The Witch of Edmonton presents a familiar image of evil articulating domesticity and inwardness around the dialectics of inside and outside. Witchcraft and domesticity are linked by the moralisation of space and by the juxtaposition of the dangerous and the familiar. Because the social obsession with surveillance and the frontier between the public and the private is inescapable, the boundaries of the house and of the body are problematised. This parallel is reinforced by the comparisons between house and body which pervade the play so that domesticity appears as the pivotal concept relating witchcraft, house, community and inwardness.
