2009 LEVEL 3 CLASSICAL STUDIES ROMAN ART & ARCHITECTURE

OVERALL GRADE: M

Question 1: Grade A

The arch of Titus was built by Titus’ brother Dometian, after Titus died. It was built in 81 AD
to commemorate the victory over Jerusalem which took place in 70 AD. This structure which
stands in Rome, links human and divine elements. Carved in deep relief to give the
impression of movement, is Titus standing in a quadriga, which is a chariot being carried by
four horses instead of the usual two horse power chariot. Next to Titus is the winged goddess
Victory. These two figures are higher that everyone else on the carving which shows they are
important.

Domitian has chosen to link human and divine elements in this scene to show that his brother,
Titus, had favour with the gods as he is riding with a goddess. Titus was the first person to
have defeated Jerusalem and the Romans believed this was a great event to remember and
honour Titus for.

For Dometian to carve the goddess, Victory, among the Roman people and ruler shows that
the Romans wee mighty as they had the “power” the gods on their side, which can give the
Romans confidence in their empire.

Question 2: Grade M

The Colloseum was built from 70 – 80 AD by the Fluvian emperors; Dometian, Vespasian and
Titus. It stands 48.5 meters high in Rome and its size alone, considering it is free standing,
shows it to be an incredible architectural masterpiece.

The Collosseum in the first century was meant to be a beautifully designed building. Back
then it had statues which stood in its 2nd and 3rd floor in every arch going all the way around.
It consisted of a Valerium which would be drawn out for the public’s comfort. The Valerium
was a huge awning which ran all the way around the 188 meter by 156meter structure which
could be drawn over the crowd to protect them against the sun while they watch gladiatorial
battles.

This huge building has capitals on the 1st, 2nd and 3rd level of it. The 1st or ground level, had
Doric capitals, the 2nd level had Ionic capitals and the 3rd level had Corinthian capitals. These
capitals were highly decorated making the Collosseum an aesthetically appealing
masterpiece. The 4th level was decorated with Corinthian pilasters, which were engaged
square collumns, and also had shields to decorate it. The capitals and pilasters were Greek
influenced which made the building an ease to look at. The use of arches, while
architecturally important to support the huge weight of it and 50,000 spectators, were very
aesthetically pleasing as every arch was exactly the same dimensions.

Before the Fluvian emperors, and hence the Collosseum, Nero ruled Rome and had taken
huge land off the citizens and used this land to create a huge lake for himself. This selfish act
of the Emperor made any other emperor seem better than Nero and so as a gift to the public,
the Fluvian emperors built this vast Amphitheatre where Nero’s lake once was. So the design
of the Colosseum glorified the city of Rome and the imperial family. The huge size made it
glorify Rome also as it showed other empires what Rome is capable of, and how civilised
Romans are.
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 all
looking 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 each
opening, 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 exterior’s 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 Nero’s 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 as
being 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
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.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

VIRGIL’S AENEID OVERALL GRADE: E

Question 1: Grade E
Jupiter’ intervention in the Aeneid is extremely important in ‘The Aenied’ as it develops theme and
influences 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 Jupiter’s 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 have
proved 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 Jupiter’s 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 Dido’s decision to kill herself. Without Jupiter’s 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 the
gods 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 Dido’s actions and behaviour.

In Book One Cupid causes Dido to fall in love with Aeneas. This love continues to grow to the point of
obsession 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 Dido’s 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 someone’s body, also reinforces idea that the love is consuming her.
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 Dido’s 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 chariot
and 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 didn’t 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 the
arches 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
 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 for
example 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.
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 other
supplies.

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 vase’s shoulder and belly. Achilles and Ajax’s 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 artist’s 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.
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 ¾ 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 his
male 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.
2009 LEVEL 3 CLASSICAL STUDIES ALEXANDER THE GREAT ESSAY
GRADE: A

Question A

Alexander’s relationship with the Greeks was always a tricky one. As Alexander grew up in Macedonia
he had a culture significantly different to the Greek’s. Alexander’s father, Philip, started up the League
of Corinth in 338 BC in as attempt to settle misunderstandings and unite to form a mighty empire.
After Philip’s 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 battle
Alexander 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 don’t 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 was
necessary 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.
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 different
works 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 defeat
the 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 agon’s 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 the
Battle 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 shouldn’t. 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 Aristophane’s play ‘Frogs’.
When he reaches Pluto’s 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 slave’s clothing instead. When both enter Pluto’s palace they meet Persephone’s
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 isn’t 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
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
isn’t being honest and isn’t really concerned what will happen to the mortal Xanthius should be incur someone’s
wrath that isn’t rightfully his. Dionysus has become trapped – he doesn’t 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.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

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 Exekia’s 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 artist’s 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 isn’t 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 on
her left. Paris’ travelling companion carries a shield and travelling hat, helping to escort Helen of Troy. A
woman figure, believed to be Aphrodite covers Helen’s 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 Helen’s 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. Peitho’s presence
indicates persuasion and is obviously influencing Helen’s flight. Makron’s use of dilute glaze on the figure’s
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 scene’s 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
Helen’s body which can be seen through her transparent drapery. His name is easily identified in dilute
glaze by his helmet also. Helen’s 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.
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.
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 by
Plato 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 Plato’s
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 life’s 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 the
feet 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 stops
philosophising 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
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
Plato’s 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 a
seemingly unjust means – brought about by the very state and its people that he loved so
much and cared to much about.
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 the
same 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”.

Philocleon’s 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 comedy
based 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 juror’s 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 Philocleon’s 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 to
find a playwright who can save Athens.

In the agon, Aeschylus and Euripides take it in turn to criticise one another’s 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 counterpart’s 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 {he’d} 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 Charon’s 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
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.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

VIRGIL’S AENEID OVERALL GRADE: N

Question 1: Grade N

When Aeneas tried to convince Anchises to leave the city during the sack of Troy, his father
makes a list of excuses as to why he should stay. Aeneas is distraught because he does not
want to leave his father behind and he will not leave until his father agrees to come. The
signs of fire, thunder and shooting star convince Anchises to leave. This sign from Jupiter
allows Aeneas to escape Troy and thus travel to Italy and fulfil his destiny.

Jupiter also intervenes in book 4. When he hears that Aeneas has stopped seeking his destiny
and is settling in Carthage, he sends Mercury to Aeneas to tell him to leave.

Gods meddling in the affairs of men happens frequently throughout the Aeneid. Neptune
calms the storm destroying Aenea’s fleet in book 7. Juno bribes Aeolus into releasing the
winds in an attempt to hinder Aeneas. Venus shrouds her son in mist to protect him in book
1. These actions by the Gods influence the events in the Aeneid. Without Jupiter helping
Aeneas leave Troy, Aeneas would surely have died there. Without Neptune calming the seas,
Aeneas would have drowned etc.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

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 was
painted 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 the
spears 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
body’s 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 the
slaughter 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.
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.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

VIRGIL’S AENEID OVERALL GRADE: M

Question 1: Grade A

Virgil’s Aeneis is a secondary epic drawing inspiration from Homer’s 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 Aenea’s 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 Creusa’s pleas. At this moment, they receive a
series of omens, that convinces Anchises of his folly and thus they prepare to leave. Aeneas, faced
with the prospect of staying to die in Troy comes close to succumbing to furor, but Jupiter’s intervention
reminds him of his destiny and pietas.

Jupiter’s 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 Jupiter’s 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 Juno’s 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.’ Jupiter’s 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 and
fulfil 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’. Dido’s 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 of
love, 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 Dido’s 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 Dido’s infatuation. Dido is first described through epithets as ‘Regal
Dido’, ‘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
Roman ideals in hubris and her downfall reinforces Virgil’s Roman propaganda.
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 the
murderess 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 the
wife 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 Agrippa’s 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 mercy
with the words, you just die!’. This was an attempt to deter further rebels in an act constrasting Caesar’s ‘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 Rome’s 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 of
waging 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 Octavian’s 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 to
ensure 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. Agrippa’s 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. This
system 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
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.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

ARISTOPHANES OVERALL GRADE: E

Question 2: Grade E

Aeschylus and Euripides are both very critical of each other’s 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 the
overflown, 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 talk…to 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
Sophist’s questioning attitudes – ‘I taught these people to talk’ he said. But Aeschylus, a traditionalist, believed that this
had made youths lazy – ‘there’s 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 doesn’t know its own mind’ cannot be saved.

Question 3: Grade E

When Dionysus is confronted by Pluto’s doorkeeper, Aeacus, he is terrified. He begs his slave, Xanthias to switch
costumes with him, because he is dressed a Heracles, who had kidnapped Pluto’s 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 Persephone’s 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 are
shown 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
Persephane’s 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 ‘can’t
(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 you’re 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
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.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

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 regarded
to 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. Both
triangles 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 Ajax’s 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, sometimes
referred 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 Aphrodite’s 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 Aphrodite’s promise to Paris after
the 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 Helen’s 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 Helen’s 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 left
is 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 almost
fully off the ground, signifying he is advancing on Helen, about to kill her. Helen’s terror is shown by her legs, far apart
clearly running towards her maidservants, head turned back towards Menelaus in fear. Aphrodite’s 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 Helen’s body. Makron’s 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
loves her.
2009 LEVEL 3 CLASSICAL STUDIES ESSAY AUGUSTUS GRADE: M
Question 3

Under Augustus’s 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 people’s 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 Empire’s 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 with
the 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 deep
mourning.’ 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 Rome’s borders as they were.
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.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

ARISTOPHANES OVERALL GRADE: M

Question One : M

In Philocleon’s 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
they’ll 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 Philocleon’s 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 of the cave. The comical impact on this scene is that it is on an ass not a sheep and
Odysseus wasn’t successful as the Cyclops got his father Posiedon, God of the Sea to curse Odysseus and his
men ion their journey home. So from the beginning the audience would laugh and Philocleon using an escape
plan that has already failed. Also we see comical impact on costume and Philocleaon is extremely fat with his
massive belly relating back to Odysseus’ story that the Cyclops intended on eating Odysseus and his men. In
the story and Philocleon scene there is role reversal that Odysseus is escaping from the monster to get to
civilisation where as Philocleon is the monster trapped in order to save civilisation values.

In Philocleon’s successful escape we can see humour in the dialogue spoken by the characters. ‘Hey you wake
up.’ This humour shows how lazy the slaves have been in watching and guarding Philocleon. Xanthias’ reply is
also comical ‘What’s that matter’ which emphasises the humour of the slaves being completely oblivious to
what is happening. Another technique of humour is the animal imagery of the wasps ‘Turn your deadly sting,
displaying, wave them in the air.’ Dialogue narrates what the old men are doing wagging their bums towards
Bdelycleon and his slaves which is humorous.

‘Hey, what are you doing, you utter rascal?’ We see a role reversal between father and son as Bdelycleon
speaks to his father Philocleon like a naughty boy which is humorous as the old man replies, ‘Quick to the
rescue or they’ll have me back inside’ showing Bdelycleon actually has control over his father and Philocleon is
trying to avoid the punishment as a naughty boy would do..

In Philocleon’s unsuccessful escape with the donkey we can also see humour in the dialogue. ‘I never thought I
would see our old donkey give birth to a jurymen.’ This animal humour is successful in making fun of
Philocleon’s stupidity and also saying what Bdelycleon thinks of jurymen, nothing much more than what comes
out the rear of a donkey.

In Philocleon’s successful escape we see opportunities for comedy based action and movement when we see
an old man attempting to scurry down a rope while chaos develops below, a battle between the jurymen and
Bdelycleon all while this old juryman continues to climb down the rope.

Question Three : M

When Dionysus is greeted by Pluto’s doorkeeper, Aeacus ‘Heracles the b-b-bold’ Dionysus stutters in fear and
wets himself in complete fear showing Dionysus is definitely not Heracles as he shows fear and weakness. This
is when the first role reversal happened. Xanthias states he didn’t shake and wasn’t scared. Feeling
challenged Dionysus tells Xanthias to take his place and see if he could do any better. This shows that
Dionysus doesn’t dominant his slave as much as he should, as Xanthias has the courage to stand up to his
monster telling him he is weak.

The second change and role reversal is when they are greeted by Persphanes maid. Dionysus wants the glory
of introducing himself as a strong, courageous God ‘Heracles’ to Persephone so he demands to change back
into Heracles iron skin and club. This shows Dionysus only wants to take the easy way out, and only wants to
take the good, rewarding responsibilities as Heracles such as having women, and he avoids anything that
involves effort, strength and courage.

The land ladies then rouse and abusing Hercales as he had eaten all their bread along with twenty portions of
meat without paying anything for it. Again Dionysus avoids the challenging situation by swapping costumes
again with Xanthias to avoid trouble for himself. This shows Dionysus is very selfish and thinks only of the
benefits for himself.

On the fourth and final role reversal Heracles is to be tortured for resisting an arrest and therefore must be
tortured. Dionysus remains a slave at this point thinking he has avoided trouble once again, until Xanthias
says why don’t you just torture my slave. We then see Dionysus starting to find his true identity by speaking
up and saying he is the God. To settle which one is the real God, both Dionysus and Xanthias are tortured and
the real God will feel no pain. Ironically they both feel pain but find ridiculous ways to try to hide it. Some
examples are when yelping from whips, Dionysus pretends he is riding a horse and starts to gallop around to
hide the pain and another is pretending to have a thorn in his foot and pretending to cringe at that. This shows
that Dionysus is starting to see himself as a God and therefore hides the fact he can feel pain like a mortal.

In the space of 200 lines Dionysus and Xanthias swap roles a total of four times. This shows Dionysus’
confusion with his identity and therefore if he is confused, the theatre itself and Athens have also lost their
way.
2009 LEVEL 3 CLASSICAL STUDIES LITERATURE IN TRANSLATION

ARISTOPHANES OVERALL GRADE: N

Question One : N

These scenes during the beginning of the play would have been very funny.

Firstly, the charactrs wore masks with exaggerated emotion so they could be seen from the audience,
and wore long phallas. Philocleon as well as a mask and phallas would have had a large belly as he
was a very fat man. This costuming along with his actions would have been very humorous. The scene
would have been the house and the top representing the roof. When he attempts to escape down a
rope through the pipes, by using the nets, through the chimney or through the tiles you can imagine
with his fat belly and long phallas getting caught up or strung over his shoulder it would have been a
struggle to escape and hence providing a funny scene.

The ideas surrounding his actions for escaping especially by hiding under the horsehold donkey seem
completely kaotic and silly. The audience knows that hiding under the belly of a donkey, thinking that
nobody would notice while it goes to the market would never work. This provides slapstick humour at a
very exaggerated state as the scene ofm Xanthias and Bdelycleon chasing round after Philocleon,
trying to stop him from escaping would be very funny.

The dialogue is very parabatic and sarcastic. ‘You utter rascal’. It uses mock-heroic language.
‘Smicythion, Tisiades, Chemon, Pheredeipnos’ when Philocleon says these names of past people, he
uses sarcasim trying to prove how long it’s going to take before his son and slaves comes to stop him.

Question Two : N

Aeschylus says Euripide’s plays are fully of ‘namby-pamby’ sophistry language that influences
audiences in a negative way and claims that he lies to make his plays more appealing.

Euripide’s says Aeschylus plays concern Persian Tapestries characters are treated cruely.

He claims that he rambles on about nothing and has no point to his plays, causing the audience to
guess what is happening.

Dionysus goes to the Underworld to being back a poet in order to save the city and tragedy itself. The
agon is the most important as this is when Dionysus decides who will win and why he will take back to
Athens. Not only is it important to the plot, but it provides advice to the audience and the people of
Athens. Aristophanes is telling them that the city is sick and needs to be saved. It is being run by non-
Athenian born leaders of sophistry values. Dionysus asks during the Agon what the tradedians have to
say about Alcibiaides who was a great Athenian soldier who is a better representative of what the city
stands for. Aristophanes believes that in order to save the city Athens has to go back to the past and
follow its traditional ways, learn from its mistakes and accept the cheeky character that Alcibaides was.
Just as one of the poets have hope to come back to the real world, Aristophanes shows that there is
hope to save the city but time is running out.

Aeschylus stands for the traditional values of Athens and in the end he wins the debate allowing also a
reassurance that Athens had the right help it needs to be saved.

Throughout the story of ‘Frogs’ Dionysus has been lost as a person, not understanding what it means to
be a god. He symbolised Athens who is also lost. By the end of the Agon, Dionysus has re-established
his grand and figured out who he is, because he had to judge a debate he needed to know what he was
doing when he decides on Aeschylus bring the winner he himself has also understood that he can make
decisions for himself and can follow his heart and look at the facts to find the right desired winner. This
also gives hope to Athens that it can regain its strength and rebuilt itself just like Dionysus does by the
end of the play.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

OVERALL GRADE: E

Question One : E

The vase shown in Reproduction A is the Belly Amphora painted and potted by Exekias in C420-530BC. In the
scene we see Achilles and Ajax playing a board game in the tent during the Trojan war. They are in deep
concentration and are unaware of the approaching enemy.

The concentration depicted by in the painting draws the viewer into the central item of the painting the central
point of the composition. Exekias has through about composition in great detail throughout this vase starting with
the spears that Achilles and Ajax hold. The spears are symmetrical with each other and create a triangular shape
on the inside of Achilles and Ajax which draws our attention into the board game. The spears also continue up the
vase to meet in line with the handles connecting the handles to the vase. The spears not only create a central
triangle heightening the centre, but they also create triangles around the bodies of the two warriors and bring the
shields into the vases composition. The shields that stand behind Achilles and Ajax are important to the way that
composition complements the vase as they are designed to mirror the shape of the handles. The mirroring of the
shields draws the handles into the vase.

Mirroring is also scene through the body (back) curves of Ajax and Achilles. There backs have been painted curved
down to not only draw us into the middle scene (board game), but also to complement the shapes of the vases.
Their curved backs mirror the curves around on the Belly of the Amphora. The figures and objects in their
presence all sit on a single groundline and are painted in a way that fills the space. In order to complement the
shape of the Belly Amphora with its narrow neck and large body Exekias has had to use the mirroring mentioned
above to allow the figures to fit the shape appropriately.

The scene that is shown Achilles and Ajax, playing aboard game demonstrates clearly structured composition
within the vase and show us how well Exekias knew the boundaries and possibilities of composition. The Exekias
Belly Amphora beats the composition of previous vases such as the Francors vase as it uses the space provided
well by working with larger figures that fit rather than filling the space with smaller figures. The artist Exekias has
shown that he wanted to make sure his composition was well structured by making the spears symmetrical: with
the spears being symmetrical he was able to create and central triangle that would draw viewers attention into
what the two men, Achilles and Ajax were playing. The composition is also structured through the placement of
the shields on either side. These shields mirror the handles and create a beginning and finishing point amongst
the scene.

Exekias shows an incredible feel and great detail towards composition throughout this vase, detail and fell that are
shown through his care at creating a central focus and complementing the vases shape by mirroring the figures
and objects to its main parts.

Question Two : E

The figure shown in Reproduction B of the Niobid Painter Calyx Krater is Apollo. At the moment in which he is
depicted he is in the process of slaughtering the male children of Niobid after she braged about having so many, at
the same time his sister Artemis slaughters all the female children of Niobid. They are being killed so that she no
longer has anything to brag about. Apollo is identified in the frieze as a God as he is naked allowing us to see his
naked male body, through this we can see the detail that the Niobid painter has put into the male body of Apollo,
detail that makes him appear realistic.

The Niobid Painter has used four techniques to make Apollo look like a realistic male, the first being the use of a
slip to bring out the muscles on the body of Apollo. The slip highlights the muscles on his torso and allows us to
see the strain in his upper arm from pulling the arrow back. The muscles add a sense of realism to Apollo’s body
as we are able to see them tensed in motion giving us a sense of the motion behind what he is doing, they also
help highlight that he is a god.

The feet of Apollo are both examples of making Apollo’s body look realistic. His back foot is raised off the ground
to show the motion of attacking forward, but the other foot adds realism as it is foreshortened. Foreshortening
makes the foot look realistic as it is the appropriate size of what we would see on a real man if he was standing in
the dame 3/u position that Apollo is standing in, with his feet facing frontwards and his torso turned towards us.
The 3/u pose mentioned also helps create a realistic feel into the painting of Apollo as the positioning is relative to
the stance of a body pulling a bow and arrow, there arms and feet would be facing the target, in this case Niobids
children, but their body would be turned ready for release.

The development in the Niobid Painters eyes make Apollo a realistic character as it is the first time throughout the
period of Greek vase painting that we see a profile eye, rather that a frontal eye. The eye being painted in a
frontal position helps Apollo seem as if he is looking at the children of Niobid ready to attack making the action
more realistic as opposed to if his eye was painted in profile looking away from the Niobid children.

The fourth and final technique of adding a dilute glaze to Apollo’s head creates extra detail in the curls.

The glaze added to the hair gives body to Apollo’s curls creating a realistic style of hair, the body given by curls is
a more realistic portrayal of hairs as opposed to incision in Black Figure.

2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

OVERALL GRADE: M

Question One : M

This is a belly Amphora painted by Exekia in c530-540BC. The bally Amphora has a large neck and a body that is almost
as broad as it is high. This shape was ideal for storing and holding liquids such as wine, oil and honey. This is a black
figure vase, with incised details and outline there is a black slip which after firing is turned black leaving the contrasting
background its natural orange/red clay. We can see the painter has two large black bands above and below the main
frieze, this effective us of space draws the viewers focus towards the main frieze. The myth of this scene is Achilles (left)
and Ajax (right) are engrossed in a board game unknown to them there enemies approach and attack their campsite.

Achilles and Ajax both has curved on backs that complement the curve of the vase on either side emphasising the belly
Amphora’s elegant shape. The shields on either side of the two figures also complement a lower curve in the vase. The
spear that Achilles and Ajax hold are on a correct angle that if they were to lengthen, they would extend up on the same
angle as the two handles on either side of the vase. This show the painter has thought out a strict composition of balance
and symmetry using the scenes balance to also complement the symmetry of the vase.

In this scene we can see two triangles, the first triangle starts at the point of Achilles helmet, the second two points pass
through the overlapping of both Achilles and Ajax’s legs (calves) with the base of the triangle along the single ground
curve. The second triangle is crated by the spears with the point at the board game, these two triangles together frame
both faces of Achilles and Ajax this focuses the viewer on the two profile eyes that look down towards the board game.
The spears also guide our focus down onto what these two figures are looking at. These structured lines of symmetry
that focus our eye from the figures face towards the board game show the painter feeling for structured composition.

Foreshortening is another technique present on the male body of Apollo. We see his front arm is foreshortened as his
front shoulder is slightly further back than his other shoulder, we see them as his back arm extends further past his front
arm showing the action of Apollo pulling the back the arrow with his front arm showing realism in his actions of pulling the
arrow. Also his foreshortening is used on his legs, his back leg appear shorter helping create the allusion of his back leg
being further back than his front leg. We can see Apollo is putting more weight on his front leg as it is bent at the knee
taking the weight as he is about to shift his weight backwards as he pulls the arrow in towards him. This foreshortening
shows the bending of limbs as he shift his weight we can realistically see the correct size and scale of the male body.

The Niobid painter has used an uneven groundline on this vase. Unfortunately the goundline was purple and as it was
added after firing it has not lasted. Although the figures now appear to be floating in mid air, we can see from Apollo’s
back foot being slightly higher than his front foot that the painter would have used an uneven groundline to give the
allusion of Apollo’s foot stepping further backwards. This is a successful development from a single groundline as it
allows the painter to show much action and movement of figures forward and backs as well as side to side.

Question Two : M

We can identify this figure of Apollo, the God of Achemy, music and light. His bow and arrow are symbolic and significant
of his character which makes us identify him as Apollo. Also he has his signature instrument hanging down across his
shoulder. The naked figures suggest he is a God, as Gods were usually painted without drapery. Apollo has his bow and
arrow out at the ready. He is shooting the children of Niobe in revenge for his mother Leto. Myth tells us that Niobe had
seven daughters and seven sons. She would boast to Leto about how many children she had as Leto only had two twins
Artimis and Apollo. Once the children were grown, Leto sent her twins to kill all of the Niobe children for revenge on how
Niobe mocked her. We can see the arm of Artimis as she two pulls arrows as Goddess of Archery like her brother. We
can see Apollo is apart to shoot an arrow as his body position is stable with one foot in front of the other with his weight
forward on this front leg.

The Niobid Painter (c 480-500BC) used Red figure technique. The red figure technique used a dilute glaze/slip on its
figures and another that would turn the background black when fired. The red figure technique allowed to show more
detail of the human body using brush strokes for outline and detail instead of incision such as the black figure technique.
These brush strokes in red figure technique allowed the painter to show more complex poses and detail of figures. The
only incision used was around the outline of the black hair as seen on Apollo to show a clear separation between the
figure and background. The brush strokes abled the painter to create detailed muscle contour seen on Apollo’s
abdominals, arms (biceps), thighs and calve muscles. This shows the tension of muscle as Apollo is in action he uses all
his leg muscles leaning forward and also we can see Apollo tensing his biceps and arm muscles as he pulls his bow and
arrow. This shows the realistic anatomy of the make body in action.

Overlapping is another technique used by the Niobid painter. Ann example of the overlapping is seen in Apollo’s arms as
he reaches one arm across his chest and we can see part of the other arm behind. This shows realistic focus as Apollo
pulls his arrow we see a realistic pose to how one would see the action profile in real life. Successful overlapping is also
seen on Apollo’s drapery is draped over his back arm it realistically falls behind the back arm and behind the front arm
with realistic creases as it appear to be folded in half as the two parts zig zag at the end of the drapery given it a realistic
fall. Also there is overlapping of Apollo instrument as we see the top of the strap on his shoulder then behind his upper
arm down part his torso, the instrument then disappears behind his upper thigh where we then see it again between his
legs.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

OVERALL GRADE: E

Question One : E

The vase is painted and potted by Exekias, he may well be the best in black figure artists. He paints with exquisite
details and brings to vase painting a near statuesque dignity. The shape of the vase is a Belly Amphora used for
storing wine, grains and small solids. It has a much larger neck and shoulder area, its belly almost as broad as it is
high, the two handles are flanged and decorated, and the foot is moulded into two parts (degrees). This vase was
made in C530-530BC.

The vase is decorated with non-figurative decorations to act as a ‘filling ornament’ and also accentuate the key
areas of the vase. There is an elaborate double lotus and palmette on the firth of the belly, used to focus the
spectator to the main frieze and also as it encircles the vase it highlights the large neck/shoulder area of the vase.
Ray bands are present near the base to also draw attention to the focus of the main frieze. The handles are
decorated by a chain of ivy leaves to accentuate its shape. The vase is painted by one grand main frieze that fills
most of the space of the belly.

The composition is balanced and symmetrical with the figures standing in a single groundline. Both shields
‘leaning’ on the panel behind each warrior mirrors the curvature shape of the belly and its top end also lines up
with the handless. The two spears held by the warriors also draws a line to the handles on the top. The central
figure with both warriors, Achilles and Ajax, framing it creates a symmetry. It forms 2 triangular shape with
Achilles horsehair crest (from his Corinthian helmet) at the apex. The two spears form a reverse triangle which
bisect both heroes’ necks, which makes their head the focus.

The scene shown depicts a scene from the lost poem of the Trojan War and it reflects the artist’s feeling of an
organised composition by placing both warriors in symmetry. They seem to both mirror each other’s gestures with
their leg bent for balance and their ankles resting on the stool (also for balance_. The way they are both clutching
on to their spears gives an atmosphere of preparation and also acts on balancing the composition of the vase.
Both shoulder/back countours of each warriors stresses the curvature of the belly, comp renting that the shape of
the belly is broad.

Question Two : M

The figure shown is Apollo and his is in mid-action about to slaughter the Niobid children with his bow and arrow
because Niobe was the mother of seven sons and seven daughters. She boasted that she had more children that
Leto, who only had two. Leto told Apollo, along with this sister Artemis, to kill the children of Niobe.

The Niobid Painter used a variety of red figure techniques. There is the development of poses with Apollo’s figure
in a ¾ pose (body frontal and left leg in profile). There is also the use of dilute glaze instead of incision for the
musculature of the figure. It shows that they are carefully refined and stresses the intensity of Apollo’s pose. The
use of an uneven groundline depicts the figure as floating in mid-air which shows a sense of movement through
Apollo’s mid-action pose.

His left torso is carefully foreshortened and he seems to push his weight on his left foot to balance his stance so
that gets an easy target on the Niobid children. He also uses the heels and toes of his right foot to balance his
posture and also so that it fives him space to prepare his bow and arrow (when he pulls the bow backwards.

His refined muscles show the movement of his slightly raised right leg and the intensity of the arm muscles when
he is about to use his bow and arrow. The profile depiction of his eyes also show intensity, it seems that he is set
on his target thus creating movement through the anxiety of his gaze.

The figure is left in reserved to highlight the concentration of the anatomy of the body because the black glaze in
the background helps bring details out – so that they are visible. This figure is coloured in honey-coloured glaze to
emphasise features on his body through the use of dilute-glaze.

The artist’s depiction of the male body in action is successful as he also leaves them in their own space which
enables the exploitation of movement of the figures.
2009 LEVEL 3 CLASSICAL STUDIES GREEK VASE PAINTING

OVERALL GRADE: E

Question One : E

This is the Exekias Belly Amphora it was painted and potted by Exekias in black figure technique in approximately
C540-530BC. This vase is a belly amphora which has a belly which is almost as broad as the vase is high, it has a
narrow neck and a large mouth. This shape suits its function as a storage vase of liquids, olives, or honey as it has
a large surface area.

This vase has a broard belly making it an ideal surface for a large single scene to be painted on. The figures
Achilles (on the left) and Ajax (on the right), who we can identify by inscriptions, are intensely playing a board
game, unknowing that their enemy the Trojans, are about to attack their camp. The arched backs of each of the
figures complements the shape of the vase as they echo the upper contours of the vases sloping shoulders. The
two arching backs of the figures form a triangle with Achille’s helmet at the apex. A reverse triangle is then
established through the spears of the characters. The intersection of these two triangles is at the necks of the
figures, emphasising that the heads of these two figures are the focal point of the scene. The creation of the
reverse triangle created by the spears complements the shape of the case as the direction of the spears continues
up to the handles at the neck of the vase. The handles which are decorated with a non-figurative ivy leaf pattern
then continue down the vase attaching again at the shoulder of the vase. Where they are met and the flow on with
the shields of each character which allows their flowing direction to continuate through them. The effect of
integration and composing the scene with the inclusion of the handles means that when a person first looks at the
scene, their eye is immediately directed down from the handles, through the spears and into the centre and focal
point of the vase. However, it was the handles that the determined the vase painter not painting a continuous
narrative, as the handles would have interrupted the flow. So eh instead painted two separate friezes with side A
illustrating Achilles and Ajax playing aboard game and side B showing Castor and Pulydeuces returning and being
welcomes home by their parents, Queen Leda and King Tyndareus.

Other elements that show the artist favoured structure composition is in the symmetry of the scene. On either
side of the box there are two figures each holding spears and sitting on a box with a shield behind them. This
degree of organisation in the scene through symmetry demonstrates the artist’s appreciation of structure. The
single ground line that the characters sit on shows the period of vase painting as painters at this stage had not
started experimenting with varied groundlines to create depth, like they did on the Niobid Calyx Krater. Exekias’
strict composition of this vase through the creation of two intersecting triangles to bring emphasis to the main
focal point on the scene demonstrates his superior skill in vase painting which led him to become the most
distinguished vase painter in Black Figure technique.

Question Two : E

This figure is Apollo, we can identify him because of the laurel wreath on his head and because of his famous bow
and arrow which when fired never missed it target. Apollo, along with his twin sister Artemis, is slaughtering the
children of Queen Niobe. Because Queen Niobe was boasting to Apollo and Artemis’ mother, Leto that she had
more children that her as she had 7 boys and girls whilst Leto only had the twins. In revenge for their mother,
Apollo and Artemis slaughtered all of the children of Queen Niobe. (The Niobids), who were buried at Thebes. It is
the scene that the unidentified painter of this vase is named after, as the Niobid painter.

This vase is painted in Red figure technique, so a black raised relief line was employed to outline the major
features of Apollo. The black relief line was applied with an instrument similar to a cake icing bag of today. It gave
the figure boldness and texture. It allowed for a more fluid and realistic line to detail figures opposed to the rigid
lines which were created by incision in Black figure technique. In the figure of Apollo, the black relief line has been
utilised to outline the abdominal muscles, gentiles and the major leg and arm muscles as well as the detailing of
the face. All of which have been finely executed to replicate a realistic figure in mid-action Especially in showing
the figure in action, with the force of pulling back the arrow, Apollo’s abdominal muscles would realistically be taut
and tense with the action as the main force comes from the upper body. So hence the detailing with the bolder
black slip was necessary to show the strain of the action, which was evident in this particular section of the body.
Whilst these muscles were affected majorly in the action of pulling the arrow back, other muscles were not. But it
was still necessary to show them in order to create an overall realistic image, so these minor muscles were
detailed on the figures in the dilute honey coloured slip. Another technique of Red figure is the use of dilute slip is
particularly evident in Apollo’s right arm. As his arm was pulled back straight the artist was unable to show greatly
the strain of the major muscles with a black relief line. However it was necessary to identify the bulge of a softer.
So honey coloured dilute glaze was employed to replicate the bulge of the muscles that would have occurred when
the arm was pulled with force, in a realistic manner. As the muscles were not being outlined in this case a relief
line was not appropriate but dilute glaze to detail the fiture was
The Niobid painters also executes a realistic profile eye combined with a profile face. This is detailed in a black
relief line and connects the image via gaze as the character is realistically staring at its target. The use of the
profile eye is necessary to show the figure in action realistically as in shouting Apollo must co-ordinate his body
with his target. Effectively completing this is reliant on sight in order to foresee that the arrow is successfully
going to hit the target. If a profile eye was not achieved the figure would be disconnected from the image and his
actions would not be clear nor would be seem to be realistically shown in action.

By depicting Apollo as naked (which was traditional for heroes) the artist was able to demonstrate the movement
and tenseness of the individuals muscles in the action of shooting the arrow. The cloak which is slung over his left
arm shows the natural falls of the fabric through soft zig zag lines of the bottom and weight of the fabric is
demonstrated through the lines drawn in the fabric. The movement of the figure is seen in this cloak as it slightly
leans towards Apollo implying he is thrusting forward and the fabric is moving with him.