Cambridge A Level Classical Studies 9274 — 2011 Oct/Nov Paper 2 · Variant 1

This document consists of 6 printed pages and 2 blank pages. DC (SM/SW) 39093/1 © 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. * 3 9 3 6 7 9 6 3 5 4 * CLASSICAL STUDIES 9274/21 Paper 2 Roman Civilisation October/November 2011 1 hour 30 minutes Additional Materials: Answer Booklet/Paper

2 9274/21/O/N/11 © UCLES 2011 SECTION ONE: AUGUSTUS Answer ONE of the following three questions. EITHER 1 Read the passage below, and answer the questions which follow: In my sixth and seventh consulships, after I had extinguished the civil wars, being master of everything by the consent of all, I transferred the republic from my power [potestas] to the control of the senate and the Roman people. In return for this service of mine by decree of the senate I was called Augustus, and the door-posts of my house were screened with laurel at public expense, and a civic crown was fixed above my door and a golden shield was set up in the Julian Senate-house with an inscription attesting that the senate and the Roman people gave it to me because of my courage, clemency, justice, and piety. After that time I excelled all in authority [auctoritas], but I had no more power [potestas] than others who were my colleagues in each magistracy. (Res Gestae 34) 5 10 (i) In which year did Octavian hold his seventh consulship? [1] (ii) Name three of the civil wars fought by Octavian, and his opponent in each of these wars. [3] (iii) Why did Octavian accept the title of ‘Augustus’ rather than his preferred title of ‘Romulus’? [2] (iv) What was the significance of the award of a ‘civic crown’ (line 6) to Octavian? [2] (v) Give two honours not mentioned in this passage which Octavian accepted. [2] (vi) Augustus claimed that he transferred the republic to the control of the Senate and that he had no more power than any other magistrate. How far do you agree with this statement? [15] [25] OR 2 Explain the steps taken by Augustus to make his seizure of power legal between 43 B.C. and 23 B.C. [25] OR 3 How important a part did Augustus’ family play during his reign? [25]

3 9274/21/O/N/11 © UCLES 2011 [Turn over SECTION TWO: VIRGIL Answer ONE of the following three questions. EITHER 4 Read the following passage, and answer the questions which follow: Dido was on fire with love and wandered all over the city in her misery and madness like a wounded doe which a shepherd hunting in the woods of Crete has caught off guard, striking her from long range with steel-tipped shaft; the arrow flies and is left in her body without his knowing it; she runs away over all the wooded slopes of Mount Dicte, and sticking in her side is the arrow that will bring her death. Sometimes she would take Aeneas through the middle of Carthage, showing him the wealth of Sidon and the city waiting for him, and she would be on the point of speaking her mind to him but checked the words on her lips. Sometimes, as the day was ending, she would call for more feasting and ask in her infatuation to hear once more about the sufferings of Troy and once more she would hang on his lips as he told the story. Then, after they had parted, when the fading moon was dimming her light and the setting stars seemed to speak of sleep, alone and wretched in her empty house she would cling to the couch Aeneas had left. There she would lie long after he had gone and she would see him and hear him when he was not there for her to see or hear. (Virgil, Aeneid 4) 5 10 15 (i) Why is Dido ‘on fire with love’ in line 1? [2] (ii) Look at the simile ‘like a wounded doe... that will bring her death’ (lines 2–6). Explain two points of similarity between the simile and the scene it is intended to illustrate. [4] (iii) ‘Sometimes she would take Aeneas... not there for her to see or hear’ (lines 7–16). In these lines, find two ways in which Virgil highlights the power of the love affecting Dido and explain their effects. [4] (iv) Using this passage as a starting point, discuss how far Virgil makes the reader feel sympathy for Dido. [15] [25] OR 5 ‘Aeneas always behaves like a hero.’ How far do you agree with this statement? [25] OR 6 ‘There is nothing of interest in the Aeneid for the modern day reader.’ To what extent do you agree with this statement? [25]

4 9274/21/O/N/11 © UCLES 2011 SECTION THREE: JUVENAL Answer ONE of the following three questions. EITHER 7 Read the following passage, and answer the questions which follow: ‘Time to get out, when such men put on the purple, when louts blown into Rome along with the figs and damsons precede me at dinner-parties, or for the witnessing of manumissions and wills – me, who drew my first breath among these Roman hills, and was nourished on Sabine olives! What’s more, there’s none can match their talent for flattery: dummies they laud as eloquent, the ugly they call handsome, a scrag-necked weakling they liken to Hercules, hoisting the giant Antaeus aloft, way off the earth. They go into ecstasies over some shrill and scrannel tenor who cock-a-doodles worse than a rooster treading his hen. We can make the same compliments, but they’re the ones people believe. Who can beat them in any performance of female parts, as courtesan, matron or slave-girl? No mantle, either; you’d swear that what you saw and heard was a woman, not an impersonator: no bulge beneath the belly, all smooth, with even a suggestion of the Great Divide. Yet, back home, even the most famous of these tragedy queens and dames will pass unnoticed. They’re a nation of actors. Laugh, and they’ll out-guffaw you, split their sides. When faced with a friend’s tears, they weep too, though totally unmoved. If you ask for a fire in winter, the Greek dons his cloak; if you say “I’m hot”, he’ll begin sweating. So we’re not on an equal footing: he has the great advantage of being able, night or day, to borrow his expression from another man’s face, to raise his hands and applaud when a friend burps loudly, or pisses right on the mark, with a splendid drumming sound from the upturned golden basin.’ (Juvenal, Satire 3) 5 10 15 20 25 30 (i) What is the name of the speaker in this passage? [1] (ii) To whom is Juvenal referring in line 1, and what does the ‘purple’ they are wearing indicate? [2] (iii) How does the speaker stress his native upbringing in lines 4–5? [1] (iv) In this passage, find three examples of Juvenal’s satiric technique. Write out the example, identify the technique and explain its effect. [6] (v) Using this passage as a starting point, explain the effect Juvenal thinks that foreigners have had on Roman society. [15] [25]

5 9274/21/O/N/11 © UCLES 2011 [Turn over OR 8 How typical is Satire 10 of the other satires of Juvenal you have studied? [25] OR 9 What does Juvenal think has gone wrong in Roman society? [25]

6 9274/21/O/N/11 © UCLES 2011 SECTION FOUR: ROMAN ARCHITECTURE Answer ONE of the following three questions. 10 Study the image below, and answer the questions which follow: (i) What name is given to this type of building? [1] (ii) Who often funded local public buildings such as this? Give two possible reasons for this. [3] (iii) Name two events that took place in this type of building. [2] (iv) How was this building designed to suit its function? [4] (v) Compare and contrast two different types of building used by the Romans for entertainment purposes. You should refer to specific buildings in your answer. [15] [25] OR 11 ‘The Pantheon – most perfect of all ancient Roman buildings.’ With close reference to different elements of this building, explain how far you agree with this view. [25] OR 12 ‘The invention of concrete allowed Roman architects to use their imagination.’ To what extent do you think this is true of the buildings you have studied? [25]

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8 9274/21/O/N/11 © UCLES 2011 BLANK PAGE Copyright Acknowledgments: Section 1 Question 1 © Edited by M Cooley; The Age of Augustus; LACTOR 17; London Association of Classical Teachers; 2003. Section 2 Question 4 © Translated D West; Virgil; The Aeneid; Penguin; 2003. Section 3 Question 7 © Translated by P Green; Juvenal; The Sixteen Satires; Penguin; 1998. Section 4 Question 10 Photograph © J Welsby © UCLES. 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.

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 9274/21 Paper 2 (Roman 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 21 © University of Cambridge International Examinations 2011 Section One: Augustus 1 (i) In which year did Octavian hold his seventh consulship? [1] 27 B.C. (ii) Name three of the civil wars fought by Octavian, and his opponent in each of these wars. [3] Any three; one mark each: • Mutina – Mark Antony; • Philippi – Brutus and Cassius (Caesar’s assassins); • Perusia – Lucius Antony; • Sicily – Sextus Pompey; • Actium – Mark Antony. (iii) Why did Octavian accept the title of ‘Augustus’ rather than his preferred title of ‘Romulus’? [1] Romulus was a king, which Octavian wanted to avoid, as it had led to Julius Caesar being assassinated. Augustus was a more general term, meaning ‘more than human’. (iv) What was the significance of the award of a civic crown to Octavian? [2] The Civic Crown was a wreath of oak leaves. It was awarded to a anyone who saved the lives of citizens. Octavian was awarded the crown for saving the Republic. (v) Give two honours not mentioned in this passage which Octavian accepted. [2] • Divi Filius; • Month of August; • Pater Patriae; • birthday. (vi) Augustus claimed that he transferred the republic to the control of the Senate and the he had no more power than any other magistrate. How far do you agree with this statement? [15] Augustus restored the forms of the Republic. He re-established the authority of the Senate and magistrates and restored the election of magistrates. He also held a census, which stabilised the status of the citizens. However, in reality, he retained power. He was still elected as consul, he kept control of the armies, and he nominated heirs. With the maius imperium and permanent tribunician power, he could overrule the Senate and Comitia. 2 Explain the steps taken by Augustus to make his seizure of power legal between 43 B.C. and 23 B.C. [25] In 43 B.C. Octavian had raised an army illegally. In that year, he was declared Consul by the Senate, despite being under the legal age. He also formed the 2nd Triumvirate with Antony and Lepidus. In 36 B.C. Octavian was given Tribunician power. In 31 B.C. Octavian became consul for the third time, a post he held each year until 23 B.C. He led Italy in the war against Antony, later celebrating a triple triumph. The settlement of 27 B.C. saw Octavian resign all his powers, only to be begged by the Senate to reconsider. As well as various honours, such as the title Augustus, he was given proconsular power over all provinces with an army, and resumed the

Page 3 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 consulship. In 23 B.C. he resigned the consulship, but was given two strands of power in return. In the provinces, he was given maius imperium proconsulare which gave him supreme power over all provincial governors. In Rome, he was given tribunician power for life. This meant he could veto all Senatorial decrees and propose laws. He also retained the power to nominate candidates for election. 3 How important a part did Augustus’ family play during his reign? [25] Octavian’s family were very important to him during his life. It was his connection with Julius Caesar which enabled him to rise to prominence. His daughter Julia was a pawn in his dynastic arrangements. She was married three times, to Marcellus, Agrippa and Tiberius. In each case, her husband became his nominated successor. His grandsons, Gaius and Lucius, were also adopted, given responsibility before the legal age and sent to gain experience in the provinces as preparation for ruling the Empire. However, they died before they could take power. He was eventually succeeded by Tiberius, his step-son, son-in-law and adopted son. His extended family (step-sons Drusus and Tiberius) played a large part in stabilising Rome’s frontiers. His wife Livia was a support and assistant in his work. However, his family could also be an embarrassment to him, as seen in the scandals concerning his daughter and grand-daughter, and their subsequent exiles.

Page 4 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 Section Two: Virgil 4 (i) Why is Dido ‘on fire with love’ in line 1? [2] Cupid, at Venus’ command, has made Dido fall in love during the banquet when he took on the guise of Ascanius. (ii) Look at the simile ‘like a wounded doe...that will bring her death.’ (lines 2–6) Explain two points of similarity between the simile and the scene it is intended to illustrate. [4] Any two of the following: [1 per point + 1 per explanation] • shepherd – Aeneas is often described as the shepherd of his people; • just as the shepherd does not know he has hit the doe, nor does Aeneas realise the effect he is having upon Dido; • the arrow could represent Cupid’s arrows of love; • off guard – Dido is off-guard as she did not expect to fall in love again; • the way the deer runs all over Mount Dicte is similar to Dido roaming her city; • just as the arrow will cause the deer to die, so will Cupid’s shaft cause Dido’s suicide. (iii) ‘Sometimes she would take Aeneas...not there for her to see or hear.’ (lines 7–16) In these lines, find two ways in which Virgil highlights the power of the love affecting Dido and explain their effects. [4] Any two of the following: [1 per point + 1 per explanation] • the repetition of ‘sometimes’ underlines her confused state of mind; • complete infatuation when she asks for yet more feasts and hangs on the hero’s every word – hardly the behaviour we expect from a powerful queen; • her desolation after the feast is dramatically shown by her clinging to the couch; • she imagines she can still hear and see Aeneas even when he is no longer there.

Page 5 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 (v) Using this passage as a starting point, discuss how far Virgil makes the reader feel sympathy for Dido. [15] Both in the passage and elsewhere, Dido comes across as a tragic heroine. In the passage the metaphor and simile of the love she is experiencing portray her as undeserving of her fate. Elsewhere: • she is a pawn being used by the gods in their own dispute; • she is very hospitable to the Trojans in the feast and offering Aeneas a share of her land; • she tries to fight the love and maintain her vow of chastity; • she has to experience her lover seemingly preparing to leave without a word. The reader feels sympathy for her as she is reduced to a state of near madness and in her eventual suicide. However, in the passage it is clear that she is neglecting her duties as queen, and the way she behaves as a result of her infatuation hardly puts her in a favourable light. Elsewhere: • she is compared to a Bacchant; • she both wishes that she had served Ascanius up in a stew for his father to eat; • and that Aeneas dies a terrible death; • she brings down the curse of perpetual enmity between the two nations; • the way she deceives Anna over the funeral pyre is cruel. Candidates could also see Dido as a Cleopatra figure for whom the Roman audience would have no sympathy. 5 ‘Aeneas always behaves like a hero.’ How far do you agree with this statement? [25] Aeneas is nearly always seen to be a hero whether Homeric or Roman. Aeneas is essentially a prototype Roman hero. • in Book 2 Aeneas fights like a typical Homeric hero where battle-madness or ‘furor’ gets the better of him on numerous occasions - after the words of Panthus or Hector. Books 1 and 4 continue to highlight this transition where he fails to grasp fully the importance of his mission; • for instance, there are backward looks to Troy in both books, he is sick at heart in Book 1 and wishes he were dead and in Book 4 he is tempted to give up everything for Dido. • However his ‘pietas’ can be seen in Book 2 and has grown in Book 1. • he eventually leaves the destroyed city of his own volition and leads the survivors in search of their new land; • he looks after his men and son and in both 1 and 4 puts his mission before his own happiness and shows a readiness to obey the gods when prompted; • in Book 6 it could be said that he enters the underworld as the last Trojan and re-emerges as the first Roman. It is a pivotal book of the Aeneid in which Aeneas can almost encounter all the ghosts of his past and focus on fulfilling his destiny once he has been inspired by his father’s words and the revelation of the greatness of the destiny that awaits him and his descendants.

Page 6 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 6 ‘There is nothing of interest in the Aeneid for the modern day reader.’ To what extent do you agree with this statement? [25] Candidates might want to write about characterisation – Aeneas is perhaps an imperfect hero, someone whom the audience can admire and also relate to. Dido is portrayed as the classic tragic heroine. Anchises plays an immensely important supporting role and allows the reader to see the importance of family to the hero. The story itself uses a host of devices which enhance its value: • first person narrative; • changes of scene and location with frequent use of fantasy; • the supernatural and the involvement of the gods; • love; • violence; • warfare; • horror. Throughout, Virgil’s way of writing maintains the excitement – frequent use of simile, graphic descriptions, pace of narrative etc.

Page 7 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 Section Three: Juvenal 7 (i) What is the name of the speaker in this passage? [1] Umbricius. (ii) To whom is Juvenal referring in line 1 and what does the ‘purple’ they are wearing indicate? [2] Greeks. Equestrian rank/wealth. (iii) How does the speaker stress his native upbringing in lines 4–5? [1] Born in sight of the hills of Rome and brought up on its local produce, i.e. born and bred a Roman. (iv) In this passage, find three examples of Juvenal’s satiric technique. Write out the example, identify the technique and explain its effect. [6] Any three of the following [1 per technique + 1 per explanation] • parody of mythology – Hercules; • sexual humour – no hint of the great divide; • rhetorical question – ‘who can beat them...?’; • sarcasm – ‘they are a nation of actors’; • repetition – ‘no...no’; • exaggeration – the way Greeks can change their physical attributes; • metaphor – ‘to borrow an expression’; • puts the reader directly in conversation with Umbricius; • accumulation of examples. (v) Using this passage as a starting point, explain the effect Juvenal thinks that foreigners have had on Roman society. [15] Juvenal hates foreigners so much because they have turned his society upside down. Once foreigners were slaves but are now ahead of their former masters because they have been able to buy their way into Roman society and influenced this society with their own customs, manners, languages etc. Satire 3 will undoubtedly provide the most fertile ground for illustrating these points. The Greeks, in particular, are liars, flatterers, effeminate, use sex for their own advantage, have corrupted the patron-client system with their flattery. Crispinus in Satires 1 and 4 epitomises the hated ex-slave. Candidates should back up their examples with reference to the Satires. 8 How typical is Satire 10 of the other satires of Juvenal you have studied? [25] Satire 10 is in many ways very untypical of his earlier Satires. It is much more logically structured and argued and it is as if the ‘indignatio’ is no longer his governing force which compels him to write satire. His anger is a hallmark of his earlier writing. Anger is an essential element of satire present in the work of its founder Lucilius. Juvenal claims his anger is indignation or justified anger and is present in so much of his work. Satire 1 opens with a tirade of angry questions. Umbricius delivers a condemnation of life in Rome which is full of anger, the length of which suggests a lack of self-control and as such, a sign of anger. So does the way Juvenal carefully intersperses Satire 1 with the repeated outbursts of an angry man, or deviates from his promised discussion, carried away by his anger.

Page 8 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 However, Satire 10 is not delivered in such an angry voice. He seems to be mocking the world from a detached vantage point of superiority and immunity. He is more dispassionate and offers practical advice on what to pray for. However, the range of satiric devices remains much the same and so do the areas for attack – wealth and its corrupting power, lack of morality, condemnation of earlier political figures to illustrate his point etc. 9 What does Juvenal think has gone wrong in Roman society? [25] This is a particularly broad question designed to allow candidates to show off what they have learned about Roman society from studying the satires and the defects in it which Juvenal draws his audience’s attention to. Areas likely to be discussed are: • corrupting power of wealth; • influence of foreigners; • deficiencies in the patron client system; • lack of morality; • legacy hunting; • dangers and disadvantages of living in Rome; • inadequacies of certain emperors – e.g. Nero; • the dinner party; • the immorality of women etc.

Page 9 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 Section Four: Roman Architecture 10 Study the image below, and answer the questions which follow: (i) What name is given to this type of building? [1] Amphitheatre. (ii) Who often funded local public buildings such as this? Give two possible reasons for this. [3] • local citizen/benefactor; • generosity to his local community; • memory/reputation; • vote for him in elections. (iii) Name two events that took place in this type of building. [2] • gladiatorial shows; • venationes; • public executions. (iv) How was this building designed to suit its function? [4] • central sand covered arena; • banks of seats rising up to give spectators a good view; • arena wall to separate spectators from gladiators/animals; • tunnels to bring gladiators/animals to arena; • external entrances/exits; • awning; • designed to hold large capacity - 20,000. (v) Compare and contrast two different types of building used by the Romans for entertainment purposes. You should refer to specific buildings in your answer. [15] Candidates may choose to discuss amphitheatres, theatres and baths. The choice of the types of building and the specific examples selected will obviously dictate the response and the kind of points made. Whatever the type of buildings chosen the response should focus on the design of the buildings, the materials used, and how the functions of the buildings dictated their form.

Page 10 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © University of Cambridge International Examinations 2011 11 ‘The Pantheon – most perfect of all ancient Roman buildings.’ With close reference to different elements of the building, explain how far you agree with this view. [25] Candidates should have a great deal of material on the Pantheon from which to select. Expect them to take on the quotation because they are asked to discuss how far they agree. Some may argue that is not possible to appreciate it today because so much has been removed and adapted. Specific aspects of the building should be discussed in the course of the response. The Pantheon, built A.D. 118–125, has two distinct sections: 1 The octostyle porch with Corinthian columns (eight columns behind the façade divide the porch into three corridors) of grey Egyptian granite and capitals of Parian marble. Its entablature has an inscription and its pediment originally held sculpture. The proportions of the porch hide the building behind so that the interior makes a great impact on a visitor entering the building. The porch also makes it look rather traditional and in keeping with the whole sanctuary architecture. 2 The rotunda is an engineering, architectural and mathematical masterpiece. • The height from floor to dome is the same as the diameter of the dome [43.2 m]. • It has brick-faced concrete walls. • The floor is paved with alternating circles of porphyry and yellow squares of marble. • The interior walls have 3 semi-circular recesses and 4 rectangular recesses framed by pilasters and fronted by two fluted Corinthian columns supporting an entablature. • The roof of the dome is divided into a series of 140 graduated coffers which were originally gilded. • The spectacular oculus is 9 m in diameter. 12 ‘The invention of concrete allowed Roman architects to use their imagination in designing innovative buildings.’ To what extent do you think this is true of the buildings you have studied? [25] Candidates may simply choose to agree with the quotation and base their essay on the Romans’ innovative use of concrete in many of the buildings they have studied. It is also acceptable for candidates to disagree with the statement. Candidates should discuss how concrete was used in specific examples they have studied. It may be appropriate for candidates to refer in their answer to: • buildings such as the Colosseum, the Pantheon ; • other buildings known to them ; • structures such as the Pont du Gard ; • techniques connected with building arches/domes.

Page 11 Mark Scheme: Teachers’ version Syllabus Paper GCE AS/A LEVEL – October/November 2011 9274 21 © 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.