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).