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Bridgerton/Siena Rosso, the First and Deep Love of Anthony Bridgerton/”A Certain Soprano”

https://www.youtube.com/watch?v=tJsGWUDjgX0

SIENA ROSSO/THE FIRST AND DEEP LOVE OF ANTHONY BRIDGERTON/”A CERTAIN SOPRANO”
She was passionate, loving, courageous, proud and loyal till the End 
But she couldn’t be ”his fool again” 
Heartbreaking, but she protected him and herself.
 
And it is high time for someone to speak  out loudly and
give her the Honour she truly deserves.
 
 
INTRODUCTION
[Under the Notes you’ll meet Siena……]
 
HALLO FOLKS,
 
 
This Post is dedicated to a Bridgerton character, who is often overlooked or is only seen or talked about in relation to others, not as an individual.
And I think that’s wrong, because it doesn’t do justice to the person she was, no matter what you think of her:
 
As you already could see from the title it concerns opera singer Siena Rosso, who had a long standing Love Relationship with one of the main characters in the Bridgerton series, Anthony Bridgerton the eldest son and Head of the Bridgerton Family [1A]
Although the nature of their relationship is a source of discussion among Fans and although of course everyone is entitled to his or her own opinion, I think I have convincingly demonstrated, that it was real love between those two [2A]
 
 
It was a deep and passionate Love relationship [3A] 
And I dare say that Anthony Bridgerton would never forget her despite his later happiness with Kate Sharma, especially because he had to fight so hard for it and been thwarted by the very person who should have loved him unconditionally:
His mother, Lady Violet, who tried to give him the feeling [in which she did NOT succeed], that his love was something to be ashamed of [4A]
 
And yet apart from the fact that she had some social reasons for her objections [5A]
It was the inhuman WAY she did it by either dehumanizing her or silencing her.[6A],
leading to a permanent gap between her and her son Anthony, even when she offered her selective excuses in Season 2 [7A]
But I write about that another time
 
 
BACK TO SIENA
Today we give Siena her HUMANITY back
NOT SEEN AS A ”SCANDAL”, A SOURCE OF LUST OR FAR MORE CORRECTLY, LOVE, BUT AS A STRONG, INDEPENDENT WOMAN, WHO LOVED RAW BUT DEEPLY AND HAD TO MAKE A HEARTBREAKING CHOICE, BY THE INTOLERANCE AND HYPOCRISY OF THE TON AND THE WRONGLY DESIGNATED ”ADVOCATE OF LOVE, LADY VIOLET, WHO WITH HER ”BEST INTENTIONS” DESTROYED THE
VERY SOUL OF OWN HER SON [8A]
 
MEET SIENA ROSSO UNDER THE NOTES!
 
 
ASTRID ESSED
AND THIS FOR YOUR INFORMATION:
I’LL WRITE SOON ABOUT VIOLET”S DEHUMANIZATION OF SIENA ROSSO
NOTES
NOTE 1A T/M 3A
NOTES 4A AND 5A
NOTE 6A
NOTE 7A
NOTE 8A
SIENA ROSSO
[[What is most striking in the Bridgerton series is, that Siena is ”suddenly there”, without
any clues about her background, where she came from, whether she had any Family.
what were her hopes and dreams in life.
Her whole background is shrouded in mysteries.
And as she came, so she left, as if she vanished into thin air….”]
”REMEMBER FOLKS, SIENA HAD A SUCCESFUL CAREER BEFORE SHE MET ANTHONY BRIDGERTON. AND THAT MADE HER ”HER OWN WOMAN” WHO COULD LOVE AND CAST ASIDE….”
While having an opinion about opera singer Siena Rosso whether there was real love between her and Anthony Bridgerton or merely ”lust” and ”escapism” [1] many Fans refuse to see her as the woman she really was.
A loving, strong and independent woman in a difficult and precarious situation.
THE PRECARIOUS POSITION OF OPERA SINGERS/FINANCIAL SECURITY
To delve deeper into the World of Siena [the Opera World] it is important that you realize,,
that apart from all romantic and sensation of the Bridgertonseries  [2] [what was a part of her world to, with as main part her Love Affair with Anthony] [3], the position of opera singers was very, as I said, precarious and complicated in Regency Era.
As was rightly noted by a commentator
”While the women of the Bridgerton family live protected lives inside a bubble of wealth and balls, Siena literally has to sing for her supper.”
And that was the main difference between Siena and the Ton girls in general: [4]
Why they lived doing nothing but embroidering, doing ”charity” and visiting balls, Siena had to work for her money, wake up early, depending for her living from her voice.
But not only that:
In order to get a position and being in the opportunity to build up
a career, operasingers were dependent of wealthy men, mostly noblemen, to give them as well the possibility to make a career as
financial protection [5]
SEXUAL PREDATORS
In Regency Era, society was highly sexualized:
Men had practically every sexual right:
A sexual affair of a Ton man was considered as normal, but when a woman had a sexual affair and it came into light, she was completely ruined. [6]
Men ”had all the rights” and took them.
 
That reflected on the Opera World also:
 
Women [here Operasingers] were considered as a sort of
”justified sexual prey”, who could be approached by any ”’gentleman”, who wanted to go backstage of the Opera as some did. [7]
So having a wealthy ”protector” prevented women to be sexually approached by any ”gentleman”, who felt the need to do so [8]
 
But apart from the ”wealthy protector”, those women had to be raw and able to fight physically, were they in a situation that an oversexualized gentleman wanted to approach them and the protector was not in
the neighborhood.
You can see a glimpse from that in the sex scenes between Anthony and Siena, which are very passionate, not only because of the wild and passionate magnetic between them, but also because of Siena’s need to be strong and protect herself.
You see her grabbing Anthony intensely and pushing him against a wall and tearing his clothes off, by passion and despair [because their relationship is incriminated by his mother and society] [9], but also from her raw surviving instinct [10]
 
And to come back to that financial security:
Not only singers were frequently expected to pay for their own elaborate stage costumes, private transportation, security, and specialized vocal training, they had to live in fashionable neighborhoods for their status.
AND the Opera work was seasonal, what means that after the Opera
Season they had no income, what urged the need of a wealthy protector [11]
ANTHONY/OATH OF BENEDICT
 
 
”IF I DIE YOU MUST ENSURE SHE IS PROVIDED FOR”
[ANTHONY TO BENEDICT BEFORE THE DUEL
ABOUT HIS OATH TO
TAKE CARE FOR SIENA]
 
That”s why Anthony Bridgerton was extremely worried about Siena on the Eve of the Duel.
He knew that without his protection, Siena not only was left without income, but also unprotected and a possible sexual prey [12]
And because of his deep love for her, just before the beginning of the duel with Simon Basset, Anthony pulled his brother Benedict aside and made him swear to take care for Siena financially, when he died in the duel…..[13]
One of the most impressive and convincing proofs of his love for her, since his last thoughts before his possible death were for her and her wellbeing [14]
Were it just ”lust” he wouldn’t have cared at all.
 
So that’s the double standards to Opera singers in Regency Era
On the one hand they were applauded for their talents and honoured with favors by the noble gentlemen, on the other hand they were not seen as equals and not permitted to entrance in the Ton because of their ”loose morals”, without considering that they couldn’t survive without wealthy patrons [15]
 
But that’s one thing.
Regarding the sexuality, they were ”tolerated” as mistresses, but the moment true love came in the picture, like in the case of Anthony Bridgerton and Siena [16], it became impossible to be together or marry[16A].
Being seen together at public places, even a walk in places like Kew Gardens, was strictly forbidden [17]
Anthony, who really and deeply loved Siena, wanted to break those cruel rules and force Ton Society to accept Siena as equal, by bringing her to the Ton Ball of his sister Daphne, now Duchess of Hastings, thinking that his own powerful position as Viscount and his sister’s position as Duchess were strong enough for the acceptance of Siena. [18]
Since Siena refused, leading to the heartbreaking end of their Love Affair [19], we don’t know what would have happened, but in most cases it ended with a great social scandal, leading to possible social ostracization of the aristocrat and serious social implications for the Operasinger  [20]
 
They could even be stopped at the door, to prevent they even attended the ball [21], but since in this case Anthony’s sister Daphne, Duchess of Hastings held the ball it is not likely that they would be denied entrance,
but social scandal surely would have been the case [22]
 
The cruel attitude of Anthony’s mother Lady Violet against Siena and by proxy her own son about their Love relationship [23] was a reflection of ”the shame society granted them” to quote the very words of Anthony [24][what of course doesn’t absolve Violet from her responsibility of especially her cruelty, leading to a permanent gap between her and her son [25]
 
 
SIENA AS A STRONG WOMAN
 
Why Lady Violet depicts Siena as a ”scandal” or an Regency Era ”golddigger” [26] , the opposite is true!
In the Bridgerton series, sometimes Anthony breaks the relationship, but also Siena, who is tired of the fact, that she must be kept ”in the dark”
because of the Ton and Violet”s disapproval of opera singers [27]
But everything, despite of fierce resistance by mother Violet [28] it is 
Anthony, who returns to Siena.
You can see Siena’s resistance to take him back when he visits her on the Eve of the Duel [29], only to grab him vehemently and pull him into her home after he reveals the ”duel at dawn” and their possible shared future [30]
And although loving her deeply, due to his noble privileges he doesn’t always realize the financial impact for Siena.
So when there is a temporary break up between him and Siena [it is an on/of relationship due to Ton pressure and their own passionate characters, because Siena is a fierce and passionate woman [31] and Anthony is not an easy one either], he doesn’t pay her apartment [31A], forcing her to go to her friend Genevieve Delacroix, a dressmaker for the Ton Ladies [32] to live their until the storm has come to rest and she and Anthony kiss their reconciliation again.
For a woman like Siena that is a dangerous and uncertain financial position and although she loves Anthony dearly, she is forced to look out for another patron, who can help her to survive.
 
REGAINED LOVE/THE BOX SCENE
 
And that happens
She finds another ”protector”, but during a Box match show, where she is with him, Anthony is in the public too.
While everyone is watching the box game, Anthony sees Siena and has only eyes for her and at a certain moment their eyes meet and it feels like electric magnetism.
At the next scene you see them making love under the Box Platform
Watch the scene! [33]
 
And so was their relationship:
They were vehement, passionate and fought with each other,
physically and verbally, stormed against each other and had vehement break-ups, but at the end were atrracted to each other like magnets…..
 
 
HER MOST PAINFUL DECISION/THE BREAK UP
 
This is said by a commentator about their painful break up
 
The breakup at the end of Season 1 is often perceived as a defeat, but it is actually Siena’s most powerful moment. She is the one who realizes that Anthony can never truly protect her from societal exclusion.”
I think that”s true
Despite all social resistance against their relationship [34] Anthony still wants to fight for them.
And he thinks, that having the power of a wealthy Viscount and having a sister as a Duchess [Daphne, married  his best friend Simon Basset, who out of her great love for Simon, fought tooth and nails for her marriage, but that was in their own social class, so approved] [35], he could force the Ton to accept Siena,
So he went to her, with flowers in his hand and high hopes in his heart but she, being with another man, refused him and nearly screamed that he ”must let her go” [36]
 
Not out of love, but BECAUSE she loved him and with pain in her heart.
She understood what he was not willing to.
That even if his sister would accept and support him, the Ton would socially exclude him [37] and if not, Siena would bear the brunt since they would be polite to her in his presence, but mock her behind his back.
 
It was heartbreaking for her and him and would always leave a scar on him. [38]
And her last words to him were heartbreaking:
 
“Farewell, my lord. I hope you find perfection.”
SIENA AS A STRONG, PASSIONATE AND FIERCE WOMAN
 
Although the immense heart break, Siena did not lose.
Her great Love
YES
 
But not her Dignity
She loved Anthony passionately and fiercely, but she had also
the power to be realistic in a desperate situation.
She had to put her social preservation first and the securing of her financial future, seeing that the Ton would not accept their relation 
”in the Light”
Because that was the Dilemma
 
Anthony loved her deeply, but wanted to combine his position as a Viscount with his love for her.
And Yes, he was prepared to flee with her on the Eve of the Duel, when he had to flee the country when he had killed his best friend [39], but staying in England and continuing their relationship would be ”in the dark” and she so desperately wanted to be his wife ”in the light” and understood that that would not happen, despite their deep love for each other.
 
So it was not heartlessness that caused her to finish their relationship, like parts of the Bridgerton Fandom claim, but out of love, courage and self preservation.
She had to go on, with a man who could bring her into
the Light, while she so desperately wanted to be with her love.
 
Had their Love Life continued, than it was either ”in the dark” or was it ”in the Light” than Anthony had to go to duel each day for the offenses done to his beloved Siena.
 
But let’s be totally fair:
However destructive Violet’s role was, Anthony had also his own responsibility in this.
Because when all things were said and done, how much he loved Siena, at the end he had not the courage to stand up against his mother, no matter how immense her pressure and emotional blackmail, leave all things behind and flee with Siena.
So he gave ”Lady Violent” the power to ruin his life…..
 
 I think Siena understood  at the end.
She  HAD the courage to take that heartbreaking decision to break up their Loving Relationship.
And that was HER Power.
 
She was passionate, loving, courageous, proud and loyal till the End [40]
But she couldn’t be ”his fool again” [41]
Heartbreaking, but she protected him and herself.
 
And it is high time for someone to speak out loudly and
give her the Honour she truly deserves.
 
 
ASTRID ESSED
 
NOTES
 
 
NOTES 1 AND 2
 
 
NOTE 3
NOTES 4 AND 5
NOTE 6
NOTE 7
NOTE 8
NOTE 9
NOTE 10
NOTE 11
NOTE 12
NOTE 13
NOTE 14
NOTE 15
NOTE 16
NOTE 16A
NOTE 17
NOTE 18
NOTE19
NOTE 20
NOTE 21
NOTE 22
NOTES 23 AND 24
NOTE 25
NOTE 26
NOTE 27
NOTE 28
NOTE 29
NOTE 30
NOTE 31
NOTE 31A
NOTE 32
NOTE 33
NOTE 34
NOTE 35
NOTE 36
NOTE 37
NOTE 38
NOTE 39
NOTE 40
NOTE 41

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Siena Rosso, the First and Deep Love of Anthony Bridgerton/”A Certain Soprano”

https://www.youtube.com/watch?v=tJsGWUDjgX0

SIENA ROSSO/THE FIRST AND DEEP LOVE OF ANTHONY BRIDGERTON/”A CERTAIN SOPRANO”
She was passionate, loving, courageous, proud and loyal till the End 
But she couldn’t be ”his fool again” 
Heartbreaking, but she protected him and herself.
 
And it is high time for someone to speak  out loudly and
give her the Honour she truly deserves.
 
 
INTRODUCTION
[Under the Notes you’ll meet Siena……]
 
HALLO FOLKS,
 
 
This Post is dedicated to a Bridgerton character, who is often overlooked or is only seen or talked about in relation to others, not as an individual.
And I think that’s wrong, because it doesn’t do justice to the person she was, no matter what you think of her:
 
As you already could see from the title it concerns opera singer Siena Rosso, who had a long standing Love Relationship with one of the main characters in the Bridgerton series, Anthony Bridgerton the eldest son and Head of the Bridgerton Family [1A]
Although the nature of their relationship is a source of discussion among Fans and although of course everyone is entitled to his or her own opinion, I think I have convincingly demonstrated, that it was real love between those two [2A]
 
 
It was a deep and passionate Love relationship [3A] 
And I dare say that Anthony Bridgerton would never forget her despite his later happiness with Kate Sharma, especially because he had to fight so hard for it and been thwarted by the very person who should have loved him unconditionally:
His mother, Lady Violet, who tried to give him the feeling [in which she did NOT succeed], that his love was something to be ashamed of [4A]
 
And yet apart from the fact that she had some social reasons for her objections [5A]
It was the inhuman WAY she did it by either dehumanizing her or silencing her.[6A],
leading to a permanent gap between her and her son Anthony, even when she offered her selective excuses in Season 2 [7A]
But I write about that another time
 
 
BACK TO SIENA
Today we give Siena her HUMANITY back
NOT SEEN AS A ”SCANDAL”, A SOURCE OF LUST OR FAR MORE CORRECTLY, LOVE, BUT AS A STRONG, INDEPENDENT WOMAN, WHO LOVED RAW BUT DEEPLY AND HAD TO MAKE A HEARTBREAKING CHOICE, BY THE INTOLERANCE AND HYPOCRISY OF THE TON AND THE WRONGLY DESIGNATED ”ADVOCATE OF LOVE, LADY VIOLET, WHO WITH HER ”BEST INTENTIONS” DESTROYED THE
VERY SOUL OF OWN HER SON [8A]
 
MEET SIENA ROSSO UNDER THE NOTES!
 
 
ASTRID ESSED
AND THIS FOR YOUR INFORMATION:
I’LL WRITE SOON ABOUT VIOLET”S DEHUMANIZATION OF SIENA ROSSO
NOTES
NOTE 1A T/M 3A
NOTES 4A AND 5A
NOTE 6A
NOTE 7A
NOTE 8A
SIENA ROSSO
[[What is most striking in the Bridgerton series is, that Siena is ”suddenly there”, without
any clues about her background, where she came from, whether she had any Family.
what were her hopes and dreams in life.
Her whole background is shrouded in mysteries.
And as she came, so she left, as if she vanished into thin air….”]
”REMEMBER FOLKS, SIENA HAD A SUCCESFUL CAREER BEFORE SHE MET ANTHONY BRIDGERTON. AND THAT MADE HER ”HER OWN WOMAN” WHO COULD LOVE AND CAST ASIDE….”
While having an opinion about opera singer Siena Rosso whether there was real love between her and Anthony Bridgerton or merely ”lust” and ”escapism” [1] many Fans refuse to see her as the woman she really was.
A loving, strong and independent woman in a difficult and precarious situation.
THE PRECARIOUS POSITION OF OPERA SINGERS/FINANCIAL SECURITY
To delve deeper into the World of Siena [the Opera World] it is important that you realize,,
that apart from all romantic and sensation of the Bridgertonseries  [2] [what was a part of her world to, with as main part her Love Affair with Anthony] [3], the position of opera singers was very, as I said, precarious and complicated in Regency Era.
As was rightly noted by a commentator
”While the women of the Bridgerton family live protected lives inside a bubble of wealth and balls, Siena literally has to sing for her supper.”
And that was the main difference between Siena and the Ton girls in general: [4]
Why they lived doing nothing but embroidering, doing ”charity” and visiting balls, Siena had to work for her money, wake up early, depending for her living from her voice.
But not only that:
In order to get a position and being in the opportunity to build up
a career, operasingers were dependent of wealthy men, mostly noblemen, to give them as well the possibility to make a career as
financial protection [5]
SEXUAL PREDATORS
In Regency Era, society was highly sexualized:
Men had practically every sexual right:
A sexual affair of a Ton man was considered as normal, but when a woman had a sexual affair and it came into light, she was completely ruined. [6]
Men ”had all the rights” and took them.
 
That reflected on the Opera World also:
 
Women [here Operasingers] were considered as a sort of
”justified sexual prey”, who could be approached by any ”’gentleman”, who wanted to go backstage of the Opera as some did. [7]
So having a wealthy ”protector” prevented women to be sexually approached by any ”gentleman”, who felt the need to do so [8]
 
But apart from the ”wealthy protector”, those women had to be raw and able to fight physically, were they in a situation that an oversexualized gentleman wanted to approach them and the protector was not in
the neighborhood.
You can see a glimpse from that in the sex scenes between Anthony and Siena, which are very passionate, not only because of the wild and passionate magnetic between them, but also because of Siena’s need to be strong and protect herself.
You see her grabbing Anthony intensely and pushing him against a wall and tearing his clothes off, by passion and despair [because their relationship is incriminated by his mother and society] [9], but also from her raw surviving instinct [10]
 
And to come back to that financial security:
Not only singers were frequently expected to pay for their own elaborate stage costumes, private transportation, security, and specialized vocal training, they had to live in fashionable neighborhoods for their status.
AND the Opera work was seasonal, what means that after the Opera
Season they had no income, what urged the need of a wealthy protector [11]
ANTHONY/OATH OF BENEDICT
 
 
”IF I DIE YOU MUST ENSURE SHE IS PROVIDED FOR”
[ANTHONY TO BENEDICT BEFORE THE DUEL
ABOUT HIS OATH TO
TAKE CARE FOR SIENA]
 
That”s why Anthony Bridgerton was extremely worried about Siena on the Eve of the Duel.
He knew that without his protection, Siena not only was left without income, but also unprotected and a possible sexual prey [12]
And because of his deep love for her, just before the beginning of the duel with Simon Basset, Anthony pulled his brother Benedict aside and made him swear to take care for Siena financially, when he died in the duel…..[13]
One of the most impressive and convincing proofs of his love for her, since his last thoughts before his possible death were for her and her wellbeing [14]
Were it just ”lust” he wouldn’t have cared at all.
 
So that’s the double standards to Opera singers in Regency Era
On the one hand they were applauded for their talents and honoured with favors by the noble gentlemen, on the other hand they were not seen as equals and not permitted to entrance in the Ton because of their ”loose morals”, without considering that they couldn’t survive without wealthy patrons [15]
 
But that’s one thing.
Regarding the sexuality, they were ”tolerated” as mistresses, but the moment true love came in the picture, like in the case of Anthony Bridgerton and Siena [16], it became impossible to be together or marry[16A].
Being seen together at public places, even a walk in places like Kew Gardens, was strictly forbidden [17]
Anthony, who really and deeply loved Siena, wanted to break those cruel rules and force Ton Society to accept Siena as equal, by bringing her to the Ton Ball of his sister Daphne, now Duchess of Hastings, thinking that his own powerful position as Viscount and his sister’s position as Duchess were strong enough for the acceptance of Siena. [18]
Since Siena refused, leading to the heartbreaking end of their Love Affair [19], we don’t know what would have happened, but in most cases it ended with a great social scandal, leading to possible social ostracization of the aristocrat and serious social implications for the Operasinger  [20]
 
They could even be stopped at the door, to prevent they even attended the ball [21], but since in this case Anthony’s sister Daphne, Duchess of Hastings held the ball it is not likely that they would be denied entrance,
but social scandal surely would have been the case [22]
 
The cruel attitude of Anthony’s mother Lady Violet against Siena and by proxy her own son about their Love relationship [23] was a reflection of ”the shame society granted them” to quote the very words of Anthony [24][what of course doesn’t absolve Violet from her responsibility of especially her cruelty, leading to a permanent gap between her and her son [25]
 
 
SIENA AS A STRONG WOMAN
 
Why Lady Violet depicts Siena as a ”scandal” or an Regency Era ”golddigger” [26] , the opposite is true!
In the Bridgerton series, sometimes Anthony breaks the relationship, but also Siena, who is tired of the fact, that she must be kept ”in the dark”
because of the Ton and Violet”s disapproval of opera singers [27]
But everything, despite of fierce resistance by mother Violet [28] it is 
Anthony, who returns to Siena.
You can see Siena’s resistance to take him back when he visits her on the Eve of the Duel [29], only to grab him vehemently and pull him into her home after he reveals the ”duel at dawn” and their possible shared future [30]
And although loving her deeply, due to his noble privileges he doesn’t always realize the financial impact for Siena.
So when there is a temporary break up between him and Siena [it is an on/of relationship due to Ton pressure and their own passionate characters, because Siena is a fierce and passionate woman [31] and Anthony is not an easy one either], he doesn’t pay her apartment [31A], forcing her to go to her friend Genevieve Delacroix, a dressmaker for the Ton Ladies [32] to live their until the storm has come to rest and she and Anthony kiss their reconciliation again.
For a woman like Siena that is a dangerous and uncertain financial position and although she loves Anthony dearly, she is forced to look out for another patron, who can help her to survive.
 
REGAINED LOVE/THE BOX SCENE
 
And that happens
She finds another ”protector”, but during a Box match show, where she is with him, Anthony is in the public too.
While everyone is watching the box game, Anthony sees Siena and has only eyes for her and at a certain moment their eyes meet and it feels like electric magnetism.
At the next scene you see them making love under the Box Platform
Watch the scene! [33]
 
And so was their relationship:
They were vehement, passionate and fought with each other,
physically and verbally, stormed against each other and had vehement break-ups, but at the end were atrracted to each other like magnets…..
 
 
HER MOST PAINFUL DECISION/THE BREAK UP
 
This is said by a commentator about their painful break up
 
The breakup at the end of Season 1 is often perceived as a defeat, but it is actually Siena’s most powerful moment. She is the one who realizes that Anthony can never truly protect her from societal exclusion.”
I think that”s true
Despite all social resistance against their relationship [34] Anthony still wants to fight for them.
And he thinks, that having the power of a wealthy Viscount and having a sister as a Duchess [Daphne, married  his best friend Simon Basset, who out of her great love for Simon, fought tooth and nails for her marriage, but that was in their own social class, so approved] [35], he could force the Ton to accept Siena,
So he went to her, with flowers in his hand and high hopes in his heart but she, being with another man, refused him and nearly screamed that he ”must let her go” [36]
 
Not out of love, but BECAUSE she loved him and with pain in her heart.
She understood what he was not willing to.
That even if his sister would accept and support him, the Ton would socially exclude him [37] and if not, Siena would bear the brunt since they would be polite to her in his presence, but mock her behind his back.
 
It was heartbreaking for her and him and would always leave a scar on him. [38]
And her last words to him were heartbreaking:
 
“Farewell, my lord. I hope you find perfection.”
SIENA AS A STRONG, PASSIONATE AND FIERCE WOMAN
 
Although the immense heart break, Siena did not lose.
Her great Love
YES
 
But not her Dignity
She loved Anthony passionately and fiercely, but she had also
the power to be realistic in a desperate situation.
She had to put her social preservation first and the securing of her financial future, seeing that the Ton would not accept their relation 
”in the Light”
Because that was the Dilemma
 
Anthony loved her deeply, but wanted to combine his position as a Viscount with his love for her.
And Yes, he was prepared to flee with her on the Eve of the Duel, when he had to flee the country when he had killed his best friend [39], but staying in England and continuing their relationship would be ”in the dark” and she so desperately wanted to be his wife ”in the light” and understood that that would not happen, despite their deep love for each other.
 
So it was not heartlessness that caused her to finish their relationship, like parts of the Bridgerton Fandom claim, but out of love, courage and self preservation.
She had to go on, with a man who could bring her into
the Light, while she so desperately wanted to be with her love.
 
Had their Love Life continued, than it was either ”in the dark” or was it ”in the Light” than Anthony had to go to duel each day for the offenses done to his beloved Siena.
 
But let’s be totally fair:
However destructive Violet’s role was, Anthony had also his own responsibility in this.
Because when all things were said and done, how much he loved Siena, at the end he had not the courage to stand up against his mother, no matter how immense her pressure and emotional blackmail, leave all things behind and flee with Siena.
So he gave ”Lady Violent” the power to ruin his life…..
 
 I think Siena understood  at the end.
She  HAD the courage to take that heartbreaking decision to break up their Loving Relationship.
And that was HER Power.
 
She was passionate, loving, courageous, proud and loyal till the End [40]
But she couldn’t be ”his fool again” [41]
Heartbreaking, but she protected him and herself.
 
And it is high time for someone to speak out loudly and
give her the Honour she truly deserves.
 
 
ASTRID ESSED
 
NOTES
 
 
NOTES 1 AND 2
 
 
NOTE 3
NOTES 4 AND 5
NOTE 6
NOTE 7
NOTE 8
NOTE 9
NOTE 10
NOTE 11
NOTE 12
NOTE 13
NOTE 14
NOTE 15
NOTE 16
NOTE 16A
NOTE 17
NOTE 18
NOTE19
NOTE 20
NOTE 21
NOTE 22
NOTES 23 AND 24
NOTE 25
NOTE 26
NOTE 27
NOTE 28
NOTE 29
NOTE 30
NOTE 31
NOTE 31A
NOTE 32
NOTE 33
NOTE 34
NOTE 35
NOTE 36
NOTE 37
NOTE 38
NOTE 39
NOTE 40
NOTE 41

Reacties uitgeschakeld voor Siena Rosso, the First and Deep Love of Anthony Bridgerton/”A Certain Soprano”

Opgeslagen onder Divers

Nakba Day Remembrance/It’s still on/About Demonic Zionism and Terror State Israel

Palestinian women and children driven from their homes by Israeli forces, 1948.
ETHNIC CLEANSINGS OF PALESTINIANS [1948]
ETHNIC CLEANSING OF PALESTINE
AFP A man comforts a wounded child after receiving treatment at a hospital in Nuseirat refugee camp, central Gaza (19 May 2025)AFP
Médecins Sans Frontières says at least 20 medical facilities across Gaza have been damaged, or forced partially or completely out of service, in the past week
DESTRUCTION OF THE PEOPLE OF GAZA
Getty Images Civil defense teams carry the body of a Palestinian following an Israeli airstrike on residential areas in central Khan Yunis, southern Gaza, on May 23, 2025.Getty Images
Civil defence teams carry a body after the strike in Khan Younis
KILLING OF THE PEOPLE OF GAZA
”THAT FORCED FOUNDATION OF THE JEWISH STATE IN
PALESTINE WITHOUT THE CONSENT OF THE ORIGINAL PALESTINIAN
PEOPLE IS THE ROOT OF THE ISRAELI PALESTINIAN CONFLICT!”
Zionism in a nutshell
NAKBA DAY REMEMBRANCE/IT’S STILL ON/ABOUT DEMONIC ZIONISM AND TERROR STATE ISRAEL
Dear Readers,
Today it’s Nakba Day, the Day we remember the mass eviction of more than
800 000 Palestinians from their Homeland Palestineas a result of the neo colonialistic project they called ”The State of Israel”
And therefore I repost my earlier article about the Evil Results of the neo colonial project called Zionism, leading to the Terror State Israel
It”s still on and the Fight for a Free Palestine will continue!
SEE YOU IN BATTLE READERS!
ASTRID ESSED
THE ARTICLE
DEMONIC ZIONISM GIVES BIRTH TO TERROR STATE ISRAEL!/A TRAVEL
TO A DARK PAST…….
 One Ring to rule them all, One Ring to find them,
…………………and in the darkness bind them
[The Ring of Power/Tolkien/Lord of the Rings]
[1A]
[1B]
HISTORICAL OVERVIEW
AT THE CRADLE OF THE STATE OF ISRAEL STOOD ZIONISM, NEO COLONIALISM AND……..EUROPEAN ANTI SEMITISM
This is a Story about neo colonialism [thus mentioned by Astrid Essed since it
happened in the aftermath of 19th century Western colonialism] [1]
A Story about landtheft.
A Story about flagrant violation of the fundamental right of peoples to self determination.
Oddly enough, this Horror Story [as you will read…..]  also has its Evil Roots in
another Horror, the centuries old European Antisemitism! [2]
BECAUSE:
The Jewish Austrian journalist Theodor Herzl, founder of the Zionist
Movement [the political movement with as aim the foundation of
a Jewish State in Palestine, then province of the Ottoman Empire] [3] came into action because of the antisemitic Dreyfus Affair [although some modern scholars
mention, that Herzl may have exaggerated the Dreyfuss influence on his
zionism. However that’s of no importance in this article] [4]
Read all about that Dreyfus Affair, note 5
More and more Herzl became convinced of the fact, that in Europe was no
future for the Jews, that anti semitism couldn’t be defeated and that
there was only one Answer to it:
The Foundation of a Jewish State [6]
And so his Magnum Opus [7], Der Judenstaat, was born…..[8]
And in Der Judenstaat he unfolded his ideas about the foundation of
a Jewish State in Palestine, then province of the Ottoman Empire [9]
The idea was, that Palestine was the 2000 years old Homeland of the Jews. [10]
RIGHT TO SELF DETERMINATION
It is hard to imagine for the contemporary 21th century democratic thinking human being:
The GOTSPE [to have the intention to found a State into the country of
someone else, based on a claim of 2000 years ago!
That’s no more or less then trampling on the original Arab Palestinian
people and their right to self determination!
In fact [I wrote it before] a form of neo colonialism , a decision about
the country of someone else and the founding in that country of someone’s else, of another State by force!
AND THAT FORCED FOUNDATION OF THE JEWISH STATE IN
PALESTINE WITHOUT CONSENT OF THE ORIGINAL PALESTINIAN
PEOPLE IS THE ROOT OF THE ISRAELI PALESTINIAN CONFLICT!
As long as this Historical  Injustice is not corrected by building a Palestinian
State from the rubble of the Israeli Apartheids State [11] and the Occupied
Palestinian Territories, there is no end to the Conflict!
BUT:
The Reader must understand this well:
Considering the background of 19th Century Thinking, the idea of
founding a State in the land of another People was not strange or extreme, since
colonialism and ideas of white supremacy were considered as ”normal” [12]
ZIONISM, A FATAL MOVEMENT
Theodor Herzl, frontman and leader of the modern political zionism [13],
was a busy guy.
He organized the First Zionist Congress in Basel [14], that laid a solid foundation
for the Zionist Disaster [15]
This Congress was followed by a number of zionist Congresses until
now [for the Herzl period only the first until the six are relevant, since
Herzl died in 1904] [16]
He contacted the Powers That Be in those Times to further promote
the concept of a Jewish State [17]
Among else Herzl approached the Sultan of the Ottoman Empire [18]
However:
His attempts to buy land from the Ottoman Sultan in order to bring his
”Judenstaat” closer, failed. [19]
EVIL ZIONIST MYTH/”A LAND WITHOUT A PEOPLE FOR A PEOPLE
WITHOUT A LAND”
To legitimize their ”Jewish State” ideal tghe zionist Movement
claimed that Palestine was barely. uninhabited.
So it would not be that strange, that persecuted people, in this case
the Jews, would settle in a barely inhabited country to build up a life,
free from prosecution and fear.
And so the Myth was born:
”A LAND WITHOUT A PEOPLE FOR A PEOPLE WITHOUT A LAND” [20]
In reality Palestine was populated since time immemoral by mostly Arab Palestinians as
other people, mixed  and living together, forming a flourishing, economical and
cultural society. [21]
The ”A Land without a people for a people without a land” Slogan was
meant to justify the foundation of a State in the country of another people!
Its also called ”Settler colonialism” [22]
THE BRITISH EMPIRE TO THE RESCUE!/THE BALFOUR DECLARATION
”His Majesty’s Government view with favour the establishment in Palestine of a national home for the Jewish people, and will use their best endeavours to facilitate the achievement of this object, it being clearly understood that nothing shall be done which may prejudice the civil and religious rights of existing non-Jewish communities in Palestine, or the rights and political status enjoyed by Jews in any other country.”
[23]
Reading this far it should come as no surprise to the Readers that the Zionist Movement for the realization of her [settler] colonial plans was helped by an
important and established Colonial Power in those Times, the British Empire.
Not only settler colonial zionist thinking fitted in British colonial logic [24], of course firstly the
British colonials had their own [geo] political reasons to support Zionism [25]
The Support Thing began with the socalled ”Balfour Declaration” from 1917
[during World War I], which was a Letter from Lord Arthur Balfour, British
foreign secretary, to Lord Rotschild, leader of the British Zionist Movement [26]
In that Letter Lord Balfour guaranteed Lord Balfour to promote ”the establishment in Palestine of a national home for the Jewish people” [27]
I quote the most important part of the Letter:
””His Majesty’s Government view with favour the establishment in Palestine of a national home for the Jewish people, and will use their best endeavours to facilitate the achievement of this object……” [28]
And thus the zionists had a powerful colonial Power on their side!
Of course this ”Balfour Letter” [Balfour Declaration indeed] was a
Monstrosity and fitted well enough in the Colonial Thinking:
Because without in the least considering the rights of the present
population [the Arab Palestines], then still ”belonging” to the Ottoman Empire, a Jewish National Home was created by Colonial Great Britian, for
Jewish people who came from Europe!
The Jewish writer Arthur Koestler wrote about the ”Balfour Declaration”
as follows:
””One Nation solemny promised to a second nation the country
of a third” [29]
I couldn’t have said it better!
THE BRITISH MANDATE FOR PALESTINE
The Palestine Tragedy began to unfold more and more……
After the dismantling of the Ottoman Empire, that bet on the wrong horse [30],
Palestine [that had been part of the Ottoman Empire] became British Mandatory Palestine [31]
YES:
Palestine fell into the hands of the Colonial Power, that made the
”Balfour Declaraion” deal with the zionists…….[32]
And that the British meant business, soon became clear……
For in the Preambule and article 2 of the Mandate Palestine document [under
the responsibility of the League of Nations, established in 1920] [33], was stated, that
the British Mandatary aws responsible for the establishment, in Palestine, for a
Jewish National Home.
I quote from article 2:
”The Mandatory shall be responsible for placing the country under such political, administrative and economic conditions as will secure the establishment of the Jewish national home, as laid down in the preamble, and the development of self-governing institutions, and also for safeguarding the civil and religious rights of all the inhabitants of Palestine, irrespective of race and religion.” [34]
So the Arab Palestinians were in big trouble from the beginning, since
with the rise of nationalist movements in the colonies or semi-colonies
[like mandate areas like Palestine and  Syria, results
of that horror Sykes Picot Agreement] [35], for Palestine the cards had already been shuffled:
By the later independence of Palestine, unlike other madate areas like Syria,
Jordan and Iraq [36] , there would not be one independent Palestine, but already ”a Jewish National Home” was included!  [37]
And all this without any approval of the original Palestinian people.
THIS WAS COLONIALISM AND SOWED THE SEEDS FOR TROUBLE IN
THE VERY FUTURE…….
JEWISH COLONIZATION
With the establishment of Palestine as ”British Mandatory Palestine” [38]
the way was prepared for the establishment of East and West European
Jews in Palestine.
With the financial means of the Jewish National Fund and wealthy zionist Jews in Europe and the United States land could be purchased from
Palestinian major landowners on behalf of Jewish settler/farmers.
Often those Palestinian landowners themselves didn’t live in Palestine,
but  in Lebanon and Syria.[39]
The Palestinian tenants, who had worked on that -purchased- land
paid a high price, since this purchase often was accompanied with their
eviction. [40]
Furthermore there was a dramatic growth of the Jewish population in
Palestine!
UN organisation UNISPAL writes:
”The Jewish population in Palestine increased from 56,000 in 1918 to about 88,000 in 1922, when the total population was officially estimated at 750,000.  By 1939, the Jewish population had increased to 445,000 out of a total population of about 1.5 million.  This dramatic increase was primarily due to the large numbers of Jews fleeing the Nazi terror.
In percentage terms, the Jewish population rose from about 10 per cent in 1919 to 17 per cent in 1929 to nearly 30 per cent in 1939! [41]
PALESTINE
THE TWENTIES OF THE CENTURY
TO THE THIRTIES AND THE ARAB REVOLT IN PALESTINE!
I wrote it before:
Because of the Balfour Declaration and with the establishment of Palestine as ”British Mandatory Palestine” [42] the seeds for Trouble in
the very future were sown….”
It was inevitable that with the spectacular increasement of the Jewish
colonization in Palestine, all with the blessing of the British authorities [43],
tensions grew between the Jewish migrants, zionists or not [not all Jewish m,igrants were zionists]  and the Arab Palestinian population grew.
The Jewish colonization, especially in the thirties continued
to increase dramatically[understandably!]  by the danger Nazi Germany formed for the Jews! [44]
In 1936, the year of the uprising against the British Mandate authorities
and the zionist settlers [45], the Jewish population in Palestine consisted
of 384,078, 28,1 percent of the total population [46]
Given the fact of this dramatic immigration increasement, the problem
of the evicted Palestinian tenants and the British favouritism of
Jewish settlement [47], it is no wonder, that Palestinian Arabs  stood up against the British Mandatory rulers ![48]
The uprising lasted from 1936 until 1939 and was violently suppressed by the
British Mandatory authorities, who used all sorts of harsh measures
like Martial Law and collective punishment. [49]
Thousands of Arab prisoners were held in administrative detentiion
in overcrowded prisons without proper sanitation. [50]
About the collective punishment:
The main form of collective punishment was destruction of property.
Sometimes even entire villages were reduced to rubble, as happened
to  Mi’ar in october 1938!
More often houses were blown.
The biggest ”destruction action” happened in Jaffa on june 1936, making
6000 people homeless……[51]
‘Villages were also frequently punished by fines and confiscation of livestock. [52]
But leave it to British colonialism to make things even worse
and read more about the Al-Bassa massacre
and moreover the description of this warcrime by an eue
witness, a British officer of the Royal Ulster Rifles!
Read and be shocked! [53]
Thus were the ways of British colonialism when it came
to suppress an uprising………
But there is more:
Therefore the reader must keep in mind one of the
main causes of the Arab revolt:
The British favouritism of the zionist settlers! [54]
So of course the zionists were the ”natural” helpers
of the British in suppressing the uprising!
The Zionist Partners in Crime of the British was the Haganah,
a Jewish paramilitary organisation, that actively supported
the British troops.
Although the British administration did not officially recognise the Haganah, the British security forces cooperated with it by forming the Jewish settlement police, Jewish Supernumerary Police and Special Night Squad.
Especially the latter [Special Night Squad] were no more or
less then death sqauds, notorious for their cruelty. [55]
Apparently the British found those zionist gangs so useful, that
they maintained, financed and armed them from this point onward until the end of the Mandate….. [56]
”Useful tools to keep the Arabs down”, they must have thought.
WHAT A PITY [But not really/HAHAHA], that those ”trusted
Zionist friends” of the British would later turn against the very
British Mandatory authorities that had financed and armed them……..[57]
But of course, that is not my Fight.
MY Fight is to defend the Palestinian right of self determination
and show how that was destroyed……..
AFTER WORLD WAR II
THE END
Now we come to the End of our Story about Zionism.
For the attentive reader knows how the Story of the
Palestinian Arab Society and the legitimate right on selfdetermination
ended in a complete disaster, following the end of the British Mandate,
the Partition of Palestine [without any saying of the Arab Palestinian people,
who of course were against], ending in the
foundation of the ”State of Israel” and the Palestinian Nakba, resulting
in the ethnic cleansings of more than 750. 000 Palestinians! [58]
Destroying everything that once was in the Palestinian Society.
BY ZIONISM AND ZIONIST INTRUDERS, WITH THE BLESSING OF BRITISH
COLONIALISM!
READ ALL ABOUT THE NAKBA IN NOTE 59!
We know what happened after 1948!
Israeli terror, occupation, Apartheid and now in Gaza….GENOCIDE! [60]
I am fed up to write about this in detail again.
You only have to watch the news and visit some trustworthy sources….
And after all the intention of this article was to explain and
point out, how a destructive neo colonialistic theory, supported by
a Western country, eventually led to Israeli ethnic cleansings, occupation,
apartheid and thus destroying the Society of Palestine and the legitimate
Right to Selfdetermination!
BUT PALESTINE WILL RISE AGAIN!
”Spear shall be shaken, shield be splintered,

a sword-day, a red day, ere the sun rises!”

[61]
The Palestinian people, led by their resistance groups, will
fight the Israeli armies and win.
LONG LIVE THE LEGITIMATE FIGHT OF LIBERATION!! [62]
ASTRID ESSED
NOTES
NOTE 1A
NOTE 1B
NOTE 1
NOTE 2
NOTES 3 T/M 5
NOTE 6
NOTES 7 T/M 10
NOTE 11
NOTE 12
NOTES 13 T/M 16
NOTES 17 T/M 19
NOTE 20
NOTE 21
NOTE 22
NOTES 23 T/M 25
NOTE 26
NOTES 27 AND 28
NOTE 29
NOTE 30
NOTE 31
NOTES 32 T/M 34
NOTE 35
NOTES 36 AND 37
NOTE 38
NOTE 39
NOTE 40
NOTE 41
NOTES 42 AND 43
NOTE 44
NOTES 45 AND 46
NOTE 47
NOTE 48
NOTES 49 AND 50
NOTES 51 AND 52
NOTE 53
NOTES 54 T/M 57
NOTE 58
NOTE 59
NOTE 60
NOTE 61
NOTE 62

Reacties uitgeschakeld voor Nakba Day Remembrance/It’s still on/About Demonic Zionism and Terror State Israel

Opgeslagen onder Divers

Bridgerton/Astrid Essed about Violet’s toxic relationship [laced with love] with her children/Anthony and Siena/Benedict and Sophie/Francesca and John Stirling

Violet-S3E4

LADY VIOLET BRIDGERTON
1x01-37
ANTHONY AND SIENA
BRIDGERTON/ASTRID ESSED ABOUT VIOLET’S TOXIC RELATION [LACED WITH LOVE] WITH HER CHILDREN/ANTHONY AND SIENA/BENEDICT AND SOPHIE/FRANCESCA AND JOHN STIRLING
SEE ALSO
AI
Astrid Essed is not part of the cast or crew of Bridgerton. Instead, she is a Dutch activist and publicist who writes extensive, critical analyses of the show’s characters.
Through her official website, she publishes in-depth character studies. These pieces specifically highlight the psychological and moral flaws of the elite in the Netflix hit.
Her most prominent analyses focus on the following characters:
  • Lady Violet Bridgerton: Essed fiercely criticizes the matriarch, referring to her in essays as “Lady Violent Bridgerton“. She argues that Violet emotionally manipulates and blackmails her children under the guise of “family duty.”
  • Anthony Bridgerton: She analyzes his relationship with opera singer Siena Rosso. According to Essed, Violet “dehumanizes” Siena by refusing to say her name. She also claims Anthony’s Season 1 duel stemmed from an unconscious death wish caused by the immense pressure from his mother.
  • Other Characters: She dedicates specific essay tags to other family members, including BenedictColinEloise, and Francesca Bridgerton, dissecting their dysfunctional family dynamics.
 
 
AI
 
 
 
https://www.google.com/search?q=Astrid+Essed+on+Bridgerton&sca_esv=a5be87dc51c80944&sxsrf=ANbL-n4oF0ehdQ0ZU3ycesDG5-LOqr_Cng%3A1776102132166&source=hp&ei=9CrdaeqjCJy79u8P7v-8uQM&iflsig=AFdpzrgAAAAAad05BBtd0LUiWzS1LBg5ljA_CeMIvcY9&aep=16&csuir=1&mstk=AUtExfDjXIB0Aomouac17cOPQjvZ0R_Tz_C0-SSC7a3Ge8Kx84v7-vJde7-K–CEHQ1AClQvUk9sK-VS5Xm58P-yHx9jEB4Xa8rLEzNDu6PxL6SRmxiHroxuBBNSp1qvffcbX9hYiTm-wgtBmaWma2U1-Yxm_i6PARde-LXIixRAxur9MEONR9trZKWz7Jc8qLfUjytoBaTKmSkejrUoBQKYT2n8raVHPcQ2TUtGR7ZlKrXSHeVfei14u6jJhh0Ts3uJ2_IKnz1istXaS9UAJOTXapYVWteqEbFANckVvdZ4p0NOBV7xIAGDTm_S-MmpuxLontcwB2_mLPejaw&oq=A&gs_lp=Egdnd3Mtd2l6IgFBKgIIATIEECMYJzIKECMY8AUYJxieBjIEECMYJzIQEC4YgAQY0QMYQxjHARiKBTIOEC4YgAQYxwEYjgUYrwEyCBAuGIAEGLEDMg4QLhiABBixAxjRAxjHATIOEC4YgAQYsQMY0QMYxwEyDhAuGIAEGLEDGIMBGIoFMgUQABiABEjvNFAAWNEHcAJ4AJABAJgBpwGgAYwDqgEDMC4zuAEByAEA-AEBmAIFoALMA8ICDhAAGIAEGLEDGIMBGIoFwgIIEAAYgAQYsQPCAgoQABiABBhDGIoFmAMAkgcDMi4zoAfnO7IHAzAuM7gHuAPCBwcyLTEuMy4xyAc1gAgA&sclient=gws-wiz&mtid=m8cFavKvD7Ohi-gPncODsQY&atvm=2&udm=50

Reacties uitgeschakeld voor Bridgerton/Astrid Essed about Violet’s toxic relationship [laced with love] with her children/Anthony and Siena/Benedict and Sophie/Francesca and John Stirling

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Astrid Essed about Violet’s toxic [laced with love] relationship with her children/Anthony and Siena/Benedict and Sophie/Francesca and John Stirling

Violet-S3E4

LADY VIOLET BRIDGERTON
1x01-37
ANTHONY AND SIENA
BRIDGERTON/ASTRID ESSED ABOUT VIOLET’S TOXIC RELATION [LACED WITH LOVE] WITH HER CHILDREN/ANTHONY AND SIENA/BENEDICT AND SOPHIE/FRANCESCA AND JOHN STIRLING
SEE ALSO
AI
Astrid Essed is not part of the cast or crew of Bridgerton. Instead, she is a Dutch activist and publicist who writes extensive, critical analyses of the show’s characters.
Through her official website, she publishes in-depth character studies. These pieces specifically highlight the psychological and moral flaws of the elite in the Netflix hit.
Her most prominent analyses focus on the following characters:
  • Lady Violet Bridgerton: Essed fiercely criticizes the matriarch, referring to her in essays as “Lady Violent Bridgerton“. She argues that Violet emotionally manipulates and blackmails her children under the guise of “family duty.”
  • Anthony Bridgerton: She analyzes his relationship with opera singer Siena Rosso. According to Essed, Violet “dehumanizes” Siena by refusing to say her name. She also claims Anthony’s Season 1 duel stemmed from an unconscious death wish caused by the immense pressure from his mother.
  • Other Characters: She dedicates specific essay tags to other family members, including BenedictColinEloise, and Francesca Bridgerton, dissecting their dysfunctional family dynamics.
 
 
AI
 
 
 
https://www.google.com/search?q=Astrid+Essed+on+Bridgerton&sca_esv=a5be87dc51c80944&sxsrf=ANbL-n4oF0ehdQ0ZU3ycesDG5-LOqr_Cng%3A1776102132166&source=hp&ei=9CrdaeqjCJy79u8P7v-8uQM&iflsig=AFdpzrgAAAAAad05BBtd0LUiWzS1LBg5ljA_CeMIvcY9&aep=16&csuir=1&mstk=AUtExfDjXIB0Aomouac17cOPQjvZ0R_Tz_C0-SSC7a3Ge8Kx84v7-vJde7-K–CEHQ1AClQvUk9sK-VS5Xm58P-yHx9jEB4Xa8rLEzNDu6PxL6SRmxiHroxuBBNSp1qvffcbX9hYiTm-wgtBmaWma2U1-Yxm_i6PARde-LXIixRAxur9MEONR9trZKWz7Jc8qLfUjytoBaTKmSkejrUoBQKYT2n8raVHPcQ2TUtGR7ZlKrXSHeVfei14u6jJhh0Ts3uJ2_IKnz1istXaS9UAJOTXapYVWteqEbFANckVvdZ4p0NOBV7xIAGDTm_S-MmpuxLontcwB2_mLPejaw&oq=A&gs_lp=Egdnd3Mtd2l6IgFBKgIIATIEECMYJzIKECMY8AUYJxieBjIEECMYJzIQEC4YgAQY0QMYQxjHARiKBTIOEC4YgAQYxwEYjgUYrwEyCBAuGIAEGLEDMg4QLhiABBixAxjRAxjHATIOEC4YgAQYsQMY0QMYxwEyDhAuGIAEGLEDGIMBGIoFMgUQABiABEjvNFAAWNEHcAJ4AJABAJgBpwGgAYwDqgEDMC4zuAEByAEA-AEBmAIFoALMA8ICDhAAGIAEGLEDGIMBGIoFwgIIEAAYgAQYsQPCAgoQABiABBhDGIoFmAMAkgcDMi4zoAfnO7IHAzAuM7gHuAPCBwcyLTEuMy4xyAc1gAgA&sclient=gws-wiz&mtid=m8cFavKvD7Ohi-gPncODsQY&atvm=2&udm=50

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Violet-S3E4

LADY VIOLET BRIDGERTON
1x01-37
ANTHONY AND SIENA
BRIDGERTON/ASTRID ESSED OVER VIOLET’S MET LIEFDE DOORSPEKTE, TOXISCHE RELATIE MET HAAR KINDEREN//ANTHONY EN SIENA/FRANCESCA EN JOHN STIRLING/BENEDICT EN SOPHIE
ZIE OOK
AI
Astrid Essed maakt geen deel uit van de cast of crew van Bridgerton, maar is een Nederlandse activiste en publiciste die uitgebreide, kritische analyses schrijft over de personages uit de serie.
Via haar officiële website publiceert zij diepgaande karakterstudies. Hierin belicht zij met name de psychologische en morele tekortkomingen van de elite in de Netflix-hit. [123]
Haar meest prominente analyses richten zich op de volgende personages:
  • Lady Violet Bridgerton: Essed bekritiseert de matriarch fel en noemt haar in essays ook wel “Lady Violent Bridgerton“. Ze bepleit dat Violet haar kinderen emotioneel manipuleert en chanteert onder het mom van “familieplicht”. [1]
  • Anthony Bridgerton: Ze analyseert zijn relatie met de operazangeres Siena Rosso. Volgens Essed “dehumaniseert” Violet Siena door haar naam te weigeren te noemen. Ook stelt ze dat Anthony’s duel in seizoen 1 voortkwam uit een onbewuste doodswens door de immense druk van zijn moeder. [1234]
  • Overige personages: Ze wijdt specifieke essay-tags aan andere familieleden zoals BenedictColinEloise en Francesca Bridgerton om hun onderlinge gezinsdynamiek te fileren
AI
https://www.google.com/search?q=Astrid+Essed+on+Bridgerton&sca_esv=a5be87dc51c80944&sxsrf=ANbL-n4oF0ehdQ0ZU3ycesDG5-LOqr_Cng%3A1776102132166&source=hp&ei=9CrdaeqjCJy79u8P7v-8uQM&iflsig=AFdpzrgAAAAAad05BBtd0LUiWzS1LBg5ljA_CeMIvcY9&aep=16&csuir=1&mstk=AUtExfDKv494qXGv3_N-src-2nZEkomDVc2x-6AY7o1jUz-cdBBAd0lcR2DKY7djMTc7wc9z2rPEQv2NkKOmnwdOM-ZQEHidMamWIS4hr2URtUlOMHhICfmRi9l-AZe0X3R8_oZvJsbVaRbjEn4-mzZ_wVy18QxtDoiaJb0t2sI4EITUQIJxtl8RJ40lFpEr6YaogIk_eR0AGIUZQm_zpwSFvdIFLEBU-dW6rvsQlL-tZRVpe1uObDS3LxfaDcIB4Z1T_o5BL1C8ZrSX8aEuyGVYyWjNM8_GskVeEOiHsl7E88ILXfyS83UPNutHbjwJ8VubqyaJcwBrR-_sPQ&oq=A&gs_lp=Egdnd3Mtd2l6IgFBKgIIATIEECMYJzIKECMY8AUYJxieBjIEECMYJzIQEC4YgAQY0QMYQxjHARiKBTIOEC4YgAQYxwEYjgUYrwEyCBAuGIAEGLEDMg4QLhiABBixAxjRAxjHATIOEC4YgAQYsQMY0QMYxwEyDhAuGIAEGLEDGIMBGIoFMgUQABiABEjvNFAAWNEHcAJ4AJABAJgBpwGgAYwDqgEDMC4zuAEByAEA-AEBmAIFoALMA8ICDhAAGIAEGLEDGIMBGIoFwgIIEAAYgAQYsQPCAgoQABiABBhDGIoFmAMAkgcDMi4zoAfnO7IHAzAuM7gHuAPCBwcyLTEuMy4xyAc1gAgA&sclient=gws-wiz&mtid=m8cFavKvD7Ohi-gPncODsQY&atvm=2&udm=50

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Astrid Essed over Violet’s met liefde doorspekte, toxische relatie met haar kinderen/Anthony en Siena/Benedict en Sophie/Francesca en John Stirling

Violet-S3E4

LADY VIOLET BRIDGERTON
1x01-37
ANTHONY AND SIENA
ASTRID ESSED OVER VIOLET’S MET LIEFDE DOORSPEKTE, TOXISCHE RELATIE MET HAAR KINDEREN//ANTHONY EN SIENA/FRANCESCA EN JOHN STIRLING/BENEDICT EN SOPHIE
ZIE OOK
AI
Astrid Essed maakt geen deel uit van de cast of crew van Bridgerton, maar is een Nederlandse activiste en publiciste die uitgebreide, kritische analyses schrijft over de personages uit de serie.
Via haar officiële website publiceert zij diepgaande karakterstudies. Hierin belicht zij met name de psychologische en morele tekortkomingen van de elite in de Netflix-hit. [123]
Haar meest prominente analyses richten zich op de volgende personages:
  • Lady Violet Bridgerton: Essed bekritiseert de matriarch fel en noemt haar in essays ook wel “Lady Violent Bridgerton“. Ze bepleit dat Violet haar kinderen emotioneel manipuleert en chanteert onder het mom van “familieplicht”. [1]
  • Anthony Bridgerton: Ze analyseert zijn relatie met de operazangeres Siena Rosso. Volgens Essed “dehumaniseert” Violet Siena door haar naam te weigeren te noemen. Ook stelt ze dat Anthony’s duel in seizoen 1 voortkwam uit een onbewuste doodswens door de immense druk van zijn moeder. [1234]
  • Overige personages: Ze wijdt specifieke essay-tags aan andere familieleden zoals BenedictColinEloise en Francesca Bridgerton om hun onderlinge gezinsdynamiek te fileren
 
 
AI
 
 
https://www.google.com/search?q=Astrid+Essed+on+Bridgerton&sca_esv=a5be87dc51c80944&sxsrf=ANbL-n4oF0ehdQ0ZU3ycesDG5-LOqr_Cng%3A1776102132166&source=hp&ei=9CrdaeqjCJy79u8P7v-8uQM&iflsig=AFdpzrgAAAAAad05BBtd0LUiWzS1LBg5ljA_CeMIvcY9&aep=16&csuir=1&mstk=AUtExfDKv494qXGv3_N-src-2nZEkomDVc2x-6AY7o1jUz-cdBBAd0lcR2DKY7djMTc7wc9z2rPEQv2NkKOmnwdOM-ZQEHidMamWIS4hr2URtUlOMHhICfmRi9l-AZe0X3R8_oZvJsbVaRbjEn4-mzZ_wVy18QxtDoiaJb0t2sI4EITUQIJxtl8RJ40lFpEr6YaogIk_eR0AGIUZQm_zpwSFvdIFLEBU-dW6rvsQlL-tZRVpe1uObDS3LxfaDcIB4Z1T_o5BL1C8ZrSX8aEuyGVYyWjNM8_GskVeEOiHsl7E88ILXfyS83UPNutHbjwJ8VubqyaJcwBrR-_sPQ&oq=A&gs_lp=Egdnd3Mtd2l6IgFBKgIIATIEECMYJzIKECMY8AUYJxieBjIEECMYJzIQEC4YgAQY0QMYQxjHARiKBTIOEC4YgAQYxwEYjgUYrwEyCBAuGIAEGLEDMg4QLhiABBixAxjRAxjHATIOEC4YgAQYsQMY0QMYxwEyDhAuGIAEGLEDGIMBGIoFMgUQABiABEjvNFAAWNEHcAJ4AJABAJgBpwGgAYwDqgEDMC4zuAEByAEA-AEBmAIFoALMA8ICDhAAGIAEGLEDGIMBGIoFwgIIEAAYgAQYsQPCAgoQABiABBhDGIoFmAMAkgcDMi4zoAfnO7IHAzAuM7gHuAPCBwcyLTEuMy4xyAc1gAgA&sclient=gws-wiz&mtid=m8cFavKvD7Ohi-gPncODsQY&atvm=2&udm=50

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Bridgerton/De oudste zoon als wettelijk Hoofd van de Familie/Geen wettelijk Hoofd van zijn moeder de Douariere/Wettelijk Hoofd van zijn jongere broers en zussen

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
DE OUDSTE ZOON VAN DE FAMILIE
DE OUDSTE ZOON ALS WETTELIJK HOOFD VAN DE FAMILIE/GEEN WETTELIJK HOOFD VAN ZIJN MOEDER DE DOUARIERE/WETTELIJK HOOFD VAN ZIJN JONGERE BROERS EN ZUSSEN
HALLO FOLKS,
Binnenkort komt er weer een nieuwe Post van mij, die jullie zeker zal interesseren,
omdat het over een van de fundamenteekste zaken gaat:
HET RECHT OP RESPECT
En er is EEN Bridgerton karakter over wie ik al vaker geschreven heb, die zich zeer RESPECTLOOS heeft uitgelaten over een van de andere karakters, al heeft zij haar dat niet regelrecht gezegd [sowieso is er nooit regelrecht contact tussen hen geweest], maar wel tegenover iemand anders…..
Degene, die zich zo respectloos uitte is ”Een zekere Lady”, die zich nogal verheven voelt boven een groot deel der mensen en het kennelijk niet kon schelen, dat zij met het maken van haar opmerking iemand, van wie zij zelf heel veel hield, diep heeft gekwetst….
GAUW MEER DAAROVER
HOU MIJN WEBSITE IN DE GATEN!
Maar deze Post is om een correctie te plaatsen:
In tegenstelling tot wat ik schreef in eerdere artikelen over de gespannen en later zelfs
vijandige [na Violet’s destructieve rol in de Liefdesaffaire tussen haar zoon Anthony en
opera zangeres Siena Rosso, zie het Engelstalige stuk op mijn website, Nederlandse vertaling kont nog] relatie tussen Violet en haar zoon Anthony, werd de zoon na de dood van zijn vader NIET het wettelijke Hoofd van zijn moeder.
Ik schreef dus dat de oudstezoon, Anthony, het Juridisch Hoofd was van zijn moeder Violet en dat is NIET het geval.
Excuses voor de verwarring.
De verwarring ligt in het feit, dat in de meeste gevallen de Douariere FINANCIEEL afhankelijk was van haar zoon en geen enkele zeggenschap had over het beheer van de landgoederen.
En als de oudste zoon trouwde, moest zijn moeder verhuizen naar het Dower Huis.
En vaak had zij een gedeelde voogdij met haar oudste zoon over de jongere kinderen, afhankelijk van het testament van haar man.
Zie hieronder
Het feit, dat een Dowager niets te zeggen had over het financiele beheer van haar zoon
en ook vaak financieel van hem afhankelijk was, kon leiden tot spanningen,, zoals bij Violet en haar zoon Anthony [waar nog veel meer speelde, zoals te lezen in mijn stukken]
Ik heb de informatie al gecorrigeerd in een van mijn stukken
ZIE VOOR DE JURIDISCHE POSITIE VAN DE OUDSTE ZOON TEGENOVER
ZIJN MOEDER DE DOUARIERE EN ZIJN POSITIE ALS JURIDISCH HOOFD VAN ZIJN BROERS EN ZUSSEN [MET GENUANCEERDE VERSCHILLEN] DIRECT HIERONDER
I
AI
AI
OUDSTE ZOON NIET HET JURIDISCH HOOFD VAN MOEDER WEDUWE
Nee, de oudste zoon werd niet het juridische hoofd over zijn moeder. Hoewel zij financieel vaak volledig van hem afhankelijk was, stond zij juridisch gezien op eigen benen.
⚖️ De Status van Feme Sole
  • Juridische onafhankelijkheid: Een getrouwde vrouw was volgens de wet een feme covert, waarbij haar juridische identiteit opging in die van haar man.
  • Status na overlijden: Zodra haar man overleed, kreeg de weduwe de status van feme sole (ongehuwde vrouw).
  • Eigen rechten: Als feme sole mocht zij zelfstandig contracten afsluiten, rechtszaken aanspannen en eigen bezit of spaargeld beheren.
  • Geen voogdij over de moeder: Een volwassen zoon had geen enkele wettelijke zeggenschap over de persoonlijke keuzes, de verblijfplaats of de juridische handelingen van zijn moeder.
💰 De Paradox: Wel Financiële Afhankelijkheid
De verwarring ontstaat omdat de financiële realiteit de indruk van juridische onderworpenheid wekte:
  • Geen zeggenschap over het landgoed: De moeder had geen enkele juridische stem in hoe haar zoon het geërfde landgoed of het familiekapitaal beheerde.
  • Zakgeld: Als haar dower of jointure (weduwenpensioen) slecht was geregeld in de huwelijkse voorwaarden, moest zij haar zoon smeken om extra geld.
  • Huisvesting: De zoon bepaalde of zij in het hoofdhuis mocht blijven wonen of moest verhuizen naar het dower house.
Kortom: De moeder was financieel ondergeschikt en vaak overgeleverd aan de goodwill van haar zoon, maar zij was juridisch vrij en viel niet onder zijn wettelijke gezag.

II

AI

JURIDISCH/FINANCIELE SITUATIE TUSSEN DE OUDSTE ZOON EN ZIJN MOEDER WEDUWE
AI
In het Engeland van de Regency-periode (1811–1820) bepaalde het wettelijke stelsel van de primogenituur (eerstgeboorterecht) de unieke en vaak complexe verhouding tussen een weduwe en haar oudste zoon.
🏛️ Juridische en Financiële Verhoudingen
  • Verlies van status: De oudste zoon erfde direct alle bezittingen, titels en het familieomheen. De moeder verloor haar positie als maîtresse van het huis.
  • Het weduwdeel (Dower): Weduwen hadden wettelijk recht op het dower. Dit was meestal een derde van de inkomsten uit het landgoed van haar overleden man.
  • Geen eigendomsrecht: Dit inkomen was vaak slechts voor levenslang gebruik. De weduwe kon het landgoed niet verkopen of nalaten.
  • De bruidsschat (Jointure): Vaak verving een vooraf vastgelegd jaarlijks geldbedrag (jointure) het wettelijke weduwdeel om het landgoed intact te houden.
🏡 Huisvesting en Afhankelijkheid
  • Verhuizing verplicht: De weduwe moest het hoofdhuis verlaten zodra de oudste zoon trouwde.
  • Het Weduwenhuis (Dower House): Zij verhuisde vaak naar een kleinere woning op het landgoed of naar een nabijgelegen stad zoals Bath.
  • Financiële afhankelijkheid: Als het vaste inkomen ontoereikend was, hing de levensstandaard van de moeder volledig af van de vrijgevigheid en het morele plichtsbesef van haar zoon.
🎭 Sociale Dynamiek en Voogdij
  • Vrijheid versus controle: Als ongetrouwde vrouw (feme sole) had een weduwe meer juridische vrijheid dan een getrouwde vrouw. Zij kon contracten tekenen en eigen vermogen beheren.
  • Voogdij over jongere kinderen: De overleden echtgenoot bepaalde in zijn testament wie de voogd werd. Vaak deelde de moeder de voogdij over haar jongere kinderen met haar oudste zoon of een oom.
  • Sociale hiërarchie: In het openbare leven behield de moeder haar respect. Binnen het familiesysteem verschoof de macht echter onomstotelijk naar de zoon.
AI
OUDSTE ZOON ALS JURIDISCH HOOFD VAN ZIJN JONGERE BROERS EN ZUSJES
AI
OUDSTE ZOON ALS JURIDISCH HOOFD VAN ZIJN BROERS EN ZUSSEN
[MET ALS KANTTEKENING, DAT HIJ GEEN JURIDISCH HOOFD WAS VAN ZIJN
BROERS ALS ZE EENMAAL 21 JAAR WAREN, MAAR DAT BLEEF VAN ZIJN ONGETROUWDE ZUSSEN
Ja, uw opvatting is juist wat betreft zijn positie als het juridische en financiële gezinshoofd over zijn jongere broers en zussen, maar er is een belangrijk onderscheid met betrekking tot de wettelijke voogdij.
👑 De Oudste Zoon als Gezinshoofd
  • Financiële controle: De oudste zoon erfde het volledige landgoed onder de wet van de primogenituur (eerstgeboorterecht). Zijn jongere broers en zussen kregen geen land en waren volledig afhankelijk van de bepalingen die voor hen waren vastgelegd in het testament of de huwelijkse voorwaarden van hun vader.
  • De heer des huizes: Hij werd de heer van het familiehuis. Zij jongere, ongetrouwde zussen en minderjarige broers hadden geen wettelijk recht om daar zonder zijn toestemming te wonen.
  • Goedkeuring van huwelijken: Hoewel dit niet altijd een strikte wettelijke vereiste was, hadden jongere zussen in de praktijk de goedkeuring van hun oudste broer nodig om te trouwen, aangezien hij hun bruidsschatten (portions) beheerde.
  • Financiering van carrières: Jongere broers waren afhankelijk van de oudste broer voor het kopen van militaire rangen (commissions), het financieren van hun studie aan Oxford of Cambridge, of het toewijzen van kerkelijke ambten (church livings).
⚖️ De Juridische Nuance: Voogdij (Guardians)
Hoewel hij het onbetwiste patriarchale gezinshoofd was, was hij niet automatisch de wettelijke voogd van zijn minderjarige broers en zussen, tenzij hij expliciet zo was benoemd.
  • Het testament van de vader: In de Regency-periode bepaalde het testament van een vader strikt wie de wettelijke voogdij over minderjarigen kreeg.
  • Gedeeld gezag: De vader wees heel vaak zijn weduwe en zijn oudste zoon aan als gezamenlijke voogden, of koos een vertrouwde oom of advocaat om samen met de zoon op te treden.
  • Meerderjarigheid: Zodra een jongere broer 21 jaar werd, werd hij juridisch onafhankelijk van zijn oudere broer, hoewel hij meestal financieel afhankelijk bleef. Ongetrouwde zussen bleven daarentegen hun hele leven onder de sociale en financiële bescherming van hun broer vallen.

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Bridgerton/The Eldest son as Legal Head of the Family/Not legal head of his mother the Dowager/Legal Head of his younger siblings

Violet-S3E4

LADY VIOLET BRIDGERTON
Anthony_2x07-4
ANTHONY BRIDGERTON
THE ELDEST SON OF THE FAMILY
THE ELDEST SON AS LEGAL HEAD OF THE FAMILY/NOT LEGAL HEAD OF HIS MOTHER THE DOWAGER/LEGAL HEAD OF HIS SIBLINGS
HALLO FOLKS
Soon you will read a New Post from me, that I am sure will interest you, because it
concern a fundamental  human principle
THE RIGHT ON RESPECT
And there is one very Bridgerton character I wrote about, who is very DISRESPECTFUL to one of the other characters…
TO REVEAL SOMETHING
It concerns ”A Certain Lady”, who feels rather superior against some others and therefore feels entitled to be condescending, even when she hurts someone she loves…”
WATCH MY WEBSITE!
Now I want to place a correction
In contrary with what I wrote in some of my articles about the strained and later openly hostile relationship [after Violet’s destructive role in Anthony’s love Affair with Siea Rosso/See the article on my website] , between Anthony and his mother Violet, after the death of his father, an eldest son didn’t become the judicial Head of his mother when she became a widow.
I wrote that the son became her Judicial Head
Excuses for the confusion
The confusion lies in the fact, that mostly the mother widow was financially dependent on her son and had no power whatsoever over the decisions her son made about the Estates and the financial management of the household
This led to  tensions like between Anthony and his mother
I have corrected this in underlying article
SEE FOR THE LEGAL POSITION OF THE ELDEST SON TOWARDS HIS MOTHER THE DOWAGER AND HIS POSITION AS LEGAL HEAD OF HIS YOUNGER BROTHERS AND SISTERS [WITH NUANCED EXCEPTIONS]
I
AI
ABOUT THE LEGAL RELATIONSHIP BETWEEN THE ELDEST SON AND HEAD OF THE FAMILY AND HIS MOTHER, THE DOWAGER
CORRECTION:
IN CONTRARY TO THE TEXT ABOVE, AN ELDEST SON AND HEAD OF THE FAMILY IS THE LEGAL HEAD OF HIS YOUNGER BROTHERS AND SISTERS [APART FROM SOME NUANCED EXCEPTIONS], BUT NOT OF HIS MOTHER
BUT HIS MOTHER IS OFTEN FINANCIALLY DEPENDENT ON THEM
THAT GIVES THE CONFUSION
SEE THE TEXT OF THE AI
No, the eldest son did not become the legal head over his mother. Although she was often completely dependent on him financially, she stood on her own two feet from a legal perspective.
⚖️ The Status of Feme Sole
  • Legal independence: By law, a married woman was a feme covert, meaning her legal identity was merged into that of her husband.
  • Status after death: As soon as her husband passed away, the widow gained the status of a feme sole (unmarried woman).
  • Own rights: As a feme sole, she could independently sign contracts, launch lawsuits, and manage her own property or savings.
  • No guardianship over the mother: An adult son had absolutely no legal authority over his mother’s personal choices, residence, or legal actions.
💰 The Paradox: Financial Dependence
The confusion arises because the financial reality created the impression of legal subjugation:
  • No control over the estate: The mother had no legal say in how her son managed the inherited estate or the family capital.
  • Allowance: If her dower or jointure (widow’s pension) was poorly arranged in the marriage settlements, she had to beg her son for extra money.
  • Housing: The son determined whether she could remain in the main house or had to move to the dower house.
In short: The mother was financially subordinate and often at the mercy of her son’s goodwill, but she was legally free and did not fall under his lawful authority.
II
AI
AI ABOUT THE ELDEST SON AS HEAD OF THE FAMILY
Yes, your understanding is correct regarding his position as the legal and financial head of the family over his younger siblings, but there is an important distinction regarding legal guardianship.
👑 The Eldest Son as Head of the Family
  • Financial Control: The eldest son inherited the entire estate under primogeniture. His younger brothers and sisters received no land and were entirely dependent on the provisions left for them in their father’s will or marriage settlement.
  • The Master of the House: He became the master of the family home. His younger, unmarried sisters and underage brothers had no legal right to live there without his permission.
  • Marriage Approvals: While not always a strict legal requirement, younger sisters practically needed their eldest brother’s approval to marry, as he controlled their dowries (portions).
  • Career Funding: Younger brothers relied on the eldest brother to purchase military commissions, fund their education at Oxford or Cambridge, or provide church livings.
⚖️ The Legal Nuance: Guardianship (Guardians)
While he was the undisputed patriarchal head, he was not automatically the legal guardian of his underage siblings unless explicitly appointed.
  • The Father’s Will: In the Regency era, a father’s will strictly dictated who would hold legal guardianship over minors.
  • Shared Authority: The father very frequently appointed his widowed wife and his eldest son as joint guardians, or chose a trusted uncle or lawyer to act alongside the son.
  • Age of Majority: Once a younger brother turned 21, he became legally independent of his older brother, though he usually remained financially dependent. Unmarried sisters, however, remained under their brother’s social and financial protection for life.

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Bridgerton/Had Anthony Bridgerton een doodswens, wat leidde tot het duel met Simon Basset?

tree against golden sun

HAD ANTHONY BRIDGERTON EEN DOODSWENS, WAT LEIDDE TOT HET DUEL MET SIMON BASSET?
[WANNEER IEMAND WORDT BLOOTGESTELD AAN EEN IMMENSE DRUK EN
EMOTIONEEL UITGEPUT RAAKT DOOR TEGENGESTELDE VERWACHTINGEN EN
WENSEN ONTSTAAT EEN STEEDS URGENTERE BEHOEFTE VAN ALLES AF TE ZIJN] 1A]
[Het is best mogelijk, dat Violet dacht met de beste bedoelingen te handelen.
Maar weet je, er komt een moment, dat dat niets meer uit maakt.
Ze moet de gekwetste blik in de ogen van haar zoon gezien hebben,
wanneer ze zijn geliefde weer eens dehumaniseerde, want op een gegeven
ogenblik wist zij heel goed, dat zijn gevoelens voor Siena veel meer
waren dan een ”bevlieging”
En weet je:
Wanneer je iemand diep kwetst maakt het niet meer uit of je bedoelingen
goed of slecht zijn….]

[En laat niemand zeggen dat Violet niet wist in welke panische staat Anthony verkeerde

omdat zij niet op de hoogte was van dat duel
Ze hoefde maar op te kijken van de kanten ”zoals het hoort” huwelijks-stoffen waarnaar ze zat te staren en haar zoon gewoon AAN TE KIJKEN.
Een blik op zijn gezicht zou genoeg geweest zijn……]
https://www.astridessed.nl/bridgerton-had-anthony-bridgerton-een-doodswens-wat-leidde-tot-het-duel-met-simon-basset/
”Ik denk, dat op DAT moment de emotionele Kloof tussen moeder Violet en zoon Anthony het grootst was.
Hij, nog natrillend van de adrenaline en zijn bijna dood ervaring, de kamer binnenkiomend
en zij, zijn moeder, die niet eens naar hem kijkt, niets opmerkt, verloren in haar status-sociale droom van het ”Society Huwelijk van dochter Daphne….”
HALLO FOLKS,
Ik heb het jullie beloofd Lezers en ik hou mijn belofte gestand!
In een eerdere Post over Bridgerton [een van de velen, die ik reeds heb geschreven] [1]
heb ik aangekondigd dat ik zou schrijven over Anthony”s doodswens [2], omdat
juist dat cruciaal is voor zijn hele emotionele staat in Seizoen 1, iets wat soms
over het hoofd gezien wordt, maar waarvan de slimme kijker van Bridgerton zich
op een gegeven ogenblik van bewust wordt.
IK DURF DIT TE ZEGGEN:
Om zijn emotionele staat en karakter te begrijpen, moet men zich bewust zijn
van het Dal van Pijn, waar hij doorheen is gegaan en de reactie, of het gebrek
aan reactie, van de mensen, die dicht bij hem stonden……
DUS DAAR GAAN WE DAN
WE DUIKEN DIEPER IN DE ZIEL EN EMOTIES VAN ANTHONY BRIDGERTON…..
DE JONGE ANTHONY.
Hier zien wij een jongeman, de oudste zoon van een aristocratische Familie,
18 jaar oud, ”die alles heeft”, geld, een hoge positie, een diepe vriendschap, die
hij zeer koestert [3], een warme Familie, warme ouders…..
EN DAN SLAAT HET NOODLOT TOE….
Hij ziet zijn vader sterven voor zijn ogen, door een bij gestoken….[4]
Men kan zich voorstellen wat voor een trauma dit  veroorzaakt…..
Maar veel tijd om te rouwen is er niet, omdat zijn moeder Violet, die haar man ook had zien sterven, zo gebroken door verdriet was, dat ze lange tijd niet kon functionneren
en de hele zorg voor de huishouding en haar zeven andere kinderen overliet
aan haar 18 jaar oude zoon Anthony, die als oudste zoon ook verantwoordelijk was
voor het beheer van de landgoederen en het juridisch Hoofd was geworden van
zijn zeven broers en zusters en ook zijn moeder Violet [5]
Je kunt je voorstellen, wat voor een emotionele last dat legde op de schouders
van een jongeman, die tot nu toe een vrijwel zorgeloos leven geleid had.
Helaas begreep zijn moeder daar helemaal niets van!
Hoewel zij oprecht en diep van hem hield, was ze zo in beslag genomen
door haar eigen rouw, dat het niet tot haar leek door te dringen, dat hij ook
rouwde en behoefte had aan haar moederlijke warmte.
Het enige waarop zij zich focuste was zijn plichten en het sociaal overleven
van de Familie binnen de regels van de Ton [de Britse aristocratische klasse] [6]
waar, inderdaad, een kleine misstap al kon leiden tot sociale uitsluiting..
Nou kan dat wel zijn, maar dat is geen excuus voor gebrek aan moederlijke warmte.
Zijn moeder Violet is slechts gefocust op de fouten, die Anthony maakt [nogal logisch,
hij had immers geen ervaring in het managing van landgoederen] en vergeleek hem steeds met zijn vader [hem er onbewust wreedaardig aan herinnerend, dat zijn
vader het zoveel beter had gedaan, wat nogal logisch was gezien diens
jarenlange ervaring!], herinnerde hem constant aan zijn plichten en toonde nooit enig blijk van waardering voor wat hij allemaal deed, wat bij hem tot de [verkeerde]
conclusie leidde, dat zij niet van hem hield, vooral omdat zij die moederlijke tederheid wel toonde tegenover haar andere zeven kinderen, vooral zijn zuster Daphne [8]
Het zich niet geliefd voelen door je moeder, die die liefde wel geeft aan je broers en zusters kan een diep trauma veroorzaken, dat nog lang kan doorwerken….
SIENA ROSSO
Maar het werd nog erger.Veel erger…….
Op een gegeven moment ontmoette Anthony de operazangeres Siena Rosso
en werd wanhopig verliefd op haar..
En  ”wanhopig” zeg ik niet voor niets.
Want een mogelijk huwelijk tussen een aristocraat en een operazangeres
was in Regency Tijd een no go area en leidde tot een onmiddellijke sociale dood
van de Familie Bridgertion en dat speciaal omdat Anthony als oudste zoon het Hoofd van de Familie was [9]
Dus de bezorgdheid en bezwaren van Violet over de liefdesaffaire van haar
zoon Anthony en Siena Rosso [10] waren begrijpelijk, maar dat was het punt niet.
Waar het om ging was Violet’s totale gebrek aan moederlijke compassie en warmte [op een gegeven moment wist Violet heel goed, dat de relatie van haar zoon met Siena veel
meer was dan een ”bevlieging”] 11] en haar dehumanisering van Siena Rosso, die zij
”a certain soprano” noemde [12], zonder ook maar enigszins rekening houdend met de emotionele impact die haar woorden op haar zoon hadden. [13]
DUBBELLEVEN
Nu is de Horror van het zien sterven van je vader, de zware last op je schouders
[als achttienjarige] van het managen van de Familielandgoederen, het runnen van de dagelijkse huishouding en de opvoeding van je broers en zussen [tijdens de rouwverwerking van je moeder] en je moeders immense druk en voortdurend hameren op je plichten zonder een spoor van warmte, al meer dan genoeg om een
emotionele instorting teweeg te brengen:
Maar voeg daar nog aan toe de wanhopige liefde voor operazangeres Siena Rosso,
een Liefde, die wordt veroordeeld door de Ton [14] en een moeder, die je geliefde
keer op keer dehumaniseert [15] en de emotionele belasting is bijna ondraaglijk.
Een van de weinige uitlaatkleppen die Anthony had, naast de warmte die hij bij
Siena ervoer [16], was de diepe vriendschap met Simon Basset [17]
En vanwege de diepe echte liefde van Anthony voor Siena werd hij gedwongen
tot een ”dubbelleven”
Een leven ”in het licht” met zijn Familie en relaties en een leven ”in het duister” met Siena [18], alsof hij een crimineel was…..[19]
Ondraaglijk pijnlijk wanneer je van iemand van houdt en je enige”misdaad” is, bij je geliefde te willen zijn, vooral als het komt, niet van een vreemde uit de Ton, maar juist
van diegene, die je onvoorwaardelijk zou moeten liefhebben en steunen.
Bij wie je altijd veilig zou moeten zijn.
En JUIST DIE PERSOON, die jou bovenal zou moeten liefhebben, uit niet alleen
bezwaren [wat nog wel begrijpelijk zou zijn, gegeven de omstandigheden [20],juist die persoon
verwoest koudweg je hele wezen, je ziel en zaligheid door je diepste gevoelens
te dehumaniseren, te criminaliseren, te bezoedelen of simpel af te doen als
”onbelangrijk” [21]
DAT IS ZO ONVERDRAAGLIJK
Veel erger dan welke maatschappelijke veroordeling ook [22]
DUEL
Het is onvermijdelijk, dat al die diepe emoties littekens kerven in
iemand”s ziel en leiden tot gevoelens van diepe neerslachtigheid en frustratie.
In deze door diepe verwarring en pijn verkerende gemoedstoestand daagt
Anthony zijn beste vriend Simon Basset uit tot een duel om de eer van zijn
zuster Daphne [23] [daarover een andere keer]
Nu is het al heel wat  om je beste vriend tot een duel uit te dagen,
wiens meest intieme kanten jij hebt gezien en hij de jouwe……[24]
MAAR ER IS MEER…..
In de getroubleerde, emotionele staat waarin Anthony verkeerde, heen en weer
geslingerd tussen zijn liefde voor Siena tegenover zijn verplichtingen aan zijn Familie en zijn maatschappelijke verplichtingen, eisten verborgen motieven en emoties hun tol.
WANT
WANNEER IEMAND WORDT BLOOTGESTELD AAN EEN IMMENSE DRUK EN
EMOTIONEEL UITGEPUT RAAKT DOOR TEGENGESTELDE VERWACHTINGEN EN
WENSEN ONTSTAAT EEN STEEDS URGENTERE BEHOEFTE VAN ALLES AF TE ZIJN…[25]
Dus Anthony’s opgewonden en super emotionele gemoedstoestand,
verhoogd door de kans om te sterven in het duel [in Regency Tijd was bij een duel het doodsrisico groot] [26] focuste zich op twee dramatische en verstrekkende gevolgen:
Of hij overleefde het duel [nadat hij zijn beste vriend Simon gedood had op dat mistige veld, vlakbij Primrose Hill ] [27] en vluchtte met Siena; ”free from the very rules that keep us apart”  [28]
Of hij sneuvelde in het duel, bevrijd van de enorme geestelijke druk, te worden
verscheurd tussen de liefde voor Siena en zijn sociale en familiale verplichtingen
als Viscount [Burggraaf]……[29]
 
 
 
EEN DOODSWENS?
 
 
Dus 
JA
 
 
Gezien zijn traumatische achtergrond [getuige zijn van de dood van zijn vader],
gecombineerd met het constante en immense gehamer van zijn moeder
op zijn plichten, haar dehumanisering van de vrouw van wie hij hield [30] en zijn pijnlijke pogingen om zijn emotionele liefdesverlangens te combineren met
zijn maatschappelijke rol als Viscount [Burggraaf] leidden ertoe-dat durf ik wel te zeggen, dat hij een doodswens had [31], waardoor dat duel stiekem wel goed 
uitkwam……
Er was een kant van hem, die gewoon van alles af wilde zijn [32]
Zo actief hield hij zich met de dood bezig, dat hij Benedict een Eed liet zweren,
voor Siena te zorgen als hij het niet zou overleven, een ultiem blijk van zijn liefde, omdat zijn laatste gedachten voor haar waren…. [33]
 
Nu wilde Anthony oprecht voor de Eer van zijn zuster Daphne vechten [34] [hoewel het hem ongetwijfeld door zijn ziel scheurde dat hij daarvoor misschien zijn beste vriend Simon zou moeten doden] [35] en daarna vluchten met Siena [36].
Maar er was OOK de wens om van alles af te zijn….
En diep tragisch maar niet minder waar was het nu juist door de immense
druk van zijn moeder, dat hij naar de afgrond van de dood werd gedreven iets
waar Violet totaal geen idee van had! [37]
Had ze het WEL geweten, dan zou ze er ongetwijfeld kapot van geweest zijn,
want ze hield  door alle koelheid en ruzies heen, diep van hem-ook al merkte
hij daar jarenlang weinig van……
En hoe raar het ook mag klinken:
Vanuit haar gezichtspunt ”hielp” zij hem juist met een harde houding
door van hem een ”sterke Leider” te maken en meende ”met de beste
bedoelingen” te handelen
 
 
Nu is het best mogelijk, dat Violet dacht met de beste bedoelingen te handelen.
Maar weet je, er komt een moment, dat dat niets meer uit maakt.
Ze moet de gekwetste blik in de ogen van haar zoon gezien hebben,
wanneer ze zijn geliefde weer eens dehumaniseerde [38], want op een gegeven
ogenblik wist zij heel goed, dat zijn gevoelens voor Siena veel meer
waren dan een ”bevlieging” [39]
En weet je:
Wanneer je iemand diep kwetst maakt het niet meer uit of je bedoelingen
goed of slecht zijn……..
WANT BEDENK LEZERS
Door de kloof, geschapen door haar gebrek aan moederlijke warmte en de
dehumanisering van de vrouw van wie hij hield, had zij geen idee wat er werkelijk in het leven van haar zoon speelde.
Zij had dus zomaar een bericht van zijn dood kunnen krijgen, zonder
ook maar te weten DAT er een duel was geweest…..
 
 
EMOTIONELE KLOOF/WANHOOP EN KANT
 
 
Het meest schokkende in de emotionele kloof tussen moeder Violet en zoon
Anthony was de scene waarin hij na het duel [dat nooit had plaatsgehad
vanwege de moedige interventie van Daphne] [40], thuiskomt, nog natrillend
van de adrenaline omdat hij de dood in het aangezicht heeft gezien…..[41]
 
Hij komt dus de kamer binnen en treft Violet aan, midden tussen stoffen
voor het aanstaande huwelijk van zijn zuster Daphne.
Zijn moeder kijkt nauwelijks op en zegt iets als ”O ben je daar”, we moeten
beslissen welk soort kant Daphne zal dragen op haar huwelijksdag” en ze 
voegt er ook nog aan toe hoe ”belangrijk” dat wel niet is….[42]
Voor de emotionele ontreddering van haar zoon heeft zij totaal geen oog [43]
 
 

En laat niemand zeggen dat Violet niet wist in welke panische staat Anthony verkeerde

omdat zij niet op de hoogte was van dat duel
Ze hoefde maar op te kijken van de kanten ”zoals het hoort” huwelijks-stoffen waarnaar ze zat te staren en haar zoon gewoon AAN TE KIJKEN.
Een blik op zijn gezicht zou genoeg geweest zijn…
Niet voor niets wordt gesproken van haar ”Schokkende Onwetendheid” [44]
Ik denk, dat op DAT moment de emotionele Kloof tussen moeder Violet en zoon Anthony het grootst was.
Hij, nog natrillend van de adrenaline en zijn bijna dood ervaring, de kamer binnenkiomend
en zij, zijn moeder, die niet eens naar hem kijkt, niets opmerkt, verloren in haar status-sociale droom van het ”Society Huwelijk van dochter Daphne….”
KANSLOZE SCHADEBEPERKING DOOR VIOLET/HAAR SELECTIEVE ”EXCUSES” IN SEIZOEN 2
Want met het maken van selectieve en onvolledige excuses in Seizoen 2 [45],
[hoewel revolutionair in een tijd van extreem autoritaire verhoudingen tussen
ouders en kinderen] [46], wanneer de schade in de Siena Liefdesaffaire al definitief is,
kan de emotionele tol niet herstellen, die haar zoon Anthony heeft betaald door haar sabotage van zijn liefdesaffaire en haar dehumanisering van de vroiuw van wie hij hield [47]
Vooral omdat Violet VOOR HET SIENA GEDEELTE nooit haar excuses heeft aangeboden!
Niet voor de Sabotage
Niet voor de Dehumanisering [48]
Niet voor het Litteken op de Ziel van haar zoon…… [49]
Dan is er iets onherstelbaar beschadigd
Want let maar op de gereserveerde manier waarop Anthony haar
”excxuses” aanvaardt.
Hij zegt letterlijk:
” Anthony:  : “There is no need for apologies. The past is the past.” [50]
 
 
Hij is blij met de erkenning van haar emotionele afwezigheid na de dood van zijn vader en dat was, zoals ik al heb gezegd, voor de Regency Tijd al heel wat [51],
maar zijn diepste trauma en vooral de rol die zijn moeder daarin gespeeld heeft [simpelweg het mens zijn van zijn geliefde ontkennen/hem bestoken met alle
mogelijke huwelijkskandidaten, maakt niet uit wie, als het maar ”nette” meisjes zijn van zijn stand] [52], laat zij onbenoemd.
Daarom ook blijft hun band afstandelijk.[52A]
Werkbaar, voor de familie, maar meer is het ook niet [53]
DUS JA
ANTHONY BRIDGERTON HAD EEN DOODSWENS!
Te wijten aan het trauma over zijn vader, de last van zijn verantwoordelijkheden, reeds op jonge leeftijd [18 jaar], maar vooral vanwege zijn moeder’s immense pressie en haar
dehumaniserende opstelling tegen de vrouw van wie hij hield, wat hem diep heeft gekwetst. [54]
 
EN JA
Het is best mogelijk, dat Violet dacht met de beste bedoelingen te handelen.
Maar weet je, er komt een moment, dat dat niets meer uit maakt.
Ze moet de gekwetste blik in de ogen van haar zoon gezien hebben,
wanneer ze zijn geliefde weer eens dehumaniseerde [55], want op een gegeven
ogenblik wist zij heel goed, dat zijn gevoelens voor Siena veel meer
waren dan een ”bevlieging”
En weet je:
Wanneer je iemand diep kwetst maakt het niet meer uit of je bedoelingen
goed of slecht zijn…
Pijn is pijn, vooral als je enige ”misdaad” is, dat je diep van iemand houdt….[56]
Dat is nog het meest hartverscheurende in dit DRama
ASTRID ESSED
IK SCHRIJF BINNENKORT MEER OVER DE EMOTIONELE STAAT VAN ANTHONY
BRIDGERTON EN DE SELECTIEVE EXCUSES VAN VIOLET IN SEIZOEN 2
HEEFT ANTHONY ZIJN MOEDER ECHT VERGEVEN?
WE ZULLEN ZIEN……
FIJN DAT JULLIE WEER DEZE REIS MET MIJ HEBBEN GEMAAKT!
SEE YOU SOON!
NOTEN
NOOT 1A
NOTEN 1 EN 2
NOOT 3
NOOT 4
NOOT 5
NOOT 6
NOOT 7
NOOT 8
NOOT 9
NOOT 10
NOOT 11
NOOT 12
NOOT 13
NOOT 14
NOOT 15
NOOT 16
NOOT 17
NOOT 18
NOOT 19
NOOT 20
NOOT 21
NOOT 22
NOOT 23
NOOT 24
NOOT 25
NOOT 26
NOOT 27
NOOT 28
NOOT 29
NOOT 30
NOOT 31
NOOT 32
NOOT 33
NOOT 34
NOOT 35
NOOT 36
NOOT 37
NOOT 38
NOOT 39
NOOT 40
NOOT 41
NOOT 42
NOOT 43
NOOT 44
NOOT 45
NOOT 46
NOOT 47
NOTEN 48 EN 49
NOOT 50
NOOT 51
NOOT 52
NOOT 53
NOOT 54
NOOT 55
NOOT 56

Reacties uitgeschakeld voor Bridgerton/Had Anthony Bridgerton een doodswens, wat leidde tot het duel met Simon Basset?

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