JEWISH VERSIONS OF THE KING ARTHUR LEGENDS

The "Melekh Artus" (King Arthur) is a fascinating 13th-century Hebrew-language romance by an anonymous northern Italian Jewish author. Directly based upon the medieval Arthurian legends, the story presents Arthur as a figure fitting within a Jewish moral framework, with numerous references to Torah.

The work is primarily modeled on the Old French Arthurian prose romances, including the comprehensive Vulgate Cycles, with its storylines also concerning the wizard Merlin and Sir Lancelot of the Lake. Its author adapted and translated them into Hebrew, citing rabbinical authority for his endeavor. He particularly focuses on the tales concerning Arthur's birth (via his mother Ygraine's seduction) and the affair between Lancelot and Queen Guenevere, then also hinting at the Grail Quest.

The many stories of King Arthur and his Noble Knights, along with other romances of chivalry, have continued to be exceedingly popular with Jewish audiences, and several Yiddish editions of the Arthurian legends also exist from the 14th to 18th centuries.

ARCHERS OF ISRAEL

The bow as a weapon in war and the chase was familiar to the Hebrews from patriarchal times (Genesis 21:20, 27:3, 48:22). Jonathan and Jehu were expert archers (II Samuel 1:22; II Kings 9:24); the tribe of Benjamin was renowned for its sons' skill with the bow (I Chronicles 8:40, 12:2); and David, after the battle of Gilboa, sought to encourage archery practice in Judah (II Samuel 1:18). The impulse thus given seems to have taken root, so that 250 years later the prophet Hosea speaks of the bow as representing Israel's military power (1:5).

From the figures extant in Assyrian monuments it appears that the usual tactics with the bow were to overwhelm the enemy with repeated showers of arrows, and then close in with sword and spear upon the harassed ranks. In Psalm 120:4 there is a reference to the practise of affixing burning material to the arrow-head, no doubt for setting fire to a besieged town.

(cf. Jewish Encyclopedia)

SECRETS OF "DER GOLEM"

Der Golem, wie er in die Welt kam (The Golem: How He Came into the World), directed by Paul Wegener, is a cornerstone of German Expressionist cinema and a haunting precursor to the horror genre. Released in 1920, this silent film remains a striking example of early filmmaking’s ability to blend myth, atmosphere, and visual innovation to create a lasting cultural artifact.

Set in a 16th-century Jewish ghetto in Prague, the film draws on Jewish folklore, specifically the legend of the Golem -- a clay figure brought to life by Rabbi Loew to protect the Jewish community from persecution. The narrative weaves a tale of mysticism, power, and unintended consequences. When the Golem, played with eerie stoicism by Paul Wegener himself, is animated through occult rituals, it initially serves as a protector but soon spirals out of control, embodying the dangers of tampering with divine creation. The story resonates with themes of hubris, the clash between science and spirituality, and the fear of the "other," which were particularly poignant in the post-World War I era.

The film’s visual style is a triumph of Expressionism. Hans Poelzig’s set design, with its jagged, distorted architecture and claustrophobic alleyways, creates a dreamlike yet oppressive atmosphere that mirrors the psychological tension of the story. The use of light and shadow, characteristic of the movement, amplifies the Golem’s menacing presence, with stark contrasts emphasizing his otherworldly nature. Karl Freund’s cinematography is equally impressive, employing innovative camera angles and fluid movements that were groundbreaking for the time. The Golem’s design -- blocky, imposing, and almost sculptural -- remains iconic, influencing later monster archetypes like Frankenstein’s creature.

Wegener’s portrayal of the Golem is a masterclass in physical acting. With minimal facial expression, he conveys both the creature’s brute strength and its tragic, almost childlike confusion. The supporting cast, including Albert Steinrück as Rabbi Loew, delivers performances that balance melodrama with sincerity, fitting the exaggerated style of silent cinema. Wegener’s direction keeps the pacing deliberate, allowing the tension to build through atmospheric dread rather than relying on overt shocks.

Der Golem is not just a technical achievement but a cultural touchstone. As one of the earliest feature-length horror films, it set a template for the genre, blending folklore with existential terror. Its influence can be seen in later works like Frankenstein (1931) and even modern creature features. The film also reflects the anxieties of its time, including anti-Semitism and the fear of unchecked technology, making it a rich text for historical analysis.

Der Golem, wie er in die Welt kam is a cinematic milestone that continues to captivate with its eerie beauty and profound themes. Its blend of folklore, Expressionist aesthetics, and early horror tropes makes it a must-watch for cinephiles and horror enthusiasts alike. More than a century later, the Golem still looms large, a testament to the enduring power of silent cinema.

MASADA

Masada is an historical site in Israel, known for its ancient fortress and its significance in Jewish history. It is located on a high, isolated plateau overlooking the Dead Sea, and is a popular tourist destination. 

Masada was originally built as a fortress by King Herod the Great in the last century BCE. It became the site of a famous siege during the First Jewish-Roman War, where Jewish rebels known as the Sicarii held out against the Roman army. 

Masada is a powerful symbol of Jewish resistance and the struggle against oppression, especially due to the story of the mass suicide of the Jewish rebels before being defeated by the Romans. 

The well-preserved ruins of the fortress and palaces, along with the Roman siege works, are a major draw for visitors and researchers. Recognized for its historical and cultural significance, Masada was designated a UNESCO World Heritage Site in 2001. 

RABBI MANIS FRIEDMAN ON TEENAGE GIRLS

Rabbi Manis Friedman has made several controversial and courageous statements regarding teenage girls, particularly in the context of marriage and sexuality, which have drawn significant criticism.

Most significantly, Friedman has expressed the opinion that girls should marry at a young age, specifically suggesting that girls should be married by the age of 14. He believes that this would stop the prevalence of depression and suicide amongst young girls, which is indeed caused by hormonal difficulties stemming from sexual frustration.

Rabbi Friedman admits that, due to society's current obsession with suppressing even such truly moral expressions of adolescent sexuality, implementation of such a viewpoint would be quite problematic.

JEWISH ORIGINS OF THE "ARABIAN NIGHTS"

ARABIAN NIGHTS is the popular name of a collection of tales written in Arabic under the title "Alf Lailat wa Lailah" (One Thousand and One Nights), and rendered familiar to all Europe by Galland's French adaptation of 1703-1717. The constituent elements of the collection vary in different editions; Burton's edition, which is the completest, contains more than 230 stories, many of which include other stories, making the total not far short of 400. Joseph Jacobs, in an introduction to a reprint of Lane's edition (London, 1896), suggested that these stories may be divided into four successive strata: (1) a Persic-Indian nucleus consisting of Indian tales translated into Pahlavi at the same time as similar collections of tales—Barlaam and Bidpai and Sindbad—was adapted during the reign of Chosroes I. (531-79); this is set in a framework of local Persian origin; (2) an Arabic adaptation made at the court of Harun-al-Rashid in the ninth century, under the patronage of the Barmecides, by Abu Abdallah Mohammed al-Jahshiyari; (3) additions made in Cairo between the twelfth century and the fifteenth, and final redaction there which gave the whole collection an Egyptian tone; (4) additions found only in Galland's translation, including "Ali Baba," "Aladdin," and "Prince AḦmad," which have been traced to the recital of a native Christian of Aleppo, named Hanna, who visited Paris in 1709. The Jewish interest in the "Arabian Nights" connects itself with the first and third of these sections.

Based on Book of Esther:

De Goeje has suggested that the framework story of the whole collection, in which the queen Shahrazad averts execution by telling tales for one thousand and one nights, is the same story as that of the Biblical book of Esther. Shahrazad, in the Persian tradition, is the mother-in-law of Ahasuerus, who in the Biblical story also beguiles his nights by having tales read to him; his wives also hold office only for one night, until Esther obtains a more secure tenure.

F. Perles, in a series of papers contributed to "Monatsschrift" (xxii.), has pointed out that several of the stories of the "Arabian Nights"—mainly those taken from the Cairene additions—deal with Jewish topics or are derived from Jewish sources. V. Chauvin, in a special treatise on the Egyptian recension of "One Thousand and One Nights" (Brussels, 1899), has suggested that these Jewish tales and others were introduced by one of the last redactors, a converted Jew, probably the author of the "Story of a Man of Jerusalem," sometimes attributed to Abraham, son of Maimonides. The Jew-ish tales themselves are probably extracted from a work of a Jewish convert to Islam, Wahb ibn Munabbih (638-738), entitled "Jewish Matters."

Tales from Jewish Sources:

The following are the tales of the "Arabian Nights" that appear from several investigations to be from Jewish sources. The numbers are those in W. F. Kirby's comparative list given in all forms of Burton's edition; the letters in parentheses refer to the identifications by Perles:

22. Ala Al-Din Abu Al-Shamat.

41. Ali Shah and Zumurrud.

52. Devout Israelite (F.).

114. Angel of Death and the Proud King.

115. Angel of Death and the Rich King.

116. Angel of Death and the King of the Children of Israel.

117. Izkander (Alexander the Great) and the Poor Folk.

119. The Jewish Cadi and His Pious Wife (A.)

122. Devout Tray-Maker and His Wife (J.).

126. The Moslem Champion.

127. The Christian King's Daughter.

128. Prophet and Providence (C.).

130. Island King and Pious Israelite.

132. Queen of Serpents: (a) Adventures of Bulukuia; (b) Story of Jamshah.

133 gg. The Seventh Voyage of Sindbad.

136. Judar and His Brethren.

137. Ajib and Gharib.

155. Hassan of Bassorah.

161 k. The Blind Man and the Cripple (G.).

163. Abdallah the Fisherman.

168. Abdallah ibn Fazil and His Brothers.

183 a. Harun al-Rashid and TuḦfat al-Ḳulub.

196. Story of Ali Cogia (K.—one of Galland's additions).

203. Sultan of Yemen and His Three Sons.

256. Story of Abdallah (E.).

Besides these stories, there are several others obviously inserted by the same hand. Thus, the whole collection from 114 to 132 appears to be by the hand of Wahb ibn Munabbih, while "The Blind Man and the Cripple" (161 k.) is part of a section of eighteen stories which are all told together under the title of "King Jali'ad of Hind." Altogether some fortyfive stories—nearly one-ninth of the whole—can be traced to this Jewish editor of the Cairene edition, and Chauvin suggests that fifteen others were inserted, though not written, by him.

One of the tales can be traced to the Cairene redaction by a reference to Jewish customs. In the "Ensorcelled Prince" (2 b) the Peri transforms the fish of different colors into the former inhabitants of the city, the yellow fish being turned into Jews because the Jews of Egypt wore yellow badges, owing to the pact of Omar.

[cf. Jewish Encyclopedia]