Closed Reading Essay

Everett L. Wiebe (11107871)

HIST 211

February 7, 2020
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This paper argues that passages 20-21 in The Passion of SS. Perpetua and Felicitas

(added by the editor) were driven by early forms of ecclesiastical sexism; furthermore, while

they attempt to downplay Perpetua’s character based upon her gender they unintentionally

provide further evidence towards the authenticity of the text’s narrative. Additionally, for the

purpose of this paper (though widely agreed upon) the editor, though unknown, is assumed to

be an ecclesiastic Roman male.

The first paragraph contains analyzation of passage 20; while the second paragraph

contains analyzation of passage 21: both are held in contrast with this paper’s thesis, with the

aim to provide further evidence of authenticity as it relates to Perpetua’s autobiography.

Perpetua, as depicted in her autobiography, is subversive to Roman law and its

traditional values: this is made apparent through her documented interactions with her father,

the Roman governor Hilarianus, and her rejection of her expected maternal role to her baby. 1 I

mention these examples specifically because in the editor’s rendition of Perpetua’s martyrdom

he places her subversive character through an ecclesiastical lens; that is, one that specifically

fits female gender norms of the time. This stark comparison begins in the opening lines of the

martyrdom, where the editor contrasts the previous battles of Saturninus and Saturus – in

which they face a variety of different beasts – with the mad heifer that the young women are to

face.2 The reason for this particular beast he states, is so that its sex is matched with that of the

women.3 Proceeding this, the editor lays some additional groundwork in which to shift readers

perceptions of Perpetua (and Felicitas); that is, they are sent out into the arena naked (albeit in

1
trans. H. R. Musurillo, The Acts of the Christian Martyrs (Oxford: Clarendon Press, 1972), 3.1-5, 6.7-10, 6.14-17.
2
Ibid, 20.1
3
Ibid, 20.2.
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nets) which results in a general disgust (or horror) from the audience. 4 This horrified response

the editor states, is due to Perpetua resembling a delicate young girl and Felicitas being a

woman fresh from childbirth, adding for effect that her breasts were still lactating. 5 Thankfully,

the crowd was calmed when the women returned wearing unbelted tunics, as if their modesty

somehow removed the horror still fresh in their mind.6 This preservation of modesty continues

into the next two lines of the passage where the editor suggests that after being knocked down

by the heifer: Perpetua decides to adjust her tunic (as it was ripped) to cover her thighs 7, and

then proceeds to ask for a pin so that she can fasten her untidy hair.8 The propagation of

composure and modesty are clearly the values thought to be of the utmost importance here,

especially when one (specifically a woman) is to be a symbolic representative of God; this, I

argue is what the editor wants readers to believe: rather than to challenge or endanger

contemporary Christian beliefs by leaving Perpetua’s subversive character untouched. This brief

encounter with the heifer is apparently enough to appease the crowd and so, after helping

Felicitas up from the ground (after all, she had been ‘crushed’ by the beast) both women return

through the Gate of Life.9 It is here where Perpetua is assisted by a catechumen named Rusticus

for her adrenaline was finally wearing off and exhaustion had begun to set in.10 The editor

states it was as if “she awoke from a kind of sleep” which he writes is a result of her being

“absorbed in the ecstasy of the Spirit”.11 Of course, the editor would have readers believe that

4
Ibid, 20.3.
5
Ibid, 20.4.
6
Ibid, 20.5.
7
Ibid, 20.7.
8
Ibid, 20.8.
9
Ibid, 20.9-11.
10
Ibid, 20.12.
11
Ibid, 20.13.
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Perpetua was merely a vessel in which God was working through, rather than admitting a

female could survive such a masculine feat of her own volition.

In passage 21 the editor feels the need to make an additional contrast between Saturus’

and Perpetua’s martyrdom. An important thing to note here is the brief change in diction upon

describing the specifics of Saturus’ second battle; that is, the strong emphasis placed on blood.

The editor states that Saturus is “drenched in blood”, so much so that the crowd shouts “Well

washed! Well washed!” which he specifies is a phrase normally used for greeting those in the

public baths.12 If one were to quickly compare the diction between the two passages, it is as

night is too day: Perpetua and Felicitas being labelled as young, delicate women and Saturus

being so drenched in blood its as if he has taken a bath filled with blood. In addition, the editor

makes sure to add that Saturus, like Perpetua, thinks little of himself or his pain after battle; and

so, as the selfless man he is (even with his recently acquired leopard kiss of death) he tells the

soldier Prudens to remember him, and remember the faith.13 I bring this up as an important

note because it is a recurrent pattern throughout these passages: whatever Perpetua (the

female) can do, so too can it be done by her brother Saturus (the male). Readers are then taken

into the final moments of the martyrs; the bodies are brought out into the open so that the

crowd can witness their death.14 The editor uses this last section of the martyrdom to complete

his narrative of Perpetua, placing an emphasis on the order in which the martyrs are killed.

Saturus is the first to climb the stairway and the first to die, “[f]or once again he was waiting for

Perpetua”.15 This is an interesting point to emphasize; for the editor is referencing an event

12
Ibid, 21.5.
13
Ibid, 21.7.
14
Ibid, 21.11.
15
Ibid, 21.13-14.
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from one of Perpetua’s documented visions (which entails Saturus being the first to climb the

endangering ladder up into the Heavens).16 I say this is interesting because it places Saturus in a

position of authority over Perpetua; a similar interpretation if one were to apply Roman law or

the contemporary Christian values at the time. A comparison can then be made between the

detail given of Saturus’ death, and Perpetua’s. The editor states that Perpetua lets out a loud

scream when she is struck with the blade, as it hit her bone rather than killing her; 17 in

comparison, Saturus took the “sword in silence and without moving” which embodies the

expression “take it like a man.”18 So, even when Perpetua guides the blade to her throat after

the initial strike, the message of empowerment has been intentionally lost through the editor’s

own ploy of feminization. With that, the editor’s framework is complete, closing the passage

with a final praise towards the martyrs and ending with a self-serving amen. 19

As exemplified in this text, the role of women in positions of power has always been a

concern for ecclesiastic clerks and or scholars; as a result, texts (even those as sacred as the

bible) have been changed to better fit the needs of the church.20 I argue that because of this, it

also provides evidence towards the authenticity of Perpetua’s autobiography. It poses the

question: “Why perform damage control if there was nothing causing damage in the first

place?”

16
Ibid, 4.8-11.
17
Ibid, 21.16.
18
Ibid, 21.13.
19
Ibid, 21.21.
20
“Women In Ancient Christianity | From Jesus To Christ - The First Christians | FRONTLINE | PBS,” accessed
February 6, 2020, https://www.pbs.org/wgbh/pages/frontline/shows/religion/first/women.html.
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Bibliography

Musurillo, H. R. Acts of the Christian Martyrs. Trans. Oxford: Clardenon Press, 1972.

“Women In Ancient Christianity | From Jesus To Christ - The First Christians | FRONTLINE | PBS.”

Accessed February 6, 2020.

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https://www.pbs.org/wgbh/pages/frontline/shows/religion/first/women.html.