yr 13 exemplars

8/8/2019 Yr 13 Exemplars

1/39


2/39

2009 LEVEL 3 CLASSICAL STUDIES ROMAN ART & ARCHITECTURE

OVERALL GRADE: E

Question 1: Grade E Refer to Reproduction B

The characters present in this scene include a variety of human and divine elements. The human

elements include Titus, in his triumphal four horse chariot, and a variety of ceremonial attendants

holding fasces in the back (bundle of sticks representing a triumph). The divine characters include the

personification of the city of Rome and the Virtus which is leading the horses. Another key divine

character is the personification of Victory who is flying behind the main character, Titus. The historical

event commemorated by this relief sculpture is Titus victory in the wars against the Jews in AD70 and

how he also destroyed the Temple of Jerusalem.

This particular relief sculpture located on the Arch of Titus was the first of its kind to link human and

divine elements, showing a direct association with the divine. The sculptor has placed an image of a

winged Victory (represents victory) divinity flying behind Titus and also crowning him with a laurel

wreath to prove his victory against the Jews. Normally, a slave would be depicted as crowning the

victorious, however the sculptor has chosen to use the divine being of a victory to show the extent of

Titus s great triumph against the Jews. The divine being of Virtus leading the horses of the triumphal

chariot, and this being usually represents honour, courage, bravery and determination is placed to

show the aspects Titus showed when defeating the Jews. The personification of the city of Rome

resembles the city where the emperor hails from but is also present because this parade of characters

are walking in celebration along the sacred way, in Rome and the divinity is present to the glory and

honour that Titus brought to the city of Rome. This image has been placed by the sculptor to show how

successful and significant Titus victory was. The divine beings of Victory, Virtus and Rome are alllooking and focusing their attention on Titus(who is raised above all of these characters) to represent

how much importance this victory by Titus holds and show him as being raised above the divinities. The

sculptor has chosen to add this effect to reveal Titus as being an extremely important person who is

worthy of deification.

Question 2: Grade M Refer to Reproduction E

The exterior features of the coliseum of Rome in the first century CE included a variety of Greek

techniques. The bottom tier exterior hosted pillars of the Greek Doric type and were on each side of the

numerous entranceways. The second tier from the ground also had pillars on either side of eachopening, however all of these pillars were all Ionic. The third tier was similar in the sense that it had

pillars on either side of each opening, however these were all Corinthian pillars and the topmost forth

tier hosted engaged Corinthian pilasters and no arched openings. The exterior had seventy six vaulted

entranceways to the interior and some were vomitaria (man-made superstructure made of vaulted

archways). The coliseum did not have a roof as this would have been too heavy and difficult to

maintain. The exteriors aesthetic appeal came from the decorative capitals on the pillars on each tier,

including acanthus leaf decoration and scroll work. The design of the coliseum glorified the city of

Rome as it was the first permanent and also the largest Flavian amphitheatre built, this also helped to

glorify the imperial family as they made it seem that by building the coliseum in Rome in the gardens

of Neros palace, the golden house, that they were returning the land taken by Nero to the people of

Rome. This was an intelligent propagandist plot as the imperial family would seen as noble and

thoughtful of the people in Rome, and therefore would be seen as good leaders/people. The design asbeing the largest permanent Flavian amphitheatre with a height of 48.5 metres made the city of Rome

seem incredibly mighty and capable of great things. The emperor at the time would have been thought

of as superior and held a great, favourable perception. Another aesthetic feature is the top most tiers

engaged Corinthian pilasters, and no arches here. This is because the pilasters were used to decorate

and further increase its physical appeal. The share size of the coliseum along with its use of barrel


3/39

vaulted archways leading from the exterior to the interior provided aesthetic appeal as such size of an

amphitheatre (48.5 metres high) had not previously been done. The structure was located next to a

bronze statue of Nero, later a sun god. This also provided exclamation of the might of this building as it

was close to a divine being statue. The design of the building as a whole was also important as imperial

propaganda as tens of thousands of people were able to be seated inside to view entertainment held

by the emperors such as gladiatorial battles. The amphitheatre was capable of being flooded to host

mock sea battles, which persuaded people of Rome to believe that because of this spectacular

entertainment the imperial family was genuinely superior and capable of the unthinkable.


4/39

2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

VIRGILS AENEID OVERALL GRADE: E

Question 1: Grade E

Jupiter intervention in the Aeneid is extremely important in The Aenied as it develops theme andinfluences the plot in certain ways. In Book Two Aeneas finds the City of Troy to be at battle. Despite the

best attempts of Aeneas and some of his men. They were unable to save the city. Venus, Aeneas

mother appears before him after Aeneas sees the violent death of Priam. This reminds him of his own

family and the worries for their safety. He arrives at the family home to find his father Anchises, wife

Creusa and son Ascanius safe. He tells them they must leave Troy.

His father Anchises, refuses to leave saying he is too old and that the gods must no longer wish him to

live. This is a crisis for Aeneas as he does not wish to leave Troy without his father. There flames that lit

the head of Ascanius and the shooting star are seen to be seen as signs from Jupiter and these encourage

Anchises to go on Ah there is not reluctance now. I follow. and leave Troy with Aeneas and the rest of

their family. Without Jupiters interference of sending omens/signs the plot would not have developed in

the way it did as it is likely Anchises would have continued to refuse to leave Troy and this would haveproved to be a dilemma for Aeneas and could have presented him from leaving Troy at this time.

In Book Four Aeneas has fallen into a romance with Dido, Queen of Carthage that in Jupiters opinion is

distracting Aeneas from his divine mission of reaching Italy. As Jupiter sends the messenger god Mercury

down to Carthage to remind Aeneas that he must continue on to fulfil his divine mission. Mercury does

this by reminding Aeneas that by staying in Carthage with Dido, he is not only neglecting his destiny but

that of Julius/Ascanius as well. This leads to Aeneas leaving Carthage and Dido, the actions of Aeneas

also influences Didos decision to kill herself. Without Jupiters intervention Aeneas may well have stayed

in Carthage for a great deal longer delaying his divine mission.

The intervention of the gods is of great importance to the Aeneid. It is a key theme that develops

throughout the epic due to the actions of various gods including Jupiter. If is stated in the Aeneid that thegods cannot change destiny but they can affect it. Jupiter affects Aeneas destiny by encouraging him to

move on from Troy and Carthage through signs and messages, this allowed for the plot to move on and

develop also and ultimately plays its part in Aeneas fulfilling his divine mission.

Question 2: Grade E

Virgil uses literary techniques to convey the effects of obsessive love on Dido and also displays the

effects of this love on Didos actions and behaviour.

In Book One Cupid causes Dido to fall in love with Aeneas. This love continues to grow to the point ofobsession in Book Four. This love consumes her every thought as Virgil expresses in Extract E eg He was

away now out of sight and hearing, but she still saw him and still heard his voice. As a result of this

obsession she begins to neglect Carthage as Virgil reveals at the end of the extract: Meanwhile the partly

built towers had ceased to rise. No more did young soldiers practise arms. The construction of harbours

and impregnable battlements came to a stop. Work hung suspended on gigantic, menacing walls, and

the sky high cranes were still. This seriously effects the developments of the city and leaves if

defenceless from attack with soldiers no longer practising. This neglect of Carthage by Dido is unlike her

character I which she generally shows strong leadership and though for her people a she did when she

took her people and secretly let Tyre to keep everyone from the tyrannic rule of her brother Pygmalion,

who murdered her husband Sychaeus ???? in Book One. This change in her behaviour shows that this

love is having a great deal of impact on her behaviour.

The metaphor the flame ate into her melting marrow is effective as it inforces or reinforces the idea that

this love is consuming her. The word flame is often used to describe Didos love for Aeneas and love in

general in The Aeneid. By using the word ate it symbolises consumption and how the love is consuming

her. By referring to her marrow it suggests that the love she feels for Aeneas is filling her body as

morrow is in all of the bones in someones body, also reinforces idea that the love is consuming her.


5/39

The simile: like a doe caught off her guard and pierced by an arrow from some armed shepherd, whom

had chased her amid cretan woods and without knowing it had left in her his winged barb is effective as

it alludes to the idea that her behaviour is being affected by this love. By describing Dido to be like a

doe caught off her guard seems to inforce the idea that she is acting in a different way than usual as

caught off guard suggests things are not as they would normally be. By saying it is like she has been

pierced by an arrow maybe an intentional reference to Cupid to remind the reader that this love has

been influenced by the gods. From some armed shepherd, who had chased her amid cretan woods and

without knowing it had left in her his winged barb could be symbolic of Aeneas and the idea that he is

unaware of the strength of her feelings toward him.

The metaphor so that she transverses in her flight forests and mountain tracks on Dicte, with the deadly

reed fast in her flesh is effective as it foreshadows Didos death. The words: deadly reed

2009 LEVEL 3 CLASSICAL STUDIES ROMAN ART & ARCHITECTURE

OVERALL GRADE: M

Question 1: Grade

In this relief from the Arch of Titus, built in C80AD, characters present are, Titus seated on the chariotand accompanying him are senators, Amazons, a winged victory, personification of Romes Genius

and ???? This relief shows Titus triumphant return from Jerusalem.

The sculptor has linked and divine element in this scene by having divine figures such as the

personification of Romes Genius, in procession with Titus, who is human. The sculptor has done this to

show divine approval of Titus triumphant return from Jerusalem. Having the winged victory in the

sculptor holding a wreath over Titus head shows that Titus was victorious. Having Romes Genius in

the sculptor shows that Titus was like the father figure of Rome (he was the emperor) as the genius

belongs to the head of the household, it also shows that he had the support of the people of Rome.

Question 2: Grade

The exterior of the colosseum:

There are 3 levels of arches the bottom two levels are made of Travertine Marble, the third level of

arches are made of brick faced concrete. The uppermost level, the fourth tier, was made of wood.

On each tier level there were Greek influenced columns or pilasters (the pilasters were on the fourth

level only) between each archway on the first level there are Doric order columns, second level had

ionic order columns, third level had columns with Corinthian capitals, and the fourth level had the

pilasters with Corinthian capitals.

Originally there were masts above the fourth level. These held a huge canvas sheet which covered

the cavea to protect it from the elements.

Originally statues were held in the arches of the 2nd level.

The 1st level arches provided the entrance ways into the arena. There were 80 entrance ways but

only 76 were chief entrance ways. The entrances had numbers above the arches which match

those on tickets. The four arches on each of the axis didnt have numbers and the two on the North

and South were for the imperial family and others of equal importance only.

The exterior has aesthetic appeal are:

The arches get smaller with each higher level so it looks proportional, also with the curves in thearches it creates harmony with the ellipse of the amphitheatre.

The columns are more decorative with each level for example on the first level the columns are

Doric which is an earlier, plain style of column on the next level there are ionic capitals which are a

scroll like detail, while on the 3rd and 4th levels had Corinthian capitals which is an elaborate


6/39

ancanthus leaves design

Also the statues which were originally in the arches would have been to decorate the exterior of the

amphitheatre.

The design glorified the City of Rome and the imperial family because:

The size of the amphitheatre was massive and was one of the biggest built in the time

It showed the skill of Roman architecture as they had to overcome abstracts with building it forexample find ways to support the weight of the amphitheatre so it was structurally sound, move

over 50,000 people to their seats successfully and smoothly.

The seating plan glorified the imperial family because they were allowed to sir ringside to the arena

and had special seats and entrances in the arena.


7/39

2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

OVERALL GRADE: E

Question 1: Grade E

This belly amphora painted by Exekias around 540-530 BC is used for storing liquids such as wine and othersupplies.

The design complements the shape of the vase through the composition and placing of figures.

Firstly composition. The figures form two triangles which draw the eye down to the central focus of the

board game, the horsehair of Achilles helmet and the cloaks of the figures. The first triangle is formed by

the same lines of the spears, they bisect the second triangle at the figures necks and the point of the

triangle is at the base of the game board. The line of the spears also line up with the handles and continue

the eye up and around the volute handles which are beautifully decorated with ivy leaves patterns. The

second triangle {which bisects with the first} starts with the base parallel to the single ground line. Then

moves up through the figures backs and meets at the point where Achilles horsehair falls. These triangles

help draw attention to the intricate details made by the painter without the viewer even realising. Along

with the warriors shields at either side, the figures form a very balanced and symmetrical scene that is

pleasing to see.

Secondly, the placing of the figures. The first thing noticeable that complements the shape of the vase is

the fact that the belly of the vase is slightly wider than the shoulder that he is painting on. The majority of

the figuring is at the bottom of the frieze as there is more space as well as the shields occupying the rest of

the available space and then the upper half of the figures occupy the smaller amount of space.

Next. I think the most important detail that complements the shape of the vase is the curves of the figures

backs which follow the contours of the shoulder of the amphora. The shields are also depicted so that the

curve is following the contours of the vases shoulder and belly. Achilles and Ajaxs curved backs and

lowered necks reinforce the fact that they are hunched over playing a game and eyes {even though they

are frontal} are focussed on the game.

This scene reflects the artists feeling of a flowing compositional vase, even though well-planned and

structured, it provides a delicate and focussed scene. The scene depicted contrasts with the rest of the

mythological story. What is happening outside the scene is known by the viewer but not by the figures.

This provides an intense atmosphere that is contrasted with the relaxed scene of the warriors playing a

board game.

The vase is very well balanced in the scene itself and with the use of non-figurative decoration and the

choice of filling the whole of the frieze with two simple figures. The two strips of glossy black balance out

the simple but detailed frieze across the shoulder proving to be a pleasant vase to the eye.

Question 2: Grade E

This calyx krater painted by the Niobid Painter around 455BC-450BC depicts the myth of the killing of the

Niobids by Artemis and Apollo. Apollo {depicted in the resource} is in the middle of shooting an arrow

while his twin sister stands behind him preparing to shoot. The story goes that Niobe boasted about her

seven children saying how great they were, in revenge the mother of the twins asked them to kill all of

the children and this scene depicts the twins doing just that.

The painter uses five techniques to show Apollo in action realistically. The first way is through the lunged

legs of Apollo. His back foot is raised and front left leg bent at the knee which is slightly lower than his

back foot. Both details give the impression that he is moving forward or even about to take a step with

his right foot.

Next his eyes are depicted in profile compared to earlier vases where eyes were frontal and unrealistic.

His eye is clearly focussed on the target in front giving the impression of direction.


8/39

Next his muscles are defined with black slip and dilute slip is used to define less noticeable musculature

where the muscle is tensed such as on his upper arm and thigh where he is putting weight on his leg.

Also the depiction of action is conveyed through his foreshortened right arm which pulls back to release

the arrow and his raised and stretched out arms which hold the bow in position to aim.

Lastly, there is a sense of twist or pose in the body as his legs are spread, his hips relatively frontal and

then his arms and head turned. To get into that position he must be twisting his body and this is evident

by his pectoral muscles being semi-squashed in order for his body to twist.

All these things depict Apollo moving in mid-action in a realistic way and his depiction complements hismale physique. He is a god so he is naked {except for a cloak on his arm} and therefore there is a need

to define muscles well in order to show realism and live up tothe portrayed divine character.


9/39

2009 LEVEL 3 CLASSICAL STUDIES ALEXANDER THE GREAT ESSAY

GRADE: A

Question A

Alexanders relationship with the Greeks was always a tricky one. As Alexander grew up in Macedonia

he had a culture significantly different to the Greeks. Alexanders father, Philip, started up the Leagueof Corinth in 338 BC in as attempt to settle misunderstandings and unite to form a mighty empire.

After Philips death the Thebans revolted but were destroyed by Alexander. The Greek mercenaries at

the battle of Granicus were severely punished for betraying this League.

After a battle in 338 BC when Philip was king, Philip decided to unite all the Greeks in a peace aligance

called the League of Corinth. The League of Corinth was set up to unite and form a mighty empire

setting all Greek states under Macedonian rule. This gave Philip access to the Greek reasorces such as

military strength and food if he needed it. Philip was Hegamon of the League meaning he is in charge

of all military happenings. In 336 BC Philip of Macedonia was assassinated which left Alexander as

Hegamon of the League. I first believed it would not be a wise choice to let an amature be in charge of

all military matters but I was surprised to find my first impressions quite wrong.

After Thebes heard that Philip of Macedonia was murdered they thought it was an excellent time to

revolt. When Alexander heard about this he did not waste any time but took his 47 000 man army and

marched 250 miles south to Thebes in just 13 days. So fast was his march that the Thebans did not

believe it was really him. Alexander waited 3 days outside the city and asked for the leaders of the

revolt. They refused so Alexander razed Thebes to the ground; the reply he got when he asked the

council. This action Alexander forced saw an end to other revolts. This action of Alexander to raze

Thebes shows me how confident Alexander was. Also to destroy a city when only just becoming King

and Hegamon shows that Alexander was courageous and an excellent leader.

Just because Alexander was leader and ruler of Greece did not mean he was liked by all Greek states.

Some Greeks even fought for the Persian Empire. At the battle of the river Granicus, Alexander was

fighting some Greek mercenaries, that had fleed and gone to fight for the Persian empire. In this battleAlexander killed all Persians first then left the Greeks until last. Some were killed and about 4000 were

sent back to Macedonia in chains to work in the mines. Alexander punished these Greeks severely

because they betrayed the League of Corinth and he needed to make clear to the other Greek states,

that to betray the League is a crime punishable by death. This shows that Alexander knew how to deal

with people so they would keep the mutual peace bound by the League of Corinth.

Alexander was hungry for success and he knew no limits to a kingdom. Alexander spent ten years out

fighting city after city putting as much land as he could under Macedonian rule, and not once in his

campaigns was he defeated. I dont believe Alexander could have done it without the help and

soldiers, and supplies of the Greeks, and I think Alexander knew this. Alexander saw the League of

Corinth as an extra helping to soldiers when he needed them. He also needed the League of Corinth to

prevent war breaking out back home and in Greece while he was campaigning. This League wasnecessary for Alexander to conquer all the land he did.

Though Alexander was a new king and young when he succeeded the throne he was excellent with

knowing how to handle situations and even rebellions. The Thebes revolted wanting to be free from

the League of Corinth but Alexander punished them severely seeing an end to other rebellions.

Alexander encountered Greek mercenaries when he fought with the Persians at the river Granicus but

punished them by sending them back to his homeland. Alexander did not abandon his control of

Greece because he knew he needed them to take his campaign as far as he did, as Greece was obliged

to support Alexander with soldiers due to the League of Corinth. Alexander conquered much land with

the help of Greek warriors over the ten year period and was not defeated once which is partly how he

received the name Alexander the Great. However I do not believe his successes were possible

without Greek support.


10/39

2009 LEVEL 3 CLASSICAL STUDIES ARISTOPHANES

OVERALL GRADE: E

Question A: Grade E

The conflict in this extract takes place during the agon of Aristophanes play Wasps. Two famous Athenian tragic

playwrights Aeschylus and Euripides are engaged in a literary competition, comparing the prologues of their differentworks to see who is the better tragedian as judged by Dionysus. Two criticisms of Aeschylus tragedies made by

Euripides are that his plays were bloated with embellishment and constipated with verbiage. Euripides believes that

Aeschylus tragedies are too full of big words that no one understands, meaning they are not very theatrical,

becoming boring as the audience could not understand what was being said. Euripides also states that Aeschylus

rambles in his works, meaning they were too long and often not thought out well because it was the first thing that

came into (his) head. Aeschylus is quick to point out Euripides flaws of playwriting. He calls him a blasphemer

someone who desecrates anything holy.

Aeschylus does not approve of Euripides application of Sophist ideas to his plays either massage the facts or his

spreading of doubt amongst the audience to suspect the worst, to take nothing at face value. Aeschylus is very

traditional in his views and his playwrighting methods, Euripides being more new-age and innovative. However

Euripides characteristics and Sophist teachings are not what Athens needs. The massage of facts has caused

tension within Athens and a great dislike of people who teach others for money to make weaker arguments defeatthe stronger. Aeschylus disapproves strongly of the encouragement of such ideas, especially in tragic plays where

he may feel they have no real place and should not be in plays to influence the audience.

The importance of the debate between the two playwrights is very important in terms of developing the plot. The

agon has been moved to the end of the play, just before the exodus, as the agons outcome will determine the end of

the play and conclude Dionysus journey to the underworld. So far, the play is about getting Euripides so as to return

him to the living world. This is now the final competition between the playwrights to see who the better tragedian is

and therefore better person to return with to the upper world.

Whilst being one of the longest agons written by Aristophanes, it provides the climax to the work, the conflict and the

solution in one section. In terms of advice to the audience, Aristophanes wanted to show how a more patriotic and

traditional leader with qualities that would benefit Athens, is what Athens really needed to bring it out of its troubles

and low morale, especially after making emotionally based decisions like the execution of the Generals from theBattle of Arginusae.

Athens social classes were becoming destabilised and a steady, moral person was needed to bring Athens back into

stability, not more of the same instability and Sophist ideals as represented by Euripides. Whilst being an innovative

individual, Aeschylus tried and true ideas are going to succeed in the long term.

Aeschylus strongly disapproves of Euripides allowing many of his characters to speak when they shouldnt. As the

speaking roles in Attic comedy were confined to 3-4 main actors at any one time, Euripides characters are likely to

have entered and exited the play at varying moments, instead of relying on the familiarity of main characters.

Perhaps Aeschylus also believes they should not be allowed to speak as women young maiden(s), and old crone

were never included in Aeschylus plays because he had no interest in portraying the lusts of women in his tragedies.

Question B: Grade E

Dionysus, dressed as the gender confused Heracles, has arrived at the door of Pluto in Aristophanes play Frogs.

When he reaches Plutos door and is spoken to by Aeacus, Dionysus is dressed as Heracles, the Greek god who has

already successfully reached the underworld two times. He is wearing a yellow chiton, usually worn by a female,

buskins, a leopard skin and carries a large club. His words to Aeacus are stuttering and short, indicating he is

nervous and not sure of himself or his purpose in the underworld. As a visual presentation of Athens, this shows how

the city is unsure of its decisions (political) and is not the proud, strong city it once was. After years at war with

Sparta, Athens, like Dionysus, is becoming reduced in power and therefore reduced in their assured nature.

Dionysus becomes frightened and asks Xanthius to swap places with him. Xanthius then dresses in the costume of

Heracles and Dionysus wears his slaves clothing instead. When both enter Plutos palace they meet Persephones

maid who tells them of the food and dancing and potential sexual encounters waiting for the god to partake in.

However, as Dionysus is the god but currently looks like a slave, he cannot go. He becomes angry when Xanthius

happily accepts the offer and ordered Dionysus to bring the bags. This shows that as a figure of power Dionysus is

only concerned with his own pleasures and believes because of his status that he is entitled to it. But he isnt doing

anyone a favour. Xanthius is helping him because he was too scared before. He is simply relying on his image to get

him what he desires, even when he visually is not that image of a god. His character is flawed and similarly Athens is


11/39

also more or less the same in mentally, believing they will win the war because of its previous successes, not because

of how it is faring now.

Dionysus and Xanthius then swap back Dionysus as Heracles and Xanthius as a slave. However when faced with

the accusations of the landladies that Heracles has taken food and drink, Dionysus tries to avoid the blame by

persuading Xanthius to put on Heracles costume again. Dionysus says Xanthius, sweet Xanthius in an attempt to

suck up to his slave to avoid trouble. Xanthius eventually gives in.

Dionysus is showing himself to be morally unbalanced and only using Xanthius as a defence for his own benefit. He

isnt being honest and isnt really concerned what will happen to the mortal Xanthius should be incur someones

wrath that isnt rightfully his. Dionysus has become trapped he doesnt know who it is better to be as both roles

have their pros and cons. He only wishes to endure the pros and not the cons however. He is trying to avoid fate and

shows himself to be ignorant and morally unsteady of character when faced with decisions that are either right, or

easy.


12/39


OVERALL GRADE: E

Question 1: Grade E

This belly amphora was potted and painted by the black figure artists Exekias, who signed his name to this

vase. It is dated at approximately 550-530BC.

The design of this particular scene from Exekias vase complements the shape of the vase in several ways.

Firstly, the backs of the warriors Ajax and Achilles follow the shape of the vase as the belly curves upwards

towards the neck of the vase. This means the warriors appear realistically curved and look natural on the

vase, not going against it natural shape. The two warriors leaning into one another also complements the

vase as their heads come close together at the top but their bodies remain apart. This also follows the

curvature of the vase as it narrows towards the neck, but is wide at the belly. The warriors shields leant up

against the walls at either end of the frieze also appear to curve realistically, especially towards the top of

the base of the shoulders as the curve of the vase increases,

This scene shows the artists feeling for structured composition by the use of triangles formed by the two

warriors and their spears and the parallels between the spears and shields. Both warriors, although

realistically curved in the back to follow the vase curvature, form a triangle shape with the groundline as the

base and their bodies as the sloped sides. Exekias has also used an inverted triangle by the lean of the

warriors spears outwards from one another. This helps to form a strong central focus for the composition,

drawing the eye to the centre of the action immediately. Also the spears and shields parallel one another as

they lean outwards at a similar angle. This helps to draw all the elements of the composition together and

form an overall balanced compositional scene that is both highly structured, but isnt rigid in appearance.

Question 3: Grade E

This vase depicts the abduction of Helen of Troy by her lover Paris on one side and her recapture by her

husband Menelaus on the other. On Side A, reproduction C (i), the main figures are Helen, led by Paris onher left. Paris travelling companion carries a shield and travelling hat, helping to escort Helen of Troy. A

woman figure, believed to be Aphrodite covers Helens head with her chiton and behind Aphrodite stands the

Goddess Peitho or persuasion.

Makron makes this storyline clear in several ways. Paris companion is wearing a travelling hat, indicative of

someone who is going to travel somewhere. The fact the figures are headed in his direction indicates they

will be travelling somewhere. The presence of Aphrodite and Eros indicates the live elements of this scene

and divine approval of Helens flight. Aphrodite and Eros help to disguise and cover Helen so she will not be

recognised, just as Paris companion helps to guide the party to Sparta as extra help. Peithos presence

indicates persuasion and is obviously influencing Helens flight. Makrons use of dilute glaze on the figures

sandal indicates they will be going somewhere, as the figures are barefoot on Side B reproduction C(ii). Eros

flying above the groundline, adding depth to the composition and movement to the action, shows the

procession in action as they make their escape.

On Side B, the main figures are Menelaus, barging into the scene as he comes to murder his wife, but does

not at the sight of her body. Helen attempts to move away from him as Menelaus attempts to claim her

back. Helen is shielded and protected by Aphrodite, who ensures Menelaus does not kill or harm her.

Another woman, believed to be a maid-servant, is there to support and protect Helen and mirrors the figure

of Peitho on the opposite side by holding a small leafy twig in her hand. Underneath the vase handle on the

right, King Priams sits, identified by his balding head, as he watches in shock at Menelaus abrupt arrival.

This scenes intention is made clear as Menelaus force and the black glazed charging bull device on his

shield indicates his aggression towards Helen. However, as the myth recounts, his eyes are looking at

Helens body which can be seen through her transparent drapery. His name is easily identified in dilute

glaze by his helmet also. Helens movement away from Menelaus is also indicative of an unwillingness to

follow her husband, unlike the way she followed Paris, being let by the wrist, on the other side of the

skyphos. The fact Aphrodite also attempts to shield her indicates her involvement in both the abduction but

also the security of Helen from harm on both sides of the skyphos. She has divine protection and approval

from the Goddess, hence why the myth and scenes end happily.


13/39

The scenes on both sides mirror one another with similar compositional elements the overlapping of

figures, the lion and bull shields and the number of figures on each side of the skyphos. However, each side

can easily be identified by the emotional response of the characters and their actions undertaken in each

scene.


14/39

2009 LEVEL 3 CLASSICAL STUDIES SOCRATES ESSAY GRADE: M

In 399BC the famous Greek philosopher, Socrates, was sentenced to death after being found

guilty on charges of corrupting the minds of the youth of Athens and believing in false gods.

His death, as recounted by his loyal student Plato in The Last Days of Socrates is at once

special and unusual because of the timing of his death, his attitude towards death and his

theories about the after life. Positive aspects of Socrates character are also highlighted byPlato during this tract as well as throughout the play, building a steady picture of the

philosopher.

Phaedo explains that Socrates execution was delayed because of the tribute to Delos that

took place every year for about 4 days. No one was to be executed during this holy period,

therefore Socrates death was put off until the delegation arrived back from Delos. Socrates

asks Crito has the ship arrived from Delos yet? as he wonders when his execution is to be

set. The mission to Delos was in tribute to the destruction of the Minotaur by Theseus, saving

young Athenian youths lives if the myth is to believed. This delay allows Socrates to speak to

many of his contemporaries and his family before his execution and to philosophise over this

impending death and obedience to the law.

Socrates mood on the day is almost the same as it always was recounted throughout Platos

posthumous account. Socrates is certainly not upset by his impending death his own view

if one applies themself in the correct way to philosophy they have indirectly prepared

themselves for death. Socrates tells his condemners that he does not actually know what

death is, but he believes it will be a blessing. As he has not intentionally committed wrongs

against others and has not broken the law, he has kept his soul pure for judgement. He

believes he will be admitted to Elysium and will be able to do what he most desires, be able to

philosophise and ask the great minds of Athens, such as Orpheus, Hesiod, Homer and

Achilles, whatever he likes and not be executed because of it. Death will be wonderful for him

or else it will be nothing more than a dreamless sleep.

Socrates also believes in death that he will be able to realise the forms theory. The body is a

hindrance to being able to see human ideals such as justice and peace in their true forms, but

in death the soul will be able to see and realise these in their true essence. His life has been

spent philosophising and discussing such ideas as seen in the dialogue Euthyphro and in

death his lifes work will finally be realised. This is certainly something Socrates is not about

to feel sad about.

The poison, administered by the jailer, was hemlock, a poisonous plant that causes paralysis

and death in humans. Socrates is given a dose of extra strength to ensure as quick a death

as possible and to ensure it actually works. According to Phaedo, the poison works from thefeet up, slowly paralysing the individual until it paralyses the heart and ultimately kills the

person.

Socrates consumes his hemlock, then walks around the room in order for the poison to

circulate in the body and take effect. He was then laid down as the paralysis spread. Against

the advice of the jailer he kept up a rapid discussion and continued philosophising until his

last breath.

Aspects of Socrates character throughout this scene and the 3 preceding dialogues are quite

typical of Socrates as viewed by Plato. He was blatantly honest and moral, and he continued

to hold a philosophic discussion right to the very last moment. Certainly Socrates never stopsphilosophising in any of the dialogues of this book. He also shows himself to be quite

traditional in his views and reaffirms his belief in the Gods like most other Athenians as he

tried to establish during the Apology when talking of Apollo and his daimonian. Of course

Socrates thirst for knowledge never ceases, even when he knows death is imminent. Any

knowledge he can gain whilst alive from anyone around him will certainly benefit him in the


15/39

afterlife. Socrates character does not waver and shows himself to be a very upright

individual that is quite comfortable in the knowledge of his impending death which he

acknowledges was likely to occur soon anyway because of his advance age.

Whilst Socrates acceptance of death and willingness for it to occur shock many who study

Platos account, his theories, ideas and aims ultimately have led him to accept his fate in the

knowledge that what awaits him will be a blessing indeed. His one foot in the grave outlook

is even unusual by modern standards but by adhering to his beliefs and visions of death,

these prepare him well for his fate and give hope to those who witness his death caused by aseemingly unjust means brought about by the very state and its people that he loved so

much and cared to much about.


16/39

2009 LEVEL 3 CLASSICAL STUDIES ARISTOPHANES

OVERALL GRADE: E

Question 1: Grade M

In the prologue which this extract is from, we see the house of Bdelycleon and Philocleon swathed by a net. This alludes to the

pending invasion by Sparta as their city walls become surrounded by Spartans. In both scenes Philocleon would have had thesame attire as the jurymen, in the chorus. This costume would have represented a wasp which the audience would have found

comical-the stinger being a clever interpretation of the phallus.

In this escape scene Philocleon attempts to escape his home and his son to feed his insatiable desire to fulfil his duty as a juror.

The comic techniques used in the dialogue in the escape scene would have been situation comedy. One can imagine that the

scene would have been portrayed at a fast pace as Philocleon attempts to escape. The visual imagery created by the fast-paced

dialogue between Bdelycleon and Xanthias would have been comical to the audience as they attempt to whack him with the

harvest wreath.

Philocleons unsuccessful escape by use of a donkey would have incurred humour in the dialogue spoken by the character. This

attempt to escape is an allusion to the famous story The Odyssey. Using aspects from the original story, Philocleon replies

that his name is No name, as he attempts to hide, hanging onto the belly of the donkey. The humour in having a name as No

name would have entertained the audience.

The scene where Philocleon attempts to escape the house would have given the characters the prime opportunity for comedybased on action and movement. Philocleon lifts roof tiles, pops up on the roof and causes a huge ruckus as he attempts to

escape. He appears on different areas of the stage which represents his house. It would have been amusing to see an old man

adorned with his jurors cloak attempting to climb down a rope, trapped by his slave and son.

Furthermore, it would have been comedic to see Philocleon attempting to escape by the use of a donkey. An old man clinging to

a donkey which would have been the ekkyklema would have been humorous to the audience. As Philocleons antics by hanging

on to an ass made him act and appear like an ass himself.

Question 2: Grade E

In Aristophanes play Frogs, the god of wine and theatre, Dionysus makes the journey to the underworld to fetch Euripides to

save Athenian theatre. His intentions soon change and he presides over a debate or contest between Euripides and Aeschylus tofind a playwright who can save Athens.

In the agon, Aeschylus and Euripides take it in turn to criticise one anothers works. In this extract Euripides attacks the content

of Aeschylus plays claiming one of his characters was bloated with embellishment and constipated with verbiage. Comment is

made on the sensationalism of the portrayal of Aeschylus characters as he writes about serious matters pertaining grave topics

like war and death. Euripides forges on to critique the structure of his counterparts plays, claiming that he was fond of

rambling on or plunged right into a story and {left} everybody guessing

On the otherhand, Aeschylus was quick to retaliate and rebut the fine points made by Euripides towards his own plays. Euripides

says that in his plays No one would stand idle......they all talked. This was a defiance of the traditional conventions in theatre.

Not only did more than three characters speak but of these characters some were women and young maidens. Aeschylus claims

that this outrage warranted death. Euripides also mentions as he indicates to the audience that he taught these people to

talk to which he receives a quick reply from Aeschylus that if only {hed} been torn to pieces first! This is a possible allusion

to the situation of Athens at the time and the rise in interest in sophistry, the art of rhetoric. According to Aristophanes, a

component which has led to the downfall of Athens as her citizens learn to observe, to discern, to spin, to manipulate the facts.

The agon in Frogs, the part of the play from which this extract was from, features an important debate between the two

playwrights. Throughout the play there are two personalities-the traditionalists and the modernists. In the agon, it is no

different. Aeschylus, the playwright, who wrote about the glory and honour of war and topics deemed to have prestige and grace

was traditional, whereas Euripides who wrote about kings in rags slaves as masters was a new kind of playwright. Aeschylus

and Euripides represented the old and the young and their debate and contest for the playwright who Dionysus would return with

to save the city echoed the conflict within Athens at the time of Frogs. Athens was a broken state, its citizens disenfranchised

and devastated by plagues. They were 26 years into a war they were losing, needless to say morale was at its lowest ebb. The

conflict between Aeschylus and Euripides mimicked the conflict in Athens. The modern, non-traditional working class made its

way up the political ladder through the art of sophistry to lead Athens. While the aristocratic gentlemen, who were capable of

saving Athens were exiled as a result of their involvement in the Oligarchic coup.

The importance of this debate did not only portray to the audience the conflict in their city but also aided in the development of

the plot. In the beginning of the play Dionysus was unsure of his powerful role as god of theatre and even travels to the

underworld dressed as his half brother Herakles. He converses with his slave as if his slave were his master and completely

contradicts his claims of naval prowess when he is unsure of how to row Charons boat. Dionysus mirrors the state of Athens-

unsure of his true power and glory and confused of his true identity. However, as the play progresses, Dionysus is able to judge

an important debate, perhaps Athens final hope. He is a complete contradiction of his earlier buffoonery and is able to ask the

important questions, like what was needed to be done about Alcibiades-to which Aeschylus replies that they ought to tolerate its

own peculiar ways. The growth of Dionysus character is showcased through the progression of the plot. Dionysus role as the

judge of the debate between Aeschylus and Euripides during the agon shows that he has grown to be the god, the theatre needs


17/39

him to be.

Throughout the agon, advice is given to the audience through the dialogue between the two playwrights. As mentioned earlier,

they speak of their opinion of Alcibiades whom Aeschylus thinks Athens should tolerate. This echoes the opinions of Aristophanes

who believes that in order to save the city, they must reconsider their choice of leaders and forgive and forget the men who are

able to lead them to victory. Alcibiades is Pericles nephew and men of his upbringing and calibre are the type of men whom

Alcibiades believes have the skills and knowledge to save Athens.

The winner of the agon also provides advice to the Athenian audience. Aeschylus wins as he is chosen by Dionysus-Aeschylus

the traditional playwright of traditional morals and values. This also shows a development in plot as Dionysus as able to choose

the correct playwright.


18/39


19/39


OVERALL GRADE: A

Question 1: Grade A

Exekias is a famed black figure vase painter who both potted and painted vases from 540-529BCE. Boardman

describes him as a master of composition. This vase is known as the Exekias Belly or Type B Amphora and waspainted between 540 and 530BC most likely in 535BC. This vase is a 61cm tall belly amphora and it is typified by

its wider than usual belly and wide mouth. In an interesting aside, it is thought that it was Exekias who first potted

these vases and it seems that the continuous curve running from mouth to foot helps the composition of the

vertical frieze. The fluted handles were to aid carrying and pouring. Typically, a belly amphora was used for

storing liquids such as wine and olive oil, though it is more likely that this vase was used for decorational purposes.

The scene on side A is a scene from the Trojan War and quite moment before battle, often a surprise ambush by

the Trojans, during which two heroes from the war are enjoying a board game. These two heroes are Achilles on

the left, still wearing his horsehair helmet and Ajax on the right. We can see this through the inscription painted in

black slip identifying both Ajax and Achilles. As well as names there appears to be two attempts at what we may

call speech bubbles. Achilles is saying Four and Ajax Three. It appears Achilles is winning. Additionally there

is a halo inscription behind Ajax that translates as Orontes is beautiful. This helps us date the vase as Orintes

was a very prominent figure in Athens in his day. The vase has been created by Exekias to tie in with the frieze.

Exekias has painted the frieze to draw shapes hinted at by the handles. The lines of the handles in fact follow thespears of both figures and the shields on either side of the frieze meet the lower parts of the handles. Additionally

both figures are leaning inwards, to help draw attention to the curved shoulders of the vase, as opposed to a

stepped back of a neck amphora. The handles also serve as stop points for each of the friezes dividing side A from

the scene of the Dioskouri Castor and Pollux being welcomed home by Queen Leda and King Tyndareus Exekias

was a master of composition as Boardman tells us, and this is very evident on this vase. Firstly Exekias has

utilised elaborate shapes to draw our eyes into the central part of the vase. There is a definite M shape created by

the bodies of Achilles on the left and Ajax on the right and their spear which meet in the centre of the scene at the

playing board. It is evident that this is where Exekias wished us to focus. Exekias was also conscious of symmetry

as we can see in his balanced figures spears and shields. It is also important to not the use of a single ground line.

On side B of this vase there are further examples of composition with a definite vertical focus made by al figures

standing with inscriptions running vertically also. The vertical focus is broken only by the horizontal figure at the

horse.

The boarders used on the vase also help us to focus on the central scenes. A double lotus chair at the top of the

scene and a rayband on the ankle of the vase help us to focus on the central scene.

The composition of Exekias can also be seen on his other vases such as the belly amphora showing Achilles on the

left murdering Queen of the Amazons, Penthesilia. There are definite shapes shown, the triangle formed by their

bodys and Achilles spear. Narrative tension is also present on both of the vases. It is easy to see why Boardman

declared Exekias a master of composition as we examine his works.

Question 2: Grade A

The Niobid Painter Calyx Krater is a vase dating to 420BC, inspired by wall-paintings by Polygonotus depicting theslaughter of the Niobids by Artemis and Apollo on side B. This slaughter is occurring as Aremis and Apollo exact

revenge on the Niobids, the fourteen children of Niobe, who boasted that she had mothered more children than

Leto. Leto in turn sent her son Apollo and her daughter Artemis to slaughter the children of Niobe known as the

Niobids. The central figure on this vase is Apollo the naked male figure holding a bow. We can identify him as

Apollo despite a lack of inscriptions due to his weapon and bow as he was the god of archery, his burial wreath

upon his brow, and his heroic nakedness. The Niobid Painter is renowned for his early mannerist innovations,

focussing on anatomy of women and drapery. However, in the case of Apollo we can identify his mastery of male

anatomy and movement. We can see that Apollo is in action in a number of ways. Firstly, his raised ankle on his

left foot (which is foreshortened) depicts movement in the sense that he is stepping forward his legs spread wide

apart also depict his movement forward, the distance between the legs indicating that he is indeed striding

forward purposefully. We can see indications of tension as Apollo appears to twist his upper body round to face to

the right. The movement of his drapery backwards also indicates he is moving forward.

The Niobid Painter was also well renowned for his variety of very realistic poses. This can be shown on side A of

this Calyx Krater in the poses of both Theseus and Pirithous who are resting on the lower level of the scene.

Pirithous pose is twisted, yet his face remains in a three quarter position, indicating realistic pose. Theseus is

reclining on the ground about to pull himself up shown by his muscles appearing to bulge as he lifts his own weight

off the ground.


20/39

Additionally back to Apollo we can see the realistic anatomy of the figure through the use of dilute honey coloured

glaze added to the major muscles to show a sense of depth. Minor muscles were also shown in dilute honey

coloured glaze. The Niobid Painter inspired by Polygnotus the wall painter was a master of depiction of male

anatomy as shown on the male figures on his Calyx Krater.


21/39


VIRGILS AENEID OVERALL GRADE: M

Question 1: Grade A

Virgils Aeneis is a secondary epic drawing inspiration from Homers Iliad and Odyssey. It is in effect,the foundation story of the Roman race and empire. Two major themes are evident throughout the

Aeneid and particularly in Book Two. These are the overcoming of the furor and obeying Pietas. Book

Two of the Aeneid is Aeneas account to Dido, the Carthaginian Queen of the sack of Troy. Throughout

this book, Aeneas struggles between furor, or burning passion and pietas or duty to the Gods, his

country and his family. In this extract Aeneas has just been reminded of his pietas, and therefore his

family by his mother Venus. Aeneas goes to his family and urges them to leave. His wife Erusa agrees,

however Anchises, Aeneas aged father refuses to leave, arguing that he has seen Troy fall once and

survived, he is too old to leave and that the Gods will show mercy on him. Aeneas the True, being the

pious son that he is prepares to obey his father, the pater familias or head of the family.

Aeneas prepares to head back into battle, despite Creusas pleas. At this moment, they receive a

series of omens, that convinces Anchises of his folly and thus they prepare to leave. Aeneas, facedwith the prospect of staying to die in Troy comes close to succumbing to furor, but Jupiters intervention

reminds him of his destiny and pietas.

Jupiters prophecy of Book one is yet another instance that is important in the world of men. Virgil

begins his epic in media res or in the middle of the story and Jupiters prophecy aids us to understand

the rest of the story all that we and the audience did not already know. Jupiter delivers his prophecy to

a disconsolate Venus, the mother of Aeneas, who is disturbed by Junos irrational furor and hate for

Aeneas. Venus fears the worst for Aeneas and protests to Jupiter that Juno his wife, has gone too far.

Jupiter reassures his daughter with the prophecy which begins To Romans I set no boundary in time or

space. Jupiters intervention here to reassure Venus and recount Aeneas story to us is important to

the plot as Venus goes on to reveal his destiny to Aeneas allowing him to realise his hubris, his neglect

of pietas. Aeneas realises his pietas, and like a true proto-Roman, seeks to maintain his pietas andfulfil his destiny.

Question 2: Grade M

In the words of Dr Bill Barnes, Dido is a composite character. Virgil, consciously creates Dido to mirror

the great women of epic myth and legend. In Dido we can see Nausicaa and Penelope. We can see

Circe. We can see Calypso. We can see Helen and truly we can also see elements of Cleopatra. But

aside from all her parts, Dido is at her core and representation of /Hubris and we can easily see the

resulting nemesis. Didos obsessive love for Aeneas beings in Book one, during which the poison of

burning love is breathed into her by a disguised Eros, or Cupid, disguised as Ascaniuis. Venus, God oflove, aims to have Dido fall madly and deeply in love with the romantic Aeneas. This love comes to

fruit in Book Four, during a storm, in which Aeneas and Dido take shelter together. We come to

understand that it was here they consummated what Dido believed to be marriage. Dido becomes

obsessed and distracted from her fledgling city, of which she is the queen. She succumbs to hubris and

forgets her duty to her city and people and later kills herself in an act of nemesis. Virgil employed a

number of techniques to make it clear to us the depth of Didos obsession. The first of which is the

recurring motif of flames and fire. Flames are seen as a representation of furor, the burning passion.

But flames also destroy and lead to destruction and this is what happens to Dido as she kills herself on

the burning funeral pyre. The imagery of flames is constant throughout Book Four. The flame ate into

her melting marrow is used to describe her infatuation. Eyes aflame is used to describe Dido before

her suicide and the first image of them all. The use of epithets to describe Dido is another method

employed by Virgil to emphasise Didos infatuation. Dido is first described through epithets as RegalDido, Queen Dido, Lovely Dido, all of these positive images come before her infatuation. Later after

she becomes caught in the trap of love she is nearly constantly Poor Dido or Helpless Dido. As the

epithets change so too does Dido in her infatuation becomes apparent. Virgil, when creating Dido must

have truly seen the links between his great character and even may have deliberately crafted the links

between Dido and her composing character. Ultimately Dido represents a movement away from


22/39

Roman ideals in hubris and her downfall reinforces Virgils Roman propaganda.


23/39

2009 LEVEL 3 CLASSICAL STUDIES ESSAY AUGUSTUS GRADE: E

Question 1

Post id tempus auctoritate omnibus praestiti.

Above all other I excelled in authority. Re Gestae 34.

As shown in this quote from Res Gestae Divi Augustus, Augustus own autobiography, Augustus was a man of great

auctoritate or authority in Rome. However he did not achieve such auctoritas without the help of one man in particular.

Marcus Agrippa was the right handed man of the great Augustus and throughout Augustus life Agrippa was man of great

importance. Accomplished general, admirable architect and sound advisor, Agrippa aided Augustus throughout his rise to

power, his principate and his succession and in return Augustus aided Agrippa up until his untimely death in 12BC.

Agrippa was a man of no noble birth but his claim to fame lay in his military prowess, his perfection and power on the

battlefield. He served under Augustus, then known as Octavian, in the legions that he collected after the death of Caesar

on the Ides of March 44BC. Agrippa quietly rose through the ranks through the battle of Mutina against Marc Antony

during which he performed admirably through the battle of Phillipi against the conspirators Cassius and Brutus themurderess of Caesar until Persia, where Agrippa truly came to the forefront. Octavian now being part of the second

Triumuirate with Antony and Lepides having become very powerful, set to the task of settling his veteran soldiers on land

to reward them for loyal service. However, this was not well liked by some citizens of Italy. They offered resistance when

told to remove themselves from their land and Otavian was forced into war against a number of Roman citizens led by thewife of Marc Antony Fulvia and the brother of Antony, Lucius Antonious. The opposition army attempted to occupy Rome,

but Octavian forced them back to Persia in Northern Italy. It is there that they were besieged and starved into surrender.

It is said that it was merely Agrippas generalship and command that turned the tides on the rebels. Octavian proceeded

to execute the entire senate of Persia, as we are told in Cassius Dio, He executed many answering all pleas for mercywith the words, you just die!. This was an attempt to deter further rebels in an act constrasting Caesars clemetis.

From this battle onwards Marcus Agrippa rose to the definite forefront of the battle of Naulochus against the last

republican opposition Sextus Pompeius, son of Pompey the Great, in securing the naval victory over Sextus fleet after

Sextus blockaded Sicily and Sardinia cutting off Romes grain supply. Agrippa helped Octavian to defeat Sextus and then

muscle Lepidus out of command as he over ambitiously attempted to take Sicily fromOctavian. Octavian credited his

victory in Res Gestae saying that he had Freed all the seas of pirates.

Once again Agrippa was instrumental at sea in the battle of Actium in 31BC against Marc Antony and Cleopatra Octavian

wishing to remove Antony from the picture set out upon a campaign to discredit and disallow Antony under the guise ofwaging war on Cleopatra and Egypt. This resulted in the naval battle of Actium in which Agrippa was paramount. It is

often said that the troops on land could merely watch as Octavians fleet massacred the slow lumbering Alexandran ships.Antony and Cleopatra fled fearing defeat and Octavian pursued them to Alexandria where Agrippa once again proved

himself too testing Egypt up in search of Antony and Cleopatra who both killed themselves.

In the triple triumph that followed despite Octavian taking major credit, Agrippa was showered with honours for his part in

the battles which the Triumphs celebrated against the Trines threatening Rome, at Actium and at Alexandria.

Politically Agrippa was much less in the fore front, however he was given a number of powers during Augustus principate.

After Octavian had secured peace in Rome the Pax Romans, he undertook a number of constitutional settlements toensure the future of Rome and the principate. The first settlement granted him proconsular imperium over all provinces

of the Roman empire, and Tribunicia Potestas or Power of the Tribune, which made him sacrosanct and gave him links

with the populace of Rome. The second settlement granted him Proconsular Imperium Maius, giving him domain over all

of the Roman Empire including inside the pomerium, the sacred boundary of Rome, where at all imperium is to cease.Later the consillium princeps was created and select council of senators that would advise the princeps or mother of

importance. Throughout the constitutional settlements Agrippa was granted Tribunicia Polestas and proconsular

imperium. He was also a member of the concillium princeps.

Finally, throughout the succession Agrippa was of great great importance. Augustus search for a successor came as he

had no male heirs to continue his reforms to preserve the peace Augustus had created and because he was Roman and

Romans left heirs. Thus he sought to adopt heirs. Agrippas importance came in 23BCX, at the death of Marcellus, the

primary heir. In this same year Augustus became very sick and close to death. He handed his signet ring over to Agrippa

and named him his successor. Augustus recovered, but Agrippa remained his principal heir. He was married to Julia

Augustus daughter making him son in law and was granted tribunicia potestas and proconsular imperium. With Julia he

had five children Gaius and Lucius, Julia the younger, Agrippa and Agrippa Postumous. Augustus turned to Gaius and

Lucius adopted them and named them principal heirs. They were showered with honours such as princeps iuventutis and

made up titles meaning first among the youth to mirror Augustus princeps senatus, and they appeared on the Ara Pacis.

Agrippa assumed a role as regent instead, so that if the boys were to die, he could continue the principate if needed. Thissystem continued well unto 12BC, when Agrippa died of unknown reasons after a long and illustrious career, His son born

later was given the name Agrippa Postumous, meaning Agrippa after-death.

Agrippa was the right hand man of Augustus. He was an accomplished general, winning many battles for Augustus,

allowing the gates of Janus to be shut three times while Augustus was princeps as we are told in Res Gestae. He was a

famed architect, and his work still remains today such as the Pont du Gard in Nimes in the South of Franc. He was buried


24/39

in the Augustan Mausoleum and appeared on the Ara Pacis but why could be never be as good as Augustus himself?

Because he was not born of noble blood. Agrippa was a plebian and could not rise above that rank to become the equal

of Augustus.

Finally we can see the impacts that the life of Marcus Agrippa had on the life of Augustus, his rise to power, his political

life and his succession. Scullard reminds us that Augustus comes from the same root word of auctoritas. We can only

wonder then, what the name Agrippa meant to the people of Rome and to the first emperor of Rome, Augustus, up until

his death in AD 14.


25/39


ARISTOPHANES OVERALL GRADE: E

Question 2: Grade E

Aeschylus and Euripides are both very critical of each others work. In this extract, Aeschylus tragedies are criticised as

being bloated with embellishment and constipated with verbiage that is, rambling and confusing because of all theoverflown, unnecessary language used. He is also criticised for only allowing certain people to talk, for allowing people to

stand idle. Euripides tragedies are criticised for doing the exact opposite of Aeschylus allowing women, slaves, the

master the young maiden, the old crone to all talk, and for influencing his audience to develop questioning attitudes, for

teaching them to talkto suspect the worst, to take nothing at face value.

The debate between the two playwrights is very important in developing the plot of the play. At the beginning of the

play, Dionysus says he has a craving for Euripides. He just loves how clever he is. However, at this point in time

Dionysus has no sense of his identity he even calls himself Dionysus, son of Juice instead of son of Zeus. When

Dionysus finally regains his identity, he judges the poets Euripides and Aeschylus to decide who is the better poet. Both

poets present convincing arguments, which develop the play plot Euripides call Aeschylus work a torrent of verbiage,

while Aeschylus condemns Euripides use of unsavoury topics like incest. Dionysus decides to weigh the poetry to see

which is heavier.

Although this is ridiculous, it provides humour in the plot. Eventually, when he still cannot decide who is the better poet,Dionysus simply goes with his heart. Although he originally had planned to choose Euripides, his heart chooses

Aeschylus. The debate between the two poets provides entertainment but also develops the plot by building up to the

climax, where Dionysus makes his choice. The debate also marks a return of the true identity of Dionysus, god of theatre,

who starts being less impressed with Euripides, who wields the sword of wit.

The debate is very important in providing advice to the audience. At the time that Frogs was written Athens was at war

with Sparta. At this time, the Sophist movement had taken hold in Athens and had encouraged the younger generation to

question authority and tradition. As a traditionalist, Aristophanes did not like this. The debate between Aeschylus and

Euripides is effectively a debate between old and new. Euripides represents the new, for he was an advocate for the

Sophists questioning attitudes I taught these people to talk he said. But Aeschylus, a traditionalist, believed that this

had made youths lazy theres not a single decent athlete left and left the city in chaos even sailors argue with their

officers, which as Dionysus says, causes the ship to drift all over the place. Athens too was drifting all over the place,

with no good leaders since Athenians refused those who to Phrynicus paid heed in the Oligarchic Revolution of 411.

When Aeschylus wins the debate, Aristophanes is advising the people to choose old over new. He thinks they should

forgive and forget those good leaders who had once wronged them, since they were willing to make slaves citizens after

Arginulae, because the only way to win the war is if Athenians return to tradition and follow their old, experienced good

leaders.

He is telling the audience that society is in chaos because they are not following tradition and Euripides new ideas are

luring their vision, because as Aeschylus says, a city that doesnt know its own mind cannot be saved.

Question 3: Grade E

When Dionysus is confronted by Plutos doorkeeper, Aeacus, he is terrified. He begs his slave, Xanthias to switch

costumes with him, because he is dressed a Heracles, who had kidnapped Plutos dog Ceberus. When Dionysus meets

Aeacus, he names himself as Heracles the b-b-bold. The stutter clearly shows us he is scared and far from the brave

Heracles he is pretending to be. By calling himself Heracles rather than Dionysus, we are shown that he still does not

understand his identity. If he had introduced himself as Dionysus he would have been welcomed by Pluto, and Aeacus, as

he was later (before the judging), but he had so long forgotten himself as a god that he is intimidated by a lowly

doorkeeper. This cowardice is emphasised through his begging Xanthias to switch costumes.

When Persephones maid comes out and, thinking Xanthias is Heracles, invites him in, Dionysus again forces Xanthias to

switch costumes. This shows us he is an opportunist, a lovable rogue who wants to have a good time with the maid. He

suddenly remembers is he Xanthias master and tells him he will not go party with the maid; Dionysus will. We areshown that when he thinks the situation will advantage him, Dionysus has no problem being a god, yet does not, in bad

times, remember he has the powers to stand up for himself. He still does not recognise his own identity as Dionysus, god

of Fertility, Wine and Theatre, instead stealing his half-brother Heracles identity so he can have a good time; with

Persephanes maid.

When Dionysus meets the First and Second Landladies, he is once again terrified. He hides behind Xanthias and begs him

to switch clothes again. His fear of the two women again shows us the lack of identity he has. As a god, Dionysus cant

(be) hurt, yet he does not remember that he is actually a god in his own right, not simply a mortal pretending to be

Heracles. He does not realise that Aeacus, or the landladies, should ne worshipping him, and should not be able to hurt

him. Yet he is terrified of the two women, and acts more like a man scared of his angry wife than a god of Olympia. In

extract 4, Xanthias tells Dionysus to remember youre supposed to be Heracles. Yet Dionysus, happy to he Heracles

when it suits him, and scared to be him when it does not, does not remember he is his own god. Even in the Underworld


26/39

he is worshipped (by the Initiates, calling him Iacchus) but he does not realise. As these episodes show, he is a god who

has lost his identity, his power and his courage.


27/39


OVERALL GRADE: E

Question 1: Grade M

In painter of Reproduction A, Exekias is very much admired for his effective use of space and his feeling for composition.

The belly amphora, a vase used for the storage of liquids, is dated to approximately 550-40BC. Exekias is often regardedto be at the height of the black figure vase painters, and his use of space and effective composition are two of the main

reasons for this.

The scene shown on Exekias belly amphora is of Achilles, the Greek hero, ahd his friend Ajax playing aboard game in

their tent in the midst of the Trojan War. The belly amphora is almost as wide in the middle as it is tall. It also has two

flanged handles. To use effectively the space on the vase, Exekias has painted his scenes on two panels, rather than one

continuous frieze, which the handles would have interrupted. The scene complements the shape of the vase by following

its contours. The curved backs of the Greek heroes mimics the curved contours of the vase. The shields which flank the

warriors also curve gracefully, complementing the shape of the vase. The scene is framed by a lotus and palmette border

from above and a red line from below. The handles are patterned with hearts and the rest of the vase (save for the foot)

is left black, which draws attention to the scene, placed in the middle of the vase to make the most use of the available

space. Overall, Exekias uses the space available very effectively because he painted the subject of the scene so that is

curved with the contours of the vase, complementing and enhancing the shape of the vase (just as he did on side B-

Pollux and King Tundareus backs also cure to the contours of the vase).

Exekias was a master of structured composition. There are two figures in the scene, each with their shield behind them.

This gives the scene balance it is symmetrical. A triangle is formed between Achilles, Ajax and the game table, with

Achilles horse-hair crest being the apex. A reverse triangle is formed by the two spears both warriors hold. Bothtriangles serve to add structure and a sense of balance to the scene, and also to ensure the game the heroes are playing

is the focal point as does the warriors bent heads, intense gaze at the board and their bodies slightly lifted off their

seats. Exekias had such feeling for structured composition that the scene is almost entirely symmetrical, apart from

Achilles is wearing his helmet and Ajax is not (which symbolises Achilles dominance) which Exekias balances out by

painting Ajaxs helmet by his shield. Thus, Exekias has expertly achieved a structured composition.

Exekias is regarded as the epitome of black figure vase painting, and his effective use of space and feeling for

composition, as demonstrated on this Trojan scene on his belly amphora, shows us that this complement is justified.

Question 3: Grade E

On this skyphos, Makron paints two tales from the Trojan War. On Side A (C(i)), the scene is of the abduction of Helen.

On the far left is Aeneas, a warrior, and the companion of Paris, the man to his right. Paris is kidnapping Helen the

woman to his right, from her homeland Sparta to his home, Troy. The winged person above her head is Eros, sometimesreferred to as Cupid. Behind Helen is Aphrodite, Goddess of Love (and Eros mother), who is fulfilling her promise to Paris

to give him Helen after he judged her to be the most beautiful goddess (over Hera and Athena). Helens maidservant,

Peitho, is to Aphrodites right and is waving goodbye, along with a slave boy.

Makron makes the storyline clear for this scene in a number of ways. The hurried movement that suggests this is an

abduction (rather than a procession, for example) is shown by the raised feet and far apart legs of Aeneas and Paris.

Both men look over their shoulders as if they are worried they are being followed, which gives a sense of urgency. The

idea that Helen is being taken by Paris under seduction rather than force (as a result of Aphrodites promise to Paris afterthe beauty contest) is shown to us by Makron, through Eros, or Cupid, who flies between Paris and Helen and who

signifies love, and through the name of the maidservant Peitho which means persuasion. Also Paros leads Helen by

the hand, rather than takes her by force, emphasising the fact that Helen is being led away by seduction. Makron also

makes this clear by the narrative technique which shows Helens maidservant and a young boy simply waving goodbye to

Helen rather than running for help. Makron also emphasises the fact that Helen is being led away from her home to Troy

by painting Aphrodite covering Helens head with her cloak, to show she is not supposed to be leaving, and is hiding.

Side B (C(ii)) depicts King Menelaus of Sparta finding Helen of Troy. At the far right sits King Priam of Troy and to his leftis Menelaus. Helen is running away from him to her maidservants (Aphrodite). The story is that Menelaus was, after

finding Helen living in Troy with Paris, about to kill her. However, he captures sight of her beautiful body through the

diaphanous fabric, and change his mind. He forgives her.

This storyline is made clear in a number of ways. The inclusion of King Priam on his throne tells us the scene is in Troy.

Menelaus has his arm bent, clearly about to draw his sword. He is in full armour and his legs are bent, one foot almostfully off the ground, signifying he is advancing on Helen, about to kill her. Helens terror is shown by her legs, far apart

clearly running towards her maidservants, head turned back towards Menelaus in fear. Aphrodites arms are

outstretched, signifying she is wanting Helen to come to her in safety, showing us the danger Helen is in. However,

Menelaus gaze if clearly drawn looking down at Helens body. Makrons use of very close together lines, with the lines of

the body clearly shown underneath tell us Helen is wearing clothes of diaphanous fabric. We understand that her

husband is gazing at her body and we now that he will not harm her, because he has just remembered how much he


28/39

loves her.


29/39

2009 LEVEL 3 CLASSICAL STUDIES ESSAY AUGUSTUS GRADE: M

Question 3

Under Augustuss rule, the Roman Empire was expanded and truly became the greatest empire on

earth. Augustus at first had a very imperialistic foreign policy, and he achieved this through his

extremely powerful army and reorganisation of the provinces. Though he was initially successful in

extending the borders of the empire Germany, eventually this ended in chaos, and marked a change to

a defensive foreign policy.

Augustus was a very ambitious man. He wanted to extend the Roman Empire to its natural boundaries.

To achieve a workable frontier policy for the empire, he had to have a loyal and powerful army. After

the Battle of Actium in 311BC Augustus could not longer sustain 50 legions it was economically

draining and politically problematic. He decreased the number of legions to 28. Each had a name and

a number, to instil pride and loyalty. Each consisted of approximately 5000 men. Augustus chose the

generals (Legati) to ensure they would be loyal to him and made each solider swear an oath of

allegiance to him in January. Soldiers wer paid, for the first time, and served for 20 years. This

reorganisation ensured that the army was loyal to Augustus and was small enough to control easily yet

large enough to achieve Augustus frontier policy for the empire.

Augustus also reorganised the administration of the provinces. In 22BC he and his co-consul Marcus

Agrippa took the very first census. He decided the level of taxes based on the peoples ability to pay.

There were two types of tax: direct (land tax, sales tax etc) and indirect. He removed import taxes

which meant people living in the provinces were able to make more profit. For the first time, he

employed Roman Knights, or equites, to collect taxes. They were called procurators and were loyal to

Augustus. He also revolutionised the way the provinces were governed by allowing proconsuls to have

an allowance when governing a province. Previously governors were rewarded only with the honour of

a governship and had often succumbed to corrupt dealings to earn profits. This ensured governors

would treat their subjects more fairly and not rob them of everything they had through extremely high

taxes. If the provincials felt the governor was treating them unfairly, they could complain to Augustus.

Thus, through his reorganisation of provincial administration, Augustus made provinces more efficiently

and fairly run.

Provinces in the Roman Empire re divided into two: Senatorial and Imperial. Senatorial provinces were

relatively peaceful and were controlled by the senate by a governor who governed for one year.

Imperial provinces were Augustus own: he took all that required military guard reported Cassis Dio.

Augustus controlled his provinces through governors of his own choosing and by stationing legions in

them. For example he had eight on the Danube, seven on the Rhine, four in Syria, two in Egypt, one in

Africa and three in Gaul. Some provinces were relatively peaceful, like Egypt and Africa. Others, like

Syria, acted as a buffer state to more threatening countries like Parthia. Of the western provinces, Gaul

and Spain had conquered them, they were still quite turbulent. Since they were quite close to Rome,

this posed a serious threat to the Empires security. When fighting with the natives in Spain broke out,

Augustus sent Marcus Agrippa to the province, who eventually won the battle for Rome. Subsequently,

Spain was divided in three, to avoid the threat of a united Spain. Similarly, the province if Gaul was

split into three, which effectively stopped the internal fighting of provincials. These measures, all withthe ever present threat of Roman legions, meant that the provinces became quite stable. While the

legions were necessary for security measure, in peacetime they built infrastructure and places of

entertainment in the provinces and went about the Romanisation of locals. Therefore, not only did

Augustus legions keep the peace through force, they also helped build a sense of community and

loyalty to Rome.

Germany was always a problem spot for the Roman Empire. Augustus wanted an Elbe-Danube

boundary, and sent his stepsons, Drusus and Tiberius to conquer the Germans in 16BC. This went well

at least initially. However Drusus died and Tiberius was called away to Illyricum and Germany was

never fully quietened. In AD9 a disaster occurred. Under the leadership of Quintilius Varus, three

legions were ambushed by German forces in the Teutoberg Forest. Almost 15000 men were killed.

Augustus was devastated. According to Suetanius, he rent his garments and went into deepmourning. He increased conscription into the army and sent Tiberius to Germany to show them that

Rome would not allow such defeat, but from this point on, decided to adopt a defensive foreign policy

rather than an aggressive one. He never replaced the slaughtered three legions, and advised his

successor, Tiberius, to leave Romes borders as they were.


30/39

Augustus achieved more in his lifetime than even his adoptive father, Julius Caesar. He attempted to

establish a workable frontier policy for the empire by creating a powerful army, but ensuring they were

never stretched too thin so they would allow a threat to Roman security. He made the administration

of provinces fair and effective, and though in the long term in Germany he was not too successful, he

still managed to build the greatest empire on earth.


31/39


ARISTOPHANES OVERALL GRADE: M

Question One : M

In Philocleons successful escape scene we see the comic impact of costuming and props through the jurymen.

The jurymen are old Marathon men, they are weak in their tattered brown cloaks. Quick, to the rescue or

theyll have me back inside. The jurymen prepare for battle against Bdelycleon and his laves, so the jurymen

strip off their cloaks revealing their sharp black and yellow striped costumes along with their sharp thing

attached to their buttocks. This is comical seeing the once Marathon men all old and weak in their juryment

cloaks than with a drastic change to these outrageous, ridiculous wasps costumes.

On Philocleons not so successful escape see the donkey used as a prop or tool of escaping. This is comical as

the audience would be aware of the story of Odysseus who found themselves trapped in cave guarded by a

cyclopse who threatened and succeeded in eating two of Odysseus men. In order to escape they blinked the

Cyclopse and when the sheep were let out of the cave, Odysseus and his men clung to the underside of the

sheep and escaped out

yr 13 exemplars

Documents