Exam - NZQA

90247 

Level 2 Classical Studies, 2008 

90247 Examine a passage from a work of 

classical literature in translation 

Credits: Five 

9.30 am Friday 21 November 2008 

Check that the National Student Number (NSN) on your admission slip is the same as the number at the 

top of this page. 

There are THREE topics: 

• Topic One: Homer’s Odyssey (pages 2–13) 

• Topic Two: Greek Tragedy (pages 14–25) 

• Topic Three: Roman Comedy (pages 26–37) 

Choose ONE of the three topics. 

In the topic that you have chosen, choose TWO of the three extracts and answer ALL the questions 

relating to those two extracts. 

If you need more space for any answer, use the page(s) provided at the back of this booklet and clearly 

number the question. 

Check that this booklet has pages 2–43 in the correct order and that none of these pages is blank. 

YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION. 

For Assessor’s 

use only 

Achievement 

Examine the literary features of 

the work. 

902470 

For copyright reasons, the resources in this booklet 

cannot be reproduced here. 

Achievement Criteria 

Achievement 

with Merit 

Examine in detail, with 

supporting evidence, the literary 

features of the work. 

Overall Level of Performance 

Achievement 

with Excellence 

Discuss, with supporting 

evidence, the literary features of 

the work. 

2 

For Supervisor’s use only 

© New Zealand Qualifications Authority, 2008 

All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

You are advised to spend 50 minutes answering the questions on your chosen topic. 

EITHER: TOPIC ONE: HOMER’S ODYSSEY 

Choose TWO of the following extracts and answer ALL the questions relating to these two extracts. 

EXTRACT A 

… 

‘ “What on earth is wrong with you, Polyphemus? 

It was a matter of life or death: we were in mortal peril.’ 

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Classical Studies 90247, 2008 

Homer, The Odyssey, Book 9

(a) Odysseus is telling the story of his encounter with the Cyclopes to King Alcinous and the 

Phaeacian nobility. 

(i) Name the island of the Phaeacians. 

(ii) Name the queen of the Phaeacians. 

(b) Give TWO specific features of the island of the Cyclopes. 

(1) 

(2) 

(c) Explain TWO ways in which Polyphemus manages his property as humans do. 

(1) 

(2) 

(d) For what practical reason did Odysseus blind Polyphemus rather than kill him? 

(e) (i) What view had Polyphemus expressed earlier in Book 9 about the gods, and why is it 

strange that he should hold this view? 

(ii) Explain in detail what Polyphemus prays for at the end of Book 9. 

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(f) The episode with Polyphemus is particularly concerned with the customs of guest-friendship. 

(i) In what way does Odysseus abide by the customs of guest-friendship when he visits 

Polyphemus, and what does he expect in return? 

(ii) In what TWO ways does Polyphemus violate the customs of guest-friendship? 

(1) 

(2) 

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(g) The episode with the Cyclopes highlights Odysseus’ heroic nature. 

(i) Discuss TWO characteristics of Odysseus that are typical of a Homeric hero. You must 

provide evidence from Book 9 to illustrate your answers. 

(1) 

(2) 

(ii) Discuss TWO characteristics of Odysseus that are not typical of a Homeric hero. You 

must provide evidence from Book 9 to illustrate your answers. 

(1) 

(2) 

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EXTRACT B 

6 

‘Nurse dear, I want you to keep 

the women shut up in their quarters till I have stowed away my 

father’s fine arms in the store-room. 

… 

‘I keep no man idle who has eaten my bread, however far he may 

have journeyed.’ 



(a) (i) Name the woman addressed as “Nurse dear” (line 1). 

(ii) Name the island on which this scene is set. 

(b) Describe the circumstances under which the old nurse recognises Odysseus soon after this 

extract. 

(c) (i) Whose idea was it to store the weapons in the store-room? 

(ii) What is the real reason why the weapons are stored away? 

(d) (i) How does Athene help Telemachus while he is storing the weapons in the store-room? 

(ii) What is Telemachus’ reaction to this assistance? 

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(e) (i) Explain in detail Athene’s main role in The Odyssey. 

(ii) Describe in detail TWO episodes that show Athene fulfilling this role. 

(1) 

(2) 

(f) (i) Name TWO deities, other than Athene and Zeus, who help Odysseus in the poem. 

(ii) For EACH deity, explain how and under what circumstances he or she helps Odysseus. 

(1) 

(2) 

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(g) In this extract Telemachus is very authoritative. 

(i) Explain in detail TWO other situations or episodes in the poem where Telemachus 

displays the same characteristic. 

(1) 

(2) 

(ii) Discuss THREE other character traits Telemachus displays in the poem that make him 

a son worthy of the great hero Odysseus. Provide evidence to illustrate your answer. 

(1) 

(2) 

(3) 

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EXTRACT C 

your fears. 

… 

The shrewd Odysseus smiled at the man and said: ‘Dismiss 

So there the Suitors lay in heaps, one upon another. 

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(a) “Sit there till I’ve done the work I have to do indoors.” (lines 5–6) 

Exactly what work does Odysseus have to do indoors? 

(b) (i) Name “the songful minstrel” (lines 4–5). 

(ii) What musical instrument does the minstrel use to accompany his singing? 

(c) The reader first meets this minstrel in Book 1, at the symposium in the palace. 

(i) What does he sing about? 

(ii) Name the person who is upset by this song and asks the minstrel to stop singing. 

(d) Later, Odysseus says, “Let our divine minstrel strike up lively dance music for us …” 

(Book 23). 

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Explain why Odysseus wants music and dancing in the palace so soon after he has killed the 

Suitors. 


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(e) Explain in detail THREE typical features of minstrels and / or their role in Homeric society. 

(1) 

(2) 

(3) 

(f) Homer has used a simile in lines 12–15 (“like fish … ends their lives.”). 

Explain in detail THREE ways in which the simile corresponds to the situation it is describing. 

(1) 

(2) 

(3) 

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(g) “The spirit of Odysseus’ revenge is almost totally uncompromising … Revenge was the 

hero’s right.” (D. A. Little) 

(i) Discuss in detail TWO situations where Odysseus and / or Telemachus exact revenge 

in a manner that a modern reader might consider ruthless or brutal. You must explain 

exactly what is ruthless or brutal about each situation. 

(1) 

(2) 

(ii) With particular reference to “the hero’s right”, discuss in detail THREE reasons why 

Odysseus is totally uncompromising when he kills the Suitors. You must provide 

evidence to illustrate your answers. 

(1) 

(2) 

(3) 

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OR: TOPIC TWO: GREEK TRAGEDY 


EXTRACT A 

Teiresias: Nor am I bound to Creon’s patronage. 

… 

14 

And at my speaking – you shall be trodden down 

With fouler scorn than ever fell on man. 


Sophocles, King Oedipus

(a) (i) How is Creon related to Oedipus? 

(ii) “Your mother’s … curse” (line 8). Name Oedipus’ mother. 

(b) What specific accusation has Oedipus made against Creon? 

(c) “You have sinned – and do not know it – against your own on earth and in the grave.” 

(lines 5–7) 

(i) Who is the person “in the grave” that Oedipus has sinned against? 

(ii) How has he sinned against this person? 

(d) Explain an example of dramatic irony used in this extract. You must quote the relevant words 

and explain why they are ironic. 

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(e) (i) What exactly is Cithaeron? 

(ii) Explain in detail how Cithaeron is significant to Oedipus, both at the beginning and at 

the end of his life. 

Beginning: 

End: 

(f) (i) What is the role of the prophet Teiresias in this play? Explain in detail why he is here 

talking to Oedipus at this particular point in the play. 

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(ii) What is the tone of this part of Teiresias’ speech, and why does he use such a tone at 

this particular point in the play? You must provide evidence from this extract to illustrate 

your answer. 


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(g) (i) Discuss TWO characteristics of Oedipus as he is portrayed at the beginning of the play. 

You must provide evidence to illustrate your answers. 

(1) 

(2) 

(ii) Explain how Oedipus’ character changes during his meeting with Teiresias. You must 

provide evidence to illustrate your answers. 

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EXTRACT B 

Antigone: O sister! Ismene dear, dear sister Ismene! 

… 

And not to the other; nothing but shame and ignominy. 

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Sophocles, Antigone

(a) (i) What is the Greek term for the part of the play from which this extract comes? 

(ii) At what stage in the performance of the play is it usually found? 

(b) Describe Antigone’s appearance (her dress and hair) at this stage in the play, and explain 

why she appears this way. 

(c) (i) Which of the two brothers has not been given funeral honours? 

(ii) What political position does Creon hold? 

(d) (i) Explain the reference to “the Argive army” (line 12). 

(ii) Explain the events that caused the two brothers to die on the same day. 

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(e) “There is no pain, no sorrow, no suffering, no dishonour we have not shared together, you 

and I.” (lines 4–5) 

Explain THREE reasons, other than the deaths of her brothers, why Antigone has 

experienced pain, sorrow, suffering, or dishonour. 

(1) 

(2) 

(3) 

(f) (i) Explain TWO reasons why Ismene refuses to help Antigone bury their dead brother. 

(1) 

(2) 

(ii) Explain ONE reason why, after Antigone’s capture, Ismene claims that she did help 

bury their brother. 

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(g) “Have you heard how our dearest are being treated like enemies?” (line 8) 

(i) In what way are these words of Antigone inaccurate? 

(ii) Antigone claims that she loved both of her brothers equally. Explain the inconsistencies 

in Antigone’s love for her brothers. 

(iii) Discuss TWO other love relationships in this play. You must provide evidence to 

illustrate your answers. 

(1) 

(2) 

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EXTRACT C 

… 

22 

Then one of our men 

Creon: Is that the sort of man you think gods love? 


Sophocles, Antigone

(a) (i) Who is speaking to Creon at the beginning of this extract? 

(ii) What news does the speaker bring? 

(b) (i) What character does the chorus assume in this play? 

(ii) From where in the Greek theatre does the chorus perform? 

(c) (i) What is the Greek term for the entrance of the chorus? 

(ii) What is the Greek term for the choral odes that occur after each episode? 

(d) In ancient times, where in the theatre would Creon be standing during this episode and why 

would he be standing there? 

(e) Earlier in the play, Creon made an edict concerning the funeral of Antigone’s two brothers. 

How does the attitude of the chorus change towards Creon’s edict throughout the play? 

Attitude at the beginning of the play: 

Attitude during this episode: 

Attitude at the end of the play: 

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(f) In what ways is Creon tyrannical as a king? You must explain THREE ways in detail and 

provide evidence to illustrate your answers. 

(1) 

(2) 

(3) 

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(g) To what extent, and why, does the reader sympathise with Antigone? You must discuss 

FOUR reasons in detail and provide evidence to illustrate your answers. 

(1) 

(2) 

(3) 

(4) 

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OR: TOPIC THREE: ROMAN COMEDY 


EXTRACT A 

Speaker A: As you’ve been holding the mirror, I’m afraid 

your hands may smell of silver. 

… 

26 

But he doesn’t want such things for himself, so there’s no 

point in displaying to him something he doesn’t want, is 

there? 


Plautus, The Ghost

(a) Identify Speakers A and B. 

Speaker A: 

Speaker B: 

(b) “We don’t want Philolaches to suspect you of handling money.” (lines 2–3) 

Why would Speaker B not want to be suspected of handling money? 

(c) (i) What is Speaker B’s current social status? 

(ii) What change is she expecting in her social status? 

(d) (i) In which city is this play set? 

(ii) What is the Latin term for the part of the theatre where this scene would have been 

acted? 

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(e) As Speaker A’s final speech continues, she goes on to explain why Philolaches would not 

want the purple cloak and gold brooch for himself. 

(i) What will Speaker A say is the function of a purple cloak? 

(ii) What will Speaker A say is the function of a gold brooch? 

(iii) Explain what Speaker A will say are the best ornaments for a beautiful woman and why 

she considers them to be the best. 

(f) The staging of this scene employs two typical conventions of Roman comedy. 

(i) Explain in detail what these TWO conventions are. 

(1) 

(2) 

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(ii) Choose ONE of the conventions that you identified in (f) (i) and explain in detail how its 

use in this extract is particularly strange. 


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(g) Plautus’ characterisation of females relies heavily on stock characters. 

(i) What stock character types are represented by speakers A and B? Quote and explain 

ONE piece of evidence from this extract to illustrate each answer. 

Speaker A stock character: 

Evidence and explanation: 

Speaker B stock character: 

Evidence and explanation: 

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(ii) Name the other female character that appears in this play and discuss both how and 

to what depth she is characterised. 


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EXTRACT B 

Plesidippus: Do you happen to have seen an old fellow, 

grey curly hair, wicked slimy-looking rascal – 

… 

Sceparnio: There’s nothing to stop you going home again 

hungry. It’s Ceres you ought to be chasing, not Venus. 

30 


Plautus, The Rope

(a) (i) Who is meant by “an old fellow, grey curly hair, wicked slimy-looking rascal” 

(lines 1–2)? 

(ii) Why is Plesidippus looking for him? 

(b) (i) Who is Ceres (line 25)? 

(ii) Why does Sceparnio suggest that Plesidippus ought to be chasing Ceres? 

(c) (i) Where is this scene set? 

(ii) Why is such a location unusual? 

(d) (i) What stock character is represented by Plesidippus? 

(ii) Give ONE piece of evidence from this extract to illustrate your answer to (d) (i). 

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(e) Explain in detail what the three men see in the scene immediately following this extract. 

(f) Explain in detail THREE features of Daemones’ character. You must provide evidence from 

this extract to illustrate your answers. 

(1) 

(2) 

(3) 

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(g) In addition to using stock characters, Plautus also made use of stock narrative elements in 

his plays. 

Identify FOUR stock narrative elements in The Rope. For each element, discuss in detail how 

it is exemplified in this play. You must provide evidence to illustrate your answers. 

(1) 

(2) 

(3) 

(4) 

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EXTRACT C 

Speaker A [waving Gripus aside]: In consideration of my 

kindness to you and my efforts in recovering your property – 

… 

Gripus: You can throttle me for all I care. Two thousand 

smackers it’ll take to keep me quiet. 

34 


Plautus, The Rope

(a) Identify Speakers A and B. 

Speaker A: 

Speaker B: 

(b) To what “efforts” (line 3) is Gripus referring? 

(c) (i) What is the social status of Gripus? 

(ii) From this passage, quote ONE example of something that would be surprising for a 

person of Gripus’ social status to say. 

(d) How had the trunk come to be lost? 

(e) Explain in detail THREE things from this extract that would have made an ancient audience 

laugh. You must provide evidence to illustrate your answers. 

(1) 

(2) 

(3) 

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(f) (i) Describe in detail FOUR of the items that were found in the trunk. 

(1) 

(2) 

(3) 

(4) 

(ii) Explain how these items came to be gathered together originally, and explain their 

significance in revealing an identity in the play. 

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(g) (i) Discuss in detail how the play ends. You must provide evidence to illustrate your 

answer. 

37 

(ii) Discuss how the ending of the play mirrors the beginning in its style. You must provide 

evidence to illustrate your answer. 


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38 

Extra paper for continuation of answers if required. 

Clearly number the question. 


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Question 

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Question 

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Topic One 

References 

Extract A: Homer, The Odyssey, trans. E. V. Rieu, revised trans. D. C. H. Rieu (London: Penguin 

Books, 2003), pp 120–121. 

Extract B: Ibid., p 250. 

Extract C: Ibid., p 297. 

Topic Two 

D. A. Little, Homer’s Odyssey: Classical Studies for Schools, Teacher’s Guide no. 3 

(Classics Department: University of Otago, 1979), pp 23–24. 

Extract A: Sophocles, The Theban Plays, trans. E. F. Watling (London: Penguin Books, 1974), 

p 37. 

Extract B: Ibid., pp 126–127. 

Extract C: Ibid., pp 133–134. 

Topic Three 

Extract A: Plautus, The Ghost, The Rope, A Three-Dollar Day, Amphitryo, trans. E. F. Watling 

(London: Penguin Books, 1964), p 38. 

Extract B: Ibid., p 95. 

Extract C: Ibid., pp 154–155. 

43 

Classical Studies 90247, 2008

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