NCEA Level 3 Classical Studies (90511) 2009 — page 1 of 10
Assessment Schedule – 2009
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.
Generic Schedule
Achievement
Achievement with Merit
Achievement with Excellence
The candidate explains literary
features by identifying, describing,
clarifying, giving reasons for,
and / or placing in context aspects
of a passage or passages from a
work of literature.
The candidate analyses literary
features by discussing methodically
and demonstrating understanding of
passages from a work of literature.
The candidate analyses literary
features in detail by discussing
methodically and demonstrating an
informed understanding of passages
from a work of literature.
Where a candidate was awarded an
a for the question:
The candidate provides a general
explanation of literary features.
Knowledge and interpretation of
textual detail is at a basic level and
specific references may be lacking.
One or more parts of questions
are underdeveloped or omitted.
Where a candidate was awarded an
m for the question:
The candidate incorporates an
analytical element in answers and
draws conclusions based on sound
knowledge of textual detail. Most
parts of questions are covered, but
treatment may be unbalanced.
Relevant supporting evidence is
included, but may not be
consistently provided.
Where a candidate was awarded an
e for the question:
The candidate’s answers are
analytical and focused. They are
based on thorough knowledge of
textual detail and show awareness
of literary and historical context as
appropriate. All parts of questions
are answered and most in depth.
Supporting evidence is relevant,
accurate, and consistently
provided.
NCEA Level 3 Classical Studies (90511) 2009 — page 2 of 10
Evidence Statement
TOPIC ONE: ARISTOPHANES’ COMEDIES
Question One
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
Comic impact of costuming and / or
props
Comic impact of costuming and / or
props
Comic impact of costuming and / or
props
In Extract A there is the slapstick
comedy of Philocleon hanging from
a rope and being hit with a harvest
wreath. In the escape scene
involving the donkey, there is
comedy in the way in which
Philocleon hangs on underneath the
animal. A real donkey might have
been used, or actors costumed as a
donkey.
In Extract A there is the slapstick
comedy of Philocleon hanging from
a rope that has been let down from
the upper part of the skene. He
dangles there, tugged from above
by his son and being hit from below
with a harvest wreath by Xanthias.
In the escape scene involving the
donkey, there is comedy in the way
in which Philocleon hangs on
underneath the animal. A real
donkey might have been used, or
actors costumed as a donkey. Either
way, Philocleon’s head is stuck up
its rear end.
In Extract A there is the slapstick
comedy of Philocleon hanging from
a rope that has been let down from
the upper part of the skene. He
dangles there, attacked from above
and below, a rotund figure in his
padded costume with protuberant
phallus. Bdelycleon tugs at the rope
from above and Xanthias clambers
up from below, all the while
whacking out at the old man with a
harvest wreath. In the escape scene
involving the donkey, there is also
slapstick comedy in the way in
which Philocleon hangs on
underneath the animal. A real
donkey might have been used, or
actors costumed as a donkey. Either
way, Philocleon’s head is stuck up
its rear end. However, the comic
impact of the episode with the
donkey is more complex in that this
escape attempt parodies Odysseus’
successful escape from the Cyclops.
Unlike the Homeric hero, Philocleon
bungles his break-out.
Other points are possible.
Responses to the bulleted parts
of the question may overlap.
NCEA Level 3 Classical Studies (90511) 2009 — page 3 of 10
TOPIC ONE: ARISTOPHANES’ COMEDIES
Question Two
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
Criticisms of Aeschylus’ tragedies
Criticisms of Aeschylus’ tragedies
Criticisms of Aeschylus’ tragedies
Euripides accuses Aeschylus of
writing tragedies with storylines that
are hard to follow. He says that
Aeschylus “plunges right into the
middle of the story” without any
explanation of the background of
characters.
Euripides accuses Aeschylus of
over-writing and obscurity. He
complains that Aeschylus writes
tragedies that have too many words
and that his storylines are hard to
follow. He says that Aeschylus’
works are “constipated with
verbiage” and that his plays are
“rambling”. Rather than have his
characters explain their background
at the beginning of his plays, “he
plunges right into the middle of the
story” and leaves his audience
confused.
Euripides accuses Aeschylus of
over-writing and obscurity. He
complains of his opponent’s overly
ornate style and difficult vocabulary,
claiming that his tragedies are
“bloated with embellishment and
constipated with verbiage”. Severe
pruning is required to get the
“weight” of these tragedies down
and make them more accessible for
audiences. Rarely used words like
“hippocock” and “goatstag” need
removing and some logic
introduced. Euripides also finds
Aeschylus’ works “rambling” and
their plots difficult to follow.
Characters do not provide
background at the beginning of the
play, some – especially women and
slaves – do not speak. Instead, “he
plunges right into the middle of the
story” and leaves his audience
confused.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 4 of 10
TOPIC ONE: ARISTOPHANES’ COMEDIES
Question Three
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
Dionysus’ encounter with Aeacus
Dionysus’ encounter with Aeacus
Dionysus’ encounter with Aeacus
When Dionysus arrives at the door
of Pluto’s palace, he is confronted
by Aeacus. Aeacus threatens to
torture Dionysus, who is disguised
as Heracles, because Heracles had
once stolen Pluto’s dog. The god is
terrified and decides to have his
slave, Xanthias, swap roles with
him.
When Dionysus arrives at the door
of Pluto’s palace, he is confronted
by Aeacus, Pluto’s doorkeeper.
Aeacus threatens to torture
Dionysus, who is disguised as
Heracles, because Heracles stole
Cerberus, Pluto’s dog, on his trip to
the Underworld. The god is terrified
of the torments that Aeacus details –
chased by the hounds of Hell, his
guts devoured by a hundred-headed
viper. He loses control of his bowels,
then has his slave, Xanthias, swap
roles with him. Although Aeacus is a
frightening figure, Dionysus’
behaviour is undignified, unheroic
and ungodly.
When Dionysus arrives at the door
of Pluto’s palace, he is confronted
by Aeacus, Pluto’s doorkeeper.
Aeacus threatens to torture
Dionysus, who is disguised as
Heracles, because Heracles stole
Cerberus, Pluto’s dog, on his trip to
the Underworld. The god is terrified
of the torments that Aeacus explains
in great detail – chased by the
hounds of Hell, his guts devoured by
a hundred-headed viper. He falls to
the ground in terror and loses
control of his bowels. His lack of
heroism is then compounded by
feeble attempts to claim courage.
He tells his slave that by asking for a
sponge to clean himself he has
shown his bravery. His undignified
and ungodly behaviour culminates in
his decision to have Xanthias swap
roles with him. The slave will pose
as the heroic Heracles and the god
will carry the luggage. The
encounter reinforces the impression
of a buffoonish, cowardly character
who falls well short of his divine
status.
Candidates may also discuss the
episode where Aeacus flogs both
Dionysus and Xanthias, but this
is not essential.
Candidates may also discuss the
episode where Aeacus flogs both
Dionysus and Xanthias, but this
is not essential.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 5 of 10
TOPIC TWO: VIRGIL’S AENEID
Question One
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
The ways in which Jupiter’s signs
resolve the crisis in Extract D
The ways in which Jupiter’s signs
resolve the crisis in Extract D
The ways in which Jupiter’s signs
resolve the crisis in Extract D
Jupiter sends omens to signal that it
is his will that Aeneas leave Troy
with his family rather than fight on.
The flames that lick Ascanius’ hair,
the thunder and the shooting star
are messages from the king of the
gods that Aeneas must not die in the
sack of the city. Jupiter has another
destiny in mind for Aeneas and
intervenes to make sure that he has
no reason to stay in Troy.
Jupiter signals that it is his will that
Aeneas leave Troy with his family
rather than seek a glorious death in
the final hours of fighting in Troy.
The flames that lick Ascanius’ hair,
the crash of thunder and the
shooting star are messages that
Aeneas must not die in the sack of
the city. As king of the gods, Jupiter
is aware that it is decreed by Fate
that Aeneas will escape with a small
band of Trojan refugees and found a
new city in Italy. When Anchises
declares that he wishes to perish
with his homeland, Aeneas’ mission
is threatened. Anchises must
change his mind and Jupiter
ensures that this happens: he heads
the Roman pantheon and must
support the Roman cause.
Jupiter signals that it is his will that
Aeneas leave Troy with his family
rather than seek a glorious death in
the final hours of fighting in Troy.
The flames that lick Ascanius’ hair,
the crash of thunder on the left
(lucky for the Romans) and the
shooting star are messages that
Aeneas must not die in the sack of
the city. As king of the gods, Jupiter
is aware that it is decreed by Fate
that Aeneas will escape with a small
band of Trojan refugees and found a
new city in Italy. When Anchises
refuses to leave the city, he poses a
threat to the very first stage of the
foundation of Rome: Aeneas’ flight.
Anchises must change his mind and
Jupiter ensures that this happens:
he heads the Roman pantheon and
must be actively supportive of the
Roman cause, especially in times of
peril. While Jupiter’s first omen – the
fire around Ascanius’ hair – is
unsolicited and only understood by
the pious Anchises; the other two
omens he sends are in response to
Anchises’ prayer. In this way, Virgil
shows that the gods are responsive
to the prayers of the devout; their
righteousness has earned the gods’
favour.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 6 of 10
TOPIC TWO: VIRGIL’S AENEID
Question Two
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
The impact of Dido’s obsessive love
on her behaviour
The impact of Dido’s obsessive love
on her behaviour
The impact of Dido’s obsessive love
on her behaviour
Dido keeps on sacrificing animals to
try to win the approval of the gods
for her love for Aeneas, although the
gods fail to give her the message
she wants. She insists that Aeneas
repeats his story of the sack of Troy
so that she can “hang on his words”
and even when he is not present
she imagines he is there.
Dido seeks the approval of the gods
for her love for Aeneas by
energetically undertaking repeated
sacrifices and prayers to the
appropriate gods. They do not
respond, but she is not deterred and
“present[s] more victims to start the
day of service anew.” Although she
is not ready to confess her passion
openly, she takes great pleasure in
hearing Aeneas tell his story of the
sack of Troy; she is emotionally
caught up by the heroic tale and
“would hang breathless on the
speaker’s words”. When they are
apart she longs to be with him. She
throws herself on the couch where
he reclined and imagines that she
sees and hears him.
Dido believes she must have the
approval of the gods for her love for
Aeneas, especially given her vow to
her dead husband, Sychaeus, and
she devotes much time and energy
to being pious. She takes a very
active role in sacrifices to
appropriate gods, pouring wine
between the horns of victims,
dancing before altars, peering with
unseemly haste at the “still
breathing entrails” of sheep. The
gods do not respond, but Dido is so
“afire” with love that she is not
deterred and “present[s] more
victims to start the day of service
anew.” Although she is not ready to
confess her passion openly, she
takes great pleasure in hearing
Aeneas tell his story of the sack of
Troy; she is emotionally caught up
by the heroic tale and “would hang
breathless on the speaker’s words”.
Her behaviour is no longer rational
and she “insists beyond all reason”
on hearing the same story. When
the two are apart, she longs to be
with him. She throws herself on the
couch where he reclined, so that
she may lie where he has been; she
imagines that she sees and hears
him when he is not there; she holds
Ascanius close because he looks
like his father. Totally preoccupied
by the love that she dares not
reveal, Dido neglects her queenly
duties: while she wandered the city
like a doe in flight, her people
ceased to attend to the defence of
the city and “work hung suspended”.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 7 of 10
TOPIC TWO: VIRGIL’S AENEID
Question Three
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
Reasons for Aeneas’ consultation of
the Sibyl
Reasons for Aeneas’ consultation of
the Sibyl
Reasons for Aeneas’ consultation of
the Sibyl
Aeneas wishes to visit his dead
father, Anchises, who now resides in
the Underworld. He consults the
Sibyl because she is Apollo’s
priestess and knows the secrets of
this world. She will be able to guide
him on his heroic adventure.
Aeneas has been instructed by his
father, Anchises, to undertake a visit
to the Underworld so that they may
meet one final time, but he needs
assistance for such a heroic
venture. As Apollo’s priestess, the
Sibyl can tell Aeneas about the
tasks that need to be undertaken
before the descent begins – the
gathering of the golden bough and
the burial of a dead comrade. Above
all, she can act as Aeneas’ guide on
the journey, ensuring that he
understands the significance of the
places he visits.
Aeneas the True has at last made
landfall in Italy and is very focused
on his mission. He has been
instructed by his father, Anchises, to
undertake a visit to the Underworld
so that they may meet one final
time, and to seek the assistance of
the Sibyl for this heroic venture. The
Sibyl is Apollo’s priestess and has
divinely given powers. She knows
the Entrance Gate of Hades and is
able to explain how to reach
Anchises; she can give details of
essential preliminary religious ritual
and tell Aeneas about the tasks that
need to be undertaken before the
descent begins – the gathering of
the golden bough and the burial of
Misenus, whose dead body pollutes
the fleet; finally she can act as
Aeneas’ guide on the journey,
ensuring that he is not waylaid and
understands the significance of the
places he visits and the souls he
meets.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 8 of 10
TOPIC THREE: JUVENAL’S SATIRES
Question One
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
The references
The references
The references
Alba refers to Alba Longa, a town in
Italy. The flame of Troy is the flame
that Aeneas brought from Troy – it
represented the spirit of the new
Troy, which he was going to found.
Alba refers to Alba Longa, a town in
Italy that was allegedly founded by
Ascanius, the son of Aeneas. The
flame of Troy is the flame that
Aeneas brought from Troy – it
represented the spirit of the new
Troy, which he was going to found.
A sacred flame burning in a temple
at Alba Longa is said to have been
from the torch that Aeneas brought
with him.
Alba refers to Alba Longa, a town in
Italy that was allegedly founded by
Ascanius, the son of Aeneas. It is
referred to here because Domitian
had a palace there and spent most
of his time there. The fact that it is
described as being “in ruins” might
suggest that Domitian’s presence
brings about ruin and the Roman
empire, also touched by Domitian, is
also “in ruins”. [Not all of this
information is needed]. The flame
of Troy is the flame that Aeneas
brought from Troy – it represented
the spirit of the new Troy, which he
was going to found. A sacred flame
burning in a temple at Alba Longa is
said to have been from the torch
that Aeneas brought with him.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 9 of 10
TOPIC THREE: JUVENAL’S SATIRES
Question Two
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
The Subura and how it contrasts
with the source of Virro’s fish
The Subura and how it contrasts
with the source of Virro’s fish
The Subura and how it contrasts
with the source of Virro’s fish
The Subura was a lower class area
in Rome where poor people lived. It
was unpleasant and smelly, and the
fish that were fished up there were
rotten. Virro’s fish were from an area
that did not have rotten fish.
The Subura was a low-lying area in
Rome. It was close to where the
Cloaca Maxima, or main sewer, ran.
The water in the area was
particularly polluted and the fish
caught there were most likely
diseased. Virro’s fish have been
caught off the coast of Sicily,
indicating that they are fish from the
open sea, rather than river fish.
The Subura was a low-lying area
between the Viminal and Esquiline
hills in Rome. The Cloaca Maxima,
or main sewer, ran through the area
on its way to the Tiber. In times of
flooding, water would back up the
sewer and pool in this low-lying
area. Fish caught in this polluted
water were most likely diseased.
Virro’s fish have been caught off the
coast of Sicily, indicating that they
are fish from the open sea, rather
than river fish. More than this, the
fish that Virro will eat is a luxury, an
imported delicacy, whereas the
river-pike is local, poor quality fare.
Virro’s fish is also associated with
epic poetry, giving it grandeur, while
that of Trebius is associated with the
most dangerous area of Rome – it
has no grand overtones.
Other points are possible.
NCEA Level 3 Classical Studies (90511) 2009 — page 10 of 10
TOPIC THREE: JUVENAL’S SATIRES
Question Three
Achievement
Achievement with Merit
Achievement with Excellence
An example of explanation might
be:
An example of analysis might be:
An example of detailed analysis
might be:
Specific topic introduced and
developed later in the poem
Specific topic introduced and
developed later in the poem
Specific topic introduced and
developed later in the poem
When Juvenal says that an “overfluent gift of the gab has killed
many”, he is introducing the section
in this Satire on eloquence. Juvenal
says that you should not pray for
eloquence because those that have
done so have died. Speaking their
minds has cost them their lives.
When Juvenal says that an “overfluent gift of the gab has killed
many”, he is introducing the section
in this Satire on eloquence. In the
eloquence section, Juvenal warns
his readers against praying for this,
even though it might seem a good
prayer. He gives the example of
Demosthenes who spoke out
against Alexander the Great and
earned Macedonian hatred. If
Demosthenes had not been such a
powerful speaker, he would not
have died.
When Juvenal says that an “overfluent gift of the gab has killed
many”, he is introducing the section
in Satire X on eloquence. In this
section, Juvenal warns his readers
against praying for skill in oratory,
although it is, he claims, what “every
schoolboy first prays for”. Juvenal’s
main argument is that those who
speak with eloquence acquire an
audience and power. This gives
those against whom they direct their
attacks something to fear. He gives
two examples to support his
argument: Demosthenes who spoke
out against Alexander the Great,
and earned Macedonian hatred; and
Cicero, whose Philippics against
Antony brought about his death.
Other points are possible.