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Tyrtaeus, The Fallen Warrior, and Horace, Odes 3.2

Practise 31 exam-style questions on Tyrtaeus, The Fallen Warrior, and Horace, Odes 3.2 for OCR GCSE Classical Civilisation (War and Warfare). 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.

  • 31 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 the first stanza of Horace, Odes 3.2, what kind of soldier does Horace say the boy should become?

Model answer

A cavalryman - a horseman feared for his spear.

Explanation

Horace wants the boy, toughened by hard military service and used to poverty, to harass the fierce Parthians as a horseman feared for his spear. Fighting the Parthians, who were famous for their cavalry, would call for exactly this kind of soldier.

Mark scheme
  1. 1 mark

    A cavalryman / horseman (to be feared for his spear)

    Accept 'a horseman', 'a cavalry soldier', eques. Do not accept 'a legionary', 'a hoplite' or 'a soldier' alone.

Question 2

2 marks

Source A: Horace, Odes 3.2, lines 25-32

'There is a sure reward for faithful silence too. I will forbid the man who has made public the sacred rites of mysterious Ceres to live under the same roof-beams as me, or to untie a fragile boat with me. Often Diespiter, when slighted, has caught up the innocent together with the guilty; rarely has Punishment, though lame of foot, let go of the criminal who runs ahead of her.'

What two things will the poet refuse to share with a man who has revealed the secret rites of Ceres?

Model answer

He will not live under the same roof with him, and he will not set sail with him in the same fragile boat.

Explanation

Horace fears that the gods' punishment may fall on everyone near the guilty man - a collapsing roof or a sinking boat - because Jupiter (Diespiter) often destroys the innocent along with the guilty. The rites of Ceres were the secret Mysteries, which initiates were forbidden to reveal; the stanzas praise loyalty, discretion and respect for the gods.

Mark scheme
  1. 1 mark

    The same roof (he will not live under the same roof-beams / in the same house)

    Accept 'a house' / 'a home' / 'a roof'.

  2. 1 mark

    A (fragile) boat (he will not set sail / untie a boat with him)

    Accept 'a ship' / 'a voyage'.

Question 3

4 marks

Source A: Tyrtaeus, Fragment 10, lines 27-32

'But for the young everything is fitting, while he has the glorious flower of lovely youth: while he lives, men gaze at him in admiration and women desire him, and he is beautiful when he falls among the front-line fighters. So let each man stand firm, with his legs well apart, both feet planted on the ground, biting his lip with his teeth.'

What impressions do you gain of the young warrior in this passage? Make two points.

Model answer

The young warrior is presented as beautiful and admired: he has 'the glorious flower of lovely youth', men 'gaze at him in admiration' and women desire him, and even in death he is 'beautiful when he falls among the front-line fighters'. He is also steadfast and self-controlled, standing 'with his legs well apart, both feet planted on the ground', biting his lip to master his fear.

Explanation

The ending contrasts the ugly death of the old man with the beauty of the young man's death, and turns the idea into a command: hold your ground. The last image is realistic - biting the lip suggests fear held in check - which makes the poem more than simple glorification. Each impression needs its own supporting quotation.

Mark scheme
  1. 2 marks

    First impression of the young warrior with supporting evidence from Source A: 1 mark for a valid impression, 1 mark for a relevant reference or quotation from the passage that supports it. The evidence mark is awarded for a relevant reference or quotation even if the impression is missing, weak or wrong. 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.: beautiful / attractive (1) - 'the glorious flower of lovely youth' / 'women desire him' (1); admired by everyone (1) - 'men gaze at him in admiration' (1); his death is noble / glorious (1) - 'he is beautiful when he falls among the front-line fighters' / 'everything is fitting' (1); steadfast / determined (1) - 'stand firm ... both feet planted on the ground' (1); tense but self-controlled / masters his fear (1) - 'biting his lip with his teeth' (1); brave, fights in the most dangerous place (1) - 'among the front-line fighters' (1). The second pair must make a different point from the first. Points must come from the passage.

  2. 2 marks

    Second, different impression with supporting evidence from Source A: 1 mark for a valid impression, 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

15 marks

'Tyrtaeus and Horace present dying for one's country as glorious, but Homer shows its true cost.' How far do you agree with this statement? In your answer you should refer to the texts you have studied.

Model answer

At first sight the statement seems fair. Tyrtaeus opens his poem by declaring that 'it is a fine thing for a brave man to die, falling among the front-line fighters while he fights for his fatherland', and he says that the young man is 'beautiful when he falls'. Horace goes further, calling death for one's country 'sweet' as well as 'fitting', and promising that Virtue opens heaven 'to those who do not deserve to die'. Both poems were written to persuade: Tyrtaeus to make Spartan citizens hold the line in the war against the Messenians, Horace to encourage young Romans in the spirit of Augustus' revival of old Roman values. Naturally they emphasise glory.

Homer, by contrast, constantly shows the cost of war. In Iliad 22 Priam imagines the fall of Troy - his sons killed, his daughters dragged away, and his own dogs tearing his body - and Hecuba bares the breast that fed Hector. Homer describes the washing-troughs where Trojan women washed their clothes 'in the old days of peace'. When Hector dies, his soul goes to Hades lamenting the youth it has lost, and the city mourns as if Troy were already burning. In Book 24 Priam has lost most of his fifty sons, and Achilles weeps for the father he will never see again. Virgil, too, in Aeneid 2 shows the price of war through the slaughter of Polites before his father's eyes and Priam's headless body lying on the shore.

However, the statement is too simple. Tyrtaeus does not hide the ugliness of death: his old man dies 'clutching his bloody groin', 'his body stripped naked', and the young man must bite his lip in fear. Horace's soldier is swept by 'bloody rage ... through the middle of the slaughter'. Homer, meanwhile, honours glory: Hector refuses to die 'without glory', and Achilles boasts that 'we have won great glory'. Most strikingly, Homer gives Priam an argument very like Tyrtaeus' - that everything is fitting for a young man killed in battle, but an old man's death is most pitiful - yet Priam uses it to beg his son not to fight. Even Aeneas in Aeneid 2 feels that it is 'beautiful to die in arms', before learning that his duty is to survive.

In conclusion, I partly agree. Tyrtaeus and Horace emphasise glory because their poems have a persuasive public purpose, while Homer's epic gives a voice to grieving families and so shows the cost more fully. But all these poets show both sides: the lyric poets admit the horror, and Homer admires the glory. The real difference lies in genre, audience and purpose rather than in a simple contrast between glorifying and criticising war.

Explanation

Top answers compare the poets closely rather than writing about each separately, and they notice complications: Tyrtaeus' graphic realism, Horace's violent imagery, Homer's genuine admiration of glory and the striking parallel between Tyrtaeus and Priam's speech in Iliad 22. Explaining the differences through genre, audience and purpose is what lifts an answer into Level 5.

Mark scheme
  1. 15 marks

    Levels of response (15 marks). AO1 (5) knowledge and understanding; AO2 (10) analysis, evaluation and argument.
    Level 5 (13-15 marks): very good, detailed and accurate knowledge of a wide range of evidence from Tyrtaeus, Horace and Homer (and possibly Virgil) and of their contexts and purposes; very good analysis of well-selected evidence; a coherent argument with a clear line of reasoning, successful evaluation of how each poet presents both the glory and the cost of death in war, and a convincing, substantiated conclusion.
    Level 4 (10-12 marks): good, accurate knowledge of a range of evidence from the texts; good analysis of a wide range of evidence; a consistently well-structured argument and a sound conclusion.
    Level 3 (7-9 marks): reasonable, mostly accurate knowledge; reasonable analysis of a range of evidence; a relevant conclusion.
    Level 2 (4-6 marks): basic knowledge; some relevant evidence; some structure and a credible conclusion.
    Level 1 (1-3 marks): limited knowledge, little relevant evidence, weak conclusion.
    0 marks: no response or no response worthy of credit.
    An answer that is mostly description or narrative, or that is one-sided, cannot go above Level 3.

    Indicative content (not a checklist; credit other valid points): AO1: Tyrtaeus: 'it is a fine thing for a brave man to die' in the front line for his fatherland; the young man admired, desired and beautiful when he falls; but the misery of exile, and the old man's ugly death (white head, bloody groin, body stripped); stand firm biting the lip. Horace: 'dulce et decorum est pro patria mori'; the Roman lion; Virtue opens heaven; but death pursues the runaway, 'bloody rage', the slaughter, the enemy women's fear. Homer: glory - Hector resolves to die 'not without glory' (Iliad 22), Diomedes' aristeia (Book 5), Achilles 'we have won great glory'; cost - Priam's vision of the sack of Troy and his own body eaten by dogs, with his contrast of the young man's fitting death and the old man's shameful one (Iliad 22, very like Tyrtaeus); Hecuba's plea; the washing-troughs of peacetime; Hector's soul lamenting its lost youth; the dragging of the body and Troy's grief; Andromache's losses (Book 6); Priam's fifty sons and the two jars (Book 24). Virgil, Aeneid 2: Aeneas thinks it beautiful to die in arms; Coroebus dies trying to save Cassandra; Priam sees Polites killed and is slaughtered at the altar - a headless body on the shore; Creusa is lost. AO2: Tyrtaeus and Horace are persuasive poems with a public purpose, so they emphasise glory, but neither hides the cost entirely (Tyrtaeus' realism, Horace's slaughter); Homer's narrative gives voice to the families and the victims, so the cost is clearer, yet he also honours glory; Homer puts Tyrtaeus-like ideas into the mouth of Priam to persuade his son not to fight; genre, audience and purpose explain the differences; possible judgement: broadly true, but too simple - all the poets show both, with different emphasis.

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