2016 classical studies written examination

CLASSICAL STUDIESWritten examination

Friday 11 November 2016 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)

QUESTION BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A – Individual study 8 2 40B – Comparative study 7 1 40

Total 80

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orcorrectionfluid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionbookof13pages,includingassessment criteriaforSectionBonpage13.• Oneormoreanswerbooks.

Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthisquestionbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2016

Victorian Certificate of Education 2016

2016CLASSICALSTUDIESEXAM 2

SECTION A – Question 1–continued

Question 1Homer, The Iliad, Book 1 (pp. 77–87) and Book 3 (pp. 128–144)translatedbyRobertFagles,PenguinClassics,1998

ButthelordofmenAgamemnonshotback, “Desert,byallmeans—ifthespiritdrivesyouhome! Iwillneverbegyoutostay,notonmyaccount. Never—otherswilltakemysideanddomehonor, Zeusaboveall,whosewisdomrulestheworld. You—Ihateyoumostofallthewarlords lovedbythegods.Alwaysdeartoyourheart, strife,yes,andbattles,thebloodygrindofwar. Whatifyouareagreatsoldier?That’sjustagiftofgod. Gohomewithyourshipsandcomrades,lorditover yourMyrmidons! Youarenothingtome—youandyouroverweeninganger! Butletthisbemywarningonyourway: sinceApolloinsistsontakingmyChryseis, I’llsendherbackinmyownshipswithmycrew. ButI,Iwillbethereinpersonatyourtents totakeBriseisinallherbeauty,yourownprize— soyoucanlearnjusthowmuchgreaterIamthanyou andthenextmanupmayshrinkfrommatchingwordswithme, fromhopingtorivalAgamemnonstrengthforstrength!”

HebrokeoffandanguishgrippedAchilles. Theheartinhisruggedchestwaspounding,torn... Shouldhedrawthelongsharpswordslungathiship, thrustthroughtheranksandkillAgamemnonnow?— orcheckhisrageandbeathisfurydown? Ashisracingspiritveeredbackandforth, justashedrewhishugebladefromitssheath, downfromthevaultingheavenssweptAthena, thewhite-armedgoddessHeraspedherdown: Heralovedbothmenandcaredforbothalike.

SECTION A – Individual study

Instructions for Section AThereareeightquestionsinSectionA.Answeronlytwoofthese.Eachquestionhasthreeparts.Clearlynumberyouranswersintheanswerbook(s)provided.Themarkallocationforeachquestionprovidesaguideindeterminingthelengthofyourresponse.AllquestionsinSectionAareworth20marks.

3 2016CLASSICALSTUDIESEXAM

SECTION A – continuedTURN OVER

a. Explainthecircumstancesthathaveledtothisexchange. 5marks

b. Explaintheroleofthegodsinthisextract. 5marks

c. DiscusstheportrayalsofAgamemnonandAchillesinthisextract.Refertobothideasandtechniques. 10marks



Question 2Aristophanes, ‘Wasps’fromFrogs and Other Plays,translatedbyDavidBarrett,revisedbyShomitDutta,PenguinClassics,2007; ©DavidBarrett,1964;revisedtranslation,introductionandnotes©ShomitDutta,2007;reproducedwithpermissionofPenguinBooksLtd

bdelycleon Well,isn’titslaverywhenthesemen,andtheircronies,allholdoverpaidexecutiveposts,whileyou’reoverthemoonwithyourthreeobols?Obolswhichyouyourselfhavelabouredandrowedandbattledandsiegedintoexistence?Furthermore,you’reentirelyattheirbeckandcall.Whatinfuriatesmeisseeingsomeaffectedlittletoffcomemincinguptoyou–likethis–andstartorderingyouaround.‘You’retobeincourtfirstthingtomorrowmorning.Anyonewhoisn’tinhisseatwhentheflaggoesupwilllosehisthreeobols.’Restassured,he’llbegettinghisprosecutor’sfeeallright–anentiredrachma–howeverlatehearrives.Andtheyworktogether,too,didyouknowthat?Ifadefendantcomesupwithabribe,theprosecutionanddefencewillshareit,andthenthey’llplayuptoeachotherconvincingly,liketwomenwithasaw–onegainsapoint,theothergivesway.Youneverspotwhatthey’reuptobecauseyou’retoobusygapingatthepaymaster.

philocleon No,no!Theydon’tdothattome!Whatareyousaying?Howyoushakemetomyinmostcoreandwinmeover!YoudoIknownotwhattome!

bdelycleon Wellthen,justthinkhowrichyouandeverybodyelsecouldbe,ifitwasn’tforthisgangofdemagogueswhokeepyoutrappedjustwheretheywantyou.Yes,IknowyouruleoveravastnumberofcitiesfromtheBlackSeatoSardinia.Butwhatdoyougetoutofit,apartfromthisabsolutepittance?Andeventhattheysqueezeoutlikelittledropsofoil,justenoughatatimetokeepyougoing.Theywantyoutobepoor,andI’lltellyouwhy:they’retrainingyoutoknowthehandthatfeedsyou.Then,whenthetimecomes,theyletyoulooseonsomeenemyorother:‘Goon,gooddog!Bitehim!That’stheway!’Iftheyreallywantedtogivethepeopleadecentstandardofliving,theycoulddoiteasily.AtthemomentwehaveathousandcitiespayingtributetoAthens;ifyougaveeachofthemtwentymentofeed,you’dhavetwentythousandordinaryAthenianslordingituponjuggedhareandcreamcakeseveryday,withgarlandsontheirheads,leadinglivesworthyofthelandtheybelongto,worthyofthevictorsofMarathon.Insteadofwhichyouhavetoqueueupforyourpaylikeabunchof olive-pickers.



a. Explainthecircumstancesthathaveledtothisexchange. 5marks

b. ExplainhowBdelycleonattemptstopersuadehisfatherinthisexchange. 5marks

c. DiscusshowAristophanesusesPhilocleonandBdelycleontocritiquecontemporary Atheniansociety. 10marks



Question 3Euripides, ‘Bacchae’fromThe Bacchae and Other Plays,translatedbyJohnDaviewithanintroductionandnotesbyRichardRutherford,PenguinClassics,2005; ©JohnDavie,2005;introductionandeditorialmatter©RichardRutherford,2005;reproducedwithpermissionofPenguinBooksLtd

pentheus: I’vebeenoutofthecountry,asithappens,buttalesofstrangegoings-oninThebes,criminalactions,havebroughtmeback.TheysayourwomenfolkhavelefthomeonapretenceofBacchicworship,andarefrolickinginthedarkmountain-glens,honouringwithdancestheparvenugodDionysus,whoeverhemaybe.Inthemiddleoftheirbands,Ihear,standmixingbowlsfilledtothebrim,andonebyonetheycreepofftolonelyplacestoservethelustsofmen.Inthis,ofcourse,theypretendtobeinspiredpriestessesoftheirgod,butactuallytheyrankAphroditeaboveBacchus.SomeofthemIhavecaught,andmyguardsholdthemfastwithtiedwristsinthepublicgaol.TherestwhoarestillatlargeI’llhuntfromthemountain;I’llbindtheminironnetsandsoonputanendtothisperniciousrevelling!

TheysaythatsomeforeignerhasarrivedfromthelandofLydia,awizardconjuror,withfragrantgoldencurlsandtheflushofwineinhiscomplexion.Inhiseyeshehasthecharmsof Aphrodite,anddayandnightheescortsyoungwomen,luringthemwiththeprospectofhisjoyousmysteries.IfIcatchhiminsidethebordersofthisland,I’llcuthisheadoffhisshouldersandputastoptohismakinghisthyrsusringandshakinghislocks!ThisisthemanwhosaysthatDionysusisagod,thisisthemanwhosayshewasoncesewnintothethighofZeus,wheninfacthewasdestroyedbythefierylightningbolt,heandhismother,becauseshefalselynamedZeusasherlover!Isthisnotmonstrous,doesitnotmeritthehangman’snoose,tocommitactsofsuchinsolence,whoeverthestrangermaybe?

[He suddenly becomes aware of the two old men.] Buthere’sanothersighttomarvelat!It’stheprophetTeiresiasIsee

indappledfawnskinsandmyownmother’sfather–how ridiculous–playingtheBacchant,completewithwand! [To cadmus:]Sir,Iamembarrassedbythesightofyouboth–soold,sofoolish!Shakeoffthativy!Ridyourhandofthethyrsus,Grandfather!You’retheonewhoputhimuptothis,Teiresias!Youwanttofoistonemoregodasanoveltyonmankindandsotoscantheflightofbirdsandtakemorefeesforburnedsacrifice!Ifyourgreyhairsdidnotprotectyou,I’dhaveyouboundandsittingamongtheBacchantsforseekingtoimporttheseperniciousrites!Wherewomenareconcerned,whenthegrapegleamsliquidatfeasts,Isaythereisnothingwholesomeleftintheirceremonies!



a. Explaintherelationshipbetweenthisextractandthesociohistoricalcontextoftheplay. 5marks

b. DescribehowEuripidespresentsDionysusatthestartoftheplay. 5marks

c. Discusstheideasthatareexploredinthisextractandthetechniquesthatareusedtopresentthem. 10marks


SECTION A – continued

Question 4Greek free-standing sculpture of the early classical, classical and late classical periods (490–323 BCE)

Source:GiselaMARichter,A Handbook of Greek Art, PhaidonPressLtd,London,1998,p.142

a. Describethetechniquesusedbythesculptor. 5marks

b. Explaintheideasthatthesculptorconveysthroughthisstatue. 5marks

c. DiscussthesimilaritiesandthedifferencesbetweenthisworkandotherpiecesofGreek sculpture. 10marks

Due to copyright restrictions, this material is not supplied.



Question 5Virgil, The Aeneid, Book 2translatedbyDavidWest,PenguinClassics,2003(revisededition); ©DavidWest,1990,2003;reproducedwithpermissionofPenguinBooksLtd

SuddenlyPolites,oneofPriam’ssons,cameinsight.HehadescapeddeathatthehandsofPyrrhusandnow,woundedandwithenemyweaponsoneveryside,hewasrunningthroughthelong porticosofthepalaceandacrosstheemptyhallswithPyrrhus behindhiminfullcry,almostwithinreach,pressinghimhardwithhisspearandpoisedtostrike.Assoonashereachedhisfatherandmother,hefellandvomitedhislife’sbloodbeforetheireyes.TherewasnoescapeforPriam.Deathwasnowuponhim,buthedidnotcheckhimselforsparetheangerinhisvoice.‘Asforyou,’hecried,‘andforwhatyouhavedone,ifthereisanypowerinheaventhatcaresforsuchthings,maythegodspayyouwell.Maytheygiveyoutherewardyouhavedeservedformakingmeseemyownsondyingbeforemyeyes,fordefilingafather’sfacewiththemurderofhisson.YoupretendthatAchilleswasyourfather,butthisisnothowAchillestreatedhisenemyPriam.HehadrespectformyrightsasasuppliantandforthetrustIplacedinhim.HegavemebackthebloodlessbodyofHectorforburialandallowedmetoreturntothecitywhereIwasking.’Withthesewordstheoldmanfeeblythrewhisharmlessspear. ItrattledonthebronzeofPyrrhus’shieldandhungthereuseless stickingonthesurfaceofthecentralboss.Pyrrhusthenmadehisreply.‘Inthatcaseyouwillbemymessengerandgotomyfather,sonofPeleus.LethimknowaboutmywickeddeedsanddonotforgettotellhimaboutthedegeneracyofhissonNeoptolemus.Now,die.’Ashespoketheword,hewasdraggingPriamtotheveryaltar,hisbodytremblingasitslitheredthroughpoolsofhisson’sblood.WindingPriam’shairinhislefthand,inhisrightheraisedhisswordwithaflashoflightandburiedittothehiltinPriam’sside.

a. DescribethetechniquesthatVirgilusesinthisextract. 5marks

b. Explaintheideasthatthetechniquesdescribedinpart a.convey. 5marks

c. DiscussthesignificanceofthisextracttoThe Aeneid,Book2. 10marks


SECTION A – continued

Question 6Cicero, ‘In defence of Marcus Caelius Rufus’fromSelected Political Speeches,translatedbyMichaelGrant,PenguinClassics,1973 (revisededition);©MichaelGrantPublicationsLimited,1969;reproducedwithpermissionofPenguinBooksLtd

Twoofthesecharges,onerelatingtogoldandtheothertopoison,concernoneandthesameindividual.ThegoldissupposedtohavebeentakenfromClodia,thepoisontohavebeenacquiredsothatClodiashoulddrinkit.Alltheothermattersraisedarenotreallyaccusationsinanypropersenseoftheword,butonlyslanders,moreappropriatetosomevulgarshouting-matchthantoanationalcourtofjustice.DeclarationsthatCaeliusisadulterous,immoralandabriber’stoutarenotchargesatallbutjustplaininsults.Slursofsuchakindhavenotthesmallestfoundationorbasis.Theyarenothingbutmerevituperation,utteredatrandombyaprosecutorwhohaslethis tempergetthebetterofhimandholdsforthwithoutatraceof supportingevidence.Butasforthetwoothercharges,Icanseeclearlyenoughwhatthefoundationisforthem–thereissomeoneinthebackground,asource,adefiniteindividualfromwhomtheystem. Hereisthefirststory:Caeliusneededgold,tookitfrom Clodia,tookitwithoutwitnesses,keptitaslongashewantedto. Ademonstration,youwilltellme,thatthetwoofthemwere remarkablyintimate!Thesecondstorygoeslikethis:heproposedtokillher,heprocuredpoison,bribedcollaborators,madethenecessaryarrangements,fixedaplace,conveyedthepoisonthere.Evidence,thistime,ofaviolentruptureandoverwhelminghatred! Gentlemen,thewholeofthecaserevolvesroundClodia.Sheisawomanofnoblebirth;butshealsohasanotoriousreputation.Myobservationsaboutthisladywillbelimitedtowhatisnecessarytorefutethecharge.You,CnaeusDomitius,inyourwisdom,must appreciatethatsheistheoneandonlypersonwithwhomwereallyhavetoconcernourselvesatall.

a. DescribehowCiceroattemptstodiverttheattentionofthejuryfromtheallegedcrimesofCaelius. 5marks

b. Explaintherelationshipbetweenthisextractandthesociohistoricalcontextofthespeech. 5marks

c. Discussthesignificanceofthisextracttotheworkasawhole. 10marks



Question 7Ovid, MetamorphosestranslatedbyMaryMInnes,PenguinClassics,1955; ©MaryMInnes,1995;reproducedwithpermissionofPenguinBooksLtd

ImmediatelytheLydianAcoeteswasdraggedawayandshutupinastoutprisonchamber:butthestorygoesthatwhilethecruelinstruments,thefire,andtheswordwerebeinggotreadytokillhim,asthekinghadordered,thedoorsflewopenoftheirownaccordand,oftheirownaccord,thoughnooneloosedthem,thefettersfellfromhisarms.StillthesonofEchionpersistedinhisfolly.Henolongercommandedotherstogo,butwenthimselftoCithaeron,themountainchosenforthesacredrites,wherethesongsandshrillcriesoftheworshippersfilledtheair.Asaspiritedhorseonthebattle-fieldwhinnies,eagerforthefray,whenthetrumpetersoundsthechargeonhisbrazeninstrument,soPentheuswasrousedbythelong-drawnhowlings,whichsettheveryaira-quiver,and,whenheheardtheshouting,hisangerblazeduphotlyoncemore.

Halfwayupthemountainisastretchoflevelgroundhemmedinbyforestsbutitselfbareoftreessothatitcanbeclearlyseenfromeveryside.HerePentheuslookeduponthemysterieswithuninitiatedeyes.Thefirsttoseehim,thefirsttomakeafrenziedrush,thefirsttohurlherthyrsusandwoundhim,washisownmother.Asshedidso,shecried:‘Sisters,come,bothofyou,comeandhelp!Thathugeboar,roaminginourpreserves,thatboar,Isay,mustbethevictimofmyspear.’Thewholefrenziedthrongrushedmadlyuponhim,allgatheringtopursuethepanic-strickenking.Fornowhewasindeedpanic-stricken,nowhespokelessviolently;hecursedhimself,andconfessedhimselfatfault.Woundedashewas,stillhecalledout:‘Helpme,auntAutonoe,lettheghostofyourActaeonmoveyoutopityme!’ButthenameofActaeonmeantnothingtoher;evenasheprayedformercy,shetoreoffhisrightarm,whileInoseizedtheotherandwrencheditaway.Withnoarmslefttostretchtowardshismother,thehaplessmanshowedherinsteadthegapingwoundswherehislimbshadbeentornout,andcried:‘Look,Mother!’AtthesightAgaveutteredawildshriek,tossedherheadtillherhairstreamedthroughtheair,thentorehisheadfromhisshoulders.Clutchingitinblood-stainedfingers,shecalled:‘See,myfriends,thisvictory,myownachievement!’Swiftlyasthewindstripsatalltreeofitsautumnleaves,whenatouchoffrosthasleftthemonlyjustclingingtothebranches,soswiftlydidthoseterriblehandsteartheking’slimbsapart.

a. DescribehowOvidusessimilestopresentPentheus. 5marks

b. ExplainwhyPentheusistreatedsoharshly. 5marks

c. DiscussthesignificanceofthisextracttoOvid’sstoryofPentheus. 10marks


END OF SECTION A

Question 8Roman portraits

Source:www.bluffton.edu

a. Describethetechniquesusedtoconstructthisstatue. 5marks

b. Whatideasaboutthecharacteroftheemperordoesthisstatueconvey? 5marks

c. DiscussthesimilaritiesanddifferencesbetweenthisstatueandotherportraitsofRomanemperors. 10marks


Question 1Herodotus, The Histories and Thucydides, History of the Peloponnesian War‘Thekeythemeofhistoricalwritingiswar.’Discusswithreferencetobothworksstudied.

Question 2Aeschylus, ‘The Eumenides’ and Plato, ‘The Apology’‘Vengeanceisoftendisguisedasjustice.’Discusswithreferencetobothworksstudied.

Question 3Homer, Odyssey, Books 21 and 22, and Sophocles, ‘Ajax’‘Itiswisdomthatmakesaherogreat.’Discusswithreferencetobothworksstudied.

Question 4Ovid, ‘Tristia’ and Horace, Odes‘OvidandHoraceusepoetrytoengageinpolitics.’Discusswithreferencetobothworksstudied.

Question 5Livy, The Rise of Rome and Tacitus, The Annals of Imperial Rome‘PoorleadershipisthemostdangerousthreattoRome.’Discusswithreferencetobothworksstudied.

Question 6Juvenal, Satires 1, 6 and 10, and Petronius, ‘Dinner with Trimalchio’‘JuvenalandPetroniususehumoursolelytoattack.’Discusswithreferencetobothworksstudied.

Question 7Parthenon and Ara Pacis‘TheParthenoncelebratesacity;theAraPacishonoursoneman.’Discusswithreferencetobothworksstudied.

SECTION B – Comparative study

Instructions for Section BAnsweronlyonequestioninthissection.AllquestionsinSectionBareworth40marks.Clearlynumberyouranswerintheanswerbook(s)provided.Beforerespondingtothissection,readtheassessmentcriteriabelow.Youressaywillbeassessedonallfourofthesecriteria.

Assessment criteria 1. Knowledgeofclassicalworksandtheirrelationtotheirsociohistoricalcontexts 10marks2. Analysisofideasandtechniquesinclassicalworks 10marks3. Analysisofsimilaritiesanddifferencesbetweenideasandbetweentechniquesin

classicalworks 10marks4. Synthesisofapointofviewsupportedbyrelevantevidence 10marks

END OF QUESTION BOOK

2016 classical studies written examination

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