NCEA Level 3 Classical Studies (90511) 2011 — page 1 of 14
Assessment Schedule – 2011 Classical Studies: Explain a passage or passages from a work of classical literature in translation (90511)
Candidate chooses TWO questions from ONE topic. A holistic judgement on the level of achievement attained will be made over the two questions answered.
Judgement Statement
Achievement Achievement with Merit Achievement with Excellence A M E
Generic Schedule
Achievement Achievement with Merit Achievement with Excellence
The candidate explains literary The candidate analyses literary The candidate analyses literary features by identifying, describing, features by discussing methodically features in detail by discussing clarifying, giving reasons for, and demonstrating detailed methodically and demonstrating in- and / or placing in context aspects of understanding of passages from a depth understanding of passages a passage or passages from a work work of literature. from a work of literature. of literature.
Where Achievement is awarded for Where Merit is awarded for the Where Excellence is awarded for the question, the candidate question, the candidate the question, the candidate demonstrates understanding by: demonstrates detailed demonstrates in-depth • providing a general explanation, understanding by: understanding by: without specific detail • incorporating an analytical • providing focused and analytical • including some textual evidence, element in answers responses relevant to the question. • including some detailed textual • integrating detailed textual evidence, relevant to the question. evidence, relevant to the question One or more parts of questions are • showing awareness of the socio- underdeveloped or omitted. Most parts of questions are covered, political / historical context of the but treatment may be unbalanced. passages, where appropriate. Textual evidence may be provided in the form of direct quotation or Textual evidence may be provided All parts of questions are answered, paraphrasing. in the form of direct quotation or and mostly in depth. close paraphrasing. Textual evidence may be provided in the form of direct quotation or close paraphrasing.
NCEA Level 3 Classical Studies (90511) 2011 — page 2 of 14
Evidence Statement TOPIC A: ARISTOPHANES’ COMEDIES Question One
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Use of the Chorus of Wasps to Use of the Chorus of Wasps to Use of the Chorus of Wasps to amuse the audience amuse the audience amuse the audience
Aristophanes uses both visual and Aristophanes uses both visual and Aristophanes uses both visual and verbal humour to make the Chorus verbal humour to make the Chorus verbal humour to make the Chorus of Wasps amusing for the audience. of Wasps amusing for the audience. of Wasps amusing for the audience. Each Wasp is dressed in a striped In Extract A, the Chorus is shown to In Extract A, the Chorus is suit, with a sting on their backside, be aggressive towards their characterised as aggressive and and is wearing a brown cloak. This enemies. They call upon each other menacing with the intent to do is to visually portray the jurymen as to use their “deadly stings” and warn “lasting harm”. The scene opens wasps. They are trying to help their “foes” to beware. The Chorus with the Chorus referring to Philocleon escape his son’s house. are trying to help their fellow juror, themselves as “comrades” who This is why they are shown Philocleon, escape his son’s house have “deadly stings” and are not “buzzing” about and encouraging so he can sit on the jury with them. afraid to use them. They warn their each other to use their “deadly However, Bdelycleon informs them “foes” to beware, and indicate that stings”. They even try and attack in that he “is not going to let him go”. anyone who attempts to “provoke” a reverse military-style drill. This This leads to an amusing parody of them is a “reckless fool”, and stirring would have been visually humorous a military drill. The Chorus Leader up their nest will make them attack. to the audience, because the swarm calls the other Wasps into formation Because Philocleon is being kept of Wasps would not be able to see “About turn! Present stings! By the locked up by his son Bdelycleon to what direction they were going. right, in reverse, quick march!”. They stop him from attending jury service, prepare to attack Bdelycleon and his the Wasps are ready to do battle to slaves, but humorously let their protect their fellow “comrade”. In a stings lead them in “reverse”. This humorous parody of a military drill, humour is reinforced by their striped the Chorus Leader directs the costumes, large stingers and swarm into formation, “Wasps! jurymen’s cloaks. About turn! Present stings! By the right, in reverse, quick march”. However, this military drill is reversed and it would have been visually humorous to the audience to see the buzzing Wasps prepare to fight their enemies from behind. This humour is reinforced by their costume, as each ‘wasp’ is dressed in a striped suit with a padded belly and a large sting protruding from his backside. To top it off, they wear tattered brown cloaks and carry staffs, linking the stinging and convicting nature of the Wasps and jurymen together.
Other points may be made. For example: the Boys running to Cleon, which reinforces the connection between the Wasps stinging and the jurors convicting.
Evidence for bullets one and two NCEA Level 3 Classical Studies (90511) 2011 — page 3 of 14
may be merged, particularly in the discussion of the character of the Chorus of Wasps and how they are representative of the nature of jurymen.
NCEA Level 3 Classical Studies (90511) 2011 — page 4 of 14
TOPIC A: ARISTOPHANES’ COMEDIES Question Two
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Characterisation of Dionysus in Characterisation of Dionysus in Characterisation of Dionysus in Extract B and elsewhere in the Extract B and elsewhere in the Extract B and elsewhere in the prologue prologue prologue
Aristophanes has portrayed Aristophanes has portrayed Aristophanes has portrayed Dionysus as a confused god. This is Dionysus as a confused god who is Dionysus as a confused god who is reinforced by his unusual unsure of his true identity. This is unsure of his true identity. This is relationship with his slave Xanthias. reinforced by his unusual reinforced by his unusual Dionysus and Xanthias’ roles are relationship with his slave Xanthias. relationship with his slave Xanthias. reversed because Xanthias is riding The master and slave have reversed The scene opens with Xanthias and the donkey and Dionysus, his roles, with Xanthias riding the Dionysus’ roles reversed, with the master, is walking beside him. donkey and Dionysus struggling slave riding a donkey while the god Xanthias is a slave and should not along on foot. Xanthias is “struggles along on foot”. It is ironic be complaining to his master but complaining about “lugging all these that Xanthias, a slave, is Dionysus allows him to. Dionysus is props” even though the donkey is complaining about “lugging all these confused about his identity as he holding all the weight. Dionysus props” and having a “sore neck” calls himself the “Son of Juice” should be the one who is riding but when in fact it is his role to serve his instead of Zeus. Dionysus and instead of assuming his rightful role master without question. However, Xanthias arrive at Heracles’ house he just asserts “it’s an absolute Dionysus is confused about who he to ask for directions to the outrage”. Dionysus is confused really is. This is reinforced when he Underworld. Heracles opens his about who he really is, calling announces himself as the “Son of door to find Dionysus disguised as himself the “Son of Juice” instead of Juice” instead of Zeus. Dionysus him and falls to the ground laughing. Zeus. Dionysus and Xanthias are on and Xanthias are on their way to their way to Heracles’ house to ask Heracles’ house to ask for directions for directions to the Underworld. to the Underworld. Dionysus Despite Dionysus’ attempts to continues to be oblivious to the fact disguise himself as Heracles by that dressing as Heracles, wearing a wearing a lion-skin and carrying a lion-skin and carrying a large club, club, he un-heroically knocks on the does not mean he will acquire his door while Xanthias has what he heroic qualities. He “tentatively” would call a well-deserved rest. knocks at his half-brother’s door and is met with hysterical laughter. However, Dionysus remains serious and believes that he has “frightened” Heracles. From this point on, Xanthias continues to mock Dionysus and complain about being tired and over-worked. Other points may be made. For example: • The visual humour of Dionysus being dressed in an effeminate yellow robe and wearing buskins, the boots of tragic actors • Xanthias conversing with Dionysus about what is and is not funny, when Dionysus is the god of theatre etc • Dionysus explaining to Heracles about being consumed with desire for Euripides. NCEA Level 3 Classical Studies (90511) 2011 — page 5 of 14
TOPIC A: ARISTOPHANES’ COMEDIES Question Three
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Symbolism used in Extract C to Symbolism used in Extract C to Symbolism used in Extract C to convey Aristophanes’ concerns convey Aristophanes’ concerns convey Aristophanes’ concerns about the way “this city treats her about the way “this city treats her about the way “this city treats her soundest men today” soundest men today” soundest men today”
In Extract C, Aristophanes uses the In Extract C, Aristophanes uses the In Extract C, Aristophanes uses the imagery of coinage to symbolise his imagery of coinage to symbolise his imagery of coinage to symbolise his concerns about the way “this city concerns about the way “this city concerns about the way “this city treats her soundest men today”. The treats her soundest men today”. The treats her soundest men today”. The “noble silver drachma” has been “noble silver drachma” represents Chorus Leader speaks on behalf of replaced by “phoney silver-plated the old aristocrats of good birth and Aristophanes, saying that the way coppers”. This symbolises the old breeding. They have been replaced Athens is treating its soundest men aristocrats being replaced by the with “phoney silver-plated coppers”. is “By a coincidence more sad than new democrats. Aristophanes The coppers represent the new funny, It’s very like the way we treat believes that the men who were democrats who are not leading the our money”. The “soundest men” disenfranchised when democracy city in the right ways. The are the aristocrats of good birth and was restored need to be brought symbolism of the drachma being breeding, the “noble silver back to help end the Peloponnesian “withdrawn from circulation” drachma”. This symbolism of the old War. He compares this situation to represents the men who supported coins is to represent the idea that the best coins being taken out of the Oligarchic Revolution and were the aristocrats “rang true” because circulation in Athens. punished when democracy was they fought many times in the past, restored. These men were protecting Athens from the Persian disenfranchised, withdrawn like the enemy and therefore, are “worth coins and replaced with “foreigners their weight”. However, and slaves”. Aristophanes is saying Aristophanes’ concerns lie with the that the way these “soundest men” replacement of the drachma with are treated is like the way Athens “phoney silver-plated coppers”. treats money, removing the ones These coins represent the radical that are “needed by the nation” to democrats who are not serving the bring the Peloponnesian War to an city well. The “soundest men”, just end. as the coins, have been “withdrawn from circulation” when, in Aristophanes’ opinion, they are “needed by the nation” to bring the disastrous Peloponnesian War to an end. The “noble silver drachma” symbolises the men who supported the Oligarchic Revolution of 411 BCE and who were subsequently disenfranchised when democracy was restored in 410. Aristophanes believes that these men should not be “abused”, but instead recalled for the greater good of the city.
Other points may be made. For example: • the symbolism of the replacement coins would have been particularly relevant at this time, as Athens was cut off from the silver mines and forced to devalue her coins by NCEA Level 3 Classical Studies (90511) 2011 — page 6 of 14
using silver-plated copper instead of silver coins. • the connection between the “phoney silver-plated coppers” being “knaves, Upstarts, nonentities, foreigners and slaves”, relating to specifically to men like Cleophon and Cleigenes.
Evidence for bullets one and two may be merged, particularly in the discussion of Aristophanes’ advice in the parabasis and how it relates to the outcome of the agon. In particular, that Aeschylus is symbolic of the ‘old’ and relates to Aristophanes’ plea for the Athenians to “change now, it’s not too late!”, just as Dionysus changes his mind about returning to Athens with Euripides, and instead takes Aeschylus.
NCEA Level 3 Classical Studies (90511) 2011 — page 7 of 14
TOPIC B: VIRGIL’S AENEID Question One
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Reasons for Juno’s outrage towards Reasons for Juno’s outrage towards Reasons for Juno’s outrage towards the Trojans and how this interrupted the Trojans and how this interrupted the Trojans and how this interrupted Aeneas’ journey to Italy Aeneas’ journey to Italy Aeneas’ journey to Italy
Juno feels such outrage towards the Juno feels such outrage towards the Juno feels such outrage towards the Trojans because she supported the Trojans because she favours the Trojans for a number of reasons. Greeks during the Trojan War. Juno Greeks and supported them during She favoured the Greeks in the war is also angry because she lost the the Trojan War. Juno’s outrage is against Troy and had bitter beauty contest against Venus and also due to her resentment of the memories of the cause of that war – Minerva. Paris, a Trojan prince, had Trojan prince, Paris. He was the the “judgement” of the Trojan, Paris. given the prize for being the most judge of a beauty contest and chose She has been dishonoured by Paris’ beautiful goddess to Venus. Venus to award the Golden Apple, decision to award the Golden Apple, is also the Trojan Aeneas’ mother. inscribed for the fairest, to Venus inscribed for the fairest, to Venus. This led Juno to ask Aeolus to instead of her. The Trojan Aeneas is And the reward promised by Venus release the trapped winds and Venus’ son and this, combined with to secure the title, Helen, the wife of create a storm that would stop not winning the apple, fuels Juno’s Menelaus, had triggered the Trojan Aeneas from reaching Italy. anger. In addition, Juno has heard War. The fact that Aeneas is Venus’ that a people, descended from the son adds to her fury. In addition, Trojans, will one day destroy Juno has heard that a people, Carthage, which she loved “best of descended from the Trojans, will all cities of the world”. Therefore, one day destroy Carthage, which wanting to stop the enemy once and “she loved best of all cities of the for all, she asked Aeolus, King of the world”. Juno is by nature a vindictive Winds, to release his winds from the and jealous goddess and is anxious “dark cavern” and create a storm. that her worshippers will not respect Aeolus agreed to grant Juno’s her if she appears weak in her wishes and made the “sea close opposition to the hated Trojans: “Will over them”. As a result, Aeneas and anyone pay reverence to Juno’s his men endured great suffering and majesty?” Therefore, wanting to stop lost men and ships. the enemy once and for all, she asks Aeolus, King of the Winds, to release the winds from “their prison” and give them a “free rein”. She asks Aeolus to create a storm that will “sink their ships” or “drive them apart”. The King of the Winds obeyed, and Aeneas’ fleet was scattered and ships wrecked. If it hadn’t been for Neptune calming the storm, Aeneas would not have been able to reunite seven ships and make it safely to land.
Other points may be made. For example: • Juno also resented the favour her husband Jupiter showed the Trojan prince Ganymede. He was kidnapped and taken up to Mount Olympus to be Jupiter’s cup- NCEA Level 3 Classical Studies (90511) 2011 — page 8 of 14
bearer and lover. • Virgil makes Juno favour the historical city Carthage, which Rome was to fight for supremacy in the Mediterranean, and ultimately destroy.
Evidence for bullets one and two may be merged, particularly in discussion about how Juno’s storm is calmed by Neptune, allowing Aeneas to land in Africa.
NCEA Level 3 Classical Studies (90511) 2011 — page 9 of 14
TOPIC B: VIRGIL’S AENEID Question Two
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Significance of the fire imagery in Significance of the fire imagery in Significance of the fire imagery in Extract E AND elsewhere in Book 4 Extract E AND elsewhere in Book 4 Extract E AND elsewhere in Book 4
The fire imagery is used to illustrate The fire imagery is used to illustrate The fire imagery is used to illustrate the uncontrollable passion that Dido the growing passion that Dido feels the growing passion that Dido feels feels for Aeneas. In Extract E, Dido for Aeneas. In Extract E, Dido tells for Aeneas. In Extract E, Dido tells tells her sister Anna that she can her sister Anna that she “can her sister Anna that she “can feel the love she felt for her husband discern the old fire coming near discern the old fire coming near returning because of Aeneas. The again”. This imagery of fire again”. This “old fire” is the love she imagery of the “old fire coming near represents the love she felt for her once felt for her now dead husband again” illustrates this. Dido’s feelings husband Sychaeus. When he was Sychaeus. She had made a vow to for Aeneas grow stronger and she is tragically murdered, Dido made a never again “desire a union in described as having her heart vow to never marry another man wedlock” but Aeneas’ presence has “ablaze”, which illustrates how she since “death’s treachery cheated” caused the fire to grow. Despite the can’t control her emotions because her. However, when the Trojan “fire” being caused by the tricks of she is taken over by the fire. Aeneas arrived at Carthage she Venus and Juno, Dido’s passion for started to feel the “old fire” growing, Aeneas develops into an despite her resistance. As Dido uncontrollable emotion. As she spends more time with Aeneas, her spends more time with Aeneas, her passionate love for him develops heart is “kindled ablaze” and she into an uncontrollable furor. She is becomes “gnawed by love’s invisible described as being “gnawed by fire”. The imagery of Dido being love’s invisible fire” and her heart is “gnawed” by the fire emphasises the said to be “ablaze”. These two lack of control she has over her examples show that Dido’s fire for feelings and actions, and makes it Aeneas is growing and eating away clear that her passionate love for at her rationality. Aeneas is eating away at her. The significance of this fire imagery can be found in its connection to the concept of furor. Dido’s irrational, uncontrollable and destructive passion leads to the “deep wound draining her life-blood” and ultimately to loss of pietas and any sense of duty towards her people.
Other points may be made. For example, the way Juno and Venus conspired to have Dido fall in love with Aeneas may be expanded upon.
Evidence for bullets one and two may be merged, particularly in the discussion of the consequences of Dido’s passionate love for Aeneas, as conveyed by the fire imagery. The number of fire imagery examples is of less importance than the ways in which the significance of the imagery is analysed. NCEA Level 3 Classical Studies (90511) 2011 — page 10 of 14
TOPIC B: VIRGIL’S AENEID Question Three
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Some of the historical figures whom Some of the historical figures whom Some of the historical figures whom Anchises reveals to Aeneas in this Anchises reveals to Aeneas in this Anchises reveals to Aeneas in this line of descendants, and the line of descendants, and the line of descendants, and the reasons why these particular “souls” reasons why these particular “souls” reasons why these particular “souls” have been chosen have been chosen have been chosen
Anchises reveals to Aeneas his line Anchises reveals to Aeneas his line Anchises reveals to Aeneas a great of descendants to encourage him to of descendants to encourage him to gathering of souls who are his line of look forward to what the future look forward to what the future descendants. He begins by pointing holds. He first shows Aeneas the holds. He begins by pointing out the out the Kings of Alba Longa, Kings of Alba Longa, because Kings of Alba Longa, in particular Aeneas’ direct descendants from the Aeneas’ son is the founder of this Aeneas’ son Silvius who will be the city founded by his son Silvius. He dynasty. Then, he points out founder of this dynasty. Next, then points out Romulus, son of Romulus, because he founded Anchises reveals Romulus, then Mars, the founder of Rome itself in Rome. Anchises shows his son Augustus Caesar. He shows both of 753 BCE. Anchises tells Aeneas many heroes, including Brutus, them together, because Romulus that “Rome shall become illustrious, Caesar and Pompey. However, the founded Rome in 753 BCE and and extend her authority to the most important is Augustus Caesar, Augustus founded Rome for a breadth of the earth” because of because he founded Rome for a second time by bringing peace and Romulus. One of the most second time by bringing peace to prosperity to the city which had been significant descendants revealed is the city after years of war. The plagued by civil war. After the kings Augustus Caesar, the first emperor purpose of Anchises revealing these came many Republican heroes. of Rome. He is named with Romulus descendants is to remind Aeneas Julius Caesar and Pompey were to imply that he is the second that the future of Rome and its critically pointed out for the founder of Rome, because of the people depends upon on him. bitterness and carnage “in mutual “golden centuries” which he re- conflict they will begin”. The purpose establishes and his expansion of the of Anchises revealing these empire. Anchises then asks his son descendants is to encourage if he has any doubts: “can any fear Aeneas to stop looking back to Troy, now prevent us from taking our and to start looking forward to the stand on Italy’s soil?” After the kings future of Rome and the role he plays comes a parade of Republican in its creation. heroes. Julius Caesar and Pompey are criticised for the civil war which plagued Rome, and Anchises reminds Aeneas that he should be the first to put down his weapons. The purpose of Anchises revealing these descendants is to encourage Aeneas to stop looking back to the past of Troy, and to start looking forward to the future of Rome. Aeneas needs to see the men who are relying on him to complete his mission so that he understands how important his role is in creating a future for his people.
Other points may be made. For example: • Anchises addresses Aeneas “But you, Roman, must remember to guide the nations…” This insight NCEA Level 3 Classical Studies (90511) 2011 — page 11 of 14
into the national character of Romans could be linked to the reasons why Anchises revealed the line of descendants to his son. • Other descendants may be named, eg Numa, Marcellus.
The number of descendants is of less importance than the analysis of the reasons for Anchises revealing them.
Evidence for bullets one and two may be merged, particularly in the discussion of how this experience affects Aeneas’ character and the purpose of Anchises revealing the line of descendants.
NCEA Level 3 Classical Studies (90511) 2011 — page 12 of 14
TOPIC C: JUVENAL’S SATIRES Question One
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
The faults of the Greeks referred to The faults of the Greeks referred to The faults of the Greeks referred to in Extract G, with particular in Extract G, with particular in Extract G, with particular reference to the practices which reference to the practices which reference to the practices which Juvenal regards as violating Juvenal regards as violating Juvenal regards as violating traditional Roman behaviour traditional Roman behaviour traditional Roman behaviour
The Greeks’ sexual promiscuity is The Greeks’ sexual promiscuity is The Greeks’ sexual depravity and shown in the way the character shown in the way the character promiscuity are shown in the way mentioned will sleep with a range of mentioned will sleep with a range of the character mentioned will sleep people – “Nothing’s sacred to him”. people, regardless of age or status: with a range of people, regardless of This sexual licence is at odds with “Nothing’s sacred to him”. This age or status: “Nothing’s sacred to the traditional Roman view that sexual licence is at odds with the him” to the extent of “laying his there should be sexual restraint. The traditional Roman view that there friend’s grandmother”. The informal trust built up over years of loyal should be sexual restraint and is verb “laying” suggests the lack of support by the client comes to another example of a breakdown in respect shown by the Greek for any nothing – “my years of obsequious morals caused by foreign influence. sexual partners. This sexual licence service all gone for nothing” – now The traditional mutual loyalty is at odds with the traditional Roman that the Greeks are in Rome between patron and client is view that there should be sexual spreading information. The picture is undermined by the Greek habit of restraint and modesty, another of honest Romans having no place always being ready to poison a example of a breakdown in morals in Rome when there are Greek man’s reputation by informing on caused by foreign influence. The spies waiting to inform on everyone. him: “one small dose of venom traditional mutual loyalty between dropped in that receptive ear.” The patron and client is undermined by trust built up over years of loyal the Greeks’ habit of not “sharing support by the client comes to friends or patrons” but only looking nothing – “my years of obsequious out for themselves and always being service all gone for nothing” – now ready to poison a man’s reputation that the Greeks are in Rome by informing on him: “one small spreading information. The picture is dose of venom dropped in that of honest Romans having no place receptive ear.” The trust built up in Rome when there are Greek over years of loyal support by the spies - “a junta of Greek-born secret client comes to nothing – “my years agents” - waiting to inform on of obsequious service all gone for everyone. nothing” – now that the Greeks are in Rome spreading information. Honesty and loyalty are disappearing as desire for personal gain replaces old standards and values. The picture is of honest Romans having no place in Rome when there are Greek spies – “a junta of Greek-born secret agents” – waiting to inform on everyone. Even the government appears powerless as “Rome’s ruled” by them.
Other points may be made.
NCEA Level 3 Classical Studies (90511) 2011 — page 13 of 14
TOPIC C: JUVENAL’S SATIRES Question Two
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
The characteristics of Crispinus that The characteristics of Crispinus that The characteristics of Crispinus that Juvenal portrays in Extract H and Juvenal portrays in Extract H and Juvenal portrays in Extract H and the ways in which Juvenal the ways in which Juvenal the ways in which Juvenal persuades his audience to share his persuades his audience to share his persuades his audience to share his opinion of Crispinus opinion of Crispinus opinion of Crispinus
Crispinus is depicted as extravagant Crispinus is depicted as extravagant Crispinus is depicted as extravagant and lacking financial judgement when buying the fish for “sixty gold when buying the fish for “sixty gold when buying the fish for “sixty gold pieces” and lacking financial pieces” and lacking financial pieces” and keeping it for himself. judgement by not letting the fish judgement by not letting the fish His background as a fishmonger is make money for him. The hyperbole make more for him through gifting it pointed out in a negative manner, in saying that he could have to someone else, eg a mistress or and the fact that he is Egyptian, not “purchased most of Provence” childless benefactor. His greed in Roman, is seen as a criticism. He is emphasises the excessive amount eating it himself is illustrated by a identified as Egyptian by his “native of money spent on the fish. His comparison with Apicius, a food papyrus”. The fact that such a stupid background as a fishmonger is expert whom the audience would man, a “buffoon”, is now a member pointed out in a derogatory manner know about. The hyperbole in of the emperor’s Privy Council and the fact that he is Egyptian, not saying that he could have makes this even worse. The list of Roman, is seen as a criticism. “purchased most of Provence” faults makes it easy for the audience Juvenal encourages the audience to emphasises the excessive amount to share Juvenal’s indignation. look down on Crispinus by referring of money spent on the fish. His to his nationality by means of his background as a fishmonger is clothing: “the native papyrus as a pointed out in a derogatory manner, loin-cloth”. Crispinus is mocked by “a hawker”, and the fact that he is the emotive word “buffoon”, implying Egyptian, not Roman, is seen as a stupidity and lack of integrity. The criticism. Juvenal encourages the fact that such a man is now a audience to look down on Crispinus member of the emperor’s Privy by referring to his nationality by Council makes this even worse. The means of his clothing: “the native list of faults makes it easy for the papyrus as a loin-cloth” rather than audience to share Juvenal’s anything good about the Egyptians. indignation. Crispinus is mocked by the emotive word “buffoon”, implying stupidity and lack of integrity, so wrong for a man “in purple”, which in itself is wrong because Crispinus is Egyptian. The irony that such a man is now a member of the emperor’s Privy Council makes this even worse, and Juvenal reinforces this point by juxtaposing the words “Senior Knight” with a vulgar image of someone “bawling his wares, cheap job-lots of catfish”. Throughout the passage, Juvenal adopts a stance of indignation, coming to a climax with the final words of the extract, inviting the audience to share his outrage that this should be happening.
Other points may be made. NCEA Level 3 Classical Studies (90511) 2011 — page 14 of 14
TOPIC C: JUVENAL’S SATIRES Question Three
Achievement Achievement with Merit Achievement with Excellence
An example of explanation might An example of analysis might be: An example of detailed analysis be: might be:
Juvenal’s views on mankind’s desire Juvenal’s views on mankind’s desire Juvenal’s views on mankind’s desire to live to an old age and the literary to live to an old age and the literary to live to an old age and the literary techniques he uses to make his techniques he uses to make his techniques he uses to make his views persuasive and/or entertaining views persuasive and/or entertaining views persuasive and/or entertaining in Extract I in Extract I in Extract I
Because of old age a man must rely Because of old age a man must rely Because of old age a man must rely on others to feed him. Juvenal on others to feed him. Juvenal on others to feed him. Juvenal shows this with a simile: “he’s like a creates a visual image of this with a creates a visual image of this with a baby swallow when its mother flies simile showing the dependence of a simile showing the dependence of a back with a beakful she hasn’t baby swallow on its mother for food: baby swallow on its mother for food: touched herself”. Old age causes “he’s like a baby swallow when its “he’s like a baby swallow when its loss of memory, the extent of which mother flies back with a beakful she mother flies back with a beakful she Juvenal conveys by examples such hasn’t touched herself”. Old age hasn’t touched herself”. He as not recognising “the children he causes loss of memory, the extent reinforces the helplessness of the begot and brought up.” Long life of which Juvenal conveys by listing old man by contrast: once he used also brings grief associated with and building up of examples from to “lick his chops at the prospect of losing family during your lifetime. A forgetting “names of servants” to not dinner.” Old age causes loss of specific example is Nestor who recognising “the children he begot memory, and Juvenal emphasises regretted his long life because he and brought up.” This lack of this by building up a list of examples saw his son die before him. recognition is made worse when a from forgetting “names of servants” fortune-seeker replaces rightful heirs to not recognising “the children he in a will. Long life also brings grief begot and brought up.” This lack of associated with losing family during recognition is made worse when a your lifetime, which Juvenal fortune-seeker replaces rightful heirs emphasises by listing people such in a will. The graphic description of as “sons”, “wife and brother”, the “sexpot” and the irony of “her “sister’s ashes”. A specific example rich reward” make the situation more is Nestor who regretted his “too long convincing for his audience. Long thread of life” because he saw his life also brings grief associated with son Antilochus ”burn on the pyre”. losing family during your lifetime, which Juvenal emphasises by listing people such as “sons”, “wife and brother”, “sister’s ashes” and using synonyms to repeat the idea e.g. “perpetual grief, black mourning, a world of sorrow, ever-recurrent bereavements to haunt one’s declining years”. A specific example is Nestor who reputedly lived to over 100, but regretted his “too long thread of life” because he saw his son Antilochus ”burn on the pyre” after defending his father against Paris in the Trojan War.
Other points may be made.