The Dramatic Function of the Running Slave Rhoda (Acts 12.13–16): A Piece of Greco-Roman Comedy

Abstract

Rhoda, the slave maid (παιδισκη) in Acts 12.13–16, has been seen as a classic example of a touch of realism that lends authenticity to Luke's narrative: the vivid and precise detail of her flighty joy presents such a candid snapshot of her individuality and eccentric Christian faith that it could only come from a historical source, perhaps the eyewitness reminiscence of Rhoda herself. While less willing than earlier commentators to accept the description in its final form as factual, more recent scholars still perpetuate the goal of discerning the historical core behind the account and continue to read it as a piece of realistic drama. Many, to be sure, have detected in the scene the presence of other elements, such as comedy and extraordinary suspense, but this idea is downplayed or subordinated as further evidence of realism; a few discount the idea as a modern reading. Nonetheless, a consensus emerges: Rhoda's dramatic function in the narrative is to heighten realism. Some scholars then discover a further theological theme of liberation: Rhoda's genuine, assertive behaviour to speak her mind ‘breaks down’ the oppressive hierarchy between master and slave – revealing Luke's so-called subversion of slavery as a social institution – and the subsequent vindication of Rhoda's speech as trustworthy authenticates and uplifts the Christian witness of women (cf. Gal 3.28).

‘Take Up Your Mat and Walk’: [Dis-] Abled Bodies of Communication and Early Christian Wandering

“…Jesus walks. He does not hurriedly run like the crowds in Mark 9:25, or the comedic Zaccheaeus in Luke 19:1-10 (see Solevag 2020), or the slavish Rhoda in Acts 12:13-16 (see Harrill 2000), nor does he frantically wander like the unclean spirits in the synoptics (Mat 12:43//Lk 11:24) — he walks — along roads, besides (and at least according to tradition, on water, through cornfields, hills, wildernesses and rural villages, and it is while out walking he met others, ministered to them, and called his followers (Rodriguez 2012: 48). Little direct information in the synoptics is given on the performances of Jesus and/or his disciples (gait; pace etc.…”

The contrasting structure of Acts 12:5−17: A spatial reading

“…The light at the angel's appearance, after all, could easily have drawn their attention (Pervo 2008:304). The minimal role of the guards is best explained when viewed in comparison with the active Rhoda, who has been convincingly likened to a servus currens [running slave] straight from Roman comedy (Harrill 2000). Furthermore, it is worth noting the gender difference between the guards (who were most certainly men) and Rhoda (a woman).…”

The Genre of Acts: Moving Toward a Consensus?

“…Schlierling and Schlierling 1978;Praeder 1981) before Pervo's eloquent apology for rethinking the fictive nature of Acts, in the wake of Pervo's monograph comparisons between Acts and ancient novels became increasingly common in leading peer-reviewed publications (e.g. Dawsey 1989;Alexander 1995;Ascough 1996;Harrill 2000;Schwartz 2003).…”