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This article argues that prominent historical figures like Oskar Schindler and Johann Wolfgang von Goethe were Jewish and their biographies, as commonly understood, are largely fictional constructs created for propaganda purposes. The author, Miles Mathis, claims that people are promoted due to their Jewish heritage and that the Jewish community exclusively promotes their own.

The article begins by discussing the film about Oskar Schindler and suggests that the portrayal of Amon Göth, played by Ralph Fiennes, is misleading. Fiennes is identified as Jewish, despite pretending to be Irish and growing up in Salisbury, England, and Ipswich, England. The author delves into Fiennes’ family history, linking him to the Viscounts Saye and Sele, the Magna Carta, and various aristocratic families, suggesting their “moles” on their coat of arms signify centuries in Intelligence. Fiennes’ wife, Alex Kingston, is also noted as being partly Jewish.

The author then critiques the historical account of Amon Göth, questioning his military rank and suggesting inconsistencies in his record, including his alleged membership in the Nazi Party and SS. Göth’s family owned a publishing house, Amon Franz Göth Publishing House, which the author claims was owned by Jews. Göth’s marriage to Anne Geiger, another name identified as Jewish, and his connection to Ruth Irene Kalder, an aspiring actress and secretary at Schindler’s factory, are also highlighted. Kalder’s daughter, Monika Hertwig, and granddaughter, Jennifer Teege, who wrote a book about her family’s Nazi past, are presented as further evidence of Jewish lineage within these families. The author suggests the name Hertwig is also Jewish and links it to zoologists Oscar and Richard von Hertwig.

The article then shifts to Oskar Schindler, asserting that his biography is fabricated. Schindler was born in Zwittau, Moravia, a region known for its Jewish population. His mother’s surname, Luser, and Schindler itself are identified as Jewish. The author also mentions Rabbi Alexander Moshe Schindler, Allen Schindler, and Mahler’s wife Alma Schindler, whose family owned cotton mills and who was mentored by Max Burkhard, a Jewish director. Alma’s previous relationships with Alexander von Zemlinsky and Anton Schindler, Beethoven’s secretary, are noted, with Zemlinsky identified as a Jewish Freemason. Valentin Schindler, a teacher of Hebrew, and Rudolph Schindler, a doctor arrested by the Nazi Party, are also mentioned. The author further claims that architect Rudolph Schindler, born Schlesinger, and Schindler’s wife Emilie Pelzl (whose maiden name is identical to Hitler’s mother’s maiden name, Klara Polzl or Clara Pelzl) are Jewish. The Pelzls are linked to other families, including Jimmy Kimmel’s family, and the name Aloysius is noted.

The author disputes Schindler’s alleged actions during the Holocaust, suggesting he was a banker and a Nazi spy who was financed by Jewish investors to create a propaganda narrative. Schindler’s burial in Jerusalem and recognition as “Righteous Among the Nations” are presented as further evidence of his Jewish identity. The article also connects Hildesheim, where Schindler died, to Hitler’s supposed original surname. The author questions Schindler’s post-war life, his escape to Argentina, and his return to Germany, as well as his receiving the German Order of Merit. The article notes that locals in the Czech Republic do not believe Schindler was a hero. The origin of the Schindler story is attributed to Poldek Pfefferberg, who allegedly sold it to Fritz Lang and later convinced Thomas Keneally to write Schindler’s Ark, which was then promoted by “international Jewry” and adapted into a film by Steven Spielberg.

The discussion then moves to Johann Wolfgang von Goethe, who the author also claims was a Phoenician (a term used to imply Jewish or a similar clandestine group) and heavily promoted. Goethe’s ennoblement at age 33 is seen as significant, a common age for “Phoenician” promotion. The author disputes Goethe’s appearance in portraits, suggesting his nose was altered to hide his true heritage. Goethe’s father, Johann Caspar Goethe, is identified as an Imperial Councillor who the author believes was a high official in Intelligence. The author analyzes the composition of the Aulic Council, suggesting that the “Protestant” councillors were Jewish fronts and that the Habsburgs themselves were crypto-Jews. This leads to a discussion of the Habsburgs’ connection to the Thyssens, who owned a steel and armaments empire that supported Germany in both wars and bankrolled the Nazis. The Thyssens are linked to Pelzers and Bornemiszas, and by extension, the Gabor sisters. The author posits that the Habsburgs went underground and continued to rule from the shadows, tapping into profits from WWII. The article further connects the Habsburgs to the Thyssens, Countess von Meran, Alexander Kahane (whose name is linked to Kohen), and Aga Khan (also linked to Kohen).

Back to Goethe, his mother Caterina Textor and her mother Lindheimer are identified as Jewish. Ferdinand Lindheimer, a botanist, is linked to Goethe through a book title and also associated with Benjamin Lindheimer, who backed the campaign of Henry Horner, the first admitted Jewish governor of Illinois. Goethe’s sister’s marriage to Johann Schlosser, described as a Freemason and Illuminati who attacked the Catholic clergy, is presented as another indication of Jewish influence. Schlosser’s second marriage to a Fahlmer, also identified as Jewish, is mentioned.

The author cites Jewish sources that acknowledge Goethe’s interest in the Hebrew alphabet and Judendeutsch, and his efforts to help quench a fire in the Judengasse of Frankfurt. Goethe’s review of Isachar Falkensohn Behr’s work and his translation of the Song of Songs are noted. His contact with Jewish intellectuals like Heinrich Heine and Felix Mendelssohn-Bartholdy, and his portrait being painted by Moritz Oppenheim, are also mentioned. The author points to numerous Jewish biographers of Goethe.

A page from the Jewish Museum in Berlin is quoted, stating that while Goethe wasn’t Jewish, he was seen by many Jews as a paragon of German culture. The author contests this, arguing that Goethe symbolized membership in the German aristocracy, not the middle class. The author also mentions a page from the Jewish Telegraphic Agency about Goethe and the Jews, referencing a book by Dr. Mark Waldman. Goethe’s admiration for Spinoza and his friendship with Kaspar Maria von Sternberg, a Jewish theologian and botanist whose family owned castles in Czechoslovakia, are highlighted. The Kolowrat-Krakowskys, Sternberg’s mother’s family, are linked to the Sascha-Film Company that discovered Marlene Dietrich, whose mother was from a Jewish family of jewelers.

The article questions Goethe’s rapid attainment of a law degree and his subsequent career path, suggesting his success was due to his privileged background. Gotz and Werther, Goethe’s early works, are claimed to have not sold well, contradicting common understanding. Goethe’s invitation to the court of the Duke of Saxe-Weimer-Eisenech is presented as evidence of his rigged promotion. The author mentions other famous artists and writers, including Twombly, Johns, Warhol, Duchamp, Rushdie, Morrison, Ellis, Wallace, Carver, and Sebold, as examples of “Phoenician babies” who receive “spectacular promotion.”

The author also speculates on Goethe’s personal life, suggesting he was a bisexual libertine and pedophile, citing his relationship with Christiane Vulpius. The author questions the appearance of Christiane Vulpius in a drawing by Goethe, suggesting she may have been a man or that Goethe wished she were. The author also doubts the authenticity of her grave and the story of her fighting off Napoleon’s soldiers, proposing that if she were a man, the story would be more believable. The name Vulpius is also suggested to be Jewish, referencing Melchior Vulpius, a cantor in Weimar.

Finally, Goethe’s later career is described, including his roles as Commissioner of Mines and Highways, War Commissioner, and Chancellor of the Exchequer. His participation in recruiting mercenaries for the American Revolution and his alleged involvement in the forced sale of dissidents are mentioned. The author reiterates that Goethe’s position as Chancellor of the Exchequer confirms his Jewish banking background. Goethe’s two-year vacation in Italy is characterized as a “gay tour” with a “gap in the record” for the second year, implying decadent activities. The author quotes Goethe’s writings on pederasty.

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