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QUADROON. A person who is descended from a white person, and another person who has an equal mixture of the European and African blood. 2 Bailey, 558. Vide Mulatto.

References in periodicals archive ?
During one of their stays in Washington, Hannah is re-united with Lizzy, the quadroon slave who accompanied their mulatta first mistress to Lindendale, and Lizzy relates what has transpired on the plantation with its current residents, Mr.
These novels are Miralda; or, The Beautiful Quadroon (1860-1861), Clotelle: A Tale of the Southern States (1864), and Clotelle; or, The Colored Heroine (1867).
73), and that historical commentators describe the quadroons as 'an unfortunate race'.
Virginia's fascination with her research involving les gens de couleur libre for one of Margaret's books allows Morris the platform to set the mixed race issues of historic New Orleans in general, and the notorious Quadroon Balls in particular, against the mixed blood issues in Virginia's own New Zealand family.
The word here is generic, and includes quadroons, octoroons, and all persons having any perceptible trace of African blood.
6)This rhetoric, again, is derived from that of Rosalie in "The Quadroons.
1) In the first chapter of the novel, for example, framing his initial presentation of Clotel, Brown abstracts the quadroon as a woman of "fascinating beauty" and sartorial excess: "not a few" of these women "are dressed in the most extravagant manner," and most "have no higher aspiration than that of becoming the finely-dressed mistress of some white man" (63).
5) This continuum of colour and `blood', and the intricacies involved in its articulation, are illustrated for the modern reader when Neville, in passing, alludes to a difference of type between quadroons and quarter-castes (1947:72).
For the first group of photographs (between pages 56 and 57), the captions read: `Three Quadroon Sisters', `First Cross Half-Blood Girls', and `Half-Blood Girl'.
Collins writes: "One beautiful morning, in a quiet New England village, far from their own home, Richard Tracy and the beautiful quadroon, Lina, were united for life" (24).
Harper had spoken against what she felt were the degrading moral implications of this plot as early as 1869 in her endnote to Minnie's Sacrifice: "While some of the authors of the present day have been weaving their stories about white men marrying beautiful quadroon girls, who in so doing were lost to us socially, I conceived of one of that same class to whom I gave a higher holier destiny .
Brown had previewed most of these changes (Farrison 388) in the serialized version of his novel which he published in the Weekly Anglo-African from December 1, 1860 to March 16, 1861 under a completely different title: Miralda, Or, The Beautiful Quadroon.