1. Introduction
On a seventh-century ivory relief housed in the Victoria and Albert Museum in London the evangelist Mark sits opposite the apostle Peter, dutifully recording Peter's words as the latter reminisces about his time as a disciple.Footnote 1 The piece is unusual inasmuch as it is one of the rare occasions in which an evangelist looks to another person for direction, rather than to the heavens for inspiration. It captures a traditional understanding of the circumstances of the Second Gospel's composition: Peter dictates the gospel to Mark, the evangelist.Footnote 2 The characterisation of this literary process as one of dictation glosses over the various ways in which early Christian writers describe Mark's work, but it also reflects an ancient understanding of the social dynamics between Mark and Peter. All of our ancient sources agree that the importance of Mark's text rests not only on its association with Peter, but on its accurate replication of Peter's testimony. Mark is not a composer or an author; he is the conduit of Petrine tradition.
Academic treatments of the composition of Mark regularly discuss the context of the text's composition,Footnote 3 the audience(s) of his accountFootnote 4 and the genre of his textual product.Footnote 5 If Mark's identity is discussed at all, it is in the context of debating whether the evangelist should be identified with the John Mark of Acts (12.12, 25; 15.37, 39), the Mark of 1 Peter (5.13) or some potential combination of both.Footnote 6 Yet these studies rarely touch upon the way in which ancient audiences would have understood the nature of the relationship between Peter and Mark, the status of Mark and the character of his work as it is described in the writings of Papias, 1 Clement and Irenaeus.Footnote 7 How would Mark's role as ‘interpreter’ and conveyor of Petrine memories have been understood by second-century audiences?Footnote 8 What kind of person performs this work in antiquity?Footnote 9 And how does his status serve to support the idea that he accurately replicates Petrine tradition?
Building upon recent studies on the composition of the Gospels in the eyes of early church writers, this article will argue that the representation of Mark as Peter's interpreter, the description of his composition as lacking order and his reported excellent memory would have led ancient readers of Papias to conclude that Mark was performing literate servile work, even if he were not actually a slave himself. This would place Mark among the thousands of largely anonymous servile literary workers that made Roman literary and documentary culture possible by transcribing, taking dictation, writing on behalf of, polishing, correcting and proofreading the textual output of those designated as authors. That modern scholars tend to describe those performing such functions as scribes or secretaries only obscures the reality that the vast majority of Roman scribes were enslaved or formerly enslaved people.Footnote 10 Paul used secretaries to write his letters (Rom 16.22) and Origen's copious literary output owes a great deal to the slave secretaries supplied to him by his patron Ambrose of Alexandria.Footnote 11 The focus here is not on by whom and for whom the gospel was originally written – on these points we will remain agnostic – but on how and for what purposes early Christian authors shaped Mark's identity, status and work.
The earliest bibliographic discourse on the origins of the gospel known as Mark comes to us from Papias, by way of Eusebius’ Ecclesiastical History.Footnote 12 Writing around 130 ce, the bishop of Hierapolis includes his remarks on Mark as part of his five-volume Narrative of Dominical Sayings. Footnote 13 Papias cites a presbyter named John the Elder who relayed the following literary biography:
And this is what the elder used to say, ‘When Mark was the interpreter [or “translator”] of Peter, he wrote down accurately everything that he recalled of the of the Lord's words and deeds – but not in order. For he neither heard the Lord nor accompanied Peter, who used to adapt his teachings for the needs at hand, not arranging, as it were, an orderly composition of the Lord's sayings. And so Mark did nothing wrong by writing some of the matters as he remembered them. For he was intent on just one purpose: to leave out nothing that he heard or to include any falsehood among them.Footnote 14
Papias’ description of Mark here accomplishes a number of goals: in the first place it connects the Gospel of Mark to the figure and auctoritas of the apostle Peter.Footnote 15 The text now has an apostolic imprimatur from one of the leading figures of the Jesus movement.Footnote 16 In the second, it explains what some early Christians considered deficiencies in the composition and structure of Mark itself.Footnote 17 Mark was writing the memories of Peter as they were presented: in an ad hoc style that was without arrangement or order.Footnote 18 We, thus, learn certain related details about Mark: (1) he was formerly Peter's interpreter, though we do not know for how long; (2) he wrote accurately (ἀκριβῶς), from memory, without falsifying anything; (3) the document he produced was accurate but without order (τάξις).
2. Translation and the Interpreter
Mark is introduced as the ‘one who wrote out the gospel’, but also as the interpreter (ἑρμηνευτής) of Peter.Footnote 19 What does Papias mean here? At least three possibilities present themselves. First, Mark is acting as an oral linguistic interpreter who translated Peter's Aramaic into Greek (or, in the view of some, his Greek into Latin) just as translators function in the Septuagint (Gen 42.23) and Pauline epistles (1 Cor 12.10; 14.23).Footnote 20 Second, perhaps Mark is explaining or expounding the words of Peter and in this way interpreting them to a wider community.Footnote 21 Finally, it is possible that Mark acted as a literary translator who set the written words of Peter into Greek.Footnote 22 The majority of scholars favour the first explanation. Against the second, it seems unlikely that, given Papias’ stress on Mark's fidelity to Petrine tradition, we are supposed to understand him as an expositor of some kind. Further, if Peter was literate enough to have written Mark in Aramaic it is strange that Papias would have omitted this detail, especially in light of his description of the translation of the Gospel of Matthew.Footnote 23 If Mark is presented as a literary translator, however, this would alter our understanding of the account's relationship to the hypothetical Petrine original. Ancient Roman translation theory preferred ‘translating freely’ over verbatim fidelity to the original and embraced the paradoxical ways in which translation altered meaning.Footnote 24 This would seem to run counter to Papias’ efforts to cement the relationship between the two figures.
Our interest, however, lies not in what Papias claims Mark did, but rather in how ancient readers would have understood this kind of work. The precise connotations of the social status and role of the ‘interpreter’ are less clear in broader Hellenistic and Roman society than we might expect. The ambiguity that surrounds the vocabulary used to refer to translation and interpretation, together with a lack of discussion of the identity and socio-economic function of these interpreters, makes it difficult to speak definitively about them.Footnote 25 To be sure, the work of an interpreter could be a formal one in ancient society, but in these cases it rarely exclusively involved linguistic translation.Footnote 26 In some cases the person described as the interpreter is also labelled illiterate, thus suggesting that some other person performed the actual work of translation under their aegis.Footnote 27 Translators and interpreters played an important role in military strategy and commercial transactions,Footnote 28 but they were equally necessary for legal affairs, both for oral interpretation and the translation of written documents, especially from the second century onward when Roman law demanded Latin translations of legal texts.Footnote 29 In her survey of the extant Egyptian papyri, Rachel Mairs writes that legal texts that were translated into Greek are ‘relatively literal translation[s]’ that are not ‘of a high standard, but [are] perfectly functional’.Footnote 30
There is, therefore, a disjunction between the documentary record, which only occasionally mentions the work of the ‘interpreter’ and uses the title to refer to higher-status brokers and legal experts, and the uncredited but substantial amounts of oral and written translation that was necessary for travel, trade, diplomacy and legal affairs in the Roman world. Most of this uncredited work was performed by slaves or servile figures whose competence in more than one language made them assets to their owners, but whose social status meant that both their identities and their work are generally omitted from the historical record.Footnote 31 The ways in which translation work is rendered invisible, often replicated by some modern scholarship, obscures those actors who did the translation work.Footnote 32 The fact that this work is obscured only further supports the idea that it was servile labour. We might compare here the frequency with which ancient elite authors fail to note the editorial work of slave-secretaries, while at the same time noting the advice they received from friends.Footnote 33 Interpreters were by and large literate enslaved people, freedmen performing paid labour, civic notaries (who were themselves often slaves) or junior officials pressed into service on the basis of their own particular language abilities.
What then, does this mean for Papias’ presentation of Mark? It seems inconceivable that Papias wants us to believe that Mark acted as a commercial or legal broker. On the contrary, Papias’ ‘Mark’ serves as a linguistic translator, akin to the anonymous interpreter at the court of the Pharaoh in Genesis 42 or the servile interpreter who accompanied Egeria on her pilgrimage.Footnote 34 In some cases, ancient translation work was performed by those who also served as secretaries, so perhaps we should understand Mark in this kind of role.Footnote 35 In general it is safe to say that interpreters ‘were freedmen or slaves, and the language which they interpreted, especially into Greek or Latin, was their own vernacular’.Footnote 36 As someone capable of orally translating Peter's speeches and transcribing his words, Mark was put to work.Footnote 37 In either instance, the work that Mark was performing was of comparatively low status. For modern readers the next question might be, ‘If Mark was a slave, who enslaved him?’ That Papias does not pose or answer this question should not necessarily surprise us. Paul regularly used secretaries, but we do not know who owned them.
3. Committing Pen to Paper
What is clear in early Christian descriptions is that Mark records the teachings of Peter. Though Irenaeus and Clement would later envision this as taking place after the death of Peter, Papias is vague about the timing of Mark's work as interpreter and textualiser so it is possible that both practices happen concurrently.Footnote 38 The vast majority of ancient literature was dictated by one person (the higher-status ‘author’) to another (a lower-status librarius, secretarius or notarius).Footnote 39 As research in book studies has recently demonstrated, slaves were an integral part of reading, writing and book production, and the majority of ‘writing’ and ‘reading’ was performed by servile actors.Footnote 40 Social elites could and did read and write, but in most circumstances they preferred to delegate that kind of work to suitably trained slaves.Footnote 41
Collaboration between peers, on the other hand, was anomalous. While Roman authors constantly collaborated with their slaves in the production of texts for which they claimed sole responsibility, they did not self-consciously co-author literature with their peers or inferiors.Footnote 42 While scholars regularly adjudge, for example, the majority of the speeches of Lysias to be the products of collaboration, this was not how they would later circulate.Footnote 43 A similar phenomenon emerges in the attribution of pseudepigraphic literature and the handling of the Pauline epistles. Texts on papyri reveal joint production through the presence of multiple hands, but these were not intended for broader circulation in the same way as ‘authored’ literature. Letters, too, could be jointly dispatched by more than one person, even if these were still dictated to unnamed secretaries.Footnote 44 Commentarii are not usually ‘authored’ literary texts even though there are some examples of jointly produced commentarii – for example, Caesar's Gallic Wars – that would later circulate as literature.Footnote 45 It is also worth noting how Papias presents the collaboration between Peter and Mark. Mark is not an ‘author’, he is the textualiser of the memories of Peter.Footnote 46 That he is later perceived as an author rather than a hander-down of tradition does not mean that he was originally regarded as such.
If Mark's interpretation took place in the context of textualising Peter's memories, then the arrangement between them is akin to that of a person who dictates a text and the scribe to whom the text is dictated.Footnote 47 While Richard Bauckham envisions that Peter and Mark were collaborators and co-authors who ‘[were] engaged in a process of setting [Peter's memories] down in writing’, this is not the way in which ancient readers would have interpreted this practice.Footnote 48 If Mark is understood here as rendering Peter's words into a particular textual form, then his role would not have been seen as that of an equal.Footnote 49 Mark's involvement would mirror that of other capable secretaries such as Tiro, the secretary of Cicero.Footnote 50 As highly regarded as Tiro was by Cicero and subsequent generations of Roman elites, there was never any doubt that he was the subordinate party.Footnote 51 In New Testament scholarship the social status of ancient slave-writers is often unconsciously elevated to that of an ‘associate’ or volunteer, but the ordinary way for an ancient reader to understand the character of Mark's work was as that of a slave.Footnote 52
The second element emphasised by Papias is Mark's accurate recollection of Peter's anecdotes.Footnote 53 For both Papias and modern scholarship, Mark's memory is tied both to the idea that Mark truly was Peter's translator and also to a commitment to the accuracy of the Gospels. Within scholarship on the Synoptics it is the accuracy of Mark that guarantees the accuracy of Matthew and Luke. The difference between Papias and modern scholarship, however, is that for the latter, Mark's memory is secured by the imagined friendship between Peter and Mark.Footnote 54 By contrast, in the ancient world accurate memories were not simply the natural by-product of familiarity. They were cultivated and shaped.Footnote 55 As is regularly noted in modern treatments of the subject, many people in the ancient world had excellent memories that were shaped through educational structures that encouraged memorising and repetition.Footnote 56 At the same time, however, the role of the nomenclator, the slave who served as the walking memory of his master, suggests that some in the Roman world had better memories than others.Footnote 57 As Pliny the Elder put it, ‘we use another person's memory to greet people’.Footnote 58 The utilisation of the memory faculties of slaves was not just about the memory loss that accompanies the aging process, but also about social status.Footnote 59 As the well-known example of Calvisius Sabinus shows, memorising was an important aspect of the training of literate slaves. According to Seneca, Sabinus was a wealthy member of the nouveau riche who, in order to produce evidence of his learning, purchased a cohort of slaves whose purpose was to memorise the work of Homer and the great poets and whisper quotations from them in his ear during dinner parties.Footnote 60 While the aristocrats who made up the Roman elite would undoubtedly have received memory training as part of their formal education, they also used the memories of slaves as repositories of important information, in particular the precise command of literature and factual information such as names. Clement explicitly describes Mark's gospel as a kind of aide memoire, but even for Papias Mark's function was to preserve – without error or omission – the anecdotes of Peter.Footnote 61
If Mark is presented as a slave, one might ask, then why does Papias not simply say so? In the first place, we should note that while Mark is performing servile work he could as easily have been a freedman as a slave. Perhaps more relevant is the fact that, while it occasionally happened, it was not customary or necessary to identify a particular domestic notary or secretary as slave. It would have been as obvious to an ancient reader that an interpreter or secretary was a servile worker as it would be to a modern one that a butler is a domestic labourer. There are exceptions in which, say, a graduate student might moonlight as a bartender. In the latter context they may well find themselves inscribed with discriminatory cultural assumptions about the intelligence of those in the service industry even though they themselves possess multiple advanced degrees. But this only proves the point: servile work colours the one performing it in a very particular way. The impulse to elevate the social status of members of the Jesus movement who performed servile work from the shackles of the ‘slave’ label is not emancipatory; it merely serves to co-opt and render invisible the labour of servile workers. Secretaries were by definition servile workers and their labour was categorised as servile regardless of whether or not they were technically slaves. The identification of Mark as a translator and the description of his textual labour would have communicated his status to Papias’ audience.
To build on our observations from earlier, Papias presents Mark as possessing a particular set of interconnected literary skills – translation skills, literacy and an excellent memory – that are utilised in the context of the ordinary compositional relationship between author and secretary. This representation does valuable work for Papias: it allows him to present Mark's text as the unfettered memories of the apostle.
4. Unpolished Composition
What is striking about Papias’ portrayal is that while he trusts Mark's memories, he openly acknowledges the literary shortcomings of his text. He describes it as written without τάξις. Scholarship on this question agrees that Papias here defends the quality of Mark's contribution, but diverges about the nature of this disorder. There are those who think that ‘order’ refers to the chronology of the text.Footnote 62 A demonstrable concern for chronological order is evident in Polybius (2.56.10), Dionysius of Halicarnassus (Comp. 9; Pomp. 3), Josephus (Ant. 1.17; JW 1.15) and Lucian (How to Write History 6, 48. 51, 55), but ancient historians tend to use the language of time (χρόνος or καιρός) for this kind of sequential order.Footnote 63 More probably, by τάξις Papias means rhetorical order of the kind a well-educated Roman would have learned about as part of his rhetorical education.Footnote 64 Lucian, for example, describes ‘order’ (τάξις) and ‘style’ as the two elements that a historian introduces into a rough draft as part of the editorial process.Footnote 65
In a recent book on the textualisation of the Gospel according to Mark, Matthew Larsen has argued that for early Christian readers, Mark's text was not a polished book but rather something more akin to ὑπομνήματα (notes) or ἀπομνημονεύματα (memoirs), terms that, in modern literary taxonomies, we might equate to something like a ‘rough draft’.Footnote 66 Many such texts lacked polish and literary style. In practice these kinds of documents were frequently the textual output of lower-status individuals – sometimes even women and children – including administrative clerks and literate slaves.Footnote 67 While a wide variety of ancient texts were characterised as ὑπομνήματα, some – legal notes – had the additional quality of being (imagined as) especially reliable and accurate.Footnote 68 This is certainly a characteristic of Mark's text that Papias wishes to stress. Larsen notes that Papias does not speak of Mark as an author of his textual product as either a ‘book’ or even as the ‘gospel according to Mark’. While we should note that Papias also does not identify Mark's text as ‘notes’,Footnote 69 the fact that the work lacks ‘order’ could easily lead readers of Papias to the conclusion that he sees Mark as unpolished.Footnote 70 Whatever term he would have used to describe the text, Papias’ focus is on the ways in which it serves as an accurate transcription of the things that the apostle Peter had remembered. Papias focuses on the textualised form of Mark's memory as providing ‘a physical extension of Mark's memory of Peter's teaching … [that provides] access, through Mark's notes, to the living voice of Peter, albeit through the medium of textual objects’.Footnote 71 It is Mark's role as conduit to the voice of Peter that is central. In this context, Mark himself recedes from view: just as he had served, while Peter was alive, as a means by which Peter's voice could bridge the language divide, his textual product now bridges a different kind of chasm and provides access to Peter himself.
We might compare this characterisation of Mark to the way in which elite Roman authors describe stenographers and scribes. Martial salaciously commends the efficient notarius whose hand finishes the sentences of his master.Footnote 72 Cicero admits that, without his secretarius Tiro, his work ‘is silent’.Footnote 73 Flush with the heat of inspiration, Horace would dispatch a slave to add verses to his book-rolls, assuming that the slave would accurately recall his words.Footnote 74 Mark acts in a similar fashion: he serves as an extension of the traditions, memories and voice of Peter. This servile role does important work for Papias who, as is often noted, is more interested in the living voices of eyewitnesses than the corrupted and potentially forged literary texts of authors.Footnote 75 By positioning Mark as a servile worker he is able to explain why it is that the text lacks order (it is the unrefined text of a secretarius or notarius) while simultaneously using this lowly status to defend the integrity of the content. Mark's text can be trusted to be composed without interpolation because this is what well-trained slaves do.
Slaves do not corrupt or emend the content because slaves, even literate ones, are not literary authors to ancient Romans.Footnote 76 They lack, in the minds of elite Roman authors, independent intellectual agency. While it is inappropriate to attempt to enter the minds of ancient Romans and make pronouncements about what they could and could not think, it is noteworthy that they do not seem to think of literature as an attainable category for non-elites. After being freed by Cicero, for example, Tiro composed a number of texts under his own aegis. The second-century writer Aulus Gellius delights in finding errors in these independently written texts while reminding his own readers of Tiro's servile origins.Footnote 77 Similarly, Lucian of Samosata, for example, is scandalised when lower-status individuals present their writings ‘in the manner of proper books’ (Lucian, How to Write History 16).Footnote 78 Mark's lack of authorial status serves as evidence for the integrity of the recorded memories.Footnote 79 The representation of both the text as unpolished notes, and also the textualiser as servile, reinforces Papias’ overarching argument: the text is messy, but it is accurate. Its inelegance, in fact, paradoxically serves as a guarantee of its accuracy.
5. Vestiges of an Erased Servile Body
Other early Christian interpreters – who may or may not have been familiar with the tradition we find in Papias – amplify and subdue the discourse of servile transmission in different ways.Footnote 80 Writing in Gaul within a few decades of Papias, and perhaps with knowledge of his work, Irenaeus, bishop of Lyon, provides a somewhat different account of the compositional history of the Gospels.Footnote 81 Irenaeus clearly states (1) that Mark wrote after the death of Peter, (2) that each of the Gospels was written for a specific audience and, (3) in the case of those who were not eyewitnesses, reflects a particular line of tradition. What is of interest to us is how Mark's work is described. Larsen argues that, while Irenaeus presents John and Matthew as figures who ‘published written gospels’ (γραφὴν ἐξήνεγκεν Εὐαγγελίου), Mark passes on an oral proclamation in written form (ἐγγράφως ἡμῖν παραδέδωκε).Footnote 82 While Luke also receives his traditions second-hand, he is described as textualising the gospel in a particular way: in a ‘book’.Footnote 83 The subtle differences here do not undermine the parallel status and role of the Gospels. In all instances, as Yoshiko Reed as argued, Irenaeus grounds the reliability of the texts in their connection to the oral preaching of the gospel.Footnote 84 The passage amplifies Mark's role as intermediary and conveyor of Peter's message while perpetuating the view that Mark's textual product stands alongside those of the other evangelists.
Clement of Alexandria offers two divergent narratives about the composition of Mark.Footnote 85 Though both versions postulate that Mark wrote in Rome, and had followed Peter, they diverge on whether or not Peter endorsed Mark's text. It was the local Christian community in Rome and, in an often-overlooked fragment from Clement's Adumbrationes, the equites in particular who requested that Mark textualise his memories of Peter's preaching for them.Footnote 86 In the Eusebian texts, Clement repositions Mark as Peter's ‘son’, under the influence of 1 Pet 5.13, in which the pseudonymous author sends greetings from the church in Rome (Babylon) and his son Mark.Footnote 87 The language of sonship creates an alternative genealogy for Mark's trustworthiness even as Peter's attitude to the text is, in one version of events, somewhat ambivalent. In Eusebius, Hist. eccl. 6.14.6–7, Mark writes, again using his remarkable memory, at the instigation of Christians in Rome; Peter neither hinders nor encourages the Gospel of Mark's circulation. Mark here writes a text for a small group, in contrast to the writing of Matthew and Luke, whose works, Clement says, were ‘set forth publicly’.Footnote 88 Elsewhere, in the fragment of Clement preserved at Church History 2.15.1–2, Peter is delighted with the realisation (via supernatural revelation) that Mark had written and confirmed that the Gospel could be read in gatherings, which suggests that – at least for Clement – Mark was complete enough for liturgical use. Clement's description of the relationship between Mark and Peter in these accounts differs from that of Papias. The distinction between the audiences and functional uses of the text may also serve, however, to explain the lack of polish on it. As Michelle Kennerly puts it, editing is ‘essentially, preparing written words for strangers, sometimes very distant ones’.Footnote 89 Texts produced for private hearings among friends require less lacquer.Footnote 90
The discourse of servile authorship survives, however, in later prologues to Mark.Footnote 91 In one prologue, which probably depends upon Clement, Mark's Gospel ‘was published under the aegis of Peter the chief leader of the apostles for the faithful brethren who were in Rome’. Footnote 92 It is here Peter, qua leader, who is responsible for the text's power and publication and Mark, as servile textual labourer, who produces the gospel. More suggestive, however, is the very particular way in which Mark's physical form is described. He is presented as ‘Stumpfinger’ (colobodactylus), a term that, the Latin prologue explains, connects to the fact that ‘for the size of the rest of his body he had fingers that were too short’.Footnote 93 Some read this literally. Grant suggests that ‘Stumpfinger’ refers to a ‘natural characteristic’ similar to ‘the flat-footed Justus and the graphic description of Paul’ in the Acts of Paul.Footnote 94 Others see this description as a veiled reference to the brevity of Mark's Gospel, the conclusion to which has a certain truncated feel.Footnote 95
The production of texts is a physical affair. As Carolyn Marvin has put it, the unseen body that did the physical work of writing did not only put pen to paper, ‘skin is pulled and scratched, nails, lips, and mustaches are bitten, noses, ears, and faces are picked, fingernails are peeled, hair is plucked and twisted’. Footnote 96 As a result, textual corpora often reflect the physiognomies of their authors. If Mark's nickname is connected to the form of his textual product then it may refer to his abbreviated and inelegant sentences.Footnote 97 Alternatively, perhaps the stumpy fingers evoke the hasty and poorly edited work of Luculius who, according to Horace, would ‘gnaw his fingernails to the quick’.Footnote 98 Whether or not it is a comment on Mark's text, the description reproduces an ancient physiognomic perspective that connects physical characteristics to personality traits.Footnote 99 Ps.-Aristotle describes the servile body as disproportionate and the inverse of the well-proportioned bodily form of the citizen.Footnote 100 Similarly, the later Physiognomy of Adamantius the Sophist describes those with stubby and thick fingers as ‘daring, improvident, and beastlike’.Footnote 101 It is, arguably, not by accident that the part of Mark's body that is most servile and disproportionate is also the part used to inscribe Peter's words. The description of Mark as short-fingered reflects a tradition that links the quality of Mark's text to a particular bodily form that, in turn, suggests and reflects ancient constructions of the bodies of slaves.
6. Conclusion
As is widely argued, the connection between Mark and Peter cements Mark's textual product as an authoritative writing that accurately transmits the voice of Peter. What I have argued here is that ancient audiences – at least those who encountered this tradition in the forms we find in Papias, Clement and Irenaeus – would have understood the nature of that connection in servile terms. The designation of Mark as Peter's interpreter identifies him not only as a subordinate but also as a literary worker. The role he plays in textualising Peter's memories was one that ordinarily would have been performed by a literate slave, servile worker or local scribe for hire.Footnote 102 The description of Mark's resulting text as ‘without order’, a characteristic shared with ancient notes or unpolished drafts, only further cements the idea that Mark, and thereby his text, are of lower status.
Paradoxically, however, the construction of Mark as a subordinate servile worker (an interpreter and scribe) only serves to solidify the claims of Papias that Mark's text is accurate. The fact that he is a conduit rather than an author and produces notes rather than literature is a guarantee of the Petrine quality of the text. It is, as it were, the functional invisibility of the slave secretary that allows Petrine teaching to be passed on without Markan interference. Mark's literary deficiencies are leveraged by Papias and others as evidence for his accuracy in preserving Petrine oral teaching. Placed in the context of non-Christian second-century literary culture that prized editions with scribal pedigree, the shaping of Mark as a capable notarius may explain why it is that the Second Gospel is attributed to Mark.Footnote 103 Just as Tiro organised and collected the thoughts of Cicero after his murder so too Mark preserves and transmits the memories of Peter.Footnote 104
Fragmenting the opinions of apostolic witnesses was historically troublesome for members of the Jesus movement.Footnote 105 For Irenaeus, who saw the gospel as a singular concept articulated in four apostolic versions, identifying this version not only as Petrine but as the one ‘according to Mark’ guaranteed the integrity of the text. As a servile figure, he was not an author but an extension of Peter's voice. This state of affairs is similar to the circumstances that surrounded the circulation of better and worse versions of the writings of elite Romans during the second century. The best example of this is found in the acquisition and use of the writings of Cicero. As Gellius shows, it was clearly preferable to have a manuscript of Cicero's speeches that had been copied by Tiro, his most distinguished enslaved secretarius. Gellius, a rough contemporary of Papias and Irenaeus, claims to have obtained a manuscript of Cicero's Verrines that bore the signature of Tiro himself.Footnote 106
The Tironian books demonstrate two things about second-century literary culture in Rome: (1) a Roman elite interest in the identity of the secretarius who produced the autograph; this interest was grounded in both antiquarian snobbery and a particular kind of culture that leveraged the physical possession of book objects; (2) the notion that the personal connection of the scribe to the author helped ensure a superior version of the text: in the case of Tiro it was his ‘meticulous’ work that made his texts preferable; in the case of Mark, one might say that it was, as so many have noted, his excellent memory and closeness to Peter that rendered his version of the gospel authoritative.
This status had both advantages and disadvantages: the trained memory and mouthpiece that was free of artifice also lacked elegance. Ironically, this status is unwittingly preserved in Christian artistic and literary tradition that pictures Mark taking dictation from Peter. Though the loftier language of scribes, associates or companions is used to describe Mark's relationship to Peter, this vocabulary glosses over the realities of literate work in the ancient world and imports intonations of equity into their arrangement. The seventh-century ivory with which we began is a visual depiction of this line of tradition but, to a second-century Roman, the social dynamics of such a scene are already clear: the one who dictates is the power-holder and author, the one who takes dictation is the slave.