Scott’s struggles to maintain authorial control against the incursions of Merrilies’s witchlike powers compels him to consciously assume the more distanced role of an antiquarian collecting stories of female enthusiasm in subsequent novels, offering up prognoses of mental instability for the witches in The Antiquary, The Pirate and Ivanhoe. This chapter also introduces an entirely new and different witch figure: Rebecca, a lovely young Jewish healer whose potential marriage to Ivanhoe is challenged by racial prejudice and misogynistic suspicions that brand her as a witch. Although Rebecca is rescued from her trial as a witch, she does not receive the happy ending she deserves. Scott writes her out of the narrative in the end when she and her father decide to leave England. Yet Ivanhoe’s choice of a bride – the mild and dutiful Rowena – pales by comparison to Rebecca, inviting readers to envision an alternative ending: the union of Rebecca and Ivanhoe, and the socially transformative potential of this marriage between a Christian and a Jew, the story’s hero, and a purported witch.