The depiction of Moors in European literature: Part Two


THE movie Shrek goes deeper when one considers the topic of kingship and miscegenation in Europe.
Shrek the green giant ends up marrying a princess and becoming a man of royalty in that land.
Fiona (Cameroon Diaz) is a princess with a curse which turns her green at dusk, and white at dawn.
Fiona’s parents who are the King and Queen of a land called Far-far-away then send her to a castle which is guarded by a fire-breathing dragon.
Whoever would save Fiona from the dragon would marry her and become the heir of that kingdom.
The woman would take the form of her rescuer after their first kiss.
It is Shrek who accomplishes this mission and Fiona becomes permanently green and so do her offspring.
The interesting thing is that Fiona’s father was not originally a white man, but he was a green frog who had made a deal with a witch to become white.
In reality, some of the kings and queens of many European nations had Moorish ancestry.
The generational whitewashing of the Moors who converted to Christianity is evident in the stories of King James and later also Queen Charlotte Sophia.
Both of these monarchs of England were black people, but their descendants are white now.
That means the royal family of England may have succumbed to the generational whitewashing of the original black monarchs of England.
Many whites rose against Shrek for marrying the princess because the whole nation had expected a white man called prince Charming to save her and not an ogre.
The story of Shrek, Fiona and the dragon greatly resembles the biblical story of Jezreel which is found in the book of Hosea.
This is when the nation of Israel is symbolised by a woman who has been disloyal to her husband.
The woman is then rejected by her husband and she goes in search of those other men she married, but none of them took her in.
She suffered greatly until she grew repentant and after that her husband finally had mercy on her and saved her from her affliction.
This story was a symbolism of how the nation of Israel was following after idols and not heeding their God.
After being afflicted by the heathen, the Lord would then send a savior who will redeem Israel from the hands of their enemies.
The story of Shrek is also centred on slaying the dragon, and many depictions and tales about the dragon slayers can be found in many parts of Europe.
In Asia, the dragon symbolised the black men who were sages (genies).
The Moors comprised of these gifted human beings who they referred to as the jinn in Arabic and as ‘junzi’ in Chinese.
Till this day, when the Europeans depict a genie it is usually a dark skinned man with a turban and Arabian clothing.
The 90’s film called Kazaam which was acted by Afro-American basketball player Shaquille O’Neil is an example of this black genie depiction.
The whites would call themselves dragon slayers in reference to their conquering of the black sages.
Whites would eventually call the blacks ‘niggers’ which is a name derived from naga (nyoka); which means dragon/sage.
In another movie called Django which stars an African American actor called Jamie Fox, a German legend is told which is similar to Shrek and Jezreel.
In this film the legend is called Benhilda and is about a father who leaves her daughter in a high castle which is guarded by a dragon because she had angered him.
She would stay in that captivity until one who loved her and did not fear the dragon would save her.
Django was a slave who was freed by the German who told him about this legend. It would inspire him to free his wife from slavery.
The German was surprised to hear that Django’s wife was called Benhilda and he was astounded at how the legend fit perfectly with the actual lives of this African American slave and his wife.
The white man’s persistence in withholding the black man’s history and arrogantly mocking us through releasing such movies is a cunning way of maintaining their evil social hierarchy.
The whites are always depicted as white people in these movies, but the blacks are made green and monster like.
Seeing that no green monster actually exists, blacks should realise that the white viewers are being programmed to hate nonwhites, and the nonwhites are being programmed to hate themselves and to love whites.
This is usually done through cartoons and child films so as to catch the viewer whilst young.
The witch is the creator of the film who has hidden and wicked intentions when filming and releasing such films.
Some of these intentions have assessable effects on the society as with the case with fashion.
That is to say when one sees something fashionable in a movie he might be coerced to leave his seat to go buy it.
The whites also carry on festivals in order to reignite the fire of white people’s hatred towards the Moors.
In Spain, there are sports which involve chasing, trapping and killing black bulls. With time this sport has become like a cultural event, but this is not so.
The chasing of the black bulls began as a metaphor for the chasing off of the black Moors.
One can also tell from English literature that words like black sheep, black week, and black mail have carried on the prejudice that was laid upon the blacks of those lands.
This was also the case in Egypt where the whites found numerous paintings of blacks on the walls of the pyramids and they chose to brighten the black/brown paint into red.
Till this day the legacy of Egypt has been enshrouded in great myth and speculation because they do not want the blacks to be empowered by their past achievements.
The building of the pyramids has as a result been attributed to aliens from another planet whist the descendants of the blacks who built them can still be found in western, central and southern Africa today.
The similarities between the pyramid and our conical tower of Great Zimbabwe should at least make us nostalgic.


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