Similarly to Raisa, I also looked at ‘Tis Pity She’s a Whore in terms of doubling and mirroring. In Act 1, Scene 2 when Annabella and Giovanni confess their love to each other, they recite the same lines to each other in what resembles a mock marriage ceremony. She kneels first and says “On my knees, / Brother, even by our mother’s dust, I charge you, / Do not betray me to your mirth or hate; / Love me, or kill me, brother” (1.2.243–246). Giovanni then repeats the same lines, calling her “Sister,” except he changes “our mother’s dust” to “my mother’s dust” (1.2.247). Based on this simple word change in otherwise identical speeches, it seems that Annabella is more closely holding on to their endogamous status, whereas Giovanni claims the family ancestry for himself. In terms of Quilligan’s argument, it seems to me that this small difference shows the extent to which Annabella is conscious of keeping herself within the family and claiming her sociopolitical connections.

In Act 1, Scene 3 when Cardinal, Ferdinand, and the Duchess are discussing the possibility of her remarrying, the two brothers use several arguments to try to talk the Duchess out of remarrying, though she sees right through them. At one moment, Ferdinand says to her: “Your darkest actions, nay your privatest thoughts, / Will come to light” (1.3.23-24). This reminded me of the scientia sexualis discussed by Foucault, which centers around the ritual of confessing ones sexual transgressions and desires, which first requires some level of secrecy. Ferdinand suggests a forced revealing of her choosing a new husband/sexual partner, not allowing her any chance at privacy in the court life. Not just her actions but her “privatest thoughts” will be revealed implying a sort of forced confession. I was interested in how this notion will develop throughout the rest of the play, for though the Duchess is married in secret, it certainly cannot remain private for long.