A-LEVEL Classical Civilisation

A-LEVEL Classical Civilisation Paper 3C Greek Tragedy Mark scheme 2020 June 2017 Version: 1.0 Final

Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students reactions to a particular paper. Assumptions about future mark schemes on the basis of one year s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk Copyright 2017 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.

INTRODUCTION The information provided for each question is intended to be a guide to the kind of answers anticipated and is neither exhaustive nor prescriptive. All appropriate responses should be given credit. Where Greek and Latin terms appear in the Mark Scheme, they do so generally for the sake of brevity. Knowledge of such terms, other than those given in the specification, is not required. However, when determining the level of response for a particular answer, examiners should take into account any instances where the student uses Greek or Latin terms effectively to aid the clarity and precision of the argument. Information in round brackets is not essential to score the mark. DESCRIPTIONS OF LEVELS OF RESPONSE The following procedure must be adopted in marking by levels of response: read the answer as a whole work down through the descriptors to find the one which best fits determine the mark from the mark range associated with that level, judging whether the answer is nearer to the level above or to the one below. Since answers will rarely match a descriptor in all respects, examiners must allow good performance in some aspects to compensate for shortcomings in other respects. Consequently, the level is determined by the best fit rather than requiring every element of the descriptor to be matched. Examiners should aim to use the full range of levels and marks, taking into account the standard that can reasonably be expected of students after one year of study on the Advanced Subsidiary course and in the time available in the examination. Students are not necessarily required to respond to all the bullet points in order to reach Level 5 or Level 4, but they should cover a sufficient range of material to answer the central aspects of the question. QUALITY OF WRITTEN COMMUNICATION The Quality of Written Communication will be taken into account in all questions worth 10 or more marks. This will include the student s ability to communicate clearly, ensuring that text is legible and that spelling, punctuation and grammar are accurate to select and use an appropriate form and style of writing, and to organise information clearly and coherently, using specialist vocabulary when appropriate. 3 of 15

LEVELS OF RESPONSE FOR QUESTIONS WORTH 10 MARKS Level 4 Level 3 Level 2 Level 1 accurate and relevant knowledge covering central aspects of the question clear understanding of central aspects of the question ability to put forward an argument which for the most part has an analytical and/or evaluative focus appropriate to the question and uses knowledge to support opinion ability generally to use specialist vocabulary when appropriate. a range of accurate and relevant knowledge some understanding of some aspects of the question some evidence of analysis and/or evaluation appropriate to the question some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them. either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it. 8-10 5-7 3-4 1-2 4 of 15

LEVELS OF RESPONSE FOR QUESTIONS WORTH 20 MARKS Level 5 Level 4 Level 3 Level 2 Level 1 well chosen accurate and relevant knowledge covering most of the central aspects of the question coherent understanding of the central aspects of the question ability to sustain an argument which has an almost wholly analytical and/or evaluative focus, responds to the precise terms of the question, effectively links comment to detail, has a clear structure reaches a reasoned conclusion is clear and coherent, using appropriate, accurate language and makes use of specialist vocabulary when appropriate. generally adequate accurate and relevant knowledge covering many of the central aspects of the question understanding of many of the central aspects of the question ability to develop an argument which has a generally analytical and/or evaluative focus, is broadly appropriate to the question, mainly supports comment with detail and has a discernible structure is generally clear and coherent, using appropriate, generally accurate language and generally makes use of specialist vocabulary when appropriate. a range of accurate and relevant knowledge some understanding of some aspects of the question some evidence of analysis and/or evaluation appropriate to the question some ability to structure a response using appropriate language, although with some faults of spelling, punctuation and grammar some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them and sufficient clarity, although there may be more widespread faults of spelling, punctuation and grammar. either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it and little clarity; there may be widespread faults of spelling, punctuation and grammar. 19-20 14-18 9-13 5-8 1-4 5 of 15

LEVELS OF RESPONSE FOR QUESTIONS WORTH 40 MARKS These essays form the synoptic assessment. Therefore, the descriptors below take into account the requirement in the Subject Criteria for Classics and Specification that students should, in a comparative analysis, draw together their knowledge and skills to demonstrate understanding of the links between central elements of study in the context of the cultural, religious, social and political values of the classical world. Level 5 Level 4 well-chosen, accurate and relevant knowledge from different sources which thoroughly covers the central aspects of the question coherent and perceptive understanding of the links between the central aspects of the question and the values of the classical world ability to sustain an argument which is explicitly comparative, has an almost wholly analytical and/or evaluative focus, responds to the precise terms of the question, fluently links comment to detail, has a clear and logical structure reaches a reasoned conclusion is clear and coherent, using appropriate, accurate language and makes use of specialist vocabulary when appropriate. generally adequate accurate and relevant knowledge from different sources which covers many of the central aspects of the question sound understanding of many of the central aspects of the question, including the values implicit in the material under discussion ability to develop an argument which makes connections and comparisons, has a generally analytical and/or evaluative focus, is broadly appropriate to the question, mainly supports comment with detail and has a discernible structure is generally clear and coherent, using appropriate, generally accurate language and generally makes use of specialist vocabulary when appropriate. 37-40 27-36 6 of 15

Level 3 Level 2 Level 1 a range of accurate and relevant knowledge from different sources some understanding of some aspects of the question, including some awareness of classical values some evidence of analysis and/or evaluation appropriate to the question some ability to structure a response using appropriate language, although with some faults of spelling, punctuation and grammar some ability to use specialist vocabulary when appropriate. either a range of accurate and relevant knowledge or some relevant opinions with inadequate accurate knowledge to support them and sufficient clarity, although there may be more widespread faults of spelling, punctuation and grammar. either some patchy accurate and relevant knowledge or an occasional attempt to make a relevant comment with no accurate knowledge to support it and little clarity; there may be widespread faults of spelling, punctuation and grammar. 17-26 8-16 1-7 7 of 15

Unit CIV3C Greek Tragedy Section 1 Option A 0 1 Why is Oedipus delighted at this point in the play? Make five points. [5 marks] Five of eg The news of Polybus death has arrived [1] and he has died of natural causes [1] so that Oedipus assumes that the prediction that he will kill his father [1] has not been fulfilled [1]: at this point Oedipus still does not know about the adoption [1], and is reacting as though the oracle about his future referred to Polybus and his wife, so that Polybus death releases him, he thinks [1]. And Teiresias is apparently [1] wrong. 0 2 To what extent is the attitude to oracles that Oedipus shows here consistent with his attitude to oracles and prophecies elsewhere in the play? Support your answer by referring to the text. [10 marks] Oedipus is both inquisitive and trying to be a rationalist; He has mood swings, He shows increasing desperation alternating with relief. He has hair-trigger reactions, not all of which he regrets later. His treatment of Creon and Tiresias suggests scepticism about the mechanisms of prophecy, But he is equivocal (even more than half-persuaded) about its content. Here he seizes on what looks like a way out of the mess, But what he says implies that he believes the oracle itself. Apply Levels of Response at beginning of Mark Scheme. 0 3 How important is Jocasta to the play as a whole? Explain and support your answer by referring to the text. [20 marks] Jocasta is integral to Oedipus fate and to the plot of the play. Her own suicide is a trigger to his self-mutilation. She is very like her son in the quoted scene desperately clinging to the rags of rationality. Elsewhere she expresses scepticism about the existence of divine design or order, and thus about the validity of oracles. She tries to treat Oedipus, Creon and the various bearers of clues to the truth evenhandedly and straightforwardly: her usual approach is to talk it through in a matter of fact manner. This is why she can see the whole pattern towards the end of the quoted scene, And asks Oedipus to stop pursuing the investigation. 8 of 15

Discussion will probably build on the above to deal with personal feeling versus propriety, gender conflict, failures of communication, divine intervention and its causes and effects etc. Apply Levels of Response at beginning of Mark Scheme. Option B 0 4 Outline the circumstances in which Creon makes this speech to Medea. Make five points. [5 marks] Five of eg The Nurse reports that Medea, with a track record of revenge and incitement to murder [1], has arrived with Jason and their children in Corinth[1]; Jason has now betrayed her [1] by marrying King Creon s daughter [1] and abandoning her and the children [1]. Medea is profoundly depressed, and the Nurse feels that she may harm the children [1]. The Tutor arrives with the children and announces that Creon intends to exile them [1]; the ensuing choral episode underlines the positions of Nurse, Medea and adds a commentary by the Chorus [1]; Medea enters and makes her manifesto speech on the position of women [1]. Enter Creon, who makes the speech quoted [1]. 0 5 How important to Euripides characterisation of Medea is Creon s conversation with her? [10 marks] Points for discussion might include: Creon s fear that Medea may harm his daughter Creon s diagnosis of Medea as a clever woman and an evil one Medea s claim that her reputation for cleverness does not justify a view that she is dangerous Medea s argument that her husband is the man who wronged her, rather than Creon, and Creon has nothing to fear Creon s explicit refusal to accept this at face value Medea s successful plea to be allowed one more day to arrange her exile, using the children as a bargaining chip. Apply Levels of Response at beginning of Mark Scheme. 9 of 15

0 6 To what extent do you think this scene is a major turning point in the plot? Support your answer by referring to the whole play. [20 marks] Answers will probably build on (but not merely repeat) what has been said in the answer to 05 but points may include eg An outline of the consequences, and how far they build on what is said in this scene. The extent to which Creon s action is the major trigger for what follows. And how far it is predictable from what has been revealed about the key elements of the situation so far. How far we see Medea living up to what we have already heard from the Nurse about her. And how far her later actions build on what is revealed here. The place of the children in the power struggles exemplified in this scene. Medea s powers of manipulation. Her capacity to find Creon s weak spot love for his daughter. And to exploit this for her own gain. Apply Levels of Response at beginning of Mark Scheme. 10 of 15

Section 2 Option C 0 7 A person who is neither especially virtuous or just, nor someone who comes to grief through vice or depravity, but by an error of judgement. To what extent does this description suit the main characters in the four tragedies you have studied? Support your answer by referring to Oedipus the King, Antigone, Hippolytus and Medea. [40 marks] Answers will vary, but this should provide opportunity for: either discussion of the notionally Aristotelian concept of the tragic hero as neither especially good nor bad, but essentially like any of us, faced with choices in a difficult situation arising both from past actions and from an element of predestination or possibly an exploration of the four plays varied use (or not) of a dominant figure (not necessarily the title role) as the key to a set of dramatic and cathartic situations. or both. candidates should of course be aware that a tragic hero as defined by any of the above may be female. A few thoughts: Oedipus the King : is Oedipus reaping the reward of his own mistakes, or predestined to a fate he can t escape? Is his own personality the key to his downfall? Is the way he treats other people indicative of the problem? Could he have avoided his fate? How far is Jocasta an agent of their downfall? Antigone : who is the hero? How much empathy do we have for either Antigone or Creon? Is their conflict capable of resolution, or do they represent permanent ideological opposition? Does either of them behave especially badly? Hippolytus : is Aphrodite the causal agent of everything that happens, or are we seeing Hippolytus, Phaedra and Theseus making characteristic mistakes which collectively destroy them? Where do our sympathies lie, if anywhere? Medea : what reasoned view, if any, can we take about Medea s solution to her situation? Are we seeing a logical, but not humane, pursuit of her perceived rights, or a dramatic and wicked revenge? Can we make a case for the defence of Jason or Creon? Synopticity will come from eg evidence of awareness that virtuous and just are terms which are much argued over in Athens at that time. Further success if they bring in fate and the gods and Euripides famous fragment ( if gods do evil, they are not gods ) and ways in which these beings (including Medea who operates on divine and human plane) are not great role models. Apply Levels of Response at beginning of Mark Scheme. 11 of 15

Option D 0 8 Greek tragedies usually involve no more than three speaking characters and the Chorus in any one scene. How far do you think that this convention strengthens or spoils the dramatisation of conflicting points of view in the plays that you have studied? Support your answer by referring to Oedipus the King, Antigone, Hippolytus and Medea. [40 marks] A way of using the set texts in a discussion of problems of narrative, contemporary philosophical and social content and dramaturgy in the context of 5th century tragedy. A good answer might well try to foreground the contemporary issues which underlie the four plays, and should certainly demonstrate awareness that they are there. A key point may well be that all roles, including the Chorus, were played by male actors, and the Chorus is often a group of male characters in a traditionally male role/position/job (such as the elders in Oedipus ). The Chorus of Corinthian women in Medea might be seen as much less usual, and their reactions to Medea might support a feminist argument about the play itself, as might the women of Trozen in Hippolytus, and therefore perhaps a view of Euripides motivations as a dramatist. Issues which may be discussed, though these are not exhaustive or prescriptive, might include: the limitations the convention imposes on the dramatist and on the production itself eg: This is a dramaturgical question first and foremost and calls for some background knowledge of the way the plays were produced. Conventions which seem bizarre to us can often be traced back to this 3-actor rule, for instance: MASKS are used, and needed if a man is going to play different roles EKKYKLEMA may well be needed to shift people on/off CHORUS may be needed to provide interval entertainment while our actors are getting changed, but more importantly provide commentary on scenes as well as taking part in them MESSENGERS are used to describe deaths: death usually happens offstage as we cannot afford to have an actor playing dead for an hour when he is needed to play somebody else (though this was not inflexible Hippolytus dies on stage) WOMEN are played by men: fits in with the social convention of women s role in society anyway but it does mean that female roles always played by men in tragedy and comedy. In particular the mask convention can be advantageous: female figures are often more masculine than the men (think Medea over Jason/Creon/Aegeus: think Antigone over everyone: think Clytemnestra in Agamemnon and male actors make this clear. Equally, the excruciating incestuous closeness of Oedipus and Jocasta is more bearable by the convention that they are men dressed up. The Chorus offer us a different perspective, a balanced view sometimes too 12 of 15

balanced ( there is right on both sides ) which sets the conflict of bickering voices in more global and cosmic terms. In terms of scenes with individual characters, Tragedies avoid big scenes with lots of confusing voices on stage at once. There are some great 3-hander scenes (Oedipus, Creon, Jocasta: Oed, Corinthian, Shepherd: Antigone, Ismene, Creon: Hippolytus, Nurse, Phaedra (though that is disputed whether Phaedra is on stage) but other scenes are focused agonistic debates between two conflicting views, eg Oedipus and Tiresias, Creon and Tiresias, Phaedra and Nurse, Theseus and his son, Creon and Antigone. Medea is in a class of its own for this: every scene shows us the same conflict from different angles, as Medea takes on Jason (playing different roles each time, now angry, now submissive, finally triumphant) Creon (wheedling and persuasive) and Aegeus totally out of his depth. This use of direct agon style dialogue and debate is what makes the conflict of the plays come to life in dramatic form. What makes Hippolytus amazing is that there is NO agon scene between Phaedra and Hippolytus and no dialogue between Phaedra and Theseus. It makes sense in fact for the same actor to play both husband and wife here (as in Antigone-Haemon) but it means that the showdown which we all expect does not happen and this strengthens the role of vowed silence in the play. Some further thoughts: eg what would happen if the serial scenes involving Hippolytus and the Nurse and Phaedra and the Nurse involved all three characters at once, remembering that these encounters are crucial to the ethical themes of the play? Does the Oedipus scene with the shepherd and the messenger work better? Would it be even better if it could have had Jocasta as well, and what would Jocasta s likely reaction have contributed? its effect on characterisation: this obviously evolves via dialogue both with (usually) one or two other characters and sometimes the Chorus, but also often via extended speeches by single characters. Do we learn more about eg Medea and her views from dialogue and report than we do from her own extended arias? its effect on plot: what are the major tools for moving the story on? Are they characters reacting to the stimulus another provides ( Antigone might be a successful example), or do we depend on interventions or narrative from the Chorus or a single appearance by the messenger (the dénouement of Hippolytus )? how far interaction between a small number of characters can enhance or intensify the drama: eg Creon s interchanges with others in Antigone, the gradual build up of tension in Oedipus. what the Chorus can do alone or with the characters: 13 of 15

how far could we do without them what is it that they add to any of the four plays, alone or in dialogue? What are the advantages and disadvantages of the collective character? Could eg Medea do without them? do we need the messenger convention? does the use of the messenger e.g. provide an opportunity for plot-advancement, reflection on hitherto unrevealed facts about a character or a relationship, or a contemporary political or social issue, or bring about the dénouement or resolution? All four plays could provide examples. A good answer should use examples from all four plays to explore these and/or other relevant themes and conventions, and with some sense of both positive and negative results. Synopiticty will arise from the use of examples from all four in thematic discussion. Apply levels of response at the beginning of Mark Scheme 14 of 15

Assessment Objectives Grid Unit CIV3C Greek Tragedy Section 1 Either Option A AO1 AO2 TOTAL 01 5-5 02 4 6 10 03 8 12 20 TOTAL 17 18 35 or Option B AO1 AO2 TOTAL 04 5-5 05 4 6 10 06 8 12 20 TOTAL 17 18 35 Section 2 Either Option C AO1 AO2 TOTAL 07 16 24 40 TOTAL 16 24 40 or Option D AO1 AO2 TOTAL 08 16 24 40 TOTAL 16 24 40 Overall AO1 AO2 TOTAL TOTAL 33 42 75 % 44% 56% 100% 15 of 15