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Juvenal, Satire 3.190-322: the dangers of Rome

Practise 32 exam-style questions on Juvenal, Satire 3.190-322: the dangers of Rome for OCR GCSE Classical Civilisation (Roman City Life). Write your answer as you would in the exam and get it marked in seconds against the mark scheme, point by point, with an AI tutor on hand if you get stuck.

  • 32 questions
  • 1–15 marks each
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20 questions, marked as you go

Sample questions with model answers

Here are 4 of the questions in this topic, each with a model answer, an explanation of why it earns the marks and the mark scheme an examiner would use.

Question 1

1 mark

In Juvenal's Satire 3, Umbricius says that the drunken bully who has not had a fight spends a night like Achilles mourning his friend. Name the friend whom Achilles mourned.

Model answer

Patroclus.

Explanation

In the Iliad, Achilles lies awake tossing and turning after the death of Patroclus. Juvenal compares a drunken thug to the greatest Greek hero: the mock-epic comparison makes the bully ridiculous as well as frightening.

Mark scheme
  1. 1 mark

    Patroclus

    Accept Patroklos. Do not accept Hector.

Question 2

2 marks

Source A: Juvenal, Satire 3.299-301

'This is the poor man's freedom: when he has been beaten up, he begs, and when he has been pounded with fists, he pleads to be allowed to go home with a few teeth left.'

What is Juvenal's point in calling this 'the poor man's freedom'? Make two points.

Model answer

It is bitterly ironic: freedom was a proud Roman ideal, but the only 'freedom' the poor man has is to beg his attacker to let him go home 'with a few teeth left'. Juvenal's point is that in Rome the poor have no real rights or protection, since even the law sides with the bully, who takes his victim to court.

Explanation

The sentence ends the bully episode with a sarcastic twist on libertas, a key Roman value. The dark humour of 'a few teeth left' keeps it entertaining while making a serious point about injustice. Answers should explain the irony, not just paraphrase the line.

Mark scheme
  1. 1 mark

    It is ironic / sarcastic: the poor man's only 'freedom' is the freedom to beg to be let go after being beaten

    Accept any clear explanation of the irony of the word 'freedom' here.

  2. 1 mark

    A second valid point, e.g. the poor have no real rights or protection in Rome / the law does not help them

    Two from (max 2) across both points: irony / sarcasm (1); freedom (libertas) was a proud Roman ideal, but for the poor it means nothing (1); the poor have no protection - the bully even takes the victim to court (1); dark humour / bathos in 'with a few teeth left' (1); it sums up the helplessness of the poor in the city (1).

Question 3

4 marks

Source A: Juvenal, Satire 3.243-248

'Yet he will get there before us. As we hurry along, the wave of people in front blocks our way, and the great mass following behind presses on our backs. One man hits me with his elbow, another with a hard pole; one bangs a beam against my head, another a wine-jar. My legs are thick with mud; soon I am trodden on from all sides by huge feet, and a soldier's hobnail is stuck in my toe.'

What impressions do you gain of the streets of Rome from this passage? Make two points.

Model answer

The streets seem terribly crowded: 'the wave of people in front blocks our way' while 'the great mass following behind presses on our backs', so the poor man is trapped in the crush. They are also violent and dangerous, because one man 'hits me with his elbow', another 'bangs a beam against my head', and a soldier's hobnail sticks into his toe.

Explanation

Juvenal uses a rapid list of blows (elbow, pole, beam, wine-jar) and the first person 'me' to make the reader feel the crush. The opening 'Yet he will get there before us' sets this against the rich man gliding above the crowd in his litter. Each impression needs its own supporting detail.

Mark scheme
  1. 2 marks

    First point with supporting evidence from Source A: 1 mark for a valid impression of the streets of Rome, 1 mark for a relevant reference or quotation from the passage that supports it. The two marks are independent: award 1 for a valid point even if no evidence is given, and 1 for a relevant quotation from, reference to or close paraphrase of the source even if the point is missing, weak or wrong.

    Two pairs from, e.g.: very crowded (1) - 'the wave of people in front blocks our way' / 'the great mass following behind presses on our backs' (1); violent / painful to walk through (1) - elbow, hard pole, a beam against my head, a wine-jar (1); dirty (1) - 'my legs are thick with mud' (1); dangerous / you could be injured (1) - 'trodden on from all sides by huge feet' / 'a soldier's hobnail is stuck in my toe' (1); slow / frustrating for the poor, while the rich man gets there first (1) - 'Yet he will get there before us' (1); full of people carrying goods (1) - poles, beams, wine-jars (1). The second pair must make a different point from the first. Credit a relevant reference (1) even if the impression is weak. Points must come from the passage.

  2. 2 marks

    Second, different point with supporting evidence from Source A: 1 mark for a valid impression of the streets of Rome, 1 mark for a relevant reference or quotation from the passage that supports it. The two marks are independent: award 1 for a valid point even if no evidence is given, and 1 for a relevant quotation from, reference to or close paraphrase of the source even if the point is missing, weak or wrong.

    As above; must be a different impression from the first point.

Question 4

8 marks

Source A: Juvenal, Satire 3.232-242

'Most sick people here die from lack of sleep (though the illness itself was brought on by undigested food clinging to a fevered stomach); for what rented lodgings let you sleep? In Rome, sleep is only for the very rich. That is the root of the disease. The wagons passing through the narrow, winding streets and the swearing of a drover whose herd has come to a halt would rob even Drusus or a seal of sleep. When duty calls, the rich man will be carried along as the crowd makes way, speeding high above their faces in his huge litter, and on the way he will read or write or sleep inside it; for a litter with its window closed makes you drowsy.'

To what extent does Juvenal rely on exaggeration to make his picture of city life entertaining? Use Source A as a starting point and your own knowledge of Satire 3.

Model answer

Juvenal relies heavily on exaggeration to entertain, but it is only one of several techniques, and it works best because it is mixed with realistic detail.

Source A is full of comic overstatement. Umbricius claims that 'most sick people here die from lack of sleep', and that the noise of wagons and swearing drovers 'would rob even Drusus or a seal of sleep'. Drusus was probably the emperor Claudius, famous for dozing off, and seals were thought to sleep deeply, so the comparison turns a real nuisance into a joke. The line 'sleep is only for the very rich' is also an exaggeration, but it sets up a pointed contrast with the rich man who can read, write or sleep in his litter.

The same technique runs through the rest of the satire. Rome is 'held up for the most part by thin props'; a hundred diners are each 'followed by his own kitchen'; a wagon pours 'an overturned mountain' onto the crowd; there are as many deaths as open windows, so you should make your will before dinner; and iron might run out for ploughshares because so much goes on chains. These images are entertaining because they are absurd.

However, much of the entertainment comes from other techniques. Juvenal uses mock-epic, comparing a tenement fire to the fall of Troy through Ucalegon and the bully to Achilles mourning Patroclus. He uses dark humour, as when the crushed man sits by the ferryman with no coin, and sarcasm in 'the poor man's freedom'. The constant contrast between rich and poor and the first-person account of being elbowed and trodden on also make the scenes vivid. Finally, the exaggeration has a basis in fact: wheeled traffic really did move at night because it was banned by day.

Overall, exaggeration is Juvenal's most important tool for entertaining his audience, but it is effective because it is rooted in real problems and combined with contrast, mock-epic and dark humour.

Explanation

A top answer identifies many examples of hyperbole across the prescribed lines and weighs them against other techniques such as contrast, mock-epic and dark humour. It also recognises that exaggeration is funnier because it grows out of real conditions. Simply listing examples of exaggeration without a judgement keeps an answer in Level 2.

Mark scheme
  1. 8 marks

    Levels of response (8 marks). AO1 (4) and AO2 (4) are equally weighted.
    Level 4 (7-8 marks): consistently accurate and detailed knowledge of Juvenal's techniques in Satire 3.190-322, using both Source A and own wider knowledge of the satire; very good understanding of the satirical genre and its audience; a well-argued response with a clear, substantiated judgement on how far exaggeration is the source of the entertainment, weighed against other techniques, supported by a range of well-selected evidence, including critical analysis.
    Level 3 (5-6 marks): accurate knowledge, using both Source A and own knowledge of the satire; a focused response with relevant analysis of exaggeration and other techniques, and a judgement.
    Level 2 (3-4 marks): sound, mostly accurate knowledge; engages with the general topic of how Juvenal entertains; limited range of evidence; some analysis.
    Level 1 (1-2 marks): limited knowledge, may only use Source A; isolated analysis with little or no judgement.
    0 marks: no response or no response worthy of credit.
    A mainly descriptive or narrative answer with little analysis or judgement cannot go above Level 2.

    Indicative content (not a checklist; credit other valid points): AO1: Source A - 'most sick people here die from lack of sleep'; 'sleep is only for the very rich'; the noise 'would rob even Drusus or a seal of sleep' (Drusus probably the emperor Claudius, known for dozing off; seals were thought to be sleepy); the rich man reading, writing or sleeping in his closed litter. Own knowledge - exaggeration elsewhere: a city 'held up for the most part by thin props'; Cordus 'lost that whole nothing'; a hundred diners each followed by his own kitchen; Corbulo could hardly carry the slave's load; an 'overturned mountain' of marble; as many deaths as open windows - make your will before dinner; iron running out for ploughshares because of chains; a feast for a hundred Pythagoreans; a plot for a single lizard. Other techniques - contrast of rich and poor (Cordus and Asturicus, litter and crowd); vivid lists (elbow, pole, beam, wine-jar); first-person experience ('me'); rhetorical questions; mock-epic (Ucalegon, Achilles mourning Patroclus, the ferryman); dark humour (the dead man without a coin, 'with a few teeth left'); sarcasm ('the poor man's freedom'). AO2: exaggeration is central - it creates comic images and makes the audience laugh at the absurd scale of the problems; it also sharpens the satire's attack. But entertainment also comes from contrast, mock-epic, dark humour and vivid detail; and some details are realistic (night traffic because wheeled vehicles were banned by day), which gives the humour its bite. Judgement - e.g. exaggeration is the most important single technique, but it works only because it is combined with recognisable reality and other techniques.

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