In the previous chapter, I argued that in the traditional bourgeois drama both seduction and the aristocratic characters associated with seduction are "raced" sites, because both are outsiders to the "white space" of the bourgeois home. The white bourgeois daughter's seducibility designates her to the realm of liminal whiteness, because it is through her that the aristocratic vice of the outsider enters the family. This chapter analyzes Friedrich Wilhelm Ziegler's drama Die Mohrinn, (The Mooress) which effectively depicts the shifts in the traditional bourgeois conflict when the main focus is not the white bourgeois daughter, but the black female, a former slave, who finds herself an inhabitor of white space.