Cambridge A Level Classical Studies 9274 — 2017 Oct/Nov Paper 2 · Variant 3

1 Read the passage below and answer the questions which follow: Then his father Anchises began to speak through his tears: ‘O my son, do not ask. This is the greatest grief that you and yours will ever suffer. Fate will just show him to the earth – no more. The gods in heaven have judged that the Roman race would become too powerful if this gift were theirs to keep. What a noise of the mourning of men will come from the Field of Mars to Mars’ great city. What a cortège will Tiber see 5 as he glides past the new Mausoleum on his shore! No son of Troy will ever so raise the hopes of his Latin ancestors, nor will the land of Romulus so pride itself on any of its young. Alas for his goodness! Alas for his old-fashioned truthfulness and that right hand undefeated in war! No enemies could ever have come against him in war and lived, whether he was armed to fight on foot or spurring the flanks of his foaming 10 warhorse. Oh the pity of it! If only you could break the harsh laws of Fate! You will be Marcellus. Give lilies from full hands. Leave me to scatter red roses. These at least I can heap up for the spirit of my descendant and perform the rite although it will achieve nothing.’ (Virgil, Aeneid 6) (i) What was the importance of Romulus (line 7) to Augustus? [2] (ii) Who was the mother of Marcellus? [1] (iii) Whom did Marcellus marry? [1] (iv) In which year did Marcellus die? [1] (v) Why is Marcellus described as a ‘son of Troy’? [3] (vi) Marcellus was the first of Augustus’s designated heirs. Name two other heirs he appointed. [2] (vii) ‘Poetry and sculpture played a vital part in promoting Augustus’s image to the Romans.’ Using this passage as a starting point, explain how far you agree with this statement. [15] [Total: 25] OR

Mark scheme: Question Answer Marks 1(i) What was the importance of Romulus (line 7) to Augustus? 2 Founder of Rome and claimed as an ancestor by Augustus. 1(ii) Who was the mother of Marcellus? 1 Octavia, the sister of Augustus. 1(iii) Whom did Marcellus marry? 1 Julia, Augustus’ daughter. 1(iv) In which year did Marcellus die? 1 23 BC 1(v) Why is Marcellus described as a ‘son of Troy’? 3 The Roman race/Julian clan had as its ancestor Aeneas, who was a Trojan who survived the war and sailed to Italy. 1(vi) Marcellus was the first of Augustus’s designated heirs. Name two other 2 heirs he appointed. Marcus Agrippa, Lucius Caesar, Gaius Caesar, Tiberius. (any 2) 1(vii) ‘Poetry and sculpture played a vital part in promoting Augustus’s image 15 to the Romans.’ Using this passage as a starting point, explain how far you agree with this statement. Poetry Maecenas, Augustus’s propaganda minister, organised a stable of poets whose role was to praise the regime and Augustus himself. These included Virgil, whose Aeneid told of the origins of the Roman race, as being backed up by the gods and Fate; this included the rule of Augustus. Horace wrote poetry extolling the new period of peace, and his Carmen Saeculare was written to celebrate the new age. These poets helped to bolster the image of Augustus as a pious man whose rule was sanctioned by the gods, and one who was fated to restore peace to the empire. Sculpture Statues such as the Prima Porta, and the images on the Ara Pacis reinforced this image of Augustus as a strong, religious man. Statues of Augustus were spread around the Empire to portray this image to all the people of the Empire. Statues also appeared in the Forum of Augustus.

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2 ‘Octavian made no personal contribution to gaining control of Rome and its empire – it was all the work of others.’ Explain how far you agree with this assessment of how Octavian came to rule Rome. [25] OR

Mark scheme: 2 ‘Octavian made no personal contribution to gaining control of Rome and 25 its empire – it was all the work of others.’ Explain how far you agree with this assessment of how Octavian came to rule Rome. Contribution of Others Octavian could not have risen to power without the help of others. He gained the loyalty of Caesar’s veterans not for himself, but for the ‘Son of Caesar’. All his military victories were gained by others, such as Antony at Philippi, and Agrippa at Actium. His political rise was due in no small measure to the support of certain senators, such as Cicero. Maecenas’ role in controlling propaganda was vital in consolidating his position. The contacts through his wife Livia were another important factor in him achieving status. Personal Contribution However, none of this would have been achieved without his own abilities and determination, from the courage to seize the chance Caesar’s death offered him, to the personal charisma he possessed to inspire the loyalty of his followers and the choice of the right people. Candidates will need to discuss both aspects of the question.

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3 How and why did Augustus attempt to ensure that he was succeeded by a member of his family? [25] SECTION TWO: VIRGIL Answer ONE of the following three questions. EITHER

Mark scheme: 3 How and why did Augustus attempt to ensure that he was succeeded by 25 a member of his family? Despite having control of the empire, Augustus was not in a position to simply name a successor, as Rome was still nominally a republic. However, he could indicate to the Romans who he wished to take over. He did this in several ways: • he held joint consulships with his nominated successors, often granted before the legal age • He used his daughter Julia as a marital pawn, marrying her off to his successors, Marcellus, Agrippa and Tiberius • He adopted potential successors as his sons (Marcellus, Gaius and Lucius Caesar, Tiberius) • He granted titles such as ‘Princes of the Youth’ to Gaius and Lucius Caesar, and sent them to the provinces to gain experience. Augustus knew that, despite the facade, Rome was now an empire which would be ruled by an individual. By keeping the succession in the family, it ensured that his successors could be trained to rule the empire, and also to carry on his policies.

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4 Read the passage below and answer the questions which follow: But Aeneas was faithful to his duty. Much as he longed to soothe her and console her sorrow, to talk to her and take away her pain, with many a groan and with a heart shaken by his great love, he nevertheless carried out the commands of the gods and went back to his ships. By then the Trojans were hard at work. All along the shore they were hauling the tall 5 ships down to the sea. They set the well-caulked hulls afloat and in their eagerness to be away they were carrying down from the woods unworked timber and green branches for oars. You could see them pouring out of every part of the city, like ants plundering a huge heap of wheat and storing it away in their home against the winter, and their black column advances over the plain as they gather in their booty 10 along a narrow path through the grass, some putting their shoulders to huge grains and pushing them along, others keeping the column together and whipping in the stragglers, and the whole track seethes with activity. What were your feelings, Dido, as you looked at this? Did you not moan as you gazed out from the top of your citadel and saw the broad shore seething before your eyes and confusion and shouting all 15 over the sea? Love is a cruel master. There are no lengths to which it does not force the human heart. Once again she had recourse to tears, once again she was driven to try to move his heart with prayers, becoming a suppliant and making her pride submit to her love, in case she should die in vain, leaving some avenue unexplored. (Virgil, Aeneid 4) (i) ‘commands of the gods’ (line 4). Which god was responsible for telling Aeneas to leave Carthage? What did he say to convince him? [2] (ii) Give two ways in which Aeneas’s feelings for Dido are emphasised in lines 1–4. [2] (iii) Look at the simile ‘you could see them ... seethes with activity’ (lines 8–13). Explain two points of similarity between the simile and the scene it is intended to illustrate. [4] (iv) ‘in case she should die’ (line 19). Briefly describe how Dido’s life ends. [2] (v) ‘Love is a cruel master’ (line 16). To what extent is this true of the books of the Aeneid you have studied? [15] [Total: 25] OR

Mark scheme: 4(i) ‘commands of the gods’ (line 4). Which god was responsible for telling 2 Aeneas to leave Carthage? What did he say to convince him? Mercury. Any one of the following: • remember his destiny • consider the glory of this destiny • think of his son • not to deprive his son of his inheritance. 4(ii) Give two ways in which Aeneas’s feelings for Dido are emphasised in 2 lines 1–4. Any two of the following: • repetition of ‘much’ • Aeneas’s desire to comfort Dido • repetition of words with a similar meaning – ‘soothe ... console’ • ‘many a groan’ highlights the intensity of the hero’s feelings • metaphor – ‘heart shaken’ by his love. 4(iii) Look at the simile ‘you could see them ... seethes with activity’ 4 (lines 8–13). Explain two points of similarity between the simile and the scene it is intended to illustrate. Any two of the following: [1 per point + 1 per explanation] • the simile and Aeneas’s departure both coincide with the onset of winter • the ants and the Trojans are both depicted in a militaristic way – ‘black column’, ‘booty’ • the Trojans are keen to prepare to leave Carthage just like the track with the ants ‘seethes with activity’ • the Trojans are taking wood from near Carthage just like the ants are plundering the grain store • the Trojans are launching ships just like the ants are pushing huge grains • the actions of both the Trojans and the ants are going to lead to difficulties for those from whom they are plundering. 4(iv) ‘in case she should die’ (line 19). Briefly describe how Dido’s life ends. 2 Any two of the following: • Dido has a pyre built made up of Aeneas’s abandoned possessions • Dido falls upon Aeneas’s sword • Iris cuts a lock of Dido’s hair and allows her to die. 4(v) ‘Love is a cruel master’ (line 16). To what extent is this true of the books 15 of the Aeneid you have studied? There is plenty of evidence to support the idea that love controls and dominates the actions of many of the characters within the Aeneid in an unnecessarily cruel way: • Dido’s love for Aeneas leads to her breaking her vow of chastity, abandoning her people and sister and ultimately to committing suicide. • Aeneas risks his own life in trying to find his wife at Troy; is visibly shaken to encounter her spirit and is denied the embrace for which he longs. • The love of a son for their father nearly leads to Aeneas rushing back into the burning city when Anchises refuses to leave. Aeneas has to make the troublesome journey to the Underworld to see his father and obey his summons. Aeneas is again denied the opportunity of embracing his father. • The love of a mother for her son is not necessarily harmonious – Venus appears in disguise when helping her son in Book 1 and creates an awkward situation for her son with Dido. • The sisterly love seen between Anna and Dido is cruel and tragic in the way Anna unknowingly dooms her sister. • Dido and Sychaeus’s happiness is cruelly taken away from them. They only find happiness together in the Underworld. Love is, however, not always portrayed in a cruel way. Aeneas’s dedication to his son and father is seen on many occasions and is admirable in the extent to which Aeneas pushes himself for their sakes. Venus does not always appear in a distant way and is continually watching out for her son. Creusa detaches herself from Aeneas in a loving and supportive way, enabling him to move on with his life.

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5 To what extent do you think that Aeneas behaves irresponsibly? [25] OR

Mark scheme: 5 To what extent do you think that Aeneas behaves irresponsibly? 25 • In Book 2 it might be argued that Aeneas is irresponsible when he is in the clutches of furor. He leads a band of men to their deaths, even though he has been told several times to leave Troy. He would have killed Helen had it not been for the intervention of Venus. He jeopardizes his mission by going back into the defeated city to look for Creusa. However, his concern for his wife and the manner in which he ensures his father and son escape from the city are very laudable. • In the storm in Book 1 he wishes he was dead but manages to mask his anguish in front of his people and provides food and emotional support before he sets out to reconnoitre the land. His behaviour is, on the whole, responsible. • Book 4 perhaps shows Aeneas at his worst – that his men were happy to be leaving Carthage is telling. Admittedly his obedience to the gods and duty to his mission would have appealed to the Roman audience, however, one cannot help but feel that his treatment of Dido was shabby and that he must bear some of the blame for her suicide. Helping to build Carthage and putting his mission on hold was clearly irresponsible. • On the other hand, his bravery in visiting his father in the Underworld and visiting the land where most mortals fear to tread, show a responsible attitude. The care with which he ensures that Misenus is buried is also the sign of a responsible leader. • Credit candidates who argue that his apparent lack of responsibility is caused by other factors such as the gods in Book 4, or his father in Book 2.

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6 ‘The Aeneid is purely a piece of propaganda promoting Augustus and the Roman mission.’ How far do you agree with this opinion? [25] SECTION THREE: JUVENAL Answer ONE of the following three questions. EITHER

Mark scheme: 6 ‘The Aeneid is purely a piece of propaganda promoting Augustus and the 25 Roman mission.’ How far do you agree with this opinion? Praise of Augustus and the Roman mission is inevitable given Virgil’s relationship towards the new regime. It is achieved through the: • manifest importance of pietas • assimilation of Aeneas’s and Augustus’s characters • praise given to the Roman empire in the scrolls of Fate • illustrious and long history of Rome which is celebrated in the pageant of heroes • importance of family and worship as well as the corrupting influence of wealth reiterate Augustan policy and values. Perhaps the power of the propaganda is lessened by the apparent weaknesses in Aeneas’s character – his desire for a glorious death in Troy, his dalliance with Dido, the resistance when plucking the golden bough, his exit from the Underworld through the gate of false dreams. The Aeneid is also clearly more than just propaganda. It is also entertaining and enthralls the reader at many different levels and in many diverse ways. These include: • an exciting and varied plotline which includes an array of locations • the inclusion of the divine • pathos for those who suffer • love interests • detailed characterisations • rich range of contrasting characters • Virgil’s talent as a poet maintains the excitement – frequent use of simile, graphic descriptions, pace of narrative etc.

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7 Read the passage below and answer the questions which follow: Every Inspector of Seaweed from miles around would pounce on the defenceless boatman, all quoting law, to wit, that the fish was a fugitive, a former regular feeder in the Imperial stews, and having fled thence, must now be restored to its former master. 5 If the masters of jurisprudence are to be trusted, everything rare and lovely that swims in the ocean, wheresoever, belongs to the Crown. So make it a present rather than perish! Now pestilential autumn 10 was yielding to frosts; now patients were hoping for milder fevers, and harsh winter’s icy blasts kept the turbot refrigerated. On sped the fisherman, as though blown by a south wind, till below him lay the lakes where Alba, though in ruins, still guards the flame of Troy and the lesser Vestal shrine. 15 A wondering crowd thronged round him, briefly blocking his way, till the smooth-hinged doors swing inward, the crowd fell back, and the senators – still shut out – saw the fish admitted to the Epic Presence. ‘Accept,’ the fisherman said, ‘this gift too large for a private kitchen. Keep holiday today, 20 purge your stomach forthwith of its last square meal and prepare to eat a turbot saved to adorn your reign – it insisted on being caught.’ Gross flattery, and yet the Imperial Crest surged up: there is nothing godlike power will refuse to believe of itself in the way of commendation. 25 But alas, no big enough dish could be found for the fish. A summons went out to the Privy Council, each of whom quailed beneath the Emperor’s hatred, whose drawn white faces reflected that great and perilous ‘friendship’. (Juvenal, Satire 4) (i) Apart from the turbot mentioned in this passage, what other type of fish is mentioned in Satire 4? What does Crispinus do with it? [2] (ii) To whom does the ‘Epic Presence’ (line 19) refer? [1] (iii) From this passage, find three examples of Juvenal’s satiric technique. Write out the example, identify the technique and explain its effect. [6] (iv) What decision does the Privy Council make at the end of this Satire? [1] (v) Using this passage as a starting point, discuss how emperors are presented in the Satires of Juvenal you have studied. [15] [Total: 25] OR

Mark scheme: 7(i) Apart from the turbot mentioned in this passage, what other type of fish 2 is mentioned in Satire 4? What does Crispinus do with it? • Mullet • Crispinus eats it. 7(ii) To whom does the ‘Epic Presence’ (line 19) refer? 1 Domitian/the emperor 7(iii) From this passage, find three examples of Juvenal’s satiric technique. 6 Write out the example, identify the technique and explain its effect. Any three of the following: • sarcasm – ‘inspector of seaweed’, ‘godlike power’, ‘Epic Presence’ • mock epic – speed and description of the fisherman’s journey, the description of Vesta • humour – comparing the turbot to a runaway slave • use of parenthesis – ‘still shut out’ • metaphor – ‘Imperial crest surged up’ • use of direct speech helps to put the reader in the Imperial Palace • repetition – the different ways in which the emperor is flattered • exaggeration – everything rare belonging to the emperor, every inspector pouncing on the defenceless fisherman • use of contrast – pale faces reflecting their ‘friendship’ for the emperor. 7(iv) What decision does the Privy Council make at the end of this Satire? 1 Procure a bigger pot. 7(v) Using this passage as a starting point, discuss how emperors are 15 presented in the Satires of Juvenal you have studied. Domitian is shown in a very bad light in Satire 4. He calls the council to decide what to do with the very large fish and wastes their time even though at the end of the satire it is evident that there are more pressing things to discuss. In the passage he is also susceptible to flattery. The council members themselves are intimidated and scared of Domitian because of the savage way he treats them. Consequently, they refuse to offer impartial advice. Juvenal concludes the satire by saying that Domitian did not have the empire’s best interests at heart and that he was exceptionally extravagant in his banquets. Domitian also ‘robbed Rome of her most illustrious and noblest sons.’ The murderous reputation of emperors is mentioned in Satire 10 and elsewhere that it is a death sentence to denounce an imperial favourite. Tiberius’s ineffectual rule is shown by his retreat to Capri and the shortcomings of Claudius’s relationship with his wife are underlined. Not all emperors are portrayed negatively in Juvenal’s Satires. A more positive view is offered at the beginning of Satire 10 and Juvenal comments favourably about Trajan’s enlightened reign.

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8 To what extent are Juvenal’s Satires humorous? [25] OR

Mark scheme: 8 To what extent are Juvenal’s Satires humorous? 25 Responses to this question will largely depend upon personal opinion and a candidate’s own appreciation of what is funny and what is offensive. Satire, by its very nature, is a combination of both elements and candidates might consider some of the following satiric techniques and evaluate the extent to which they judge them to be humorous. They include the use of: • rhetorical question • irony • obscenity • anti-climax • hyperbole • mockery of epic • vividly drawn scenes • conversational style • a range of quick changing examples. Arguably, Juvenal appears to be more humorous in his later satires. He mocks the world from a detached vantage point of superiority and immunity, especially in Satires 5 and 10. He satirises epic poetry and mythology, uses contrast to full effect when describing the differences between the clients’ and patron’s drink, attendants, crockery, food. Exaggeration is also used for comic effect – ‘several hundred year old wine’, ‘fish caught in the sewers’, ‘wine so rough that sheep clippings would not absorb it’ etc. The way he sends up the different things people pray for is, at times, humorously done. His earlier satires, however, are driven by so much anger and venom that often his content is much more offensive than humorous. There is, for example, little to laugh about in his presentation of foreigners, the corrupting influence of money and the wicked wiles of women. Candidates might profitably consider the question from both modern and ancient perspectives where the latter’s attitude was perhaps more laissez-faire and tolerant of such attitudes than in today’s more politically correct environment.

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9 ‘Juvenal dislikes foreigners because they have turned Roman society upside down.’ How far do you agree with this view? [25] SECTION FOUR: ROMAN ARCHITECTURE Answer ONE of the following three questions. EITHER

Mark scheme: 9 ‘Juvenal dislikes foreigners because they have turned Roman society 25 upside down.’ How far do you agree with this view? Foreigners were once slaves but are now ahead of their former masters because they have been able to buy their way into Roman society and have influenced this society with their own customs, manners, languages. As Juvenal writes in Satire 3 – ‘for years now eastern Orontes has discharged into the Tiber its lingo and manners, its flutes, its outlandish harps ... .’ The Greeks, in particular, are liars, flatterers, effeminate, use sex for their own advantage, have corrupted the patron-client system with their flattery. There is now no longer any room in Rome for an honest Roman as the foreigners have taken away opportunities for employment. Crispinus in Satires 1 and 4 epitomises the hated ex-slave.

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10 Study the photograph below and answer the questions which follow: A B C E D (i) What type of building is shown in this photograph? [1] (ii) Give two purposes of this type of building. [2] (iii) Name two materials which might have been used in the construction of the exterior of this type of building. [2] (iv) Identify areas A–E on the building. Write out the letter and the name of the part of the building next to it. [5] (v) Compare this building with another Roman building of the same type. Which do you think is the more typical of the period, and why? [15] [Total: 25] OR

Mark scheme: 10(i) What type of building is shown in this photograph? 1 • temple 10(ii) Give two purposes of this type of building. 2 • home of the god • honour the god • political propaganda • religious propaganda. 10(iii) Name two materials which might have been used in the construction of 2 the exterior of this type of building. • marble • granite • limestone • tile. 10(iv) Identify areas A – E on the building. Write out the letter and the name of 5 the part of the building next to it. • A pediment • B capital • C column • D podium • E pronaos 10(v) Compare this building with another Roman building of the same type. 15 Which do you think is the more typical of the period, and why? The temple which candidates are required to study is the Pantheon. There are several similarities between this temple and the façade of the Pantheon: • the porch with its columns • pediment • colonnade. The spectacular nature of the dome makes the Pantheon less typical of the period than this temple which is more like Maison Carree or the temple of Bacchus at Baalbek. Candidates may compare this temple with any relevant temple they have studied. Answers may include reference to: • size • materials • number of columns • extent and nature of the decoration.

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11 ‘Imperial propaganda through architecture.’ To which building you have studied do you think that this description best applies? In your answer, you should refer to at least three specific buildings. [25] OR

Mark scheme: 11 ‘Imperial propaganda through architecture.’ 25 To which building you have studied do you think that this description best applies? In your answer, you should refer to at least three specific buildings. Answers may include reference to any of the different types of buildings on the specification: • theatres • amphitheatres • baths • temples • basilicas • arches. A number of the named buildings on the specification were built by emperors, for example: • basilica of Maxentius and Constantine • arch of Titus • Hadrian’s baths at Leptis Magna. It is for candidates to decide which of the buildings they think is about imperial propaganda. There may be reference to cost, materials and the nature of the decoration.

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12 ‘The innovations of concrete and the arch led to an architectural revolution.’ How far do you agree with this statement? In your answer, you should refer to at least three specific buildings. [25]

Mark scheme: 12 ‘The innovations of concrete and the arch led to an architectural 25 revolution.’ How far do you agree with this statement? In your answer, you should refer to at least three specific buildings. Answers may include reference to a number of different types of building: • amphitheatre – especially the Colosseum • arches – those used in buildings as well as triumphal arches; some may refer to aqueducts such as the Pont du Gard • buildings which have domes – especially the Pantheon Whether the combination of concrete and the arch sparked an architectural revolution is for the candidate to decide. It is important to remember that candidates study a limited range of buildings, so they may argue either way. Provided the argument is founded on appropriate, accurate and specific knowledge of buildings which incorporate concrete and arches it does not matter what conclusion is reached.

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