Hell knows. English culture is soulless.
Wagner took from the Arthurian legend that was created by a French guy and re-popularized by Queen Victoria(German).
Also, Vril was written by a Brit and adopted by the Thule society and the Nazis.
Shakespeare was most like written by written by a group of people led by a jewess.(Shakespeare wrote a play about Venice despite not being well traveled. Jews are known for their longstanding habitation of the Republic of Venice.)
German and Russian folkfore sounds a lot like Jewish folklore.
Correct me if I'm wrong.
Yes, there are
striking and well-documented overlaps between German, Russian, and Jewish folklore — especially in the Eastern European contact zone where Germans, Slavs, and Ashkenazi Jews lived side-by-side for almost a thousand years (roughly Poland, Ukraine, Belarus, Lithuania, Galicia, Bohemia, etc.).
The similarities are
not because one tradition copied the other wholesale, but because of centuries of
direct borrowing, bilingual storytelling, and shared cultural space.
Here are the clearest, best-studied parallels:
1. Demonology and household spirits
| Creature / motif | German / Austrian | Russian | Yiddish / East-European Jewish | Notes |
|---|
| House spirit that helps or punishes | Kobold, Heinzelmännchen, Nis | Domovoy | Shedik / sheyd (pl. sheydim) | All live behind the stove or in the walls, demand a bowl of porridge, get angry if you whistle or swear in the house |
| Forest spirit that leads people astray | Rübezahl, Wild Huntsman, Moss People | Leshy | Der Vilder Mann, Brodnitza | Same tricks: spinning people around, mimicking voices, tickling to death |
| Water spirit that drowns people | Nix / Nixe | Rusalka, Vodianoy | Vaser-nix, vaser-moyd | Often beautiful women who lure men into water |
2. Magic objects and wonder-tales (ATU catalogue types)
Many tale types are
identical across the three traditions, often with only the names changed:
| Tale type (Aarne-Thompson-Uther) | German (Grimm) example | Russian example | Yiddish example |
|---|
| ATU 313 – The Magic Flight | “The Devil with the Three Golden Hairs” | “The Firebird and Princess Vasilisa” | “Der yung mit der fliegnder shif” |
| ATU 480 – The Kind and Unkind Girls | “Frau Holle” (gold & pitch) | “Morozko” (Frost) | “Di tsneye un di shneye” (The two step-sisters and the witch) |
| ATU 709 – Snow-White | “Schneeweißchen” | “The Tale of the Dead Princess” (Pushkin) | “Shneyvitshke” |
| ATU 425 – Search for the Lost Husband | “The Frog King” (variant) | “The Frog Princess” | “Der frosht-prinz” |
Yiddish versions are often
closer to the Slavic ones than to the Grimm versions.
- Lilith → German “Lille”, Russian “Lilit”, Yiddish “Lilis” – all the child-killing night demon.
- The Wandering Jew (Ahasver) appears in German chapbooks (1602), then migrates into Russian folklore as “Vechnyi Zhid” and Yiddish as “Der Eybiker Yid”.
- The Golem (Prague, 16th c.) has direct parallels in Russian tales of clay men animated by sorcerers (e.g., in Afanasyev) and German alchemical homunculi.
- “Master and Servant” trickster tales (where the clever servant outwits the devil) are almost identical in Yiddish (Hershele Ostropoler stories), German (Till Eulenspiegel), and Russian (Ivan the Fool vs. devils).
4. Why the overlap is so strong
- 10th–19th century: Ashkenazi Jews spoke a Germanic language (Yiddish) while living in Slavic lands → constant bilingualism.
- Professional storytellers (German Spielmann, Yiddish badchan, Russian skomorokh) performed at the same markets and weddings.
- Jewish, German, and Slavic villages often shared the same forests, rivers, and abandoned castles → same “haunted” locations produced parallel legends.
- Printed chapbooks circulated in German, Yiddish, and Old Church Slavonic/Russian from the 17th century onward, translating stories back and forth.
Bottom line
German, Russian, and Jewish (Ashkenazi) folklore in Eastern Europe form a
single intertwined tradition for most practical purposes.
A Yiddish tale collected in 1910 in Volhynia can be nearly word-for-word the same as a Russian tale from the same region and a German tale from Silesia — just with different character names and one or two religious details swapped.
Scholars now often speak of an
East-European fairy-tale continuum rather than three separate traditions.