Cambridge A Level Classical Studies 9274 — 2014 Oct/Nov Paper 4 · Variant 2

This document consists of 3 printed pages and 1 blank page. DC (SJF) 91917 © UCLES 2014 [Turn over Cambridge International Examinations Cambridge International Advanced Subsidiary and Advanced Level * 1 9 8 7 6 3 6 1 2 8 * CLASSICAL STUDIES 9274/42 Paper 4 Classical Literature – Sources and Evidence October/November 2014 1 hour 30 minutes Additional Materials: Answer Booklet/Paper 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 an HB pencil for any diagrams or graphs. Do not use staples, paper clips, glue or correction fluid. DO NOT WRITE IN ANY BARCODES. This paper contains two options. Answer one question. Each question is marked out of 50. You are advised to spend 20 minutes reading and thinking about the three passages on the option you have chosen to answer, and then 10 minutes planning your answer. Answers need to make use of all three passages given for the question you are answering. 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.

2 9274/42/O/N/14 © UCLES 2014 1 Drama: the idea of tragedy Read the following passage and answer the question that follows: “An entire history of violence marches towards its violent but valid retribution.” R. B. Fagles & W. B. Stanford, Aeschylus: The Oresteia Explore critically the relationship between violence and revenge in tragedy. In your answer you should consider the passage above and your wider reading of tragedy, as well as the two passages below: JOCASTA: Come then, have you a hand to help your mother? If you could kill your father…this remains For you to do….Then let me take his sword, The sword that killed my husband – no, not husband, Father-in-law….Where shall I strike? My breast? Where plant the weapon – in my naked throat?… You know where you must strike – no need to choose – Strike here, my hand, strike at this teeming womb Which gave me sons and husband! CHORUS: She is dead. Her hand dies where it struck, the sword falls out Expelled by the strong rush of blood. Seneca, Oedipus, 1032–41 MESSENGER: A ghastly wrestling then began; He struggled to raise up his knee, she tugged him down. If he used force, he tore the flesh off his old bones. At length the King gave up his pitiful attempts; Weakened with pain, he yielded, and gasped out his life. Now, joined in death, daughter and father – such a sight As tears were made for – they lie there… CHORUS: Today we see the will of Heaven, blow after blow, Bring down on Jason justice and calamity. Euripides, Medea, 1214–21, 1231–32

3 9274/42/O/N/14 © UCLES 2014 2 Gods and heroes: the importance of epic Read the following passage and answer the question that follows: ‘There is no mistaking the fact…that women were held to be naturally inferior and therefore limited in their function to the production of offspring and the performance of household duties, and that the meaningful social relationships and the strong personal attachments were sought and found among men.’ M. I. Finley: The World of Odysseus (1954) Explore critically Finley’s view that the relationships between men were more meaningful than those between a man and a woman. In your answer you should consider the passage above and your wider reading, as well as the two passages below: Odysseus is speaking to Penelope: ‘What a strange woman you are!’ he exclaimed. ‘The gods of Olympus gave you a harder heart than any other woman. No other woman would have steeled herself to keep so long out of the arms of a husband who had just returned to her in his native land after twenty wearisome years. Well, nurse, make a bed for me to sleep in alone. For my wife’s heart is as hard as iron.’ ‘What a strange man you are,’ said the cautious Penelope. ‘ I am not being haughty or contemptuous of you, though I’m not surprised you think I am. But I have too clear a picture of you in my mind as you were when you sailed from Ithaca in your long-oared ship. Come, Eurycleia, move the great bed outside the bedroom that he himself built and make it up with fleeces and blankets and brightly coloured rugs.’ Homer Odyssey 23, 168–180 Camilla meets Turnus: The princess Camilla came to meet him with her Volscians in battle order. Under the very gates of the city she leapt down from her horse, and all her squadron followed her example, dismounting in one flowing movement. These were her words: ‘Turnus, if the brave are right to have faith in themselves, I dare to meet the Trojan cavalry – this is my undertaking – and go alone against the horsemen of Etruria. Give me leave to try the first hazard of war, while you stay on foot by the walls and guard the city.’ At these words Turnus fixed his eyes on this formidable warrior maiden and replied: ‘O Camilla, glory of Italy, I cannot hope to express my gratitude in words or deeds. But now, since that spirit of yours knows no limits, come share with me the heat of battle.’ Virgil Aeneid 11, 498–512

4 9274/42/O/N/14 © UCLES 2014 BLANK PAGE Copyright Acknowledgements: Question 1 © ed. R Fagles & W Stanford; Aeschylus; The Oresteia; Penguin Books Ltd; 1975. Question 1 © ed. E F Watling; Seneca; Four Tragedies and Octavia; Penguin Books Ltd; 1966. Question 1 © ed. P Vellacott; Euripides, Medea and Other Plays; Penguin Books Ltd; 1963. Question 2 © trans. Rieu; Homer; The Odyssey ; Penguin Books Ltd; 2003. Question 2 © trans. West; Virgil; The Aeneid ; Penguin Books Ltd; 1991. Question 2 © Finley; The World of Odysseus; New York Review Books Classics; 1956. 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. 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.

® IGCSE is the registered trademark of Cambridge International Examinations. CAMBRIDGE INTERNATIONAL EXAMINATIONS Cambridge International Advanced Subsidiary and Advanced Level MARK SCHEME for the October/November 2014 series 9274 CLASSICAL STUDIES 9274/42 Paper 4 (Classical Literature – Sources and Evidence), 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 should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge will not enter into discussions about these mark schemes. Cambridge is publishing the mark schemes for the October/November 2014 series for most Cambridge IGCSE®, Cambridge International A and AS Level components and some Cambridge O Level components.

Page 2 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 Essay: Generic Marking Descriptors for Papers 3 and 4 • The full range of marks will be used as a matter of course. • Examiners will look for the ‘best fit’, not a ‘perfect fit’ in applying the Levels. Good performance on one AO may compensate for shortcomings on others. HOWEVER, essays not deploying material over the full range of the two AOs will be most unlikely to attain a mark in Level 5. • Examiners will provisionally award the middle mark in the Level and then moderate up/down according to individual qualities within the answer. • Question-specific mark schemes will be neither exhaustive nor prescriptive. Appropriate, substantiated responses will always be rewarded. Answers may develop a novel and possibly intuitive response to a question. This is to be credited if arguments are fully substantiated. • The ratio of marks AO1 to AO2 is 1:1 Level/marks Descriptors 5 50 – 40 marks ANSWERS MAY NOT BE PERFECT, BUT WILL REPRESENT THE BEST THAT MAY BE EXPECTED OF AN 18-YEAR-OLD. • Strongly focussed analysis that answers the question convincingly. • Sustained argument with a strong sense of direction. Strong, substantiated conclusions. • Gives full expression to material relevant to both AOs. • Towards the bottom, may be a little prosaic or unbalanced in coverage yet the answer is still comprehensively argued. • Wide range of citation of relevant information, handled with confidence to support analysis and argument. • Excellent exploration of the wider context, if relevant. 4 39 – 30 marks ANSWERS WILL SHOW MANY FEATURES OF LEVEL 5, BUT THE QUALITY WILL BE UNEVEN ACROSS THE ANSWER. • A determined response to the question with clear analysis across most but not all of the answer. • Argument developed to a logical conclusion, but parts lack rigour. Strong conclusions adequately substantiated. • Response covers both AOs. • Good but limited and/or uneven range of relevant information used to support analysis and argument. Description is avoided. • Good analysis of the wider context, if relevant. 3 29 – 20 marks THE ARGUMENT WILL BE REASONABLY COMPETENT, BUT LEVEL 3 ANSWERS WILL BE LIMITED AND/OR UNBALANCED. • Engages well with the question although analysis is patchy and, at the lower end, of limited quality. • Tries to argue and draw conclusions, but this breaks down in significant sections of description. • The requirements of both AOs are addressed, but without any real display of flair or thinking. • Good but limited and/or uneven range of relevant information used to describe rather than support analysis and argument. • Fair display of knowledge to describe the wider context, if relevant.

Page 3 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 2 19 – 10 marks ANSWERS WILL SHOW A GENERAL MISMATCH BETWEEN QUESTION & ANSWER. • Some engagement with the question, but limited understanding of the issues. Analysis is limited/thin. • Limited argument within an essentially descriptive response. Conclusions are limited/thin. • Factually limited and/or uneven. Some irrelevance. • Perhaps stronger on AO1 than AO2 (which might be addressed superficially or ignored altogether). • Patchy display of knowledge to describe the wider context, if relevant. 1 9 – 0 marks ANSWERS IN LEVEL 1 WILL SHOW A CLEAR SENSE OF THE CANDIDATE HAVING LOST CONTROL OF HIS/HER MATERIAL. • Little or no engagement with the question. Little or no analysis offered. • Little or no argument. Any conclusions are very weak. Assertions are unsupported and/or of limited relevance. • Little or no display of relevant information. • Little or no attempt to address AO2. • Little or no reference to the wider context, if relevant.

Page 4 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 1 Explore critically the relationship between violence and revenge in tragedy. General: Any critical exploration as an answer to a Paper 4 question will necessarily encompass differing views, knowledge and argument. Thus the mark scheme for these questions cannot and should not be prescriptive. Candidates are being encouraged to explore, in the exam room, a theme that they will have studied. Engagement with the question as set (in the exam room) may make for limitations in answers but this is preferable to an approach that endeavours to mould pre-worked materials of a not too dissimilar nature from the demands of the actual question. Examiners are encouraged to constantly refresh their awareness of the question so as not to be carried away by the flow of an argument which may not be absolutely to the point. Candidates must address the question set and reach an overall judgement, but no set answer is expected. The question can be approached in various ways and what matters is not the conclusions reached but the quality and breadth of the interpretation and evaluation of the texts offered by an answer. Successful answers will need to make use of all three passages, draw conclusions and arrive at summative decisions. Specific: The opening quotation and two seed passages identify violence and retribution in a variety of ways, and candidates may explore different avenues profitably in response to this question. Answers should remain focused, however, on the link between violence and retribution, rather than exploring one at the expense of the other. The opening passage sets up violent retribution as a response to previous violence. The murder of Agamemnon is a response to the murder of Iphigenia; or to the violence in the sack of Troy; or to the violence committed by Atreus. The death of Jocasta and blinding of Oedipus in Oedipus and in Oedipus Tyrannus is in retribution for the murder of Laius and the violating of morality in the incest between Oedipus and Jocasta, though candidates may explore the second half of this differently, and judge that the death of Jocasta is violent retribution for a wrong, certainly, but not for violence. This may be taken further in the Medea, where Medea’s violence is in response to non-violent wrongs against her, namely divorce and exile when she had committed no wrong herself (though candidates may note her own violent past, alluded to in the play). The two seed passages suggest two distinct forms of violent retribution. The Oedipus features self-inflicted retribution, as Jocasta kills herself and Oedipus blinds himself. (NB candidates may make the same general observation about both Oedipus plays, but lower-achieving candidates may display some confusion over the details of each play.)

Page 5 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 As noted above, the Medea is the wild card, in that violence is not a direct cause of retribution. But the second seed passage illustrates the strong link between vengeance/retribution/justice in the play and violence used to accomplish it, and the audience may experience this link very strongly. The Chorus comments on the justice of Medea’s violent killing of Glauce and her father, described graphically by the Messenger. Candidates may reflect on how the violence of the act enhances or otherwise the just vengeance accomplished. But further discussion ought to be prompted of how the proceeding violence against Medea’s own children changes the audience’s experience, and whether her actions then remain within the confines of what may be called just, and, if so, how this changes the experience of violent retribution.

Page 6 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 2 Gods and heroes: the importance of epic Explore critically Finley’s view that the relationships between men were more meaningful than those between a man and a woman. In your answer you should make use of your wider reading as well as the two passages below: General: Any critical exploration as an answer to a Paper 4 question will necessarily encompass differing views, knowledge and argument. Thus the mark scheme for these questions cannot and should not be prescriptive. Candidates are being encouraged to explore, in the exam room, a theme that they will have studied. Engagement with the question as set (in the exam room) may make for limitations in answers but this is preferable to an approach that endeavours to mould pre-worked materials of a not too dissimilar nature from the demands of the actual question. Examiners are encouraged to constantly refresh their awareness of the question so as not to be carried away by the flow of an argument which may not be absolutely to the point. Candidates must address the question set and reach an overall judgement, but no set answer is expected. The question can be approached in various ways and what matters is not the conclusions reached but the quality and breadth of the interpretation and evaluation of the texts offered by an answer. Successful answers will need to make use of all three passages, draw conclusions and arrive at summative decisions. Specific: There is plenty for candidates to discuss here. It is to be hoped that candidates will give plenty of thought to both strands of the question: the worth of social relationships being only with men, and the inferiority/limitations of women. There are many examples of women adhering to the role described by Finley, but also many who, for whatever reason, seem to go against this ‘typecasting’. It will be useful for candidates to define the terms of their argument as it would be possible to use the two examples given in the passages as ‘exceptions proving the rule’. Candidates may take whatever view they wish but it is to be hoped that they will be able to use the passages as a springboard for discussion of the various facets of the question and address the idea that the only worthwhile relationships were to be found among men and, perhaps, challenge the notion that of female inferiority. On the male relationships side: does Odysseus accord as much value to his relationship with Penelope as with those he has with his son and his father? She is sexually attractive but she does not figure in his list of important things about Ithaca at the beginning of book 9. Creusa does not tell Aeneas that she loves him but that he loves her and entrusts their son to him. She is not able to persuade Aeneas to leave Troy until the will of the gods becomes clear and Anchises changes his mind and agrees to leave Troy. Aeneas goes to the underworld to see his father. When upset, he remembers his son and father, after killing Lausus for example. Priam and Hecuba try and prevent Hector from going to his death, but it is Priam who goes to ransom his body while Hecuba would rather rip Achilles to pieces. Even though enemies, Achilles and Priam share a meal together amicably. Hector exchanges gifts with Aias after their single combat is stopped.

Page 7 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2014 9274 42 © Cambridge International Examinations 2014 On the female side: Arete and Nausicaa from the Odyssey as well as Penelope and Helen could all in some way be considered to be more than just domestic, socially inferior, brood mares. Creusa and Dido from the Aeneid also do not match up to Finley’s description while, perhaps, others such as Andromache, Amata and Lavinia could be seen in Finley’s light. In some ways, many of the women in the Iliad will match up to his view, though it would be interesting to see how candidates may place Hecuba and Andromache. The two passages do, deliberately, pick on two extraordinary examples of women. Penelope is described as clever, while Helen is seen as beautiful, a faithful wife on the one hand and an adulteress on the other. Penelope has been responsible for running Ithaca and bringing up Telemachus in Odysseus’ absence and will be expected to ‘pick up the reins’ again when Odysseus leaves for his final journey. However, she has been put under pressure to remarry given the over-long absence of her husband. As well as being resourceful (the test for the suitors; does she realise the beggar is actually Odysseus?; running Ithaca for 20 years), she is also intellectually acute and a match for her husband. It is Odysseus who initiates the testing (which is an important theme in itself in the Odyssey), telling Telemachus that there are signs known only to them both. He also recognises how unlike a ‘normal’ woman she is. Though she appears deferential, she is no pushover and is not afraid to spar with her husband. In fact, the secret of the great bed and its proposed removal to the landing is virtually the only thing that makes Odysseus lose his calm and calculating manner in the entire epic. Camilla is also exceptional. We see her behaving very much in the way of a male hero (more Iliadic in manner than of the Aeneid, perhaps). Her fate is sealed and Diana, her patron, determines to protect her end, not avert it (also Iliadic). She would seem to be accepted as an honorary male and so capable of having strong ‘male’ attachments (as in the second part of the question). In the debate preceding this, Turnus recognises Camilla as exceptional – ‘we have Camilla’ – so she could be seen as the exception that proves the rule, rather than a role model. However, it must not be forgotten that she is accompanied by other female warriors (female social attachments and relationships which is well beyond the scope of the question) and that her final demise is down to Turnus failing to spring his part of the trap. Candidates are also expected to discuss further examples drawn from the range of the prescribed texts. It is to be hoped that some candidates may offer examples and consider ideas from their wider reading beyond the prescription. Candidates may draw any sensible conclusions provided that they are supported with critical reference to the texts.