relativistic philosophy then popular among Jewish intellectuals were producing numerous conversions.[6] After the rioting of 1391, Jews converted en masse, led by their rabbis, and from then on Spain’s Jewish communities became smaller and more impoverished while the converted Jews grew in numbers, wealth, and political importance. By the middle of the fifteenth century, however, resentment of the conversos was giving rise to a polemical literature that rejected the possibility of their true conversion to Christianity and blamed them for all the crimes normally attributed to Jews. The most interesting and important of these writings was the Fortalitium Fidei (Fortress of the Faith) by the Franciscan Alonso de Espina, first published in 1460. According to Espina, Jewish law, which is equally binding on both Jews and converts, commands the destruction of Christians and Christianity, which they actively strive to accomplish by starting fires, poisoning wells, and doing other evil deeds.[7] [The jews were considered]…a kind of bogyman, a larger-than-life image of the Jew/converso who was at once child murderer, blood sucker, rebel, and demonic sorcerer who sought to reverse the divinely established order of things by destroying Christianity so that, according to Licenciado Vegas, the Holy Child’s first chronicler, the Jews “would become the absolute lords of the earth.”[8] 3. Leprechauns (LepreCOHENS) As the Jews of Europe began to seize more control, the White Europeans were forced to encode meaning into their folklore. Leprechauns are an excellent example of this. Leprechauns are known for their rapacious demeanor, always striving after gold. The word “leprechaun” is derived from the Irish Gaelic word “leipreachán”. It is defined as “a pigmy, a sprite, or leprechaun” by Patrick Dinneen, the Irish historian, lexicographer and Gaelic revivalist. Further derivation is uncertain; the word may be a corruption of “luchrupán” (Middle Irish) from the Old Irish “luchorpán”, itself a compoud of the root “lú” (small) and “corp” (body). The latter is derived from the Latin word “corpus” (body). http://mythology.wikia.com/wiki/Leprechaun Leprechans can also mean leath bhrogan (shoemaker) Shoemakers Schumacher is a common jewish occupational name. Before the 20th century, leprechauns were described as wearing red, as opposed to green. http://www.haaretz.com/jewish/features/.premium-1.584816 Shoemaking was a jewish occupation These shoe makers are the sons of evil spirits. Irish storytellers typically depicted them in red, showing their relation to Esau-Edom (Edom means red in scripture) Most people at that time, and still today, are convinced that the jews are the people of the Old Testament, which is why we might find them with seven buttons on their coats, since 7 was such a salient number in these ancient books. However this is a misconception since the Jews are not the people of the Old Testament, but are the descendants of Cain and Esau, both of which violated the law to not adulterate, and take foreign wives. Cain himself was the son of Satan. Eve, in Genesis tell us, “The serpent beguiled(seduced) me and I did eat(consummate)” Magically delicious! Jews are known for their use of magick. Polish shoemakers Irish Folklore http://www.pitt.edu/~dash/ireland.html ““The Little Shoemakers” is Singer’s fantasy of the immigrant’s experience. It is a story of Abba Shuster (Father shoemaker) who has no desire ever to leave the city of Frampol. Assimilation is not in his vocabulary. He is the eighth generation of shoemakers living in this city in Poland…..The name of Abba Shuster is recorded, on parchment, in the annals of the Frampol Jewish community. …The secret of strengthening leather and making it more durable has been divulged from one generation to the next. In character, all the Shuster men are “sound, honest workmen” and in appearance they are all short and sandy-haired.” Notice the aquiline(hooked) nose, This is typical across all folklore depicting the enemy. http://dc.etsu.edu/cgi/viewcontent.cgi?article=1145&context=etd “The Little Shoemakers,” by Nobel Prize-winner Isaac Bashevis Singer, reclaims a pre-World War II Polish village. The tale depicts an emigrating family of Jewish shoemakers whose sustaining craft goes back 15 generations. http://articles.chicagotribune.com/1995-04-21/entertainment/9504210021_1_family-affair-piven-theatre-workshop-shoemakers Irish word for fairy is “sheehogue” [sidheog] banshee , deenee shee “fairy people” 4. Trolls Troll, in early Scandinavian folklore, giant, monstrous being, sometimes possessing magic powers. Hostile to men, trolls lived in castles and haunted the surrounding districts after dark. If exposed to sunlight they burst or turned to stone. In later tales trolls often are man-sized or smaller beings similar to dwarfs and elves. They live in mountains, sometimes steal human maidens, and can transform themselves and prophesy. In the Shetland and Orkney islands, Celtic areas once settled by Scandinavians, trolls are called trows and appear as small malign creatures who dwell in mounds or near the sea. In the plays of the Norwegian dramatist Henrik Ibsen, especially Peer Gynt (1867) and The Master Builder (1892), trolls are used as symbols of destructive instincts. Trolls in modern tales for children often live under bridges, menacing travelers … truncated (59,994 more characters in archive)