Cambridge A Level Classical Studies 9274 — 2011 Oct/Nov Paper 1 · Variant 1

This document consists of 7 printed pages and 1 blank page. DC (SM/SW) 39094/1 © UCLES 2011 [Turn over UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS General Certificate of Education Advanced Subsidiary Level and Advanced Level READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. You may use a soft pencil for any diagrams, graphs or rough working. Do not use staples, paper clips, highlighters, glue or correction fluid. There are four sections in this paper. Each section is worth 25 marks. You must answer two questions. Choose one question from two different sections. You should spend 45 minutes on each section. You are reminded of the need for good English and clear presentation in your answer. At the end of the examination, fasten all your work securely together. The number of marks is given in brackets [ ] at the end of each question or part question. * 1 3 1 5 9 2 7 8 2 1 * CLASSICAL STUDIES 9274/11 Paper 1 Greek Civilisation October/November 2011 1 hour 30 minutes Additional Materials: Answer Booklet/Paper

2 9274/11/O/N/11 © UCLES 2011 SECTION ONE: ALEXANDER THE GREAT Answer ONE of the following three questions. EITHER 1 Read the passage below, and answer the questions which follow: [25] After these events Alexander suddenly found himself passionately eager to visit the shrine of Ammon in Libya. One reason was his wish to consult the oracle there, as it had a reputation for infallibility, and also because Perseus and Heracles were supposed to have consulted it, the former when he was sent by Polydectes to slay the Gorgon, the latter during his journeys in Libya and Egypt in search of Antaeus and Busiris. But there was also another reason: Alexander longed to equal the fame of Perseus and Heracles; the blood of both flowed in his veins, and just as legend traced their descent from Zeus, so he, too, had a feeling that in some way he was descended from Ammon. In any case, he undertook this expedition with the deliberate purpose of obtaining more precise information on this subject – or at any rate to say that he had obtained it. (Arrian 3.3) (i) Briefly explain what happened when Alexander travelled to the temple of Siwah. [2] (ii) Apart from this incident, why did Alexander believe that he was descended from a god? [4] (iii) Apart from behaving as the son of Ammon-Ra, what else did Alexander do to make himself seem like a god? [4] (iv) Using this passage as a starting point, explain how Alexander used religion to strengthen his position and further his career. [15] OR 2 If he had died before crossing the Hellespont, would Alexander have deserved to have been called ‘the Great’? [25] OR 3 How great was Alexander as a military leader? [25] 5 10

3 9274/11/O/N/11 © UCLES 2011 [Turn over SECTION TWO: SOCRATES Answer ONE of the following three questions. EITHER 4 Read the passage below, and answer the questions which follow: [25] Is there anyone in the world, Meletus, who believes in human matters, and not in human beings? Make him answer, gentlemen, and don’t let him keep on making these continual objections. Is there anyone who does not believe in horses, but believes in equine matters? Or who does not believe in musicians, but believes in musical matters? No, there is not, my worthy friend. If you do not want to answer, I will supply it for you and for these gentlemen too. But the next question you must answer: Is there anyone who believes in supernatural matters and not in supernatural beings? ‘No.’ How good of you to give a bare answer under compulsion by the court! Well, do you assert that I believe and teach others to believe in supernatural matters? It does not matter whether they are new or old; the fact remains that I believe in them according to your statement; indeed you solemnly swore as much in your affidavit. But if I believe in supernatural matters, it follows inevitably that I also believe in supernatural beings. Is not that so? It is; I assume your assent, since you do not answer. Do we not hold that supernatural beings are either gods or the children of gods? Do you agree or not? ‘Certainly.’ (Plato, Apology 27) (i) Apart from Meletus, who else is prosecuting Socrates? [2] (ii) Apart from impiety, what other charge was brought against Socrates? [1] (iii) How large was the jury which tried Socrates? [1] (iv) Briefly explain Socrates’ customary way of conducting a discussion. [3] (v) What example of the Socratic technique can be seen in this passage? How effective do you think this technique is here? [3] (vi) Using this passage as a starting point, explain how convincing you find Socrates’ defence against the charge of impiety in the Apology. [15] OR 5 ‘Euthyphro shows the best and worst aspects of the Socratic method.’ Describe the Socratic method and explain how far you agree with this statement. [25] OR 6 From your reading of the dialogues in The Last Days of Socrates, how far would you agree that Socrates was a man of high moral principles? [25] 5 10 15

4 9274/11/O/N/11 © UCLES 2011 SECTION THREE: ARISTOPHANES Answer ONE of the following three questions. EITHER 7 Read the passage below, and answer the questions which follow: [25] LEADER: Now anyone who studies us from various points of view Will find that we resemble wasps in everything we do. No creature, to begin with, is more savage and irate, When once provoked, than we are, or less easy to placate. Observe our social structure and you’ll see that it conforms To that of wasps exactly – we are organized in swarms; And according to the jury that we’re privileged to be on We buzz about the Archon’s Court, or nest in the Odeon. And some, like grublets in their cells, are packed around the wall: They nod their heads, but otherwise they scarcely move at all. Our economic system, too, is practical and neat: By stinging all and sundry we contrive to make ends meet. Of course we have our drones as well, dull stingless brutes who shirk Their military duties, letting others do the work – And sure enough they gobble up as much as they can get Of the income we have earned them with no end of toil and sweat. It makes us wild to think that those who’ve never raised a hand Or risked a single blister to defend their native land Can draw their pay with all the rest: I think the rule should be That if you haven’t got a sting you get no jury fee. (Aristophanes, Wasps) (i) Name the section of the play from which this passage is taken. What is its purpose? [2] (ii) How are the Chorus dressed and what does this indicate about their nature? [2] (iii) How do the Chorus try to rescue Procleon (Philocleon) at the beginning of Wasps? [2] (iv) Explain the social and political messages that are conveyed in this passage. [4] (v) ‘Wasps would be just as effective without the Chorus.’ To what extent do you agree with this opinion? [15] OR 8 Explain how Dionysus contributes to the success of Frogs. [25] OR 9 Which do you think is the funnier comedy, Wasps or Frogs? In your answer, you should discuss both plays. [25] 5 10 15 20

5 9274/11/O/N/11 © UCLES 2011 [Turn over BLANK PAGE PLEASE TURN OVER FOR SECTION FOUR

6 9274/11/O/N/11 © UCLES 2011 SECTION FOUR: GREEK VASE PAINTING Answer ONE of the following three questions. EITHER 10 Study the images below, and answer the questions which follow: [25] Pot A

7 9274/11/O/N/11 © UCLES 2011 [Turn over Pot B (i) Give the painter and date of Pot A. [2] (ii) Name two of the figures depicted in the scene on Pot A. How can the viewer identify these figures? [4] (iii) What is the name given to the shape of Pot B? For what purpose was this type of pot used? Give two ways in which it was suited to its purpose. [4] (iv) The painters of Pot A and Pot B adopted different approaches to the same story. Which painter’s approach do you prefer, and why? In your answer you should include discussion of the composition and overall effect of both scenes. [15]

8 9274/11/O/N/11 © UCLES 2011 Copyright Acknowledgments: Section 1 Question 1 © translated by A de Sélincourt; The Campaigns of Alexander; Penguin; 1971. Section 2 Question 4 © translated H Tredennick; Plato; The Last Days of Socrates; Penguin; 2003. Section 3 Question 7 © translated D Barrett; Aristophanes; The Wasps; Penguin; 1964. Section 4 Question 10 © Susan Woodford; An introduction to Greek Art; Duckworth/Museum of Fine Arts Boston; 1986. Section 4 Question 11 © Susan Woodford; An introduction to Greek Art; Duckworth/Museum of Fine Arts Boston; 1986. Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. University of Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge. IMAGE A IMAGE B Images of Ajax and Achilles playing a board game (Museum of Fine Arts Boston) OR 11 Making reference to the works above, and to other appropriate works of your own choice, explain whether you prefer black-figure or red-figure pots. In your answer, you should refer to at least three examples from each technique. [25] OR 12 Scenes of conflict were a popular theme for vase-painters. What opportunities and challenges did such scenes offer to vase-painters? In your answer, you should refer to specific details from some of the pots you have studied. [25]

UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS GCE Advanced Subsidiary Level and GCE Advanced Level MARK SCHEME for the October/November 2011 question paper for the guidance of teachers 9274 CLASSICAL STUDIES 9274/11 Paper 1 (Greek Civilisation), maximum raw mark 50 This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes must be read in conjunction with the question papers and the report on the examination. • Cambridge will not enter into discussions or correspondence in connection with these mark schemes. Cambridge is publishing the mark schemes for the October/November 2011 question papers for most IGCSE, GCE Advanced Level and Advanced Subsidiary Level syllabuses and some Ordinary Level syllabuses.

Page 2 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 Section One: Alexander the Great 1 (i) Briefly explain what happened when Alexander travelled to the temple of Siwah. [2] Any two of the following: • he travelled for 200 miles in the desert; • he encountered rain even in the desert; • two snakes are said to have led him in the right direction; • he was greeted as the son of the god Ammon-Ra; • he asked if Philip’s murder would be avenged and he was told that it would be. (ii) Apart from this incident, why did Alexander believe that he was descended from a god? [4] • His mother believed that she was a descendant of Achilles, himself half-god, as a son of Thetis. • She also told Alexander that his father was Zeus. (iii) Apart from behaving as the son of Ammon-Ra, what else did Alexander do to make himself seem like a god? [4] • He sacrificed to Zeus, his father, before battles. • He allowed Greeks to address him with divine titles. • He allowed the Persians to prostrate themselves before him, which was only given to a god. • He allowed himself to be painted in divine poses. (iv) Using this passage as a starting-point, explain how Alexander used religion to strengthen his position and further his career. [15] Points for discussion include: • his belief that he was descended from Zeus, which was largely successful; • his daily worship and offerings, as well as the sacrifices to various gods; • his desire to be deified after death; • his respect for Athens’ patron goddess and her sanctuary while he was in Athens; • the Gordian Knot where he demonstrated rude pragmatism as more useful than spiritual mysticism; • the adventure in Siwah, which served as a powerful medium for propaganda; • there may well be discussion of the Alexander’s attempt to shoe-horn his family history into the mythology of the Trojan War; There must be an attempt to address both aspects in the question. 2 If he had died before crossing the Hellespont, would Alexander have deserved to have been called ‘the Great’? [25] Points for discussion include: • his assuming command over the army; • his seeing Athens change its policy over the Macedonians; • his becoming leader of the Corinthian League; • his defeat of the Thessalians; • his terrorising of Thebes; • quelling of the revolting Greek states – he refused to relinquish control of them.

Page 3 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 3 How great was Alexander as a military leader? [25] Points for discussion may include: • the discipline and loyalty imbued in his men; • the fact that he won most of his battles – there should be discussion of at least one; • the various plots and mutinies [such as at Hyphasis] brought against Alexander by several groups at different points in his career; • the close relationships he had with individuals within his army – he may have been a king and general, but he was definitely ‘one of the lads’; • his haste and impatience in dealing with discipline; • his generosity towards his men; • providing a strong role model for his men – refusing to drink water in Gedrosia when his men had none; • his careful planning of military engagements.

Page 4 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 Section Two: Socrates 4 (i) Apart from Meletus, who else is prosecuting Socrates? [2] Anytus and Lycon. (ii) Apart from impiety, what other charge was brought against Socrates? [1] Corrupting the young. (iii) How large was the jury which tried Socrates? [1] 501. (iv) Briefly explain Socrates’ ‘customary way’ of conducting a discussion. [3] Socrates’ ‘customary method’ of discussion was dialectic, the questioning of his interlocutor to discover what he knew. This would end up with the interlocutor being confused and shown to be contradicting himself, as happened to Meletus in this part of the Apology. (v) What example of the Socratic technique can be seen in this passage? How effective do you think this technique is here? [3] Socrates is using an analogy here, comparing belief in the gods with belief in the young of animals. How effective this analogy is here is up to the candidate, but reasons must be given for the point of view. (vi) Using this passage as a starting point, explain how convincing you find Socrates’ defence against the charge of impiety in the Apology. [15] Socrates saw himself as a man who believed in the gods. He participated in the public sacrifices of the state, and believed in the oracle of Delphi, to the extent of trying to discover exactly what the oracle meant. During the cross-examination of Meletus, seen in the passage, Meletus is forced to admit that Socrates is not an atheist. However, Socrates’ mention of his daimonion seems to indicate that he does believe in gods not recognised by the state, and the use of dialectic would have been more negative than positive, prejudicing the jury against him. 5 ‘Euthyphro shows the best and worst aspects of the Socratic method’. Describe what the Socratic Method entails and explain how far you agree with this statement. [25] In Euthyphro, all the features of the Socratic Method can be seen. The dialogue is in the form of a discussion, with Socrates employing dialectic to discover what Euthyphro believes. He uses methods such as analogy and Socratic irony to encourage Euthyphro to reveal his views in the dialogue. Each definition of holiness is rejected until eventually Euthyphro, through aporia, decides he has had enough and goes. The dialogue shows Socrates’ skill in discussion, revealing his clever use of language and his intelligence. However, the discussion does not lead to any definite conclusions, and shows why the Socratic Method led to Socrates being disliked by so many Athenians.

Page 5 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 6 From your reading of the dialogues in The Last Days of Socrates, how far would you agree that Socrates was a man of high moral principles? [25] Socrates was a man of high moral principles, which he maintained to the end of his life, preferring to die rather than to compromise them. He gave examples of this during the Apology, such as his opposition to the illegal trial of the generals after the battle of Arginusae, and resisting the Thirty Tyrants. He accepted the verdict of the court, and refused to try and avoid the death penalty. This is seen in Crito where he resists the attempts of his friends to set him free, as it would be against the state law to do so. He introduces the idea of the Laws of Athens as a justification for his attitude. In Phaedo, he welcomes death as being a blessing for the philosopher. His last wish is for his debt to Asclepius to be paid.

Page 6 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 Section Three: Aristophanes 7 (i) Name the section of the play from which this passage is taken. What is its purpose? [2] • Parabasis; • to express the playwright’s opinion. (ii) How are the Chorus dressed and what does this indicate about their nature? [2] • Wasp costume; • to demonstrate ferocity as jurors/martial spirit. (iii) How do the Chorus try to rescue Procleon at the beginning of Wasps? [2] • They encourage Procleon to escape from the house. • They attack the slaves when Procleon is caught midway in his escape. (iv) Explain the social and political messages that are conveyed in this passage? [4] The passage highlights: • the organisation and savage nature of the jurors; • the militaristic approach to empire which helped to create the Delian league; • the lazy nature of the younger generation who do not fight for Athens and live off the wealth Procleon fought for; • Aristophanes’ élitist view about who should receive jury pay. (v) ‘Wasps would be just as effective without the Chorus.’ To what extent do you agree with this statement? [15] It would be difficult to argue for this statement as they perform an important role in the play. Candidates might want to discuss some of the following: • the Chorus of old jurors in Wasps would be a spectacular sight with their colourful insect costumes covered with tattered jurymen’s cloaks; • they inject energy into the play in both their attack on Anticleon and singing the play to an end with approval of the dancing; • they are of the old school and help to emphasise Procleon’s attitudes; • it is worth noting that it is they, and not just Procleon, who are convinced by Anticleon’s arguments; • in the parabasis they sing in celebration of both the poet and the past. 8 Explain how Dionysus contributed to the success of Frogs. [25] Dionysus is certainly an essential character who adds to the success of the play, in both the comedy he contributes and his centrality to the plot, as well as being a vehicle for Aristophanes’ political views. He adds to the humour in the following ways: • his costume is funny when he first enters; • the anthropomorphic portrayal of the god who is easily scared; • sexual innuendo – sitting on the oar; • scatological humour – the involuntary libation; • role reversal – swapping of Heracles’ costume with Xanthias;

Page 7 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 • lack of intelligence – does not have the faintest idea of what Aeschylus and Euripides are talking about at times; • poor imitation of Heracles; • the way he parodies the lines of the two tragedians. He is central to the plot in that he is the one visiting the Underworld to bring back a poet to save Athens, as well as being the judge between Euripides and Aeschylus. Aristophanes’ political views can be seen in the way he chooses Aeschylus and what he represents before Euripides. He is also used to bring in the topic of Alcibiades, and the role reversal with Xanthias might be an allegory about the state Athens is in. 9 Which do you think is the funnier comedy, Wasps or Frogs? In your answer, you should discuss both plays. [25] Candidates should make reference to the following types of humour and find relevant examples from both Wasps and Frogs and make a detailed comparison about which play they find to be the funnier. • Impersonation; • Visual humour; • Verbal humour; • Topical allusions; • Sex; • Religion; • Situation comedy; • Scatological humour; • Characterisation.

Page 8 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 Section Four: Greek Vase Painting 10 (i) Give the date and name of the painter of Pot A. [2] Painter: The Pan Painter Date: 475-450 BC (ii) Name two of the figures depicted in the scene on Pot A. How can the viewer identify these figures? [4] Candidates may mention the following points: • Athena identified by her helmet, spear and aegis; • Perseus identified by winged helmet and boots and the bag with Medusa’s head; • Medusa identified by her wings and the fact that she is headless. (iii) What is the name given to the shape of Pot B? For what purpose was this type of pot used? Give two ways in which it was suited to its purpose. [4] Shape: dinos and stand Purpose: to mix water and wine at a symposium Candidates may include the following points: • the large size of the pot; • the wide mouth enabling the slaves to mix the wine and water easily; • the wide mouth enabling the slaves to dip an oinochoe in easily; • the stand to give height and easy access for the slaves. (iv) The painters of Pot A and Pot B adopted different approaches to the same story. Which painter’s approach do you prefer, and why? In your answer you should include discussion of the composition and overall effect of both scenes. [15] Both pots depict the story of Perseus and Medusa. The Gorgon Painter pot shows Perseus and the Gorgons. From the left the figures are: Hermes, Athena, Medusa, two Gorgons and Perseus. Medusa is shown already headless, falling to her death, whilst Perseus is shown on the far right escaping from her pursuing sisters. Expect some comment on: • the fact that the scene is the main frieze of five on the pot; • the figures are strung out along the same base line; • the swastika-type poses to indicate rapid movement; • the figures fill the frieze from top to bottom [even Medusa with her wings as she falls]; • the frieze has a strong narrative even though there is no connection between the figures. The Pan Painter’s approach is different in the following ways: • there are only three figures, Perseus, Medusa and Athena; • Medusa is no longer a terrifying figure; • the whole composition is quite balletic in the way that the figures move across the pot and are connected to each other; • the composition over the fallen figure of Medusa is triangular; • the whole effect is one of elegance and charm.

Page 9 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 11 Making reference to the works above, and to other appropriate works of your own choice, explain whether you prefer black-figure or red-figure pots. In your answer, you should refer to at least three examples from each technique. [25] The two pots depicted on the paper are: Black-figure: image of Ajax and Achilles playing a board game 530-530 BC Museum of Fine Arts Boston Red-figure: image of Ajax and Achilles playing a board game 530-530 BC Museum of Fine Arts Boston There is no model answer here. Much will depend upon the pots chosen and the level of detail used in an appropriate way. The answer must be more than a development of vase-painting technique. Candidates need to identify aspects of both techniques which make them visually interesting and support the points with reference to recognisable pots. There should be reference to at least two other pots from both techniques. 12 Scenes of conflict were a popular theme for vase-painters. What opportunities and challenges did such scenes offer to vase-painters? In your answer, you should refer to specific details from some of the pots you have studied. [25] Candidates will need to establish what they understand by the term ‘conflict’ because this will determine the structure and content of their response. Whatever definition they offer, there must be an attempt to address the issues of opportunities and challenges and there must be detailed reference to specific scenes from recognisable pots. Candidates may include the following points: Opportunities: • The Trojan War on vases has overtones of the triumph of the Greeks against barbarians. War is always an emotive subject because it allows for: • duels between heroes; • pathetic vignettes; • action-packed scenes; • tear-jerking action. The subject, therefore, presented painters with a wealth of opportunities to show their skills: • in depicting a range of stories; • in capturing a variety of moods which reflected the glory of war or the pathos of war; • in depicting a narrative. Challenges: The challenges presented depended upon the shape of the pot, the technique chosen and the precise story chosen by the artist. The stories were so popular that there was always a market for pots depicting this subject matter. Artists had to build on the work of earlier painters and make their own work stand out from the rest. Similar points can be made with reference to pots depicting Herakles [although there is the added bonus of a range of monsters within the Herakles stories].

Page 10 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 11 © University of Cambridge International Examinations 2011 Generic criteria for marking essays Essays will initially be graded in accordance with the following criteria and then allocated a mark within the range for each category. The maximum mark for an essay will be 25. 21–25 An excellent answer: • will be comprehensive in coverage; • will be detailed in knowledge; • will be detailed in the use of specific examples in support of points made; • will be attentive to all parts of the question in equal depth; • will be lucid in style and organisation; • will show evidence of individual thought and insight. 16–20 A very good answer: • will be very good in coverage; • will be supported with good/adequate examples and illustrations; • will be attentive to all parts of the question in some depth; • will be well organised and clearly expressed; • may have some minor errors. 11–15 An average answer: • will be adequate in coverage of question requirements, but perhaps unbalanced in treatment; • will be supported with fewer examples and detail; • will be too general; • may be stylistically clumsy or inconsistent; • may contain irrelevant material. 6–10 A below average answer: • will be deficient or limited in knowledge; • will show misunderstanding or misinterpretation of question; • will use few or irrelevant examples; • will be muddled and limited in expression. 1–5 A weak answer: • will show serious misunderstanding of the question or lack of knowledge; • will show factual inaccuracies; • will not use examples; • will not make relevant points.