Content Warning: This section contains descriptions of racism, enslavement, sexual coercion and assault, as well as racist language and outdated terminology for race and gender.

“THE MAN’S BROTHER, LATER THE MOTHER-SHOWMAN, LATER THE GRADE-SCHOOL CHUM. Behind that curtain just yesterday awaited:

Wild Female Jungle Creature. Of singular anatomy. Physiqued

in such a backward rounded way that she outshapes

all others. Behind this curtain just yesterday alive uhwaits

a female—creature

an out—of towner

whos all undressed awaiting you

to take yr peek. So youve heard.

ALL. We’ve come tuh see your Venus.”

The introduction to the exhibition of the Venus outlines the racist ideology supporting the success of her show. When All declares its interest in the Venus, it is implicitly stating the desire to see a “Wild Female Jungle Creature,” and it creates a barrier between ALL as human and the Venus as something Other.

“THE NEGRO RESURRECTIONIST. Tail end of our tale for there must be an end

is that Venus, Black Goddess, was shameles [sic], she sinned or else

completely unknowing of r godfearin ways she stood

totally naked in her iron cage.

She gaind fortune and fame by not wearin a scrap

hidin only the privates lippin down from her lap.

When Death met her Death deathd her and left her to rot

au naturel end for our hot Hottentot.

And rot yes she would have right down to the bone

had not The Docteur put her corpse in his home.

Sheed a soul which iz mounted on Satans warm wall

while her flesh has been pickled in Sciences Hall.”

The Negro Resurrectionist reveals the end of the play in the Overture, preparing the audience for the inevitable countdown to the Venus’s death throughout the remainder of the performance. Even after death, this passage reveals, the Venus would remain the possession of the doctor and of scientists, broadly, emphasizing the degree to which the Venus would be objectified.

“THE BROTHER. How would you like to go to England?

THE GIRL. England! Well.

‘England.’ Whats that?

THE BROTHER. A big town. A boat ride away.

Where the streets are paved with gold.

THE GIRL. Gold, Sir?

THE BROTHER. Come to England. Dance a little.

THE GIRL. Dance? The Brother Folks watch. Folks clap. Folks pay you gold.

THE GIRL. Gold.

THE BROTHER. We’ll split it 50-50.

THE GIRL. 50-50?

THE BROTHER. Half for me half for you.

May I present to you: ‘The African Dancing Princess!’

THE GIRL. A Princess. Me?”

The “diva” persona of the Venus begins in the deal she makes with the Brother, in which she thinks he is promising to make her a princess. The potential to earn money and fame draw the Venus into the Brother’s deception, undermining the Venus’s later assertions of agency.