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This paper investigates the extremes of audience authentication through a reception study of suffragist Elizabeth Cady Stantons controversial The Womans Bible (1895), an exemplar of the prophetic tradition in American radical rhetoric. Extending the work of Edwin Black and Philip Wander on the second persona and third persona, respectively, this study re-theorizes audience to include publics that are paradoxically both idealized and unimagined by the prophet, a group of auditors constituting the fourth persona.