NCEA Level 3 Classical Studies (90511) 2012 — page 1 of 11 (1) Assessment Schedule – 2012 (2) Classical Studies: Explain a passage or passages from a work of classical literature in translation (90511) Assessment Criteria

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The candidate explains literary features by identifying, The candidate analyses literary features by discussing The candidate analyses literary features in detail by describing, clarifying, giving reasons for, and / or methodically and demonstrating detailed discussing methodically and demonstrating in-depth placing in context aspects of a passage or passages understanding of passages from a work of literature. understanding of passages from a work of literature. from a work of literature. Where Merit is awarded for the question, the Where Excellence is awarded for the question, the Where Achievement is awarded for the question, the candidate demonstrates detailed understanding by: candidate demonstrates in-depth understanding by: candidate demonstrates understanding by: incorporating an analytical element in answers providing focused and analytical responses providing a general explanation, without specific detail including some detailed textual evidence, relevant to integrating detailed textual evidence, relevant to the including some textual evidence, relevant to the the question. question question. showing awareness of the socio-political / historical Both parts of the question are covered, but treatment context of the passages, where appropriate. One part of the question may be underdeveloped or may be unbalanced. omitted. Both parts of the question are answered, and mostly Textual evidence may be provided in the form of direct in depth. Textual evidence may be provided in the form of direct quotation or close paraphrasing. quotation or paraphrasing. Textual evidence may be provided in the form of direct quotation or close paraphrasing. NCEA Level 3 Classical Studies (90511) 2012 — page 2 of 11 Evidence Statement (3) TOPIC A – Aristophanes’ Comedies

Question One

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An example of explanation might be: An example of analysis might be: An example of detailed analysis might be:

The political significance of the dreams described by The political significance of the dreams described The political significance of the dreams described by the the slaves In Extract A. by the slaves In Extract A. slaves In Extract A.

In Xanthias’ dream, Aristophanes mocks the politician In Xanthias’ dream, Aristophanes mocks the In Xanthias’ dream, Aristophanes mocks the politician, Cleonymus for being a coward. In Sosias’ dream he politician Cleonymus for being a coward. Dropping Cleonymus. The eagle that drops a snake as it flies from makes fun of Cleon, who is his principal political target one’s shield in battle was a shameful crime in the Agora of Athens turns into this well-known politician in the play. The citizens of Athens become sheep who ancient Athens. In Sosias’ dream he makes fun of who drops his shield. Abandoning one’s shield in battle just follow along. The cloaks and staves identify the Cleon, who is his principal political target in the play. was the ultimate in cowardice in Athens and could be “sheep” as jurors. Cleon’s identity is made clear by the The citizens of Athens become sheep who have punished by loss of citizenship. In this way Aristophanes references to his ranting at an assembly and to the been captivated by a powerful public speaker. The makes fun of a politician who was a friend or agent of “tanner’s yard”. He is portrayed as a greedy and cloaks and staves identify the “sheep” as jurors who Cleon, his principal political target in the play. Sosias’ scheming politician, “weighing up bits of fat from a have gathered together at an assembly on the Pnyx. dream mocks Cleon himself. The citizens of Athens carcass” and “dividing up the body politic”. It is clear Cleon’s identity is made clear by the reference to his become sheep enthralled by a powerful speaker who that Aristophanes dislikes him intensely because he is rhetorical skill – “with a voice like a scalded sow” – rants at the Athenian assembly on the Pnyx. The cloaks fat (like a whale) and squeals like a pig as he speaks. and by his connection to the “tanner’s yard” – Cleon and staves identify the “sheep” as jurors and Cleon’s apparently made his money out of the leather trade. identity is made clear by the reference to his rhetorical Sosias’ dream is all the more sinister because skill – “with a voice like a scalded sow” – and by his Cleon is portrayed as a fat and greedy demagogue, connection to the “tanner’s yard” – it would seem that “weighing up bits of fat from a carcass” and “dividing Cleon was a member of the merchant class (rather than up the body politic”. aristocratic) and had become wealthy from the leather trade. Sosias’ dream is all the more sinister because Cleon is portrayed as a self-interested demagogue, “weighing up bits of fat from a carcass” and “dividing up the body politic”. In other words, he is seen as preying on the people like a fat and greedy butcher, using the demos to further his own ends.

Other points may be made. For example: Cleon’s reputation for using the courts to consolidate his political power. NCEA Level 3 Classical Studies (90511) 2012 — page 3 of 11 Question Two

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An example of explanation might be: An example of analysis might be: An example of detailed analysis might be:

How Philocleon and Bdelycleon are characterised in How Philocleon and Bdelycleon are characterised in How Philocleon and Bdelycleon are characterised in Extract B. Extract B Extract B

In this passage, Aristophanes characterises In this passage, Aristophanes characterises In this passage, Aristophanes characterises Philocleon as drunk and aggressive. He has been Philocleon as drunk and aggressive. He has been Philocleon as drunk, randy and aggressive. He has taken to a party by his son and had too much wine to taken to a party by his son, had too much wine to been taken to a party by Bdelycleon, become drink. Although he is an old man, he has run off with a drink and is now ready for action. Although he is an intoxicated and is ready (he wishfully thinks) for flute girl, Dardanis, with sex on his mind. When old man, he has run off with a flute girl, Dardanis, and action. Although he is an old man – a veteran of Bdelycleon tries to take the flute girl away, Philocleon now has sex very much on his mind. When Marathon – he has been energised by wine, run off becomes violent and he knocks his son to the ground. Bdelycleon tries to take the flute girl away, Philocleon with a flute girl, and now has sex very much on his Bdelycleon is doing his best to keep his father under becomes violent and he knocks his son to the ground. mind. The sophisticated manners favoured by his son control, but is not succeeding. When he tries to sort Bdelycleon is characterised as an exasperated young are forgotten and the two make absurd and crude the situation out and offer his father some sensible man, who is doing his best to keep his father under jokes about the appearance of Dardanis, who is, advice, he ends up getting punched and knocked to control, but is not succeeding. He is concerned that according to Philocleon, really a torch leaking resin. the ground. the old man has “kidnapped” a flute girl and runs after When Bdelycleon tries to take the flute girl away from him to sort the situation out. He dismisses his father’s his father, Philocleon becomes violent: he remembers nonsense in language the old man understands – an incident from his past, involving a tough old man “feels remarkably like an arse to me”, but his good and proceeds to knock his son to the ground. sense does not prevail: he ends up getting punched Bdelycleon is characterised as an exasperated young and knocked to the ground. man, tested by an out-of-control father. He is concerned that the old man has “kidnapped” a flute girl – “it’s no laughing matter” and runs after him to sort the situation out. He dismisses his father’s nonsense in language the old man understands – “feels remarkably like an arse to me”, but his good sense does not prevail: his father’s vitality leaves him literally “floored” – knocked to the ground by a well- aimed punch.

Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 4 of 11 Question Three

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An example of explanation might be: An example of analysis might be: An example of detailed analysis might be:

The comic techniques used by Aristophanes in The comic techniques used by Aristophanes in The comic techniques used by Aristophanes in Extract C to Extract C to amuse the audience. Extract C to amuse the audience. amuse the audience.

In Extract C, Aristophanes uses character In Extract C, Aristophanes uses character humour In Extract C, Aristophanes uses character humour to amuse humour to amuse his audience. Heracles is to amuse his audience. Heracles is portrayed as a his audience. Heracles is portrayed as an unsophisticated portrayed as rather dim-witted: the great hero glutton who measures desire by his own appetite hero, a man of large appetite, but no great intellect. He grasps understands Dionysus’ longing in the context of for pea-soup. If he isn’t thinking about food, he fixes the nature of Dionysus’ desire through his own craving for pea his own appetite for pea-soup. If he isn’t thinking on sex. When Dionysus tries to explain to him the soup and if he isn’t thinking about food, he fixes on sex. When about food, it’s sex. When Dionysus tries to nature of his “sudden urge”, Heracles envisages Dionysus tries to explain to him the nature of his “sudden explain to him the nature of his “sudden urge”, this longing in a sexual context, imagining that urge”, Heracles envisages this longing in a sexual context, Heracles envisages this longing in a sexual Dionysus wants a woman, then a boy, then a man. imagining that Dionysus wants a woman, then a boy, then a context, imagining that Dionysus wants a Dionysus himself is also a comic figure, a cowardly man. This ‘build-up’ of sexual alternatives for the god might woman, then a boy, then a man. Dionysus is god on a heroic mission to bring back a dead poet amuse the audience. The joke culminates in mockery of also a comic figure, obsessed by his desire to from Hades. This disconnection between Dionysus’ Cleisthenes, one of Aristophanes’ contemporaries who is often go down to Hades to fetch back a dead poet, appearance (his grotesque costume, baggage etc.) ridiculed for his passive homosexuality. Dionysus himself is even though he is not a brave god. and his quest to fetch back a dead poet who can also a comic figure caught up in a comic situation. The whole “really write” is absurd and funny. In his plays, idea of this cowardly god of drama undertaking a heroic Aristophanes frequently mocks his contemporaries journey to the underworld to fetch back a dead poet to save for laughs and this passage is no exception. the city is inherently absurd and funny. In this passage Cleisthenes is ridiculed as a homosexual and the Dionysus explains for the first time why he is so incompetently great tragedian Euripides is described as “a disguised as Heracles and the disconnection between his slippery customer”. appearance (his grotesque costume, baggage etc.) and his quest is ludicrous – funny or pathetic depending on the spectator’s point of view. The demeaning description of the great (and recently deceased) Euripides as “a slippery customer” is also likely to raise a laugh.

Other points may be made. For example discussion of possible comic gestures / movement in the staging of the scene, or the rebounding humour of the joke about Cleisthenes (picking up on an earlier reference to ‘action’ aboard Cleisthenes’ vessel). The label attached to the comic technique(s), eg, character humour is less important than the clarity of the explanation about why the audience may laugh. NCEA Level 3 Classical Studies (90511) 2012 — page 5 of 11 (4) TOPIC B – Virgil’s Aeneid

Question One

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The reasons for this outburst by Aeneas and what it The reasons for this outburst by Aeneas and what it The reasons for this outburst by Aeneas and what it reveals about his readiness for his mission at this reveals about his readiness for his mission at this reveals about his readiness for his mission at this point point of the story. point of the story. of the story.

Aeneas and his fellow-Trojans have been caught in a Aeneas and his fellow-Trojans have been caught in Aeneas and his fellow-Trojans have been caught in a violent storm sent by the goddess Juno. Aeneas is a violent storm sent by the goddess Juno, who violent storm sent by the vindictive goddess Juno, who terrified by the intensity of the storm, feeling “his limbs wishes to stop them reaching Italy. Aeneas is wishes to stop them reaching Italy and founding the new give way in a chill of terror”. He wishes that he had terrified by the intensity of the storm, feeling “his race of Romans. She has asked Aeolus, king of the died in Troy. In expressing these feelings, Aeneas is limbs give way in a chill of terror”. He wishes he had winds, to wreck the Trojan ships. Aeneas is terrified by thinking like a Homeric hero, who wants to die bravely died in Troy, like Hector who had fallen “under the the intensity of the storm, feeling “his limbs give way in a in battle; he does not fully understand that his mission walls” of his city. In expressing these feelings, chill of terror”. He wishes he had died in Troy, like requires him to stay alive and lead his people. He Aeneas is thinking like a Homeric hero, who aspires Hector, who had fallen “under the walls” of his city, and should put on a brave face when he is with his men. to die bravely in battle and whose spirit finds that he was not having to experience this frightening At this point in the story he is therefore unprepared for “freedom” in death. Such a hero is not appropriate ordeal. In expressing these feelings, Aeneas is thinking what he must achieve. for the story of the Aeneid, where the hero has the like a Homeric hero, who aspires to die bravely in battle responsibility to stay alive. He has a duty to those and whose spirit finds “freedom” in death. He is whom he leads and who depend upon him. He resentful that he has been forced to live on to suffer an Other possible points may be made. For example needs to put on a brave face when he is with his unheroic death and laments the fact that he has not had suffering on journey – eg, trials on Crete. men. At this point in the story he is unprepared for the “luck” of dying before his parents’ eyes. Such a hero what he must achieve, the founding of a new home is not appropriate for the story of the Aeneid, where the for his people in Italy. His response is very human – hero has the responsibility to stay alive. He has a duty terror in a violent storm at sea – but he cannot allow to those whom he leads and who depend upon him. He setbacks to threaten what the gods have fated. needs to put on a brave face when with his men and inspire them to endure whatever befalls them. At this point in the story he is unprepared for what he must achieve, the founding of a new home for his people in Italy. The terror he feels is very human, but he cannot allow setbacks to threaten what the gods have fated. The new Roman hero must sometimes suppress his true feelings and not see death “on the battlefields” as his finest moment. Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 6 of 11 Question Two

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Virgil’s portrayal of the Trojans in Book 2 of Virgil’s portrayal of the Trojans in Book 2 of the Virgil’s portrayal of the Trojans in Book 2 of the Aeneid and the the Aeneid and the extent to which the Aeneid and the extent to which the Trojans are extent to which the Trojans are responsible for their own downfall. Trojans are responsible for their own responsible for their own downfall. downfall. The Trojans are depicted as naïve, and gullible in several incidents in The Trojans are depicted as naïve and gullible in Book 2. They know that the Greeks are deceitful and devious, yet The Trojans are depicted as gullible in several incidents in Book 2. They know that the they accept their ‘parting’ gift – the wooden horse – at face value. several incidents in Book 2. They know that Greeks are deceitful and devious, yet they They are taken in by the lies and crocodile tears of Sinon, an agent the Greeks are full of tricks, yet they accept accept their ‘parting’ gift – the wooden horse - planted by the Greeks, but choose not to trust the warnings of their their ‘parting’ gift – the wooden horse – even even though they have been warned by own priest, Laocoon. When Laocoon and his two sons are killed by though they have been warned by their Laocoon that it may be dangerous. When monstrous serpents, the Trojans jump to the conclusion that the priest Laocoon that it may be dangerous. Laocoon is killed by monstrous serpents, they priest is being punished by the gods for damaging an image sacred When they drag the horse within the city jump to the conclusion that the priest is being to Minerva. They are also naïve in their joyful acceptance of the walls, they choose not to hear the clanking of punished by the gods. They are also naïve in horse within the city walls and chose not to hear the clanking of armour inside its belly. However, Virgil also their joyful acceptance of the horse within the armour within. Their eagerness to cut down their walls to let the makes it clear that Troy is fated to fall; city walls and choose not to hear the clanking of horse in and the placement of rollers to facilitate its movement Aeneas must flee from his destroyed armour inside its belly. They eagerly cut down highlight this childlike gullibility: “the engine of doom” enters the city homeland and journey to Italy to found a new their walls to let the horse in and ignore omens to the accompaniment of hymns. Omens such as the horse stopping city for the surviving Trojans. such as the horse stopping four times on the four times on the threshold are ignored and once the horse is inside threshold of the city gate. Once the horse is the walls, the Trojans forget altogether about defending their city. inside the walls, they forget altogether about Instead they celebrate and fall into a drunken slumber. That night, defending their city and celebrate the Greek when the sack of the city begins, the Trojans rush into battle without departure. However, the Trojans are not totally any plan, knowing they are heading to “certain death”. However, responsible for the suffering they endure. It is Trojan responsibility for the fall of the city should be seen in the the will of the gods that Troy shall fall and that context of what is destined by the gods. Aeneas is “fated to be an Aeneas shall be forced into flight. He is “fated to exile” and is forced into flight by the destruction of his homeland. be an exile” and to found a new settlement for Troy must fall so that Rome can be born. In this sense, the Trojans the Trojans at Lavinium. are victims of Rome’s world mission. Other points may be made. Candidates may discuss, for example, the various ways in which the Trojans have incurred the wrath of the gods. They may also discuss the role of the Greeks in the razing of the city. The analytical quality of the response is more important than the amount of plot detail recalled. NCEA Level 3 Classical Studies (90511) 2012 — page 7 of 11 Question Three

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The nature of and reasons for Dido’s reaction to The nature of and reasons for Dido’s reaction to The nature of and reasons for Dido’s reaction to Aeneas in Extract F, and the reasons why Aeneas Aeneas in Extract F, and the reasons why Aeneas Aeneas in Extract F, and the reasons why Aeneas was unlikely to understand her point of view. was unlikely to understand her point of view. was unlikely to understand her point of view.

Dido is cold and detached because of the way Aeneas Dido is cold and detached because of the way Dido is cold and detached because of the way Aeneas abandoned her and sailed away from Carthage. She Aeneas abandoned her and sailed away from abandoned her and sailed away from Carthage, thought they were married and felt totally betrayed Carthage. She thought they were married, after an despite her anguished pleas to stay. She thought they when he decided to continue his journey without her. episode of love-making in a cave, and felt totally were married, after an episode of love-making in a She had broken her vows to her former husband so betrayed when he decided to continue his journey cave, and was distraught when she found out he was as to take Aeneas as her lover and neglected her without her. She had broken her vows to her dead making preparations for departure without telling her. duties to her people. However, it had all been for husband, Sychaeus, to never marry again and She had broken her vows to her dead husband, nothing. Aeneas did not stay and she felt obliged to neglected her duties to her people in the thrall of her Sychaeus, to never marry again, had neglected her commit suicide. Aeneas cannot understand Dido’s icy passion. However, it had all been for nothing. Aeneas duties to her people and threatened the security of her response because he believes he is not personally at did not stay and, having lost all sense of self-worth city in the thrall of her passion. However, it had all fault. He feels he had no choice about leaving and any reason to live, she felt obliged to commit been for nothing. Aeneas did not stay and, having lost Carthage – it was the will of the gods. suicide. Even in death, she cannot soften towards all sense of self-worth and any reason to live, she felt him. Her anger still “blazed” and she is like ”hard flint” obliged to commit suicide. Even in death, she cannot or “Parian marble”. Aeneas cannot understand Dido’s soften towards him. Her body language reflects the deep hatred for him because he believes he is not depth of her hatred: her anger still “blazed” and she personally at fault. He feels he had no choice about would not deign to look at Aeneas, keeping “her gaze leaving Carthage: he was “imperiously forced” by averted.” – as rigid as “hard flint or “Parian marble”. Jupiter’s messages. Dido should accept that he has a Aeneas cannot understand Dido’s reaction because fate more important than their happiness together. he believes he is not personally at fault for her fate. He feels he had no choice about leaving Carthage: he was “imperiously forced” by Jupiter’s messages. As a Roman leader (and man), he cannot allow feelings for a woman to divert him from his public and religious duties. Dido should accept that he has a fate more important than their happiness together.

Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 8 of 11 (5) TOPIC C – Juvenal’s Satires

Question One

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The faults of other characters in this satire and The faults of other characters in this satire and the The faults of other characters in this satire and the reasons the reasons why Juvenal writes about them so reasons why Juvenal writes about them so bitterly, why Juvenal writes about them so bitterly, including details bitterly, including details of Juvenal’s including details of Juvenal’s personal background of Juvenal’s personal background and the tone of his background and how this influenced the tone of and the tone of his satirical writing. satirical writing. his satirical writing. Forgers have become wealthy through counterfeit Forgers have become as wealthy as Maecenas through Forgers have become wealthy through documents, which Juvenal sees as a violation of counterfeit documents, not through honest efforts, which counterfeit documents. Women are not only honourable Roman behaviour. Women are not only Juvenal sees as a violation of honourable Roman behaviour. poisoning their husbands but also teaching their poisoning their husbands but also teaching their Women are not only poisoning their husbands but also neighbours to do the same. The aristocracy are neighbours to do the same, in Juvenal’s mind not teaching their neighbours to do the same, in Juvenal’s mind gambling excessively while their slaves do not only carrying out a crime, but also showing not only carrying out a crime, but also behaving irresponsibly have enough clothing. Juvenal writes bitterly irresponsible behaviour. The aristocracy are by promoting immoral values to those around them. Juvenal about these characters because their dishonest gambling excessively while their slaves do not have says that probity is praised, and freezes, implying that behaviour makes him angry. Juvenal is likely to enough clothing, therefore not looking after their honesty will not make you any money. The aristocracy are have been exiled to Egypt and to have returned dependants. Juvenal writes bitterly about these gambling excessively, risking the contents of their strongbox to find himself displaced in Roman society. characters because their dishonest behaviour makes while their slaves do not have enough clothing, therefore not Juvenal’s bitterness is also exaggerated to him angry. looking after their dependants as Juvenal would expect them make his satires entertaining eg the Juvenal is likely to have been exiled to Egypt and to to. Juvenal is likely to have been exiled to Egypt and to have accumulation of examples about why he has to have returned to find himself displaced in the returned to find himself displaced in the Roman hierarchical write such criticism in Satire 1, such as the list hierarchical Roman social structure. Therefore he social structure. Therefore he resents anyone who has of people who illustrate Rome’s upside-down resents anyone who has become wealthy. Juvenal’s become wealthy and sees the newly rich, such as the world. bitterness is also exaggerated to make his satires “shyster lawyer Matho”, as having reached this point through entertaining and persuasive eg the accumulation of dishonesty. Juvenal’s bitterness is also exaggerated to make examples about why he has to write such criticism in his satires entertaining and persuasive eg the accumulation Satire 1, such as the list of people who illustrate of examples about why he has to write such criticism in Rome’s upside-down world – the bare-breasted girls Satire 1, such as the list of people who illustrate Rome’s who should not be doing hunting, the wealthy barber. upside-down world – the bare-breasted girls who should not be doing manly things such as hunting, the lowly barber who has become wealthy, Crispinus the fishmonger from Egypt who has made good in Rome. Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 9 of 11 Question Two

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The ways in which a man is treated differently The ways in which a man is treated differently The ways in which a man is treated differently because of his lack of money, according to Umbricius because of his lack of money, according to Umbricius because of his lack of money, according to Umbricius in Extract H. in Extract H. in Extract H.

A poor man is not believed in court because of what A poor man is not believed in court because of what A poor man is not believed in court because of what he looks like. He is ridiculed because of his physical he looks like. He is ridiculed because of his physical he looks like. The honourable values of early Romans appearance, for example, a shoe split open. The poor appearance. For example, a shoe split open makes (upheld by Juvenal) have been tossed aside and the man is also humiliated by seating arrangements in the others laugh at him. In other words, he is judged by pauper is now ridiculed because of his physical theatre which are determined by the size of one’s his possessions, not by his character. According to appearance. For example, a toga that hasn’t been fortune, no matter how it is obtained. The poor cannot Umbricius, no religious oath will make people believe properly cleaned or a shoe split open makes others sit in the front rows, even though those getting the that he tells the truth. He will be dismissed as a liar. laugh at him. In other words, he is judged by his good seats have made their money by such things as The poor man is also humiliated by seating possessions, not by his character. According to prostitution. arrangements in the theatre. The law decreed that the Umbricius, no religious oath will make people believe equites should sit in the good seats, 14 rows behind that he tells the truth. He could “swear on every altar the orchestra, and poor men were excluded from between Samothrace and Rome” and he would still be these seats. In this way spectators are segregated dismissed as a perjuror, ready to risk the anger of the according to wealth, even though those getting the gods. The poor man is also humiliated by seating good seats have made their money by such things as arrangements in the theatre. Imperial legislation, the prostitution, rather than any positive contribution to law of “that idiot Otho”, decreed that the equites society. should sit in the good seats, 14 rows behind the orchestra, and since men needed 400 000 sesterces to belong to this class, poor men were effectively excluded. In this way spectators are segregated according to wealth, even though those getting the good seats have made their money by such things as prostitution, rather than any positive contribution to society: the fact that “some pander’s son and heir, spawned in an unknown brothel” or an auctioneer or entertainer get seating privileges is particularly humiliating for the poor man and galling for Juvenal.

Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 10 of 11 Question Three

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An example of explanation might be: An example of analysis might be: An example of detailed analysis might be:

The criticisms of the “rabble” that Juvenal is making The criticisms of the “rabble” that Juvenal is making The criticisms of the “rabble” that Juvenal is making in Extract I, and the techniques he uses to make in Extract I, and the techniques he uses to make in Extract I, and the techniques he uses to make these points convincing for the reader. these points convincing for the reader. these points convincing for the reader.

The common people, or “rabble” as Juvenal calls The common people, or “rabble” as Juvenal calls The common people, or “rabble” as Juvenal calls them, are portrayed by the satirist as fickle eg Sejanus them, are portrayed by the satirist as fickle eg them, are portrayed by the satirist as fickle e.g. was once the “people’s darling” but now these same Sejanus was once the “people’s darling” but now Sejanus was once the “people’s darling” but now that people celebrate his fall. They are also criticised for these same people celebrate his fall from a powerful he is out of favour with the emperor, these same being interested in only superficial things such as position. They are also criticised for being only people celebrate his fall from a powerful position entertainment, their “Games.” Juvenal makes these interested in superficial things such as entertainment, “once second in all the world” to that of the “jugs and points convincing for the reader by using techniques their “Games”, abandoning the weighty basins, frying pans, chamber pots” which his statues such as bathos when the features of “great Sejanus” responsibilities of the past such as electing politicians. have become. They are also criticised for being only become “chamber pots”. He also uses irony, treating Juvenal makes these points convincing for the reader interested in superficial things such as entertainment, the death of Sejanus as if it were a holy event. by using rhetorical techniques such as bathos when their “Games”, abandoning the weighty responsibilities the features of “great Sejanus” become “chamber of the past such as electing politicians. Juvenal makes pots”; imaginary conversations among the people, these points convincing for the reader by using showing their lack of consistency eg “Believe me, I rhetorical techniques such as bathos when the never cared for the fellow”; irony, when the death of features of “great Sejanus” become lowly and Sejanus is treated as if it were a holy event and a bull humorous “chamber pots”; imaginary conversations is led to sacrifice; cynicism when he claims that a among the people showing their lack of consistency stroke of luck could see the rabble changing and how easily they have changed their minds eg allegiance e.g. “if a little Etruscan luck had rubbed off “Believe me, I never cared for the fellow”; irony, when on Sejanus…this same rabble would be proclaiming the death of Sejanus is treated as if it were a holy Sejanus Augustus.” event and a bull is led to sacrifice; apostrophe, when the reader is asked a leading question eg “what of the commons?”, cynicism when Juvenal claims that a stroke of luck to do with birth, rather than a leader’s character could see the rabble changing allegiance eg “if a little Etruscan luck had rubbed off on Sejanus … this same rabble would be proclaiming Sejanus Augustus.” Other points may be made. NCEA Level 3 Classical Studies (90511) 2012 — page 11 of 11 Judgement Statement

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