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ii
WOMEN IN ANTIQUIT Y
Cleopatra
A Biography
Duane W. Roller
Clodia Metelli
The Tribune’s Sister
Marilyn B. Skinner
Galla Placidia
The Last Roman Empress
Hagith Sivan
Arsinoë of Egypt and Macedon
A Royal Life
Elizabeth Donnelly Carney
Berenice II and the Golden Age of Ptolemaic Egypt
Dee L. Clayman
Faustina I and II
Imperial Women of the Golden Age
Barbara M. Levick
Turia
A Roman Woman’s Civil War
Josiah Osgood
Monica
An Ordinary Saint
Gillian Clark
Theodora
Actress, Empress, Saint
David Potter
Hypatia
The Life and Legend of an Ancient Philosopher
Edward Watts
Boudica
Warrior Women of Roman Britain
Sabina Augusta
Corey T. Brennan
Sabina Augusta
An Imperial Journey
Corey T. Brennan
Cleopatra’s Daughter
And Other Royal Women of the Augustan Era
Duane W. Roller
Perpetua
Athlete of God
Barbara K. Gold
PERPETUA
AT H L E T E O F G O D
Barbara K. Gold
1
iv
1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.
1 3 5 7 9 8 6 4 2
Preface vii
Introduction 1
1 Perpetua’s Passio: Text, Authorship, Authenticity 9
2 And I Became Male: Gender and the Athlete 23
3 A Matter of Genre and Influence: the Passio and Greco-Roman Pagan
and Christian Narratives 47
4 Carthage: Pagan Culture, Religion, and Society in the High
Roman Empire 67
5 Carthage: The Early Christian Community 83
6 Perpetua’s Life: Family (Natal and Christian), Education,
and Social Status 103
7 The Conditions of Martyrdom in the High Roman Empire 121
8 The Nachleben of Perpetua: Her Unwitting Legacy 141
Appendix 165
Notes 175
Bibliography 223
Index Locorum 241
Subject Index 247
vi
Preface
I have been living with Perpetua now for several years, and it has
often been a frustrating relationship. There are so many unanswerable
questions and so few sources of information. When the editors of the se-
ries and at Oxford University Press first extended the invitation to write
a book on Perpetua, it was proposed that I write her biography. I soon
realized that a biography was impossible because we know so little about
her life. We have one short chapter in which the editor of her narrative
tells us a few things about her (Vibia Perpetua was “well-born, educated
in the manner of a free person, and married in a respectable fashion”).
And we have the part of the narrative that is by Perpetua—if it really
is by Perpetua—in which we hear of her visions and about her father
and small child. Apart from her own narrative, everything about her is
written by others, mostly men, who have sought to remodel her into the
Perpetua they wished her to be.
Thus writing this volume has been a lengthy and difficult journey,
one in which I have received much help from others in a variety of ways.
When I was first starting to think about Perpetua, I went to Tunisia and
was privileged to be a visitor to a group there for a seminar on Perpetua
led by Thomas Heffernan. It was illuminating and inspiring not only to
see the places where she might have lived and died but also to benefit
from the company of people there like Tom Heffernan, Kate Cooper,
Candida Moss, Stephanie Cobb, and many others. I have since taught
Perpetua in seminars, given many talks on her at various conferences
and universities, and had the benefit of learning from the many people
I have encountered at my own institution and at other colleges and
universities. My colleague, Nancy Rabinowitz, has been listening to
me talk about Perpetua and responding with helpful thoughts for far
vi
too long. Judith Perkins, through her writings and in conversation, has
helped me think through whether Perpetua really existed or wrote this
narrative at all. James Rives has been an enormous help with his many
fine suggestions and his patience answering my emails. Brent Shaw, both
in his writings and his visit to my senior seminar, has added greatly to
my understanding of Perpetua.
I give special thanks to the editors of this series, Ronnie Ancona and
Sarah Pomeroy, for extending the invitation to write this book; also my
thanks go to the editor at Oxford University Press, Stefan Vranka, who
prodded me when I needed it and waited patiently for me to finish.
Finally I want to dedicate my book to some of the strong women in
my life of whom Perpetua would be proud: Annabel Calvo Gold, Dana
Calvo, and Mary Agnes Perpetua Eileen Doyle Zénon. And to the men
in my family, who have always supported and encouraged brave and
strong women: my husband Carl, and my son and Annie’s father, Scott
Gold. They would never have tried to remake Perpetua.
Barbara K. Gold
October 2017
viii Preface
Map: Roman Africa (after J. B. Rives, Religion and Authority in Roman Carthage from Augustus to Constantine
[Oxford: Clarendon, 1995], map 3), redrawn by OUP.
x
Map: The Territory of Roman Carthage (after J. B. Rives, Religion and Authority in Roman Carthage from Augustus to
Constantine [Oxford: Clarendon, 1995], map 4), redrawn by OUP.
Amphitheater in Carthage. Tunisia—Carthage (Carthage), archaeological site
(a World Heritage Site by UNESCO, 1979). Roman Amphitheatre. Universal
Images Group North America LLC / DeAgostini / Alamy Stock Photo. See
Chapters 4 and 7.
xi
Saint Perpetua and Saint Felicitas, early Christian mosaic, from the
Oratory of St. Andrea, Archiepiscopal Chapel, Ravenna. ART 187745.
Photo Credit: Amphitheater in Carthage. Tunisia—Carthage (Carthage),
archaeological site (a World Heritage Site by UNESCO, 1979). Roman
Amphitheatre. Universal Images Group North America LLC / DeAgostini /
Alamy Stock Photo.
PERPETUA
Perpetua, triumphal arch, Basilica of Eufrasius, Poreč, Croatia. Photo: Renco
Kosinozic. Credit: Renco Kosinozic, Henry Maguire, and Anne Terry, Poreč
Archive, 1990s–2000s, Dumbarton Oaks. Trustees for Harvard University.
Washington, DC.
2 Perpetua
we accept Perpetua as a historical figure whose voice still connects to us
from a great distance, or is she a part of a literary fiction that embroiders
on what is perhaps a historical kernel and creates a largely ahistorical
account that entwines contemporary debates with a highly rhetorical
structure? We are caught on the horns of a dilemma. If we claim to
hear from Perpetua the evocative power of a young woman who volun-
tarily went to her death, a willing victim, we might stand accused of a
naive and unsophisticated reading of the Passio.6 But, if we fail to claim
Perpetua as one of our earliest female voices from the past and cast her,
along with other women from antiquity, into the mold of a fictionalized
tool of male authors and editors, we gain an interesting text but lose a
small, precious slice of historical reality.
Can we reconcile these two well-established and firmly argued
positions without having to choose between them? Shifting the argu-
ment over the particularity of Perpetua’s status and existence to a larger
set of issues can help us to reposition these questions. The big question
of whether the martyr texts should be read as historical records or as
fictional accounts is embedded not only in the individual martyr stories
like Perpetua’s but in the whole history of early Christianity. How do
we know what to take as truth and what has been exaggerated (by the
Christians or their opponents) to make a point? Readers and scholars
have been inclined to believe the narrative found in early Christian
authors and church fathers that indicates that there was rampant perse-
cution of Christians in the pre-Constantinian period. Was this histori-
cally the case, or was the frequency and intensity of these persecutions
exaggerated by Christian authors in order to proselytize, to make their
case, and to create in themselves an Other in opposition to their pagan
countrymen? Candida Moss, in her book The Myth of Persecution: How
Early Christians Invented a Story of Martyrdom, argues for the latter po-
sition.7 There were, of course, periods of persecution of Christians and
others by the Romans, but the Christians’ own stories of victimization
and pain and the embroidery of their stories by later hagiographers tell
a fictionalized story. As Moss claims, “Despite the dubious historicity
of these stories, we know that they were preserved for entertainment,
for moral instruction, and to encourage people . . . . If we want to use
these stories, we need to be aware of their limitations.”8 Moss separates
the qualities and virtues that characterize the martyrs from believing
in the “false history of persecution and polemic that has grown up
around them.”9
Introduction 3
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