Philomela strikes back: Adultery and mutilation as female self‐assertion

The language of witchcraft and adultery in English Renaissance writing is marked by common metaphors: both are considered female crimes that threaten to subvert the patriarchy; both employ images of fragmentation. This cultural equation is embodied in the figure of the drama's adulteress. First, she is invariably linked with witchcraft by her betrayed husband. Second, she is threatened with brutal mutilation, often bodily dismemberment. The actual treatment of adulterers by the English court system enacts no such violence, but punishes through public shame. However, the treatment of suspected witches offers a useful paradigm: the court's search for the witch's mark, the brand of the devil, as the sign of a true witch; and the accuser's action of “scratching” a witch as a remedy for the witch's enchantment. Ultimately, the patriarchal attempts to contain both adultery and witchcraft are futile: woman retains possession of her power to subvert, whether her husband — or society — marks her with physical violence or not.