A-Level Classical Studies — Advanced Analysis

Front

Explain the distinction between *imperium* and *auctoritas* under Augustus.

Back

Imperium referred to Augustus' legal military command power (maius imperium), enforced through the Senate's grants. Auctoritas, however, was his intangible moral influence and prestige, derived from his prestige and the trust of the people/legions. Augustus famously claimed he excelled all in *auctoritas* but had no more *imperium* than colleagues, though in reality, his legal powers were supreme.

Front

To what extent was Alexander the Great a 'Philhellenic' ruler?

Back

Alexander utilized Philhellenism as a political instrument to legitimize his invasion of Persia as a Pan-Hellenic crusade. However, his adoption of Persian dress (e.g., *sagaris* and *tiara*) and implementation of *proskynesis* suggests a shift towards Eastern despotism. He was not purely Hellenic but rather a pragmatic synthesizer of Greek and Persian traditions to control a diverse empire.

Front

Contrast Aristophanes' 'Old Comedy' with Menander's 'New Comedy'.

Back

Old Comedy (5th cent. BC) focused on political satire, direct attacks on contemporary figures (e.g., Cleon), and fantastical plots (e.g., flying in *Clouds*). It utilized a chorus and parabasis. New Comedy (4th/3rd cent. BC) abandoned the chorus and political focus for stock characters (e.g., the braggart soldier), domestic misunderstandings, and themes of everyday life and romantic intrigue.

Front

Analyse the role of *pietas* in Virgil's *Aeneid* compared to Homeric heroism.

Back

Homeric heroes (Achilles) prioritize *kleos* (glory) and personal honor, often acting impulsively. Aeneas, however, is defined by *pietas*—duty to the gods, country, and family. In Book 2, he abandons Troy to save his family; in Book 4, he sacrifices his love for Dido to fulfill his destiny. Aeneas is a tool of Fate rather than a self-aggrandizing warrior.

Front

How does the evolution of Red-Figure technique differ from Black-Figure?

Back

Black-Figure (incised details on black silhouettes) was limited in anatomical detail. Red-Figure (developed c. 530 BC in Athens) reversed this, allowing the potter to paint background details and use the brush for fine lines (e.g., *dilute glaze* for musculature). This enabled three-quarter views, foreshortening, and greater emotional expressiveness in figures.