Cambridge A Level Classical Studies 9274 — 2016 Oct/Nov Paper 4 · Variant 1

This document consists of 3 printed pages, 1 blank page and 1 insert. DC (RW) 110863/4 © UCLES 2016 [Turn over Cambridge International Examinations Cambridge International Advanced Subsidiary and Advanced Level * 5 4 5 9 3 3 5 2 9 5 * CLASSICAL STUDIES 9274/41 Paper 4 Classical Literature – Sources and Evidence October/November 2016 1 hour 30 minutes No Additional Materials are required. READ THESE INSTRUCTIONS FIRST An answer booklet is provided inside this question paper. You should follow the instructions on the front cover of the answer booklet. If you need additional answer paper ask the invigilator for a continuation booklet. This paper contains two questions. Answer one question. Each question is marked out of 50. You are advised to spend 20 minutes reading and thinking about the three passages in the question 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.

2 9274/41/O/N/16 © UCLES 2016 1 Drama: the idea of tragedy Read the following passage and answer the question that follows: The chorus have not only narrated, but narrated in character – old, frail, wise, fearing the worst yet longing for the good. Their story and their emotions, their humanity, work powerfully on the audience, stirring both its intellect and its feelings and engaging them in the ethical conflict. Barbara Goward, Aeschylus: Agamemnon (2005) Explore critically the extent to which the chorus plays a significant role in the tragedies you have read. In your answer you should consider the passage above and your wider reading of tragedy, as well as the two passages below: CHORUS: reflecting on the entry of Agamemnon and Clytaemnestra into the palace Why, why does it rock me, never stops, this terror beating down my heart, this seer that sees it all – it beats its wings, uncalled unpaid thrust on the lungs the mercenary song beats on and on singing a prophet’s strain – and I can’t throw it off like dreams that make no sense, and the strength drains that filled the mind with trust. Aeschylus, Agamemnon, 977–987 CHORUS: reflecting on Oedipus’ learning that he is Jocasta’s son Had I the choice, to shape my fate To my desire, then I would trim my sail To gentler winds, not fight against the gale Till timbers trembled at its weight. Not buffeted from side to side, But borne by the light breezes’ gentle force On a safe middle course My ship of life would ride. Seneca, Oedipus, 882–891

3 9274/41/O/N/16 © UCLES 2016 2 Gods and Heroes: the importance of epic Read the following passage and answer the question that follows: Because Aeneas is depicted as guided by a command from above, and counselled and reminded from above through oracles and dreams and other kinds of revelation, he is sometimes felt by readers to be no more than a puppet. … This is apt to be felt especially by one who comes to the Aeneid from the Homeric poems, in which the scope of the rich individuality of the characters is not much or often limited by concern for public responsibilities. W A Camps, An Introduction to Virgil’s Aeneid (1969) Explore critically the extent to which the motivation of heroes in epic is selfish or driven by other responsibilities. In your answer you should consider the passage above and your wider reading of epic, as well as the two passages below: Anchises led his son and the Sibyl with him into the middle of this noisy crowd of souls, and took up his stance on a mound from which he could pick them all out as they came towards him in a long line and recognize their faces as they came. ‘Come now, and I shall tell you of the glory that lies in store for the sons of Dardanus, for the men of Italian stock who will be our descendants, bright spirits that will inherit our name, and I shall reveal to you your own destiny. … Now turn your two eyes in this direction and look at this family of yours, your own Romans. Here is Caesar, and all the sons of Iulus about to come under the great vault of the sky. Here is the man whose coming you so often hear prophesied, here he is, Augustus Caesar, son of a god, the man who will bring back the golden years to the fields of Latium once ruled over by Saturn, and extend Rome’s empire beyond the Indians and the Garamantes to a land beyond the stars, beyond the yearly path of the sun. …’ So did they wander all over the broad fields of air and saw all there was to see, and after Anchises had shown each and every sight to his son and kindled in his mind a love for the glory that was to come, he told them then of the wars he would in due course have to fight … and how he could avoid or endure all the trials that lay before him. Virgil, Aeneid, 6.752–892 (with omissions) Odysseus is speaking to Achilleus: ‘My dear friend, your father Peleus gave you his advice on the day when he sent you from Phthia to join Agamemnon. “My child,” he said, “strength will be given you by Athene and Hera, if such is their wish, but you must hold down your heart’s high passion in your breast – good will between friends is a better thing. And if a quarrel begins its mischief, you should abandon it – this way the Argives, young and old alike, will show you greater honour.” That was the old man’s advice, and you are forgetting it. Yet even now please stop, let go the anger that pains your heart. Agamemnon is offering you full recompense if you move from your anger. …’ Then swift-footed Achilleus answered him: ‘Royal son of Laertes, resourceful Odysseus, what I say I must say outright, and tell you bluntly how I think and what will happen. … I do not think that Agamemnon son of Atreus will win me over, nor the rest of the Danaans, since it now appears that there is no thanks if a man fights the enemy relentlessly on and on. … Coward and hero are honoured alike.’ Homer, Iliad, 9.252–319 (with omissions)

4 9274/41/O/N/16 © UCLES 2016 BLANK PAGE 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. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge International Examinations Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. 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. This document consists of 5 printed pages. © UCLES 2016 [Turn over Cambridge International Examinations Cambridge International Advanced Subsidiary and Advanced Level CLASSICAL STUDIES 9274/41 Paper 4 Classical Literature – Sources and Evidence October/November 2016 MARK SCHEME Maximum Mark: 50 Published 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 2016 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 2016 9274 41 © UCLES 2016 Essays: 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. • 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. Level/marks Descriptors Level 5 50–40 ANSWERS MAY NOT BE PERFECT, BUT WILL REPRESENT THE BEST THAT MAY BE EXPECTED AT THIS LEVEL. • strongly focussed analysis that answers the question convincingly; • sustained argument with a strong sense of direction, strong and substantiated conclusions; • give full expression to material relevant to both AOs; • towards the bottom may be a little 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. Level 4 39–30 • a determined response to the question with clear analysis across most of the answer; • argument developed to a logical conclusion, but parts lack rigour, strong conclusions adequately substantiated; • 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. Level 3 29–20 • 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 2016 9274 41 © UCLES 2016 Level 2 19–10 • 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. Level 1 9–0 • little or no engagement with the question, little or no analysis offered; • little or no argument, 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 2016 9274 41 © UCLES 2016 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 examination room, a theme that they will have studied. Engagement with the question as set (in the examination 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. 1 Explore critically the extent to which the chorus plays a significant role in the tragedies you have read. In your answer you should consider the passage above and your wider reading of tragedy, as well as the two passages below. The role of the chorus is a broad topic with a multiplicity of possible routes towards an answer, and the open nature of the question should allow candidates to develop a competent answer no matter in what way they have studied this aspect of the syllabus. The prompt passage encourages candidates to consider the effect the chorus has on the audience, providing in its own turn a prompt for emotional response, as well as a developed character in its own right – indeed, in the Agamemnon in particular, there are many aspects to the chorus’ character. The first extract, from the Agamemnon, provides an example of the chorus as helpless onlooker confronted with the horrors of the tragedy; the second, from the Oedipus, an example of its moderating influence, whereby in wishing for or recommending the ‘middle course’ it amplifies in comparison the extremities of suffering that inevitably, at least in tragedy, come as a check to extremities of prosperity. It is to be expected that candidates might identify the groups that make up the choruses in the plays – elder statesmen in the Agamemnon, Oedipus the King, and Oedipus, and Corinthian women in the Medea. Some may observe that these groups have a natural affinity with the protagonists – rulers in the former three plays, the female Medea in the latter one – and that this makes them initially sympathetic: important in the Medea where that sympathy will be sorely tested and the chorus itself abandons its initial sympathetic attitude, and ambiguous in the Agamemnon where their primary loyalty is to Agamemnon, and at the start of the play their loyalty to Clytemnestra is borne out of duty to Argos and its ‘regent’ rather than personal attachment to her (and in fact outright hostility to Aegisthus, as it transpires). The nature of the passages on the question paper means that discussion is likely, nonetheless, to focus on the two particular modes of operating represented therein, and many examples may be found across the four plays. A standard response, within which there is scope for a wide range of sophistication, might explore the chorus as an intermediate position between actors and audience, looking inward and out, sharing in the horror of the action as a character, as in the first extract, and responding to it as an outsider, as in the second. Their inability to affect the action,

Page 5 Mark Scheme Syllabus Paper Cambridge International AS/A Level – October/November 2016 9274 41 © UCLES 2016 only observing, makes them like the audience; their ability to converse with the characters and hold the attention of the audience, like the spectators. Some candidates may explore the efficacy of choral odes per se, and should certainly be rewarded for doing so. The innate difficulty of this particular aspect of the chorus should be borne in mind, however, and as this is not explicit in the question it should be possible to access the highest band with a rigorous exploration of the chorus’ role as character (of course including their words within specific odes), and without necessarily commenting on the choral ode itself as an element of tragic performance. 2 Explore critically the extent to which the motivation of heroes in epic is selfish or driven by other responsibilities. In your answer you should consider the passage above and your wider reading of epic, as well as the two passages below. The prompt passage invites the candidates to consider Aeneas as a different manner of hero from those in the Homeric world (which should not be an unfamiliar position), in particular in the nature of his mission, something quite lacking in Homeric heroes. There follow two extracts: one a supreme example of Aeneas’ realisation of the scope of his mission and that ‘his’ glory is really the glory of others to come; the other demonstrating explicitly that heroic honour in the Iliad is personal and selfish, with Achilles rejecting out of hand Odysseus’ argument of responsibilities to a broader group of comrades. Some candidates may see in the second passage a suggestion that Achilles is wrong to take the personal and selfish view. Odysseus even uses the words of Achilles’ own father, perhaps giving a powerful feeling that there is some obligation to others involved in being a hero. On the other hand, it is certainly no motivation of Achilles’, and in general the Iliad represents a distinctly solo heroic code. Achilles feels an obligation to Patroclus, but out of personal affection, and towards one who is not his equal and thus under his protection. Hector feels an obligation to his fellow Trojans, and anger towards Paris for not feeling it, yet these fellow Trojans are again his inferiors and it is his duty to protect them – his glory for so doing is his, not shared with them. Candidates may see a difference between Achilles’ initial selfish desire for glory and later desire for revenge, but these are both selfish. Odysseus has an obligation to his men, but again as a senior to those inferior to him, and it is part of his personal glory to fulfil this senior position. Aeneas’ glory, on the other hand, is barely personal at all. He will barely live to enjoy his success in Italy, and certainly will not know the Roman destiny which it is his duty to enable. He will have struggles, and future generations will have prosperity. He must leave his home, his wife, his lover – and marry a woman who is so characterless as to have not a single spoken word in the poem, so that descendants he will never see will fulfil their own destinies. The whole of the Aeneid seems to be a struggle for him to adapt to this – one he finds difficult, even impossible, right at the close of the poem. And yet candidates may argue that his awareness and acceptance of his mission, after periods of reluctance, makes him more than a ‘puppet’, which would only apply if he was unaware. They may also argue that Aeneas’ acceptance of his mission, with awareness of the glory of Rome to come, gives him a personal involvement with it which was not present before, but arguing that this makes it a selfish motivation is stretching the definition of ‘selfish’ more than one would like. On the whole, it is to be expected that candidates broadly support the idea that Aeneas’ motivation is ‘social’, with the specifically Roman and un-Homeric virtue of pietas, in contrast to the essentially individual heroism of Homer. Of course, alternative views may be expressed, and credit should be given for the quality of any argument made.