De Adel

[Egmond Codfried]

[The Drake Jewel, symbolizes Black Superiority]

Why do some commentators write that during Elizabethan times people looked down on Blacks when many Elizabethan plays like Othello showed Blacks in high positions?
- Why do some commentators write that during Elizabethan times people looked down on Blacks when many Elizabethan plays like Othello showed Blacks in high positions?
-Why do some commentators write that during Elizabethan times people looked down on Blacks when many Elizabethan plays like Othello showed Blacks in high positions
- Do people realize that Shakespeare must have been a Black man and that the many important Moors in his plays represent Black Superiority in Europe 1100-1848?
- Do people realize that Shakespeare must have been a Black man and that the many important Moors in his plays represent Black Superiority in Europe 1100-1848?
-Do people realize that Shakespeare must have been a Black man and that the many important Moors in his plays represent Black Superiority in Europe 1100-1848?
- Does Othello as a noble and coming from a royal line ranks higher then Desdemona?
- Could Desdemona's father be upset by her elopement with Othello as she thereby quits the sphere of the trading regent class she belonged to?
- Is it possible to view Othello as both a person and a symbol of nobility as some of his perceived flaws are also levelled against nobles by non nobles?
- How can Desdemona's father be thought a racist as he often invited Othello who was also the highest military leader in Venice to his table to William Shakespeare 59 minutes ago
- Why do people only think about certain remarks against Othello as racist while they were directed against his noble and royal rank?
- Is Othello the highest ranking noble coming from a line of royal men in the play to

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[Egmond Codfried]

Who are the Moors in Shakespeare's Othello?


Othello was an European noble, from a line of royal men, and a christian. He is a person and a symbol. In western art there are a lot of Blackamoors, classical Africans, who symbolize blue blood (1100-1848). In the play Othello is the highest ranking person by birth and merit. The objections against him are those of the middling trading classes against the nobility. The Venetians cannot be considered mere racists as for one, human races were only invented in 1760, and they made The Moor their military leader. He was not lynched for marrying Desdemona, but was given a fair trial. I urge people to look farther then conventional opinions. Find my blue blood theory by Egmond Codfried in google.


Where is Othello from in Shakespeare's Othello?


The full title of Othello is Othello, the Moor of Venice, so Othello is from Venice to some extent.

Othello is a person and a symbol. He is a noble man from a line of royal men, and is the highest ranking person in the play. By birth as by personal merit. The fight is between the middling, trading classes and the nobility who was forbidden to trade, but instead married rich heiresses coming from trade. Desdemona's father is against her alliance with Othello because she quits the sphere of her middling class. He cannot marry her out and use her to bolster his social position in Venice. The Venetians are remarkably non-racist as they made the sole Black in their midst the highest military leader. Even Brabantio, Desdemona's father often invited him to dinner, where he met Desdemona and could woo her. He is giving a fair hearing over his elopement with Desdemona and not automatically lynched, as should expected if the Venetians were racists. The racist remarks are really anti-nobility remarks, in a sharp but satirical fashion, as not to give to much offence to the people who bankrolled Shakespeare, to begin with.

Why is the play Othello famous?


There is a lot of undue focus on racial issue's, to the point that the role of Othello was often played by white actors, while Shakespeare even tells us that Othello was Black and thick lipped. According to my research, The Blue Blood is Black Blood Theory (1100-1848) by Egmond Codfried (to be found in google): Othello should be compared to the images of blackamoors in European Art, symbolising blue blood. The nobility adorned itself, their houses, family crests with images of Moors and even choose family names based on the root Moor. The nobility and kings were described as brown and black of complexion, and some had classical African looks as well: considered proof of pure blood. As the middling classes resisted the rule of the nobles, they attacked the symbol of nobility: the Moor. Othello is a symbol and a person, like Mr. Elton in Emma, who is spruce, black and smiling. The supposedly racist remarks are really mild jibes at the nobles as Shakespeare was not anti-status quo or a revolutionary.

Was Othello foolish in the play Othello?


Othello, the play starts with the possibility of a war against the 'Ottomites,' which rhymes with sodomites. But anyway, Othello is supposedly a successful army leader, and the play sets out to show how and why he is successful as a man of war. He lives in a violent universe, and his solutions are violent. The war is transported to the war of the sexes, as there is a lot of talk about the relations between men and woman, in regard to love and marriage.


What is the storyline of Othello?



Othello is a noble man from a line of royal men and ranks higher then Desdemona who comes from a trading family. He is the military leader of Venice. How racist can the Venetians be if they make the sole Black man their military leader? The supposedly racist remarks should be understood in a different light. The objections against him are the objections the rising middling classes had against the nobility. As the European nobility symbolised their superiority with images of Moors, Othello is a person as well as a symbol. The play voices mild attacks at the nobility, mocks their traditions, but is not revolutionary in nature. As a symbol, the Moor is superior and blameless, as a person he can have demerits. Compare Othello to Mr. Elton in Emma (1816) or Mr. Crawford in Mansfield Park, both by Jane Austen.

[Egmond Codfried]

[Too pretty: this is what Mr. Elton from Emma (1816) by Jane Austen, must have looked like.]


Mike, dear, in reaction of you stating how they corrupted the antique texts. They also do so in translation. As they have decided mr. Elton in Emma (1816) and Jane Austen are not Black, the Dutch translation actually inserts words that he is wearing 'ministrial black clothes.' While the book offers several discussions about complexion.

Yes, I have been out for some time with my Jane Austen research, and I urge Blacks to just get her books and read her remarks about brown and black complexions, and ask themselves why these roles are played by white actors. I recently bought her books at De Slegte for a pittance. Pray god they will never dare to take out the parts, which clearly speak of Black persons who belong to the gentry and aristocracy. Dutch translations are of no bloody use as they have 'corrected' or corrupted the text to hide its true meaning. As Austen has written once: ‘Mr. Elton, black, spruce and smiling,’ there is no need to repeat this several times. He is Black, and he has a broad face, and he is 'pretty.' Unlike Mr. Crawford, who is ‘absolutely plain, black and plain.’ But he grows on the fair (light complexioned) ladies of Mansfield Park who notice how well he is built and how good his teeth are. Within a week nobody was allowed to call him plain. And both sisters fall in love with Mr. Crawford.

http://www.egyptsearch.com/forums/ul...159&p=3#000114

[Egmond Codfried]

J.J.Rousseau. According to James Boswell: 'A genteel black man in an Armenian coat.'



Gewit


http://books.google.nl/books?id=GHjq...%20man&f=false

[Egmond Codfried]

Eindelijk gevonden, een erg zwarte en prognastische afbeelding van Prins Maurits

http://api.ning.com/files/9CzPSwE6UK...vonSachsen.jpg

Kurfurst Moritz von Sachsen, zijn opa

http://api.ning.com/files/rroftL81PW...XBq9aQ/001.jpg

Zijn ouders: Willem I van Oranje en Anne van Saxen

[Egmond Codfried]

Maria Magdalena of Waldeck
Maria Magdalena
X 1623
Simon VII
count of Lippe-Detmold
1587-1627

[Zapatista]

Het begint een beetje eng te worden, Egmond.

[Egmond Codfried]

Prinses Marianna werd beschreven op een bal als 'witter dan wit.' Ze had zich geverfd.

[Another Jack]

Oorspronkelijk geplaatst door Zapatista

Het begint een beetje eng te worden, Egmond.

Dit forum heeft een therapeutische werking voor sommige labiele mensen hier.
Gun ze dat.

[Egmond Codfried]

[quote]Originally posted by Egmond Codfried:
[QB]

Jacob van der Werff

The RKD collecion has a search machine. Enter Suriname or Paramaribo to find portraits of Surinamese historical personages.
There are a few beautiful miniatures of mulatto looking ladies.

Originally posted by Egmond Codfried:
[QB]

Jan Wicherides, natural son of governor Jan Wichers of Surinam, and Adjuba of Westerlust. [/QB]

[Egmond Codfried]

Elisabeth Fagel (1735-1795) door Liotard, zwart/wit reproductie

[R. de Vere Stratham]

Jakob van der Werff heeft inderdaad duidelijk negroïde gezichtstrekken. Ik doel dan specifiek op neus en kaakstructuur.

[Zapatista]

Oorspronkelijk geplaatst door Another Jack

Dit forum heeft een therapeutische werking voor sommige labiele mensen hier.
Gun ze dat.

De laatste paar posts vond ik nochtans erg krampachtig en gefrustreerd.

[Egmond Codfried]

Oorspronkelijk geplaatst door R. de Vere Stratham

Jakob van der Werff heeft inderdaad duidelijk negroïde gezichtstrekken. Ik doel dan specifiek op neus en kaakstructuur.

En toch uitsluitend Europese voorouders, en geboren in het grootste huis in Paramaribo. Een aanwijzing dat de Surinaamse planters en gouverneurs die exponenten waren van de Europse hoge burgerij en adel, geen witte mensen waren. De witten in Europa waren lijfeigenen en horigen en werden ook als slaven in de Nieuwe wereld gebruikt. In Europa maakte men to 1848 ook schoenen van de huid van de witte horigen. Dit verklaart de haat tegen zwarten, waarom zwarten niet als gelijkwaardig worden gezien.

[Egmond Codfried]

Mozart, eindelijk!

[Schelfie]

Codfried in het echt...

[Egmond Codfried]

http://www.wetenschapsforum.nl/index...howtopic=22322

slap gepraat over de adel

[Egmond Codfried]

Mooi?

[Egmond Codfried]

«


1. on September 8, 2011 at 2:17 pm | Reply egmond codfried


Was Jane Austen a Black Lesbian?


The first chapters in the novel Emma about Miss Harriet Smith seem to be talking about a emotional and physical friendship between the two young women. The scene of the Highbury spinsters sitting down for a supper of scalloped oysters sounds to me like Austen is amusing herself by talking dirty. When Harriet starts her sleepovers at Hartfield I see only one purpose.
But at the same time Emma plots her marriage with Mr. Elton, which suggests no emotional involvement. So the description of this friendship has to be understood on different levels as if Austen is addressing different sets of Harriet’s and Emma’s in different universes. This I have observed also in Mansfield Park were Austen’s chapters can be understood in many different ways, as she writes allegories. The persons in her novel represent values, institutions, and social categories.
Mrs. Weston cautions Mr. Knightley not to discuss his worries about the friendship with Emma’s sister, in order not to alarm her. Which suggests there is something alarming, less obvious to the casual onlooker; in that friendship. Lesbianism was not yet defined and most people probably had never heard of such a thing. This could be going on in front of them, or even they could have been participating in what we have learned to call lesbianism, and they did not know it. I believe that in Austen’s age lesbians were freer, and ‘spinsterhood’ was only terrible for people who were not spinsters, themselves.
But Austen has bigger fish to fry, and after saying her piece on lesbian relations, she moves on. As we are discussing Jane Austen and lesbianism, I take courage to introduce my own research: Was Jane Austen Black? Persons who have immersed themselves in one type of discrimination might perhaps be more willing to hear about other types of discrimination.
The novel Emma is Black History. This is strictly based on the many pen portraits, personal descriptions in Austen’s novels, which say that her personages are light brown or sallow, brown, very brown and black. Emma’s ‘Mr. Elton, black, spruce and smiling.’ Or Mr. Crawford: ‘absolutely plain, black and plain.’ And to make sure: his sister Mary is ‘brown with a lively black eye.’ The Bertram’s are ‘fair’ but not white. Emma who was somewhat bothered by Jane Fairfax’s pale complexion concludes that ‘she cannot be called fair.’ And that Fairfax had ‘just enough colour for beauty.’ Emma must have been very dark, with hazel eyes. Like Jane Austen herself with a ‘rich colour’ and a ‘brown complexion.’
Like Terry Castle, I get some very strange responses, if any at all. While the only response I’m waiting for is of a person to immediately reach for their own copies and confirm these facts. These description of people as brown or black are also found in her letters. And in Eliza Comtesse de Feuillides letters who boasts about how she ‘heightened the native brown of her complexion with a Tan.’
In this case the explanation cannot be: there were no Blacks. Or the black meant something else. Black meant something else because I’m talking about blackness, in Europe, and before 1848. Not the Hollywood, post –colonial, post Civil Rights movement, images of Blacks harboured by whites. The difference is of course the same as how a lesbian views lesbians compared how a non-lesbian views lesbians. Or how these two groups would countenance a lesbian Jane Austen. The question is why these descriptions are ignored. As scholars have researched every iota in Austen’s books or letters, they remain dead silent when it comes to these descriptions. Whites Austen called ‘Pink:’ like in Mrs Blount, ‘fat neck & Pink husband,’ in a letter to Cassandra.
So she had a reason to clearly make Marianne Dashwood ‘very brown.’ And write that Emma Watson was ‘very brown,’ but ‘some saw no fault and some no beauty.’ Or to some ‘her brown skin was the annihilation of every grace.’
Moving on, I feel she is addressing colorism among people of colour, and she proposes unity, as her Blacks are threatened to be written out of history. Which to me already has come to pass. Elizabeth Bennet who is ‘brown’ and ‘tanned’ is played by white actresses. As is black Mr. Elton played by a white actor, so we do not see that Austen is talking about race-mixing, that upsets both Mr. Elton and Mr. Knightley, which Austen was against herself.
So please, before you attack, read ‘Northanger Abbey’ about the ‘sallow’ or light brown Catherine Morland who gets more colour as she grows up and falls in love with Mr. Tilney, who was brown. The Tilney’s were ‘superior,’ and no explanation given by Austen. My research answers that question. Find my articles in google: Was Jane Austen Black?


o on September 8, 2011 at 6:52 pm | Reply ellenandjim

Are you making fun of the idea Austen could have been a lesbian? If you want me to read your articles, you will have to cite them.
Egmond Codfried has misunderstood what I wrote. I did not say I thought he or she was making fun of Jane Austen’s sexuality; I said I thought he or she was making fun of my idea.
It’s obvious that Austen’s characters are what is called white: they are part of the European gene pool and phenotype common to western Europe. Emma has a true hazel eye (green flecked golden brown) with light brown hair. Harriet is blonde.
I cannot find these articles. I ask Ms or Ms Codfriend to cite the name of the journal, volume, date, pages, and as for the book, I ask for the name of the publisher, ISBN number and date.
Ellen


 on January 25, 2012 at 2:48 pm egmond codfried

Why do you think I’m making fun of Jane Austen’s sexuality? Point to the line, as this is not my intention. She herself does not seem to consider lesbianism as something to grieve about. My articles are titled ‘Was Jane Austen Black?’and “Update: was Jane Austen Black?,’ both by Egmond Codfried. Anything Jane Austen + Codfried in google, might be of interest. There is even a book by me, out. Her Blackness I have derived from her Black and brown personages, and her Black oriented theme’s like face bleaching, face painting, and Black beauty.


 on March 16, 2012 at 4:06 pm egmond codfried

http://www.egyptsearch.com/forums/ul...5;t=003159;p=1

My blog is bluebloodisblackblood.blogspot.com

I needed to write this blue blood (1100-1848) theory in order to discover the revisionism of history, what her books are really about, and why there is all this nonsense about no portrait of Jane Austen. Her books and letters are full of personal descriptions as light brown or sallow, brown, very brown or black, and assessments of what Black beauty is, and bleaching the skin with Gowland’s, and colorism among people of colour, about which shade is best. As are those of her niece Comtesse de Feuillide who talks about her ‘native brown colour,’ ‘heightened with a Tan.’ If one can find the lesbianism where others see only heterosexuality, by synthesizing information, you should find the blackness as well. The lesbianism is more concealed, the Black activism shouts, yet even then was spoken of in hushed tones. Try not to be like the people who vilify you if you suggest Jane Austen a lesbian, when you are to discover her blackness. Jane Austen was a firm believer in Black Supremacy, and considered herself superior to real nobles because she was accomplished, while they had only their names and titles. What I noticed is that some people cannot understand the personal description of a real historical person or a fictitious personage; and next compare this to, and appraise an image, a portrait. A brown cat is not a white cat is not a black cat. And for humans this is not interchangeable. People who think this are strange, to say the least. My theory offers an explanation why there is a tension between white and black: cause and effect; where did it start? Those who do not take the supposed inferiority of Blacks for granted. Jane Austen saw the change, and never issued her tell-tale portrait, and offers reason for the lost of power, like Black Emma foolishly teaching white Harriet about equality, wanting her to marry Mr. Elton, who was ‘black, spruce and smiling.’ Black Mr. Crawford wooing the Bertram ladies who were light skinned and in need of colour. Allegorical Emma is also about race-mixing, which highly upsets Mr. Knightley. Mr. Elton is furious at Emma, insulted she wants him to marry a white woman. It’s all there in her books and letters.

My Book: http://3.bp.blogspot.com/-vesftDPLNm...k+cover+A5.jpg

[Egmond Codfried]

Originally posted by malibudusul:
[QB] :eek: :eek: :eek:







http://estherschreuder.wordpress.com...nuit-ethiopie/ [/QB]