THE HORROR OF THE GOLEM

"DOES IT STILL WALK AMONGST US?"

The Golem is the Frankenstein monster of Jewish tradition, but it is created from virgin soil and pure spring water, rather than the body parts of cadavers. It is also fashioned by those who purify themselves spiritually and physically, rather than heretical scientists in foreboding castle laboratories who bring down electricity from the sky to animate their patchwork human. Once the Golem has been formed, it is given life by the Kabbalist placing under its tongue a piece of paper with the Tetragrammaton (the four-letter name of God) written on it.

According to certain traditions, the creation of a Golem is one of the advanced stages of development for serious practitioners of Kabbalah and alchemy. Instructions for fashioning a Golem according to the Talmudic tradition was set down sometime in the tenth century by Rabbi Eliezar Rokeach in The Book of Formation, and in his modern adaptation of the ancient text, Rabbi Aryeh Kaplan stressed that the initiate should never attempt to make a Golem alone, but should always be accompanied by one or two learned colleagues for it can become a monster and wreak havoc. When such a mistake occurs, the divine name must somehow be removed from the creature's tongue and it be allowed to revert to dust.

The most famous Golem is "Yossele," the creature said to be created by Judah Loew Ben Bezalel (1525–1609) to help protect the Jews of Prague from the libel that the blood of a Christian child was used during the Passover Seder. There are many accounts of how Yossele saved Jews from reprisals directed against them by those citizens who had been incited by the anti-Semitic libel. Once the Golem had served its purpose, the rabbi locked it in the attic of Prague's Old-New Synagogue, where it is widely believed that the creature rests to this day. The synagogue survived the widespread destruction directed against Jewish places of worship by the Nazis in the 1930s and early 1940s, and it is said that the Gestapo did not even enter the attic. A statue of Yossele, the Golem of Prague, still stands at the entrance to the city's Jewish sector.

The Golem Movie 1920

The Golem: How He Came Into the World (1920), a German Expressionist masterpiece.  
The score for this version was composed by P. Emerson Williams. 
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In Jewish folklore, a golem (גולם; English pronunciation: /ˈɡoʊləm/ GOH-ləm) is an animated being created entirely from inanimate matter. In modern Hebrew the word golem literally means "cocoon", but can also mean "fool", "silly", or even "stupid". The name appears to derive from the word gelem (גלם), which means "raw material". Alternatively, some sources indicate that it is a corruption of the Hebrew go′al 'enu (גואלנו) our redeemer or our avenger. The most famous golem narrative involves Judah Loew ben Bezalel the late 16th century chief rabbi of Prague.

The statue of the golem in Prague excerpts from http://www.jewishmag.com/26mag/golem/golem.htm By Joyce Ellen Weinstein and the Jewish Magazine Staff

The word golem comes from the Hebrew word gelem, meaning raw material. The golem is outwardly a real person, yet he lacks the human dimension of personality and intellect. Life is interjected into him through a mystical process using God's special name. He is created from the ground, as was the first man. When his mission is over, the name of God is removed from him and he returns to the ground.

Many trace the golem to the mystical teaching of the Kabbalistic book called "Sefer HaYetzera", the book of formation. This ancient book is still in print today and studied by Jewish mystics. The book deals in great length with the actual process of creating the universe. It is in part attributed to Adam, the first man, to Abraham, the first patriarch, and to Rabbi Akiva, the famous rabbi who lived approximately 2000 years ago.

The book describes various mystical elements of creation. Among them are the Hebrew words and letters. As one recalls, God created the world by uttering vocal commands. The Hebrew words that were uttered had a divine power that stemmed from the individual letters. These letters combined in their downward fall into the succeeding world of the material and solidified becoming objects.

The Hebrew Letter "Peh"
Indicating circular outward movement

As an example, the Hebrew letter, peh, is almost exclusively used to designate some sort of outward and opening movement. The peh is a mouth which obviously opens. The word for flower in Hebrew is parach, which opens as it blooms, has peh as its first letter. The word for fruit is parot, which swells as it grows on the tree. The word to explode is potzet, which is an obviously outward movement.

Although many have mastered the secrets of understanding creation as explained in the Sefer Yetzira, very few are able to actually put their knowledge of the secrets of the Hebrew language into practice. We find that only the very righteous are able to succeed in bringing the golem to life. This is due to the inability to actually bring the Godly powers into the gelem, the raw material. Permission is given only to those who use this power for proper purposes.

Many people today say that although we can not create a golem on the level of Rabbi Yehuda Leow of Prague, still we have succeeded in creating a different form of golem. Rabbi Leow took a blob of earth, gave it form and introduced into it vitality, but with out intellectual abilities. Many say that our educational system has duplicated Rabbi Leow's feat, by taking intelligent children and turning out blobs.

 

The earliest stories of golems date to early Judaism. Adam is described in the Talmud (Tractate Sanhedrin 38b) as initially created as a golem when his dust was "kneaded into a shapeless hunk". Like Adam, all golems are created from clay. They were a creation of those who were very holy and close to God. A very holy person was one who strove to approach God, and in that pursuit would gain some of God's wisdom and power. One of these powers was the creation of life. No matter how holy a person became, however, a being created by that person would be, but a shadow of one created by God.

Early on, the notion developed, that the main disability of the golem was its inability to speak. In Sanhedrin 65b, is the description of Rava creating a man (gavra). He sent him to Rav Zeira; Rav Zeira spoke to him, but he did not answer. Said Rav Zeira: "You were created by the magicians; return to your dust."
[edit] Owning and activating golems

Having a golem servant was seen as the ultimate symbol of wisdom and holiness, and there are many tales of golems connected to prominent rabbis throughout the Middle Ages.

Other attributes of the golem were gradually added over time. In many tales the Golem is inscribed with magic or religious words that keep it animated. Writing one of the names of God on its forehead, a slip of paper in its mouth, or inscribed on its body, or writing the word Emet (אמת, "truth" in the Hebrew language) on its forehead are examples of such words. By erasing the first letter aleph in Emet to form Met (מת, "dead" in Hebrew, when the aleph letter א is cancelled), the golem could be deactivated. Another way of activation is by writing a specific incantation using the owner's blood on calfskin parchment, and placing it in the golem's mouth. Then removing the parchment will deactivate the golem. It is likely that this is the same incantation that the Rabbi recites in the classic narrative.
[edit] Origins of inscriptions

The idea of creation and animation of a human-like body of clay appears to have originated in ancient Egypt, documented in a story from the second half of the 6th century BC. It is probably related to Ushabtis used from the times of Middle Kingdom.

The inscription or the object for the activation of a golem is sometimes named Shem HaM’forash, e.g. in the Czech movie, or just a Shem in short.

The most famous golem narrative involves Judah Loew ben Bezalel the late 16th century chief rabbi of Prague, also known as the Maharal of Prague, who reportedly created a golem to defend the Prague ghetto from anti-Semitic attacks, pogroms. This story of the Golem first appeared in print in 1847 in Galerie der Sippurim, a collection of Jewish tales published by Wolf Pascheles of Prague.

In 1911 an account in Hebrew and Yiddish was published by Yudl Rosenberg in Lwow, supposedly based on the found diary of Rabbi Loew's son-in-law, who had helped create the golem; but the authenticity of this manuscript is in dispute.

Depending on the version of the legend, under Rudolf II, the Holy Roman Emperor, the Jews in Prague were to be either expelled or killed (pogrom). To protect the Jewish community, the rabbi constructed the Golem out of clay from the banks of the Vltava river, and brought it to life through rituals and Hebrew incantations. As this golem grew, it became increasingly violent, killing gentiles and spreading fear. A different story tells of a golem falling in love, and when rejected, he became the violent monster as seen in most accounts. Some versions have the golem eventually turning on its creator and perhaps even attacking other Jews.

The Emperor begged Rabbi Loew to destroy Golem, promising to stop the persecution of the Jews. To deactivate Golem, the rabbi rubbed out the first letter of the word "emet" (truth or reality) from the creature's forehead leaving the Hebrew word "met", meaning death. The Emperor understood that the Golem's body, stored in the attic genizah of the Old New Synagogue, would be restored to life again if needed. Accordingly, the body of Rabbi Loew's Golem still lies in the synagogue's attic, although some versions of the tale have Golem stolen from the genizah and entombed in a graveyard in Prague's Žižkov district, where now the great Žižkovská tower stands. A recent legend is told of a Nazi agent ascending to the synagogue attic during World War II and trying to stab Golem, but perishing instead. At any rate, the attic is not open to the general public.

Actor and Director Paul Wegener in The Golem: How He Came Into the World (1920), a German Expressionist masterpiece.

The Golem: How He Came Into the World (original German title: Der Golem, wie er in die Welt kam) is a 1920 silent horror film by Paul Wegener. It was directed by Carl Boese and Wegener, written by Wegener and Henrik Galeen, and starred Wegener as the golem. The film was the third of three films that Wegener made featuring the golem, the other two being The Golem (1915) and the short comedy The Golem and the Dancing Girl (1917), in which Wegener dons the Golem make-up in order to frighten a young lady he is infatuated with. It is a prequel to The Golem and is today the most widely known of the series.

The Golem: How He Came Into the World (1920) Cast:

* Paul Wegener as The Golem
* Albert Steinrück as Rabbi Loew
* Lyda Salmonova as Miriam
* Ernst Deutsch as Famulus
* Hans Stürm as Rabbi Jehuda
* Max Kronert as Temple Servant
* Otto Gebühr as Emperor Luhois
* Dore Paetzold
* Lothar Müthel as Knight Florian
* Greta Schröder as Little girl with rose
* Loni Nest as Little girl

The film concerns itself with the legendary creation of the golem, which had appeared in the earlier film, by Rabbi Judah Loew ben Bezalel. In the 16th century, the Jews of Prague face persecution. Rabbi Loew creates a giant golem out of clay, to protect the people. Unfortunately, the creature rebels, setting fire to the ghetto, and wreaks deadly havoc. In the end, a small girl stops the golem by removing the amulet (magic star) from its chest.

Architect Hans Poelzig designed the sets, a reproduction of the medieval Jewish ghetto of Prague. He designed them specifically to be filmed, creating highly expressionist imagery. The cinematography of Karl Freund, in collaboration with Poelzig and Wegener, is cited as one of the most outstanding examples of German Expressionism.

The existence of a golem is sometimes a mixed blessing. Golems are not intelligent: If commanded to perform a task, they will take the instructions perfectly literally.

In some incarnations of the legend, the Maharal's Golem had superhuman powers to aid it in its tasks. These include invisibility, a heated touch, and the ability to use the Maharal's walking stick to summon spirits from the dead. This last power was often crucial, as the golem could summon dead witnesses to testify in Prague courts.
[edit] The hubris theme

In many depictions golems are inherently perfectly obedient. However, in its earliest known modern form the story has Rabbi Eliyahu of Chełm creating a golem that became enormous and uncooperative. In one version of this the rabbi had to resort to trickery to deactivate it, whereupon it crumbled upon its creator and crushed him. There is a similar hubris theme in Frankenstein, The Sorcerer's Apprentice and some golem-derived stories in popular culture. The theme also manifests itself in R.U.R. (Rossum's Universal Robots), Karel Čapek's 1921 play which coined the term robot; the novel was written in Prague and while Capek denied that he modeled the robot after the golem, there are many similarities in the plot.

As the Golem of Prague was the first that had been seen up until then, it was always called Golem, in other words that was simply its name.

In later history, the word was generalized into a more common term for this class of beings: golems.[1] Many other golems appeared in culture, inspired by the original Golem from Prague. Some referred back to the original story, others used the concept of golems without any reference to Prague at all, ignoring or even not knowing its origin and original purpose.

In the early 20th century the golem was adopted by mainstream European society. Most notably, Gustav Meyrink's 1914 novel Der Golem is loosely inspired by the tales of the golem created by Judah Loew ben Bezalel. These same tales inspired a classic set of expressionistic silent movies, Paul Wegener's Golem series, of which The Golem: How He Came into the World (also released as The Golem, 1920, USA 1921: the only surviving film of the trilogy) is especially famous. Another famous treatment from the same era is H. Leivick's 1921 Yiddish-language "dramatic poem in eight sections" The Golem. Also notable is Julien Duvivier's Le Golem (1936), a sequel to the Wegener film. Nobel prize winner Isaac Bashevis Singer also wrote a version of the legend. Elie Wiesel wrote a children's book on the legend.

Terry Pratchett's Discworld series depicts golems as described in this article, although they can speak and have sentience. While they are not recognized as people they are allowed to earn enough money to buy themselves—which many do.

In the mid-1960s, the Weizmann Institute of Science named its experimental computer Golem.

David Brin's science-fiction novel Kiln People describes a future where humans make lower quality copies of themselves (dittos or golems) out of clay. After reaching their expiration date, the golem's memories can be reintegrated to the original person or not. There are references to the Jewish legend such as the name of the character Yosil Maharal.

Marge Piercy's novel He, She and It tells the story of a cyborg, Yod, who is deliberately contrasted with the Golem of Prague. Yod, like the original Golem, is charged with protecting a Jewish settlement. Throughout the novel the grandmother of the central character Shira (the "she" of the title) retells to Yod the story of the Golem of Prague. The novel in this way functions both as a retelling of the Golem story and its updating.

DD Barant's fantasy series Bloodhound Files also features golems ('filled sandbags') which are animated through animal/blood sacrifice and color coded depending on occupation. In this fantasy series, golems were used as weapons—and still are—for protection as well as warfare since guns are not part of the parallel world that the main character, Agent Jace Valchek, as been pulled into. These golems act very much like humans and are considered second class citizens.

In Quentin Tarantino's 2009 film Inglourious Basterds, Brad Pitt's character Aldo Raine is rumored to be a Golem by German troops.

It! aka Curse of the Golem

GOLD RUSH GHOSTS

Robert Reppert

GOLD RUSH GHOSTS

 Founder and head investigator of Gold Rush Ghosts.

 Having a background in psychology, I approach the search with a logical point of view. I have been researching the fields of Paranormal studies since before high school and have always been the one to look for the logical reasoning for what occurs in this world. I have also studied architecture, electricity, photography, building materials, and other things as a way of explaining some of the activity that may appear to be paranormal but has a logical explanation. Our group ONLY looks for and reports TRUTH. We are commissioned by government and private agencies to explore things that go bump in the night, as well as work with everyday folks in need of our services.  In the world of crazy paranormal groups on every site and street-corner, we stand out as reasonable, responsible, honest, and the oldest and largest paranormal group in the world maintaining over a million dollars worth of the most up-to-date paranormal equipment in the world. www.goldrushghosts.com

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