diff --git "a/extracted-json/jc/classics.json" "b/extracted-json/jc/classics.json" --- "a/extracted-json/jc/classics.json" +++ "b/extracted-json/jc/classics.json" @@ -10,7 +10,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Write a short note on each of the gods / goddesses named below. Both the Greek and Roman\nnames have been given.\nName of god / goddess: Zeus (Greek), Jupiter (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Poseidon (Greek), Neptune (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Aphrodite (Greek), Venus (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Hephaestus (Greek), Vulcan (Roman)\nGod / goddess of: Short note:\nClassics – Common level", + "question_text": "Write a short note on each of the gods / goddesses named below. Both the Greek and Roman\nnames have been given.\nName of god / goddess: Zeus (Greek), Jupiter (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Poseidon (Greek), Neptune (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Aphrodite (Greek), Venus (Roman)\nGod / goddess of: Short note:\nName of god / goddess: Hephaestus (Greek), Vulcan (Roman)\nGod / goddess of: Short note:", "has_images": true, "image_notes": "image(s) detected on page 3", "topic": null, @@ -46,7 +46,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhere was the Golden Fleece?", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhere was the Golden Fleece?", "has_images": true, "image_notes": "image(s) detected on page 4, 5", "topic": null, @@ -64,7 +64,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhy did Jason try to retrieve the Golden Fleece?\nClassics – Common level", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhy did Jason try to retrieve the Golden Fleece?", "has_images": true, "image_notes": "image(s) detected on page 4, 5", "topic": null, @@ -82,7 +82,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhy do you think Jason chose crew members like Heracles and Orpheus for the dangerous\nmission?", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhy do you think Jason chose crew members like Heracles and Orpheus for the dangerous\nmission?", "has_images": true, "image_notes": "image(s) detected on page 4, 5, 6", "topic": null, @@ -100,7 +100,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhat task did Jason have to perform before Aeetes would show him where the Golden\nFleece was located?", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nWhat task did Jason have to perform before Aeetes would show him where the Golden\nFleece was located?", "has_images": true, "image_notes": "image(s) detected on page 4, 5, 6", "topic": null, @@ -118,7 +118,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nStudy the image below. What part of the myth do you think is shown? Explain your answer.\nImage A Image B\nClassics – Common level", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nStudy the image below. What part of the myth do you think is shown? Explain your answer.\nImage A Image B", "has_images": true, "image_notes": "image(s) detected on page 4, 5, 6", "topic": null, @@ -136,7 +136,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nDescribe a moment from another Greek or Roman myth you have studied where a god /\ngoddess helps or punishes a human character.", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nDescribe a moment from another Greek or Roman myth you have studied where a god /\ngoddess helps or punishes a human character.", "has_images": true, "image_notes": "image(s) detected on page 4, 5", "topic": null, @@ -154,7 +154,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nClassics – Common level\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nDo you think female characters in myths get the credit they deserve when they help male\nheroes to complete their tasks? You may refer to the myth of Jason and the Golden Fleece\nand / or other myths in your answer.\nClassics – Common level", + "question_text": "Read the following passage based on the myth of Jason and the Golden Fleece. Answer the\nquestions that follow.\nWhen Jason was a baby, his father, the king of Iolcus, was removed from power by his\nbrother Pelias (Jason’s uncle). The infant Jason was smuggled out of the palace to safety and\nraised far away from his wicked uncle. Once he reached adulthood, Jason returned to confront his\nuncle and claim his throne. Pelias made a deal with Jason and said he could have the throne if he\nwas able to retrieve the famous Golden Fleece. The fleece was in Colchis on the Black Sea and was\nguarded by a great serpent. Pelias thought that Jason would get killed on the dangerous voyage to\nfind the fleece.\nJason built a ship, the Argo, and assembled a crew of heroes to help him with his task. The\ncrew included the great hero Heracles, who was famous for completing the twelve labours, and\nthe hero Orpheus, whose magical music had the power to calm wild beasts. After a series of\nadventures, Jason and the surviving crew members reached Colchis. The king of Colchis, Aeetes,\nagreed to show Jason where the Golden Fleece was if he could plough a field using a pair of fire-\nbreathing bulls and sow the ground with the teeth of a dragon.\nAphrodite made Aeetes’ daughter Medea fall in love with Jason, and Medea used her\npowers as a witch to help him. She gave him a magic ointment to protect him from the bulls’ fire\nand warned him that once he sowed the dragon’s teeth, warriors would spring up from the\nground. Medea helped Jason by using a potion to make the serpent fall asleep so that Jason could\nretrieve the Golden Fleece. Medea did all of this on the condition that Jason married her and\nbrought her back to Greece with him.\nDo you think female characters in myths get the credit they deserve when they help male\nheroes to complete their tasks? You may refer to the myth of Jason and the Golden Fleece\nand / or other myths in your answer.", "has_images": true, "image_notes": "image(s) detected on page 4, 5", "topic": null, @@ -172,7 +172,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Using one of the images below, describe three differences between a typical house in ancient\nAthens (A) or Rome (B) and a home in Ireland today.\nA\nClassics – Common level\nB\nImage chosen:\nDifference:\nDifference:\nDifference:\nClassics – Common level", + "question_text": "Using one of the images below, describe three differences between a typical house in ancient\nAthens (A) or Rome (B) and a home in Ireland today.\nA\nB\nImage chosen:\nDifference:\nDifference:\nDifference:", "has_images": true, "image_notes": "image(s) detected on page 8, 9", "topic": null, @@ -190,7 +190,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nClassics – Common level\nWhat evidence in Extract A suggests that the crowd was excited at the start of the chariot\nrace?", + "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nWhat evidence in Extract A suggests that the crowd was excited at the start of the chariot\nrace?", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -208,7 +208,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nClassics – Common level\nWhat causes the crash between the two chariots in Extract B?", + "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nWhat causes the crash between the two chariots in Extract B?", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -226,7 +226,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nClassics – Common level\nHow does the driver Atlas react to the crash in Extract B?", + "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nHow does the driver Atlas react to the crash in Extract B?", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -244,7 +244,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nClassics – Common level\nDo you think the driver shown in image C would be well protected if there was a collision?\nExplain your answer.", + "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nDo you think the driver shown in image C would be well protected if there was a collision?\nExplain your answer.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -262,7 +262,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nClassics – Common level\nImage D shows the Circus Maximus, the largest chariot-racing track in Rome. What do you\nthink the area indicated by the red arrow was used for?\nClassics – Common level", + "question_text": "The two primary sources below describe different aspects of a chariot race. Use them, along with\nthe images labelled C and D, to answer the questions below.\nExtract A describes the start of the race.\nEven before the starting-gate was unbarred, the excited crowd surged to and fro with a\nnoise like the sound of the sea and fixed their eyes on the doors behind which the racers were\nstanding. And now the signal was given, and the bolts flew back with a noise. Scarcely had the\nfirst hoof flashed into full view, when a wild storm of shouting rose up to heaven. Bending forward\nlike the drivers, each person gazed at the chariot they favoured, and at the same time shouted to\nthe flying horses.\nExtract B describes a collision between two chariots during the race.\nThe two last drivers were Atlas and Durius; and now they swerved aside and resorted to\ntricks. First, one tried to pass his rival on the left; and then the other came up on the right and\nstrove to get in front; but both failed in their attempted strategy. At last Durius, young and\nconfident, leaning forward and jerking at his reins, placed his chariot blocking his rival’s course and\nstruck the other chariot and overturned it. Atlas protested: “Where are you rushing? Or what\ncrazy kind of racing is this? You’re trying to kill me and my horses together.” As he cried out, he\nfell headfirst from the broken chariot; and the horses too, fell down and sprawled on the ground.\nC\nD\nImage D shows the Circus Maximus, the largest chariot-racing track in Rome. What do you\nthink the area indicated by the red arrow was used for?", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -280,7 +280,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Write an account of what it would be like to attend a public event (other than a chariot race) in\nancient Greece or Rome.\nClassics – Common level", + "question_text": "Write an account of what it would be like to attend a public event (other than a chariot race) in\nancient Greece or Rome.", "has_images": true, "image_notes": "image(s) detected on page 12", "topic": null, @@ -298,7 +298,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A shows a recently excavated thermopolium (small pub / restaurant) in Pompeii. Image B is\nan artist’s reconstruction of a similar small restaurant. You should use both images to help you\nanswer the questions.\nA\nB\nWhy do you think the paintings on the bar counter in image A show birds like ducks and\nchickens?\nClassics – Common level", + "question_text": "Image A shows a recently excavated thermopolium (small pub / restaurant) in Pompeii. Image B is\nan artist’s reconstruction of a similar small restaurant. You should use both images to help you\nanswer the questions.\nA\nB\nWhy do you think the paintings on the bar counter in image A show birds like ducks and\nchickens?", "has_images": true, "image_notes": "image(s) detected on page 13", "topic": null, @@ -352,7 +352,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "The passage below is taken from a book by Diodorus Siculus called History. It describes\nslaves working in a mine. Read the passage and then answer the questions which follow.\nThe slaves who are engaged in working in the mine produce for their masters huge profits in\namounts defying belief, but they themselves wear out their bodies both by day and by night\ndigging under the earth, dying in large numbers because of the exceptional hardships they endure.\nFor no rest or pause is granted to them in their labours, but, forced beneath the blows of the\noverseers to endure the harshness of their plight, they throw away their lives in this wretched\nmanner… indeed, death in their eyes is more to be desired than life, because of the scale of the\nhardships they must bear.\nWere all slaves in the ancient world treated like the mining slaves described in the passage?\nExplain your answer.\nClassics – Common level\nCandidates Must Answer One Of The Following Sections:\nB - The World of Achilles, Rome\nor\nC - Classical Languages – Latin\nor\nD - Classical Languages – Ancient Greek\nClassics – Common level\nSection B The World of Achilles, Rome 180 marks", + "question_text": "The passage below is taken from a book by Diodorus Siculus called History. It describes\nslaves working in a mine. Read the passage and then answer the questions which follow.\nThe slaves who are engaged in working in the mine produce for their masters huge profits in\namounts defying belief, but they themselves wear out their bodies both by day and by night\ndigging under the earth, dying in large numbers because of the exceptional hardships they endure.\nFor no rest or pause is granted to them in their labours, but, forced beneath the blows of the\noverseers to endure the harshness of their plight, they throw away their lives in this wretched\nmanner… indeed, death in their eyes is more to be desired than life, because of the scale of the\nhardships they must bear.\nWere all slaves in the ancient world treated like the mining slaves described in the passage?\nExplain your answer.\nCandidates Must Answer One Of The Following Sections:\nB - The World of Achilles, Rome\nor\nC - Classical Languages – Latin\nor\nD - Classical Languages – Ancient Greek\nSection B The World of Achilles, Rome 180 marks", "has_images": false, "image_notes": null, "topic": null, @@ -388,7 +388,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nClassics – Common level\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nFrom your study of the Iliad does it surprise you that Priam sneaks into the Greek camp to\nmeet Achilles? Explain your answer.", + "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nFrom your study of the Iliad does it surprise you that Priam sneaks into the Greek camp to\nmeet Achilles? Explain your answer.", "has_images": true, "image_notes": "image(s) detected on page 17", "topic": null, @@ -406,7 +406,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nClassics – Common level\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nWhat does Priam want from Achilles?\nA", + "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nWhat does Priam want from Achilles?\nA", "has_images": true, "image_notes": "image(s) detected on page 17", "topic": null, @@ -424,7 +424,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nClassics – Common level\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nDoes image A match the description in the passage? Explain your answer.\nClassics – Common level", + "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nDoes image A match the description in the passage? Explain your answer.", "has_images": true, "image_notes": "image(s) detected on page 17", "topic": null, @@ -442,7 +442,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nClassics – Common level\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nChoose another dramatic speech or conversation you have studied from the Iliad and\nexplain why, in your view, it is dramatic.\nClassics – Common level", + "question_text": "Read the passage from the Iliad and study image A below before answering the questions. The\npassage describes what happens when Priam sneaks into the hut of Achilles in Book 24.\nThe men did not see great Priam as he entered. He came up to Achilles, then with his fingers,\nclasped his knees and kissed his hands, those dreadful hands, man-killers, which had slain so many\nof his sons. Just as sheer folly grips a man who in his own land kills someone, then runs off to a\nland of strangers, to the home of some rich man, so those who see him are seized with wonder—\nthat’s how Achilles then looked on godlike Priam in astonishment. The others were amazed. They\ngazed at one another. Then Priam made his plea:\n“I’m completely doomed to misery, for I fathered the best sons in spacious Troy, yet I say now\nnot one of them remains. I had fifty when the Greeks arrived. Angry Ares drained the life of most\nof them. But I had one left, guardian of our city, protector of its people. You’ve just killed him, as\nhe was fighting for his native country. I mean Hector. For his sake I’ve come here, to Achaea’s\nships, to win his body back from you. And I’ve brought a ransom beyond counting.\nSo Achilles, show respect to the gods and pity for myself, remembering your own father.\nOf the two old men, I’m more pitiful, because I have endured what no living mortal on this earth\nhas borne - I’ve lifted up to my own lips and kissed the hands of the man who killed my son.”\nChoose another dramatic speech or conversation you have studied from the Iliad and\nexplain why, in your view, it is dramatic.", "has_images": true, "image_notes": "image(s) detected on page 17", "topic": null, @@ -478,7 +478,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "The passage below is adapted from Book 3 of the Iliad. It describes a duel between Menelaus and\nParis. Read the passage and then answer the questions which follow.\nThey strode into the middle ground between Trojans and Greeks, glaring terror at each\nother. First Paris let fly his long-shadowed spear, and hit the even circle of the son of Atreus’\nshield. The bronze of the spear did not break through, but its point was turned in the stout shield.\nThen Atreus’ son Menelaus rose to his cast, and steadying his long-shadowed spear he let it fly,\nand hit the even circle of the son of Priam’s shield. Through the bright shield the strong spear\nwent, and on through the worked corselet (body-armour), forcing its way: pushing straight on\nthrough, it tore through the tunic at his side – but he swerved away and escaped black doom. The\nson of Atreus drew his silver-nailed sword, swung it high for the blow, and brought it crashing\ndown on the helmet’s ridge – there it shattered and slipped in pieces from his hand.\nThen Menelaus sprang forward and seized Paris by the thick horse-hair of the helmet, spun\nhim round, and started to drag him back towards the well-greaved Achaians: at his soft neck the\nstitched strap was choking him, the helmet tight under his chin. And now he would have dragged\nhim back and won limitless glory, if Zeus’ daughter Aphrodite had not quickly seen. She broke the\nstrap, made from the hide of a slaughtered ox, and Menelaus’ massive hand pulled away the\nhelmet empty.\nOutline how the depiction of combat in this passage is typical of the way combat is depicted\nin the Iliad.\nClassics – Common level", + "question_text": "The passage below is adapted from Book 3 of the Iliad. It describes a duel between Menelaus and\nParis. Read the passage and then answer the questions which follow.\nThey strode into the middle ground between Trojans and Greeks, glaring terror at each\nother. First Paris let fly his long-shadowed spear, and hit the even circle of the son of Atreus’\nshield. The bronze of the spear did not break through, but its point was turned in the stout shield.\nThen Atreus’ son Menelaus rose to his cast, and steadying his long-shadowed spear he let it fly,\nand hit the even circle of the son of Priam’s shield. Through the bright shield the strong spear\nwent, and on through the worked corselet (body-armour), forcing its way: pushing straight on\nthrough, it tore through the tunic at his side – but he swerved away and escaped black doom. The\nson of Atreus drew his silver-nailed sword, swung it high for the blow, and brought it crashing\ndown on the helmet’s ridge – there it shattered and slipped in pieces from his hand.\nThen Menelaus sprang forward and seized Paris by the thick horse-hair of the helmet, spun\nhim round, and started to drag him back towards the well-greaved Achaians: at his soft neck the\nstitched strap was choking him, the helmet tight under his chin. And now he would have dragged\nhim back and won limitless glory, if Zeus’ daughter Aphrodite had not quickly seen. She broke the\nstrap, made from the hide of a slaughtered ox, and Menelaus’ massive hand pulled away the\nhelmet empty.\nOutline how the depiction of combat in this passage is typical of the way combat is depicted\nin the Iliad.", "has_images": false, "image_notes": null, "topic": null, @@ -514,7 +514,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "The passage below is adapted from Book 3 of the Iliad. It describes a duel between Menelaus and\nParis. Read the passage and then answer the questions which follow.\nThey strode into the middle ground between Trojans and Greeks, glaring terror at each\nother. First Paris let fly his long-shadowed spear, and hit the even circle of the son of Atreus’\nshield. The bronze of the spear did not break through, but its point was turned in the stout shield.\nThen Atreus’ son Menelaus rose to his cast, and steadying his long-shadowed spear he let it fly,\nand hit the even circle of the son of Priam’s shield. Through the bright shield the strong spear\nwent, and on through the worked corselet (body-armour), forcing its way: pushing straight on\nthrough, it tore through the tunic at his side – but he swerved away and escaped black doom. The\nson of Atreus drew his silver-nailed sword, swung it high for the blow, and brought it crashing\ndown on the helmet’s ridge – there it shattered and slipped in pieces from his hand.\nThen Menelaus sprang forward and seized Paris by the thick horse-hair of the helmet, spun\nhim round, and started to drag him back towards the well-greaved Achaians: at his soft neck the\nstitched strap was choking him, the helmet tight under his chin. And now he would have dragged\nhim back and won limitless glory, if Zeus’ daughter Aphrodite had not quickly seen. She broke the\nstrap, made from the hide of a slaughtered ox, and Menelaus’ massive hand pulled away the\nhelmet empty.\nDo you think image A matches Homer’s description of the weapons and armour in the\npassage above? Explain your answer with reference to the passage.\nClassics – Common level", + "question_text": "The passage below is adapted from Book 3 of the Iliad. It describes a duel between Menelaus and\nParis. Read the passage and then answer the questions which follow.\nThey strode into the middle ground between Trojans and Greeks, glaring terror at each\nother. First Paris let fly his long-shadowed spear, and hit the even circle of the son of Atreus’\nshield. The bronze of the spear did not break through, but its point was turned in the stout shield.\nThen Atreus’ son Menelaus rose to his cast, and steadying his long-shadowed spear he let it fly,\nand hit the even circle of the son of Priam’s shield. Through the bright shield the strong spear\nwent, and on through the worked corselet (body-armour), forcing its way: pushing straight on\nthrough, it tore through the tunic at his side – but he swerved away and escaped black doom. The\nson of Atreus drew his silver-nailed sword, swung it high for the blow, and brought it crashing\ndown on the helmet’s ridge – there it shattered and slipped in pieces from his hand.\nThen Menelaus sprang forward and seized Paris by the thick horse-hair of the helmet, spun\nhim round, and started to drag him back towards the well-greaved Achaians: at his soft neck the\nstitched strap was choking him, the helmet tight under his chin. And now he would have dragged\nhim back and won limitless glory, if Zeus’ daughter Aphrodite had not quickly seen. She broke the\nstrap, made from the hide of a slaughtered ox, and Menelaus’ massive hand pulled away the\nhelmet empty.\nDo you think image A matches Homer’s description of the weapons and armour in the\npassage above? Explain your answer with reference to the passage.", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -532,7 +532,7 @@ "parent_question": "12", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A is a diagram showing how the underfloor heating system (hypocaust) worked in Roman\nbaths. Image B shows a Roman aqueduct, which would have been used to transport water over\nlong distances.\nSlave\nA\nB\nDo you agree with the view that the Romans were brilliant builders and engineers? Explain\nyour answer. You may refer to the structures in images A and B and to other buildings /\nstructures you have studied.\nClassics – Common level", + "question_text": "Image A is a diagram showing how the underfloor heating system (hypocaust) worked in Roman\nbaths. Image B shows a Roman aqueduct, which would have been used to transport water over\nlong distances.\nSlave\nA\nB\nDo you agree with the view that the Romans were brilliant builders and engineers? Explain\nyour answer. You may refer to the structures in images A and B and to other buildings /\nstructures you have studied.", "has_images": true, "image_notes": "image(s) detected on page 21", "topic": null, @@ -550,7 +550,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "The Romans usually wore wooden shoes (clogs) like the ones shown in the image below when in\nthe baths. Why do you think they wore shoes like this rather than going barefoot?\nClassics – Common level", + "question_text": "The Romans usually wore wooden shoes (clogs) like the ones shown in the image below when in\nthe baths. Why do you think they wore shoes like this rather than going barefoot?", "has_images": true, "image_notes": "image(s) detected on page 22", "topic": null, @@ -586,7 +586,7 @@ "parent_question": "15", "marks": null, "marks_confidence": "uncertain", - "question_text": "From the following list, write the term in the space beside its correct definition.\nUse each term once only.\nDoric Dome Portico Arch\nDEFINITIONS TERMS\nA type of column\nAn external porch\nA semi-circular roof\nA curved structure used for support\nClassics – Common level", + "question_text": "From the following list, write the term in the space beside its correct definition.\nUse each term once only.\nDoric Dome Portico Arch\nDEFINITIONS TERMS\nA type of column\nAn external porch\nA semi-circular roof\nA curved structure used for support", "has_images": true, "image_notes": "image(s) detected on page 23", "topic": null, @@ -604,7 +604,7 @@ "parent_question": "16", "marks": null, "marks_confidence": "uncertain", - "question_text": "Describe an ancient Roman building / structure that you have studied that uses one of the\nfeatures listed in question 15. You may not use a building / structure that appears in this section\nof the paper. You should use a labelled diagram as part of your answer.\nLabelled Diagram\nClassics – Common level\nSection C Classical Languages - Latin 180 marks", + "question_text": "Describe an ancient Roman building / structure that you have studied that uses one of the\nfeatures listed in question 15. You may not use a building / structure that appears in this section\nof the paper. You should use a labelled diagram as part of your answer.\nLabelled Diagram\nSection C Classical Languages - Latin 180 marks", "has_images": true, "image_notes": "image(s) detected on page 25", "topic": null, @@ -676,7 +676,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match the following Latin phrases with the situations they describe by placing a tick  in the\ncorrect box. Tick one box only in each case.\nfortūna favet fortibus\nhow luck favours brave people\nhow luck favours cautious people\nhow luck favours people in their forties\nClassics – Common level", + "question_text": "Match the following Latin phrases with the situations they describe by placing a tick  in the\ncorrect box. Tick one box only in each case.\nfortūna favet fortibus\nhow luck favours brave people\nhow luck favours cautious people\nhow luck favours people in their forties", "has_images": true, "image_notes": "image(s) detected on page 25", "topic": null, @@ -712,7 +712,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Using the definition provided, complete the diagram below with English words derived from the\nLatin verb inside the central circle. An example is given.\nComplete the following questions using the Latin words in Box 1.\nBox 1\ncentum = one hundred decem = ten mīlle = one thousand\noctō = eight prīmus, prīma, prīmum = first\nūnus, ūna, ūnum = one\nChoose one Latin word from Box 1 and write down one English word that derives from it.\nLatin word: English word:\nChoose a different Latin word from Box 1 and write down one English word that derives from it.\nLatin word: English word:\nClassics – Common level", + "question_text": "Using the definition provided, complete the diagram below with English words derived from the\nLatin verb inside the central circle. An example is given.\nComplete the following questions using the Latin words in Box 1.\nBox 1\ncentum = one hundred decem = ten mīlle = one thousand\noctō = eight prīmus, prīma, prīmum = first\nūnus, ūna, ūnum = one\nChoose one Latin word from Box 1 and write down one English word that derives from it.\nLatin word: English word:\nChoose a different Latin word from Box 1 and write down one English word that derives from it.\nLatin word: English word:", "has_images": true, "image_notes": "image(s) detected on page 26", "topic": null, @@ -730,7 +730,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match the pictures to the descriptions below. Write the number of the picture in the box\nbeside its description.\n1 2 3\nquattuor equī imperātōrem per viās urbis portant. imperātor togam purpuream\nhabet.\nflammae urbem Rōmae dēlent dum imperātor cantat et mūsicam facit.\nomnēs nōs audīre possunt. cantāmus et mūsicam facimus.\nnecesse est mihi et quīnque fēminīs aliīs custōdīre flammam Vestae. haec\nflamma est in templō deae.\nequī aurīgās in Circō Maximō trahunt. virī spectant et clāmant dum aurīga ē currū\ncadit.\nClassics – Common level", + "question_text": "Match the pictures to the descriptions below. Write the number of the picture in the box\nbeside its description.\n1 2 3\nquattuor equī imperātōrem per viās urbis portant. imperātor togam purpuream\nhabet.\nflammae urbem Rōmae dēlent dum imperātor cantat et mūsicam facit.\nomnēs nōs audīre possunt. cantāmus et mūsicam facimus.\nnecesse est mihi et quīnque fēminīs aliīs custōdīre flammam Vestae. haec\nflamma est in templō deae.\nequī aurīgās in Circō Maximō trahunt. virī spectant et clāmant dum aurīga ē currū\ncadit.", "has_images": true, "image_notes": "image(s) detected on page 27", "topic": null, @@ -748,7 +748,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nimperātor cōpiās trāns flūmen ___________.\ndūxistī\ndūxit\ndūxērunt", + "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nimperātor cōpiās trāns flūmen ____.\ndūxistī\ndūxit\ndūxērunt", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -766,7 +766,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nRōmānī ___________ per viās trāxērunt.\ncaptīvus\ncaptīvīs\ncaptīvōs", + "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nRōmānī ____ per viās trāxērunt.\ncaptīvus\ncaptīvīs\ncaptīvōs", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -784,7 +784,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nmīlitēs flammās in mūrōs___________ mīserunt.\nhostium\nhostem\nhostī", + "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nmīlitēs flammās in mūrōs____ mīserunt.\nhostium\nhostem\nhostī", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -802,7 +802,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nvirī _______________ auxilium dabant.\nfortēs\nfortis\nfortia", + "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nvirī ____ auxilium dabant.\nfortēs\nfortis\nfortia", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -820,7 +820,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nmīlitēs scūtīs sē _____________ poterant.\ndēfendō\ndēfendere\ndēfendērunt\nClassics – Common level", + "question_text": "The following sentences describe life in the Roman army. In each sentence, pick the correct\noption to fill the blank space by putting a tick  in the correct box. Tick one box only in each case.\nDo not write the answer in the blank space.\nmīlitēs scūtīs sē ____ poterant.\ndēfendō\ndēfendere\ndēfendērunt", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -910,7 +910,7 @@ "parent_question": "21", "marks": null, "marks_confidence": "uncertain", - "question_text": "Choose the correct translation of the words in bold in each of the sentences below by placing a\ntick  in the appropriate box. Tick one box only in each case.\nsenātor pānem et pecūniam clientibus trādidit.\nbread and money of the clients\nbread and money to the client\nbread and money to the clients\nClassics – Common level", + "question_text": "Choose the correct translation of the words in bold in each of the sentences below by placing a\ntick  in the appropriate box. Tick one box only in each case.\nsenātor pānem et pecūniam clientibus trādidit.\nbread and money of the clients\nbread and money to the client\nbread and money to the clients", "has_images": false, "image_notes": null, "topic": null, @@ -928,7 +928,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage carefully and answer the questions below in English. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nIn this adapted passage from Pliny the Younger, the writer tells a story about a friendly dolphin\nin the African colony of Hippo.\nest in Africā urbs, colōnia Hippōnis, quae est prope mare. inter colōniam et mare est magnum\nstāgnum. hūc omnēs cīvēs īre amant quod aut piscēs capere aut nāvigāre aut natāre possunt.\npuerī cotīdiē certāmina habent. victor est puer qui longissimē ā terrā natat.\npuer ūnus erat audācior quam cēterī. delphīnus subitō puerō appāruit et prō puerō natāre\nincēpit. tandem delphīnus puerum ad lītus portāvit.\nfāma delphīnī per urbem celeriter serpsit et postrīdiē magna turba cīvium ad lītus festīnāvit\nquod animal mīrābile vidēre cupiēbant. delphīnus revēnit, sed puer cum cēterīs fūgit.\ndelphīnus prope lītus in aquā lūsit. cīvēs, ubi delphīnum vīdērunt, dīxērunt delphīnum\npuerum in aquam invītāre. delphīnus multōs diēs reveniēbat et tandem cīvēs aquam intrāre et\ncum delphīnō lūdere incēpērunt.\nanimal, animālis (n.) = animal hūc = to here\nappāreō, appārēre, appāruī, incipiō, incipere, incēpī, inceptum (3) = to begin\nappāritum (2) = to appear lītus, lītoris (n.) = shore\naudāx, audācis = daring lūdō, lūdere, lūsī, lūsum (3) = to play\naut = or mare, maris (n.) = sea\ncertāmen, certāminis (n.) = contest mīrābilis, mīrābilis, mīrābile = wonderful\ncēterī, cēterae, cētera = the others natō, natāre, natāvī, nātum (1) = to swim\ncolōnia, colōniae (f.) = colony piscis, piscis (m.) = fish\ncotīdiē = every day postrīdiē = on the next day\ndelphīnus, delphīnī (m.) = dolphin prō + ablative = in front of\nfāma, fāmae (f.) = rumour serpō, serpere, serpsī, serptum (3) = to spread\nHippō, Hippōnis (m.) = Hippo (the name stāgnum, stāgnī (n.) = lake / pool\nof a colony in Africa)\nWhere is the colony of Hippo located?\nClassics – Common level", + "question_text": "Read the following passage carefully and answer the questions below in English. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nIn this adapted passage from Pliny the Younger, the writer tells a story about a friendly dolphin\nin the African colony of Hippo.\nest in Africā urbs, colōnia Hippōnis, quae est prope mare. inter colōniam et mare est magnum\nstāgnum. hūc omnēs cīvēs īre amant quod aut piscēs capere aut nāvigāre aut natāre possunt.\npuerī cotīdiē certāmina habent. victor est puer qui longissimē ā terrā natat.\npuer ūnus erat audācior quam cēterī. delphīnus subitō puerō appāruit et prō puerō natāre\nincēpit. tandem delphīnus puerum ad lītus portāvit.\nfāma delphīnī per urbem celeriter serpsit et postrīdiē magna turba cīvium ad lītus festīnāvit\nquod animal mīrābile vidēre cupiēbant. delphīnus revēnit, sed puer cum cēterīs fūgit.\ndelphīnus prope lītus in aquā lūsit. cīvēs, ubi delphīnum vīdērunt, dīxērunt delphīnum\npuerum in aquam invītāre. delphīnus multōs diēs reveniēbat et tandem cīvēs aquam intrāre et\ncum delphīnō lūdere incēpērunt.\nanimal, animālis (n.) = animal hūc = to here\nappāreō, appārēre, appāruī, incipiō, incipere, incēpī, inceptum (3) = to begin\nappāritum (2) = to appear lītus, lītoris (n.) = shore\naudāx, audācis = daring lūdō, lūdere, lūsī, lūsum (3) = to play\naut = or mare, maris (n.) = sea\ncertāmen, certāminis (n.) = contest mīrābilis, mīrābilis, mīrābile = wonderful\ncēterī, cēterae, cētera = the others natō, natāre, natāvī, nātum (1) = to swim\ncolōnia, colōniae (f.) = colony piscis, piscis (m.) = fish\ncotīdiē = every day postrīdiē = on the next day\ndelphīnus, delphīnī (m.) = dolphin prō + ablative = in front of\nfāma, fāmae (f.) = rumour serpō, serpere, serpsī, serptum (3) = to spread\nHippō, Hippōnis (m.) = Hippo (the name stāgnum, stāgnī (n.) = lake / pool\nof a colony in Africa)\nWhere is the colony of Hippo located?", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -1054,7 +1054,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "What did the boy do when the dolphin returned on the next day?\nRead the following passage carefully and answer the questions below in English. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nIn this adapted passage from Pliny the Younger, the writer tells a story about a friendly dolphin\nin the African colony of Hippo.\nest in Africā urbs, colōnia Hippōnis, quae est prope mare. inter colōniam et mare est magnum\nstāgnum. hūc omnēs cīvēs īre amant quod aut piscēs capere aut nāvigāre aut natāre possunt.\npuerī cotīdiē certāmina habent. victor est puer qui longissimē ā terrā natat.\npuer ūnus erat audācior quam cēterī. delphīnus subitō puerō appāruit et prō puerō natāre\nincēpit. tandem delphīnus puerum ad lītus portāvit.\nfāma delphīnī per urbem celeriter serpsit et postrīdiē magna turba cīvium ad lītus festīnāvit\nquod animal mīrābile vidēre cupiēbant. delphīnus revēnit, sed puer cum cēterīs fūgit.\ndelphīnus prope lītus in aquā lūsit. cīvēs, ubi delphīnum vīdērunt, dīxērunt delphīnum\npuerum in aquam invītāre. delphīnus multōs diēs reveniēbat et tandem cīvēs aquam intrāre et\ncum delphīnō lūdere incēpērunt.\nanimal, animālis (n.) = animal hūc = to here\nappāreō, appārēre, appāruī, incipiō, incipere, incēpī, inceptum (3) = to begin\nappāritum (2) = to appear lītus, lītoris (n.) = shore\naudāx, audācis = daring lūdō, lūdere, lūsī, lūsum (3) = to play\naut = or mare, maris (n.) = sea\ncertāmen, certāminis (n.) = contest mīrābilis, mīrābilis, mīrābile = wonderful\ncēterī, cēterae, cētera = the others natō, natāre, natāvī, nātum (1) = to swim\ncolōnia, colōniae (f.) = colony piscis, piscis (m.) = fish\ncotīdiē = every day postrīdiē = on the next day\ndelphīnus, delphīnī (m.) = dolphin prō + ablative = in front of\nfāma, fāmae (f.) = rumour serpō, serpere, serpsī, serptum (3) = to spread\nHippō, Hippōnis (m.) = Hippo (the name stāgnum, stāgnī (n.) = lake / pool\nof a colony in Africa)\nWhat did the citizens say the dolphin was doing when they saw him playing in the water?\nClassics – Common level\n(j) What two things did the citizens finally do after the dolphin had returned many days in a\nrow?", + "question_text": "What did the boy do when the dolphin returned on the next day?\nRead the following passage carefully and answer the questions below in English. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nIn this adapted passage from Pliny the Younger, the writer tells a story about a friendly dolphin\nin the African colony of Hippo.\nest in Africā urbs, colōnia Hippōnis, quae est prope mare. inter colōniam et mare est magnum\nstāgnum. hūc omnēs cīvēs īre amant quod aut piscēs capere aut nāvigāre aut natāre possunt.\npuerī cotīdiē certāmina habent. victor est puer qui longissimē ā terrā natat.\npuer ūnus erat audācior quam cēterī. delphīnus subitō puerō appāruit et prō puerō natāre\nincēpit. tandem delphīnus puerum ad lītus portāvit.\nfāma delphīnī per urbem celeriter serpsit et postrīdiē magna turba cīvium ad lītus festīnāvit\nquod animal mīrābile vidēre cupiēbant. delphīnus revēnit, sed puer cum cēterīs fūgit.\ndelphīnus prope lītus in aquā lūsit. cīvēs, ubi delphīnum vīdērunt, dīxērunt delphīnum\npuerum in aquam invītāre. delphīnus multōs diēs reveniēbat et tandem cīvēs aquam intrāre et\ncum delphīnō lūdere incēpērunt.\nanimal, animālis (n.) = animal hūc = to here\nappāreō, appārēre, appāruī, incipiō, incipere, incēpī, inceptum (3) = to begin\nappāritum (2) = to appear lītus, lītoris (n.) = shore\naudāx, audācis = daring lūdō, lūdere, lūsī, lūsum (3) = to play\naut = or mare, maris (n.) = sea\ncertāmen, certāminis (n.) = contest mīrābilis, mīrābilis, mīrābile = wonderful\ncēterī, cēterae, cētera = the others natō, natāre, natāvī, nātum (1) = to swim\ncolōnia, colōniae (f.) = colony piscis, piscis (m.) = fish\ncotīdiē = every day postrīdiē = on the next day\ndelphīnus, delphīnī (m.) = dolphin prō + ablative = in front of\nfāma, fāmae (f.) = rumour serpō, serpere, serpsī, serptum (3) = to spread\nHippō, Hippōnis (m.) = Hippo (the name stāgnum, stāgnī (n.) = lake / pool\nof a colony in Africa)\nWhat did the citizens say the dolphin was doing when they saw him playing in the water?\n(j) What two things did the citizens finally do after the dolphin had returned many days in a\nrow?", "has_images": true, "image_notes": "image(s) detected on page 30, 32", "topic": null, @@ -1108,7 +1108,7 @@ "parent_question": "23", "marks": null, "marks_confidence": "uncertain", - "question_text": "Choose the correct grammatical description or translation of the words in bold below by\nplacing a tick  in the appropriate box. Sentences i – iv are repeated in part b of this\nquestion. Tick one box only in each case.\nThe god Phoebus Apollo watches from the sky as Mercury makes the first lyre. A lyre is a stringed\nmusical instrument like the one in the picture above.\nMercurius trāns testam chordās posuit et mūsicam grātam fēcit.\nplaced a string across the tortoise shells\nwas able to place strings across the tortoise shell\nplaced strings across the tortoise shell\nClassics – Common level", + "question_text": "Choose the correct grammatical description or translation of the words in bold below by\nplacing a tick  in the appropriate box. Sentences i – iv are repeated in part b of this\nquestion. Tick one box only in each case.\nThe god Phoebus Apollo watches from the sky as Mercury makes the first lyre. A lyre is a stringed\nmusical instrument like the one in the picture above.\nMercurius trāns testam chordās posuit et mūsicam grātam fēcit.\nplaced a string across the tortoise shells\nwas able to place strings across the tortoise shell\nplaced strings across the tortoise shell", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -1144,7 +1144,7 @@ "parent_question": "23", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the text below. All underlined words are listed alphabetically in the vocabulary\nglossary below.\nPhoebus Apollō parvum deum Mercurium ex caelō spectābat. in silvā parvus deus testūdinem\nvīdit, celeriter eam necāvit; testam servāvit. Mercurius trāns testam chordās posuit et mūsicam\ngrātam fēcit. Apollō mūsicam audīvit et ad terram volāvit; dīxit Mercuriō, “lyra tua est\npulcherrima!”\nApollō Mercurium laudāvit et dīxit, “mūsica tuae lyrae mihi grāta est. sī eam mihi dabis, cādūceum\ntibi dabō.”\ncādūceus, cādūceī (m.) = staff / wand testa, testae (f.) = shell\nchorda, chordae (f.) = string testūdō, testūdinis (f.) = tortoise\ngrātus, grāta, grātum = pleasing volō, volāre, volāvī, volātum (1) = to fly\nClassics – Common level", + "question_text": "Translate the text below. All underlined words are listed alphabetically in the vocabulary\nglossary below.\nPhoebus Apollō parvum deum Mercurium ex caelō spectābat. in silvā parvus deus testūdinem\nvīdit, celeriter eam necāvit; testam servāvit. Mercurius trāns testam chordās posuit et mūsicam\ngrātam fēcit. Apollō mūsicam audīvit et ad terram volāvit; dīxit Mercuriō, “lyra tua est\npulcherrima!”\nApollō Mercurium laudāvit et dīxit, “mūsica tuae lyrae mihi grāta est. sī eam mihi dabis, cādūceum\ntibi dabō.”\ncādūceus, cādūceī (m.) = staff / wand testa, testae (f.) = shell\nchorda, chordae (f.) = string testūdō, testūdinis (f.) = tortoise\ngrātus, grāta, grātum = pleasing volō, volāre, volāvī, volātum (1) = to fly", "has_images": true, "image_notes": "image(s) detected on page 33", "topic": null, @@ -1180,7 +1180,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "Graffito B was found in Pompeii; it was perhaps written by one of the town’s many bakers.\nWrite a translation of it below.\nGraffito B\nXIII Kalendās Maiās pānem fēcī.\nXIII Kalendās Maiās = ‘On the thirteenth\nday before the Kalends of May / On April\n19th’\nClassics – Common level", + "question_text": "Graffito B was found in Pompeii; it was perhaps written by one of the town’s many bakers.\nWrite a translation of it below.\nGraffito B\nXIII Kalendās Maiās pānem fēcī.\nXIII Kalendās Maiās = ‘On the thirteenth\nday before the Kalends of May / On April\n19th’", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -1216,7 +1216,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "Extract D is taken from a poem by the Roman writer Ovid. In this poem he tells the myth of\nthe father and son Daedalus and Icarus. In the extract Daedalus is searching the water for\nhis son. Write a translation of it below.\nExtract D\nat pater īnfēlīx, nec iam pater ‘Icare’ dīxit,\n‘Icare’ dīxit, ‘ubi es?’\nat = but\nīnfēlīx, īnfēlīcis = unlucky\nnec iam = no longer\nClassics – Common level\nSection D Classical Languages – Ancient Greek 180 marks", + "question_text": "Extract D is taken from a poem by the Roman writer Ovid. In this poem he tells the myth of\nthe father and son Daedalus and Icarus. In the extract Daedalus is searching the water for\nhis son. Write a translation of it below.\nExtract D\nat pater īnfēlīx, nec iam pater ‘Icare’ dīxit,\n‘Icare’ dīxit, ‘ubi es?’\nat = but\nīnfēlīx, īnfēlīcis = unlucky\nnec iam = no longer\nSection D Classical Languages – Ancient Greek 180 marks", "has_images": true, "image_notes": "image(s) detected on page 35", "topic": null, @@ -1378,7 +1378,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete the following questions.\nYou may not use the same English or Greek word more than once.\nBox 1\nἀθλον, ἀθλου= prize γωνια, γωνιας = angle / corner πεντε = five\nαὐτος, αὐτη, αὐτο = self δεκα = ten τρεις, τρια = three\nγραφω = I write μετρον, μετρου = measure φοβος, φοβου= fear\nWrite one English word that derives from a combination of one Ancient Greek number and\none Ancient Greek word from Box 1.\nGreek number: Greek word:\nEnglish word:\nClassics – Common level", + "question_text": "Complete the following questions.\nYou may not use the same English or Greek word more than once.\nBox 1\nἀθλον, ἀθλου= prize γωνια, γωνιας = angle / corner πεντε = five\nαὐτος, αὐτη, αὐτο = self δεκα = ten τρεις, τρια = three\nγραφω = I write μετρον, μετρου = measure φοβος, φοβου= fear\nWrite one English word that derives from a combination of one Ancient Greek number and\none Ancient Greek word from Box 1.\nGreek number: Greek word:\nEnglish word:", "has_images": false, "image_notes": null, "topic": null, @@ -1414,7 +1414,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match the following scenes from the Parthenon frieze to their captions.\n1 2\nClassics – Common level\nεἰσιν δυο θεοι μετα μιας θεας. οἱ θεοι λεγουσι και ἡ θεα ἀπο ἀλλων βλεπει.\nοἱ Ἀθηναιοι το ὑδωρ φερουσιν. το ὑδωρ ἐν ταις κεραμικαις ὑδριαις ἐνεστιν.\nδυο νεανιαι ἐπι ἱππους ἱππευουσιν. οἱ καλοι ἱπποι ταχεως τρεχουσιν.\nὁ παις τον πεπλον, ὁς ἐστιν το δωρον τῃ θεᾳ τῃ Ἀθηνῃ, τῳ γεροντι φαινει.\nοἱ Ἀθηναιοι δυο βους ἀγουσιν. τα ζῳα μεγιστον φοβον ἐχει και βαινειν οὐκ ἐθελει.", + "question_text": "Match the following scenes from the Parthenon frieze to their captions.\n1 2\nεἰσιν δυο θεοι μετα μιας θεας. οἱ θεοι λεγουσι και ἡ θεα ἀπο ἀλλων βλεπει.\nοἱ Ἀθηναιοι το ὑδωρ φερουσιν. το ὑδωρ ἐν ταις κεραμικαις ὑδριαις ἐνεστιν.\nδυο νεανιαι ἐπι ἱππους ἱππευουσιν. οἱ καλοι ἱπποι ταχεως τρεχουσιν.\nὁ παις τον πεπλον, ὁς ἐστιν το δωρον τῃ θεᾳ τῃ Ἀθηνῃ, τῳ γεροντι φαινει.\nοἱ Ἀθηναιοι δυο βους ἀγουσιν. τα ζῳα μεγιστον φοβον ἐχει και βαινειν οὐκ ἐθελει.", "has_images": true, "image_notes": "image(s) detected on page 37, 38", "topic": null, @@ -1432,7 +1432,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης ἠν ὁ __________ γερων και διδασκαλος της σοφιας.\nσοφον\nσοφος\nσοφων", + "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης ἠν ὁ ____ γερων και διδασκαλος της σοφιας.\nσοφον\nσοφος\nσοφων", "has_images": true, "image_notes": "image(s) detected on page 38", "topic": null, @@ -1450,7 +1450,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης ἐν __________ τους Ἀθηναιους ἐδιδασκεν.\nτῃ Ἀγορᾳ\nτης Ἀγορας\nτην Ἀγοραν\nClassics – Common level", + "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης ἐν ____ τους Ἀθηναιους ἐδιδασκεν.\nτῃ Ἀγορᾳ\nτης Ἀγορας\nτην Ἀγοραν", "has_images": true, "image_notes": "image(s) detected on page 38", "topic": null, @@ -1468,7 +1468,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Πλατων ἠν ὁ μαθητης του Σωκρατους και __________ βιβλους περι αὐτου ἐγραψεν.\nτας\nτα\nτους", + "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Πλατων ἠν ὁ μαθητης του Σωκρατους και ____ βιβλους περι αὐτου ἐγραψεν.\nτας\nτα\nτους", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -1486,7 +1486,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης __________ ἐν τῳ δεσμωτηριῳ ἀπεθανεν.\nἀνδρεια\nἀνδρειως\nἀνδρειῳ", + "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Σωκρατης ____ ἐν τῳ δεσμωτηριῳ ἀπεθανεν.\nἀνδρεια\nἀνδρειως\nἀνδρειῳ", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -1504,7 +1504,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Πλατων και οἱ ἑτεροι μαθηται οὐκ ἀπο του Σωκρατους ἀποβαινειν __________.\nἠθελομεν\nἠθελε\nἠθελον", + "question_text": "The following sentences are about the Greek philosophers, Socrates and Plato.\nPut a tick  in the box of the correct form needed to complete the sentence. Do not write the\nanswer in the blank space. Tick one box only in each case.\nὁ Πλατων και οἱ ἑτεροι μαθηται οὐκ ἀπο του Σωκρατους ἀποβαινειν ____.\nἠθελομεν\nἠθελε\nἠθελον", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -1540,7 +1540,7 @@ "parent_question": "29", "marks": null, "marks_confidence": "uncertain", - "question_text": "In these sentences, the hero Heracles recounts moments from some of his famous twelve labours.\nChoose the correct translation or grammatical description of the word or phrase in bold by putting\na tick  in the appropriate box. Tick one box only in each case.\nὠ φιλε, ἐμοι ἐν τῳ πονῳ της ὑδρας ἐβοηθησας.\nto help\nwe will help\nyou helped\nClassics – Common level", + "question_text": "In these sentences, the hero Heracles recounts moments from some of his famous twelve labours.\nChoose the correct translation or grammatical description of the word or phrase in bold by putting\na tick  in the appropriate box. Tick one box only in each case.\nὠ φιλε, ἐμοι ἐν τῳ πονῳ της ὑδρας ἐβοηθησας.\nto help\nwe will help\nyou helped", "has_images": true, "image_notes": "image(s) detected on page 39", "topic": null, @@ -1612,7 +1612,7 @@ "parent_question": "30", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete the following passage by writing the number of the correct missing word from the list\nbelow into each blank space. The first one has been done as an example.\nAll underlined words in the passage are listed alphabetically in the vocabulary glossary below.\nLycurgus, Sparta’s legendary lawgiver.\nClassics – Common level\nThis passage talks about the contributions that Lycurgus made to Spartan society.\nὁ Λυκυργος ἠν ὁ πρωτος νομοθετης 3 τῃ Λακεδαιμονιᾳ. ἐπειδη ἠν ὁ σοφωτατος ἀνθρωπων,\nοἱ πολιται αὐτῳ . τῳ Λυκυργῳ ἐδοξε τους της πολεως τῳ νεῳ τοπῳ τασσειν. ὁ\nΛυκυργος ἠθελησε πασας τας γυναικας ἐν τῃ Λακεδαιμονιᾳ εἰναι ματερας ἀνδρειας και ἰσχυρας.\nοὐν αἱ της Λακεδαιμονιας γυναικες της ἡμερας της οἰκιας ἐξηλθον και πολλακις ἐγυμναζον\nκαι ἐν τοις ἀθλοις. οὑτως οἱ νομοι των γυναικων ἐν τῃ Λακεδαιμονιᾳ ἠσαν δεινοι.\nἀθλος, ἀθλου, ὁ = contest, race Λακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta\nγυμνα ζω, ἐγυ μνασα = I exer cise, I tr ain Λυκυρ γος, Λυκυργου, ὁ = Lycurgus\nδοκει, ἐδοξε + dative = ‘it seemed right’ νομοθετης, νομοθετου, ὁ = lawgiver\nἰσχυρος, ἰσχυρα, ἰσχυρον = strong της ἡμερας = ‘during the day’\nWord List\n1. ἐπιστευον\n2. ἐδραμον\n3. ἐν\n4. νομους\n5. ἐκ", + "question_text": "Complete the following passage by writing the number of the correct missing word from the list\nbelow into each blank space. The first one has been done as an example.\nAll underlined words in the passage are listed alphabetically in the vocabulary glossary below.\nLycurgus, Sparta’s legendary lawgiver.\nThis passage talks about the contributions that Lycurgus made to Spartan society.\nὁ Λυκυργος ἠν ὁ πρωτος νομοθετης 3 τῃ Λακεδαιμονιᾳ. ἐπειδη ἠν ὁ σοφωτατος ἀνθρωπων,\nοἱ πολιται αὐτῳ . τῳ Λυκυργῳ ἐδοξε τους της πολεως τῳ νεῳ τοπῳ τασσειν. ὁ\nΛυκυργος ἠθελησε πασας τας γυναικας ἐν τῃ Λακεδαιμονιᾳ εἰναι ματερας ἀνδρειας και ἰσχυρας.\nοὐν αἱ της Λακεδαιμονιας γυναικες της ἡμερας της οἰκιας ἐξηλθον και πολλακις ἐγυμναζον\nκαι ἐν τοις ἀθλοις. οὑτως οἱ νομοι των γυναικων ἐν τῃ Λακεδαιμονιᾳ ἠσαν δεινοι.\nἀθλος, ἀθλου, ὁ = contest, race Λακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta\nγυμνα ζω, ἐγυ μνασα = I exer cise, I tr ain Λυκυρ γος, Λυκυργου, ὁ = Lycurgus\nδοκει, ἐδοξε + dative = ‘it seemed right’ νομοθετης, νομοθετου, ὁ = lawgiver\nἰσχυρος, ἰσχυρα, ἰσχυρον = strong της ἡμερας = ‘during the day’\nWord List\n1. ἐπιστευον\n2. ἐδραμον\n3. ἐν\n4. νομους\n5. ἐκ", "has_images": true, "image_notes": "image(s) detected on page 40, 41", "topic": null, @@ -1630,7 +1630,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWhich group of Spartans did Lycurgus make laws about according to this passage?", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWhich group of Spartans did Lycurgus make laws about according to this passage?", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1648,7 +1648,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWhy did Lycurgus say that education was important?\nClassics – Common level", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWhy did Lycurgus say that education was important?", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1666,7 +1666,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWho sent the children to the Agoge?", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWho sent the children to the Agoge?", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1684,7 +1684,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWho was responsible for teaching the boys in the Agoge?", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ���ν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nWho was responsible for teaching the boys in the Agoge?", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1702,7 +1702,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nDescribe the conditions in the Agoge which made Spartan boys tougher and more skilled.", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nDescribe the conditions in the Agoge which made Spartan boys tougher and more skilled.", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1720,7 +1720,7 @@ "parent_question": "31", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nClassics – Common level\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nHow did the Spartan system of education prepare young men for war?\nClassics – Common level", + "question_text": "Read the following passage and answer the questions that follow in English.\nThis passage continues from the description of Spartan society in the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nSpartans exercising\nὁ Λυκυργος τους νομους περι των παιδων ἐποιησεν. εἰπε γαρ, ‘’ἐν τῃ Ἑλλαδι ἐξομεν τους\nἀριστους στρατιωτας, εἰ την ἀριστην παιδειαν τοις ἡμετεροις ὑιοις παρεχομεν.’’ τε οἱ πατερες και\nαἱ ματερες ἀει τους ὑιους προς την Ἀγογην προσεπεμψαν. οἱ νεανιαι της Λακεδαιμονιας τους\nπαιδους ἐδιδασκον και ἐπαιδευον.\nοὑτως οἱ Λακεδαιμονιοι παιδες εἰσι τεχνικωτεροι και σκληροτεροι. ἐν τῃ Ἀγογῃ οὐδεις των\nπαιδων πεδιλα εἰχε και πας ὁ παις αὐτος μονον ἑν ἱματιον ἐφερεν. ἐν τῃ χωρᾳ πολλα χρησιμα\nἐμαθον. οὐκ ἠν πολυς σιτος˙ οὐν δει λαμβανειν και κλεπτειν.\nὁ Λακεδαιμονιος νομος της παιδειας ἐστι δεινος ἐν πασι τῃ Ἑλλαδι. δια την παιδειαν οἱ\nΛακεδαιμονιοι στρατιωται τον φοβον του κινδυνου και του θανατου οὐκ ἐχουσιν.\nἈ γογη, Ἀγογης, ἡ = The Agoge οὑτως = in this way, thus\nἀριστος, ἀριστη, ἀριστον= best, finest παιδεια, παιδειας, ἡ = education\nεἰ = if παιδευω, ἐπαιδευσα = I educate\nἙ λλας, Ἑλλαδος, ἡ = Greece πεδιλον, πεδιλου, το = sandal\nἱματιον, ἱματιου, το = cloak ποιεω, ἐποιησα = I make, I do\nΛακεδαιμονια, Λακεδαιμονιας, ἡ = Sparta πολυς, πολλη, πολυ = much, many\nΛακεδαιμονιος, Λακεδαιμονια, σκληρος, σκληρα, σκληρον = tough\nΛ ακεδαιμονιον = Spartan τεχνικος, τεχνικη, τεχνικον = skilled\nΛυκυργος, Λυκυργου, ὁ = Lycurgus χρησιμος, χρησιμη, χρησιμον = useful\nοὐδεις, οὐδεμια, οὐδεν = none, no one χωρα, χωρας, ἡ = countryside\nHow did the Spartan system of education prepare young men for war?", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -1738,7 +1738,7 @@ "parent_question": "32", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the following text. It is based on several accounts from Greek historians, who describe\nthe Spartan traditions at their annual festival of Artemis Orthia. All underlined words are listed\nalphabetically in the vocabulary glossary below.\nοἱ παιδες και οἱ νεανιαι της ἑορτης της θεας Ἀρτεμιδος μετεχουσιν. ἐν τῃ ἑορτῃ τους παιδας δει\nλαμβανειν τυρους ἀπο του της θεας βωμου. ἐπει ὁ ἑκαστος προς τον τυρον προσετρεχεν, οἱ\nἀλλοι νεανιαι αὐτους τοις μαστιξιν ἐτυψαν. ὁ μεν ἀθλος ἠν χαλεπος, το δε ἀθλον ἐστι μεγιστον.\nπαντες γαρ οἱ πολιται τον παιδα, ὁς πλειστους τυρους ἐχει, θαυμαζουσιν.\nἀθλος, ἀθλου, ὁ = contest, competition μαστιξ, μαστιγος, ἡ = whip\nἈρτεμις, Ἀρτεμιδος, ἡ = Artemis μετεχω, μετεσχον + genitive = I take part in\nΒωμος, Βωμου, ὁ = the altar πλειστος, πλειστη, πλειστον = most\nἑκαστος, ἑκαστη, ἑκαστον = each τυπτω, ἐτυψα = I strike, I hit\nἑορτη, ἑορτης, ἡ = festival τυρος, τυρου, ὁ = cheese\nClassics – Common level\nClassics – Common level\nClassics – Common level\nAcknowledgements\nImages\nImage on page 3: https://www.greekartworks.com/product/chess-set-board-32-pieces-greek-roman-gods-warriors-statue-figurine-handmade/\nImage on page 4: https://www.ancient-literature.com/homeric-epithets/\nImage on page 5: https://thefleecemilano.com/blogs/notizie/the-myth-of-jason-the-fleece\nImage on page 6: http://travelingclassroom.org/?p=1739\nImage on page 8: https://www.pinterest.ie/pin/537124693048138715/\nImage on page 9: https://www.realmofhistory.com/wp-content/uploads/2016/05/3D_Animations_Layout_Roman_\nDomus_House_3.jpg?ezimgfmt=rs:770x546/rscb20/ng:webp/ngcb20\nImages on page 10: https://www.unrv.com/culture/chariot-races.php; https://twitter.com/circusmaxi\nImage on page 12: https://www.quora.com/What-were-the-living-conditions-in-ancient-Rome\nImages on page 13: https://www.cbsnews.com/news/pompeii-archaeologists-ancient-thermopolium-street-food-volcanic-eruption/;\nhttps://www.pinterest.ie/pin/191895634100201290/\nImage on page 17: https://www.thorvaldsensmuseum.dk/en/collections/work/A492/zoom\nImage on page 20: https://www.worldhistory.org/image/3374/mycenaean-warriors/\nImages on page 21: http://www.pages.drexel.edu/~jpm55/AE390/A5/hypocaust.htm; https://historyofyesterday.com\n/the-ancient-roman-aqueduct-a-timeless-engineering-feat-a2344f04c6e2\nImage on page 22: https://twitter.com/HistoryNeedsYou/status/968449320377901056/photo/4\nImage on page 23: https://en.wikipedia.org/wiki/General_Post_Office,_Dublin#/media/File:GPO_Portico_-_Morning.jpg\nImages on page 25:\nhttps://www.alamy.com/old-illustration-of-a-roman-calendar-by-unidentified-author-published-image150188680.html;\nhttp://www.historyofmasks.net/famous-masks/greek-masks/; https://www.nytimes.com/2013/10/01/science/legacy-of-greco-roman-\nmapmaking.html; https://www.alamy.com/fortune-1541-sebald-beham-german-1500-1550-artist-hans-sebald-beham-origin-germany-date-1541-\nmedium-engraving-in-black-on-ivory-laid-image235890665.html\nImages on page 27:\nhttps://en.wikipedia.org/wiki/Music_of_ancient_Rome#/media/File:Scena_di_ commedia,_musici_ambulanti,_da_villa_di_cecerone_ a_pompei,_\n9985,_03.JPG; https://www.thoughtco.com/thmb/D8JWUZgyh_Jjnl9hyn- Jxi9nEic=/768x0/filters:no_ upscale():max_bytes(150000):strip_icc():\nformat(webp)/vestal-virgins--priestesses-in-ancient-rome--wood-engraving--published-1880-687096894-5b6e0b9846e0fb00251be731.jpg;\nhttps://www.lookandlearn.com/history-images/A000105-01/Chariot-race-in-the-Circus-Maximus-ancient-Rome;\nhttps://www.pinterest.ru/pin/447263806750726740/; https://alchetron.com/Roman-triumph\nImages on page 28:\nhttps://www.posterlounge.ie/p/335866.html; https://gatesancienthistory.weebly.com/class-notes.html;\nhttps://www.worldhistory.org/image/2286/roman-artillery-attack; https://www.pinterest.com/pin/430727151852149705/;\nhttps://www.pinterest.com/pin/490329478159355924/\nImages on page 30:\nhttps://www.alamy.com/an-engraving-depicting-a-young-boy-riding-on-a-friendly-dolphin-based-on-a-report-by-pliny-the-elder-23-ad-79-ad-a-\nroman-author-naturalist-and-natural-philosopher-naval-and-army-commander-of-the-early-roman-empire-dated-19th-century-\nimage235171647.html; https://mobile.twitter.com/OptimoPrincipi/status/1298549188909846528/photo/1\nImages on pages 32,33:\nhttps://ancientlyre.com/blogs/blogs1-f324d18b-4152-49e5-aa3c-6539ac974916/posts/how-did-the-ancient-greeks-tune-a-7-string-lyre;\nhttps://classicalwisdom.com/culture/the-caduceus-magical-staff-of-hermes/;\nhttps://www.shutterstock.com/image-vector/isolated-vector-illustration-seated-ancient-greek-1675393051\nImages on pages 34,35:\nhttps://www.gettyimages.ie/detail/news-photo/mosaic-from-a-villas-entry-way-depicting-sandals-and-the-news-photo/143052099;\nhttps://www.bbc.co.uk/history/ancient/romans/daily_life_gallery_02.shtml;\nhttps://www.pompeiiinpictures.com/pompeiiinpictures/R7/7%2001%2044.htm\nhttps://upload.wikimedia.org/wikipedia/commons/c/cd/Locationes.jpg; https://www.pinterest.com/pin/798474208908541267/\nImages on page 37: http://employees.oneonta.edu/farberas/arth/arth209/parthenon_gallery.html\nImage on page 38: https://www.huffpost.com/entry/questioning-authority-in-the-school-of-athens_b_6919646\nImages on pages 39,40: http://www.perseus.tufts.edu/Herakles/labors.html\nhttps://www.thoughtco.com/lycurgus-lawgiver-of-sparta-112759\nImage on page 41: https://www.nationalgeographic.org/encyclopedia/sparta/\nTexts\nSilius Italicus, Punica303-456(Loeb Classical Library, translated by J.D. Duff)\nDiodorus Siculus, History 5.38.1 (Loeb Classical Library, translated by C.H. Oldfather)\nHomer, Iliad 24.476-511 (Penguin Classics, translated by Martin Hammond)\nHomer, Iliad 3.339-381 (Penguin Classics, translated by Martin Hammond)\nClassics – Common level\nCopyright notice\nThis examination paper may contain text or images for which the State Examinations Commission is not the\ncopyright owner, and which may have been adapted, for the purpose of assessment, without the authors’ prior\nconsent. This examination paper has been prepared in accordance with Section 53(5) of the Copyright and\nRelated Rights Act, 2000. Any subsequent use for a purpose other than the intended purpose is not authorised.\nThe Commission does not accept liability for any infringement of third‐party rights arising from unauthorised\ndistribution or use of this examination paper.\nClassics\nFriday 17 June\nAfternoon 1:30 - 3:30", + "question_text": "Translate the following text. It is based on several accounts from Greek historians, who describe\nthe Spartan traditions at their annual festival of Artemis Orthia. All underlined words are listed\nalphabetically in the vocabulary glossary below.\nοἱ παιδες και οἱ νεανιαι της ἑορτης της θεας Ἀρτεμιδος μετεχουσιν. ἐν τῃ ἑορτῃ τους παιδας δει\nλαμβανειν τυρους ἀπο του της θεας βωμου. ἐπει ὁ ἑκαστος προς τον τυρον προσετρεχεν, οἱ\nἀλλοι νεανιαι αὐτους τοις μαστιξιν ἐτυψαν. ὁ μεν ἀθλος ἠν χαλεπος, το δε ἀθλον ἐστι μεγιστον.\nπαντες γαρ οἱ πολιται τον παιδα, ὁς πλειστους τυρους ἐχει, θαυμαζουσιν.\nἀθλος, ἀθλου, ὁ = contest, competition μαστιξ, μαστιγος, ἡ = whip\nἈρτεμις, Ἀρτεμιδος, ἡ = Artemis μετεχω, μετεσχον + genitive = I take part in\nΒωμος, Βωμου, ὁ = the altar πλειστος, πλειστη, πλειστον = most\nἑκαστος, ἑκαστη, ἑκαστον = each τυπτω, ἐτυψα = I strike, I hit\nἑορτη, ἑορτης, ἡ = festival τυρος, τυρου, ὁ = cheese", "has_images": true, "image_notes": "image(s) detected on page 48", "topic": null, @@ -2120,7 +2120,7 @@ "has_images": false, "image_notes": null, "topic": null, - "marking_scheme_answer": ": 24 marc (4 x 6). Bronn sé mharc as gach meaitseáil cheart.\n.\nPatroclus\nHecabe\nThetis\nAgaiméamnón\n- Ná glac le haon iarracht freagra eile a thabhairt.\n- Nuair a thugtar an freagra céanna arís, glac leis an leagan ceart m.sh.", + "marking_scheme_answer": ": 24 marc (4 x 6). Bronn sé mharc as gach meaitseáil cheart.\nPatroclus\nHecabe\nThetis\nAgaiméamnón\n- Ná glac le haon iarracht freagra eile a thabhairt.\n- Nuair a thugtar an freagra céanna arís, glac leis an leagan ceart m.sh.", "source_pdf": "2022 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -2476,7 +2476,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nimperātor cōpiās trāns flūmen ___________ .\ndūxistī\ndūxit\ndūxērunt", + "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nimperātor cōpiās trāns flūmen ____ .\ndūxistī\ndūxit\ndūxērunt", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -2494,7 +2494,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nRōmānī ___________ per viās trāxērunt.\ncaptīvus\ncaptīvīs\ncaptīvōs", + "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nRōmānī ____ per viās trāxērunt.\ncaptīvus\ncaptīvīs\ncaptīvōs", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -2512,7 +2512,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nmīlitēs flammās in mūrōs___________ mīserunt.\nhostium\nhostem\nhostī", + "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nmīlitēs flammās in mūrōs____ mīserunt.\nhostium\nhostem\nhostī", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -2530,7 +2530,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nvirī _______________ auxilium dabant.\nfortēs\nfortis\nfortia", + "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nvirī ____ auxilium dabant.\nfortēs\nfortis\nfortia", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -2548,7 +2548,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nmīlitēs scūtīs sē _____________ poterant.\ndēfendō\ndēfendere\ndēfendērunt\nScrúdú Deiridh na Sraithe Sóisearaí 2022 28\nNa Clasaicí - Comhleibhéal", + "question_text": "Sna habairtí seo a leanas déantar cur síos ar an saol san arm Rómhánach. I gcás gach abairt pioc\namach an rogha ceart chun an spás bán a lionadh le  a cur sa bhosca ceart. Cuir tic in aon\nbhosca amháin i ngach cás. Ná scríobh an freagra sa spás bán\nmīlitēs scūtīs sē ____ poterant.\ndēfendō\ndēfendere\ndēfendērunt\nScrúdú Deiridh na Sraithe Sóisearaí 2022 28\nNa Clasaicí - Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -3160,7 +3160,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης ἠν ὁ __________ γερων και διδασκαλος της σοφιας.\nσοφον\nσοφος\nσοφων", + "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης ἠν ὁ ____ γερων και διδασκαλος της σοφιας.\nσοφον\nσοφος\nσοφων", "has_images": true, "image_notes": "image(s) detected on page 38", "topic": null, @@ -3178,7 +3178,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης ἐν __________ τους Ἀθηναιους ἐδιδασκεν.\nτῃ Ἀγορᾳ\nτης Ἀγορας\nτην Ἀγοραν\nScrúdú Deiridh na Sraithe Sóisearaí 2022 38\nNa Clasaicí - Comhleibhéal", + "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης ἐν ____ τους Ἀθηναιους ἐδιδασκεν.\nτῃ Ἀγορᾳ\nτης Ἀγορας\nτην Ἀγοραν\nScrúdú Deiridh na Sraithe Sóisearaí 2022 38\nNa Clasaicí - Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 38", "topic": null, @@ -3196,7 +3196,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Πλατων ἠν ὁ μαθητης του Σωκρατους και __________ βιβλους περι αὐτου ἐγραψεν.\nτας\nτα\nτους", + "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Πλατων ἠν ὁ μαθητης του Σωκρατους και ____ βιβλους περι αὐτου ἐγραψεν.\nτας\nτα\nτους", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -3214,7 +3214,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης __________ ἐν τῳ δεσμωτηριῳ ἀπεθανεν.\nἀνδρεια\nἀνδρειως\nἀνδρειῳ", + "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Σωκρατης ____ ἐν τῳ δεσμωτηριῳ ἀπεθανεν.\nἀνδρεια\nἀνδρειως\nἀνδρειῳ", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -3232,7 +3232,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Πλατων και οἱ ἑτεροι μαθηται οὐκ ἀπο του Σωκρατους ἀποβαινειν __________ .\nἠθελομεν\nἠθελε\nἠθελον", + "question_text": "Baineann na habairtí seo a leanas leis na fealsúna Gréagacha, Sócraitéas agus Platón.\nCuir  sa bhosca den fhoirm cheart a theastaíonn chun an abairt a chríochnú. Ná scríobh an\nfreagra sa spás glan. Cuir tic in aon bhosca amháin i ngach cás.\nὁ Πλατων και οἱ ἑτεροι μαθηται οὐκ ἀπο του Σωκρατους ἀποβαινειν ____ .\nἠθελομεν\nἠθελε\nἠθελον", "has_images": true, "image_notes": "image(s) detected on page 38, 39", "topic": null, @@ -3466,7 +3466,7 @@ "parent_question": "32", "marks": null, "marks_confidence": "uncertain", - "question_text": "Aistrigh an téacs thíos anseo. Tá sé bunaithe ar thuairiscí éagsúla ó staraithe Gréagacha a rinne\ncur síos ar na traidisiúin Spartacha ag a bhféile bhliantúil in onóir d’Artaimís Orthia. Tá gach focal\nle líne faoi liostaithe in ord aibítre sa ghluais foclóra thíos anseo.\nοἱ παιδες και οἱ νεανιαι της ἑορτης της θεας Ἀρτεμιδος μετεχουσιν. ἐν τῃ ἑορτῃ τους παιδας δει\nλαμβανειν τυρους ἀπο του της θεας βωμου. ἐπει ὁ ἑκαστος προς τον τυρον προσετρεχεν, οἱ\nἀλλοι νεανιαι αὐτους τοις μαστιξιν ἐτυψαν. ὁ μεν ἀθλος ἠν χαλεπος, το δε ἀθλον ἐστι μεγιστον.\nπαντες γαρ οἱ πολιται τον παιδα, ὁς πλειστους τυρους ἐχει, θαυμαζουσιν.\nἀθλος, ἀθλου, ὁ = comórtas μαστιξ, μαστιγος, ἡ = lasc\nἈρτεμις, Ἀρτεμιδος, ἡ = Artaimís μετεχω, μετεσχον + gonideach = glacaim páirt sa\nΒωμος, Βωμου, ὁ = an altóir πλειστος, πλειστη, πλειστον = formhór\nἑκαστος, ἑκαστη, ἑκαστον = gach τυπτω, ἐτυψα = buailim\nἑορτη, ἑορτης, ἡ = féile τυρος, τυρου, ὁ = cáis\nScrúdú Deiridh na Sraithe Sóisearaí 2022 44\nNa Clasaicí - Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh gach píosa oibre le huimhir agus le cuid na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí 2022 45\nNa Clasaicí - Comhleibhéal\nNá scríobh ar an leathanach seo\nScrúdú Deiridh na Sraithe Sóisearaí 2022 46\nNa Clasaicí - Comhleibhéal\nAdmhálacha\nÍomhánna\nÍomhá ar lch 3: https://www.greekartworks.com/product/chess-set-board-32-pieces-greek-roman-gods-warriors-statue-figurine-handmade/\nÍomhá ar lch 4: https://www.ancient-literature.com/homeric-epithets/\nÍomhá ar lch 5: https://thefleecemilano.com/blogs/notizie/the-myth-of-jason-the-fleece\nÍomhá ar lch 6: http://travelingclassroom.org/?p=1739\nÍomhá ar lch 8: https://www.pinterest.ie/pin/537124693048138715/\nÍomhá ar lch 9: https://www.realmofhistory.com/wp-content/uploads/2016/05/3D_Animations_Layout_Roman_\nDomus_House_3.jpg?ezimgfmt=rs:770x546/rscb20/ng:webp/ngcb20\nÍomhanna ar lch 10: https://www.unrv.com/culture/chariot-races.php; https:// twitter.com/circusmaxi\nÍomhá ar lch 12: https://www.quora.com/What-were-the-living-conditions-in-ancient-Rome\nÍomhanna ar lch 13: https://www.cbsnews.com/news/pompeii-archaeologists-ancient-thermopolium-street-food-volcanic-eruption/;\nhttps://www.pinterest.ie/pin/191895634100201290/\nÍomhá ar lch 17: https://www.thorvaldsensmuseum.dk/en/collections/work/A492/zoom\nÍomhá ar lch 20: https://www.worldhistory.org/image/3374/mycenaean-warriors/\nÍomhanna ar lch 21: http://www.pages.drexel.edu/~jpm55/AE390/A5/hypocaust.htm; https://historyofyesterday.com\n/the-ancient-roman-aqueduct-a-timeless-engineering-feat-a2344f04c6e2\nÍomhá ar lch 22: https://twitter.com/HistoryNeedsYou/status/968449320377901056/photo/4\nÍomhá ar lch 23: https://en.wikipedia.org/wiki/General_Post_Office,_Dublin#/media/File:GPO_Portico_-_Morning.jpg\nÍomhanna ar lch 25:\nhttps://www.alamy.com/old-illustration-of-a-roman-calendar-by-unidentified-author-published-image150188680.html;\nhttp://www.historyofmasks.net/famous-masks/greek-masks/; https://www.nytimes.com/2013/10/01/science/legacy-of-greco-roman-\nmapmaking.html; https://www.alamy.com/fortune-1541-sebald-beham-german-1500-1550-artist-hans-sebald-beham-origin-germany-date-1541-\nmedium-engraving-in-black-on-ivory-laid-image235890665.html\nÍomhanna ar lch 27:\nhttps://en.wikipedia.org/wiki/Music_of_ancient_Rome#/media/File:Scena_di_ commedia,_musici_ambulanti,_da_villa_di_cecerone_ a_pompei,_\n9985,_03.JPG; https://www.thoughtco.com/thmb/D8JWUZgyh_Jjnl9hyn- Jxi9nEic=/768x0/filters:no_ upscale():max_bytes(150000):strip_icc():\nformat(webp)/vestal-virgins--priestesses-in-ancient-rome--wood-engraving--published-1880-687096894-5b6e0b9846e0fb00251be731.jpg;\nhttps://www.lookandlearn.com/history-images/A000105-01/Chariot-race-in-the-Circus-Maximus-ancient-Rome;\nhttps://www.pinterest.ru/pin/447263806750726740/; https://alchetron.com/Roman-triumph\nÍomhanna ar lch 28:\nhttps://www.posterlounge.ie/p/335866.html; https://gatesancienthistory.weebly.com/class-notes.html;\nhttps://www.worldhistory.org/image/2286/roman-artillery-attack; https://www.pinterest.com/pin/430727151852149705/;\nhttps://www.pinterest.com/pin/430727151852149705/; https://www.pinterest.com/pin/490329478159355924/\nÍomhanna ar lch 30:\nhttps://www.alamy.com/an-engraving-depicting-a-young-boy-riding-on-a-friendly-dolphin-based-on-a-report-by-pliny-the-elder-23-ad-79-ad-a-\nroman-author-naturalist-and-natural-philosopher-naval-and-army-commander-of-the-early-roman-empire-dated-19th-century-\nimage235171647.html; https://mobile.twitter.com/OptimoPrincipi/status/1298549188909846528/photo/1\nÍomhanna ar leathanaigh 32,33:\nhttps://ancientlyre.com/blogs/blogs1-f324d18b-4152-49e5-aa3c-6539ac974916/posts/how-did-the-ancient-greeks-tune-a-7-string-lyre;\nhttps://classicalwisdom.com/culture/the-caduceus-magical-staff-of-hermes/;\nhttps://www.shutterstock.com/image-vector/isolated-vector-illustration-seated-ancient-greek-1675393051\nÍomhanna ar leathanaigh 34,35:\nhttps://www.gettyimages.ie/detail/news-photo/mosaic-from-a-villas-entry-way-depicting-sandals-and-the-news-photo/143052099;\nhttps://www.bbc.co.uk/history/ancient/romans/daily_life_gallery_02.shtml;\nhttps://www.pompeiiinpictures.com/pompeiiinpictures/R7/7%2001%2044.htm\nhttps://upload.wikimedia.org/wikipedia/commons/c/cd/Locationes.jpg; https://www.pinterest.com/pin/798474208908541267/\nÍomhanna ar lch 37: http://employees.oneonta.edu/farberas/arth/arth209/parthenon_gallery.html\nÍomhá ar lch 38: https://www.huffpost.com/entry/questioning-authority-in-the-school-of-athens_b_6919646\nÍomhanna ar leathanaigh 39,40: http://www.perseus.tufts.edu/Herakles/labors.html\nhttps://www.thoughtco.com/lycurgus-lawgiver-of-sparta-112759\nÍomha ar lch 41: https://www.nationalgeographic.org/encyclopedia/sparta/\nTéacsanna\nSilius Italicus, Punica303-456(Loeb Leabharlann Clasaiceach, aistrithe ag J.D. Duff)\nDiodorus Siculus, Stair 5.38.1 (Loeb Leabharlann Clasaiceach, aistrithe ag C.H. Oldfather)\nHomer, Iliad 24.476-511 (Penguin Classics, aistrithe ag Martin Hammond)\nHomer, Iliad 3.339-381 (Penguin Classics, aistrithe ag Martin Hammond)\nScrúdú Deiridh na Sraithe Sóisearaí 2022 47\nNa Clasaicí - Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 17 Meitheamh\nTráthnóna 1:30 - 3:30", + "question_text": "Aistrigh an téacs thíos anseo. Tá sé bunaithe ar thuairiscí éagsúla ó staraithe Gréagacha a rinne\ncur síos ar na traidisiúin Spartacha ag a bhféile bhliantúil in onóir d’Artaimís Orthia. Tá gach focal\nle líne faoi liostaithe in ord aibítre sa ghluais foclóra thíos anseo.\nοἱ παιδες και οἱ νεανιαι της ἑορτης της θεας Ἀρτεμιδος μετεχουσιν. ἐν τῃ ἑορτῃ τους παιδας δει\nλαμβανειν τυρους ἀπο του της θεας βωμου. ἐπει ὁ ἑκαστος προς τον τυρον προσετρεχεν, οἱ\nἀλλοι νεανιαι αὐτους ��οις μαστιξιν ἐτυψαν. ὁ μεν ἀθλος ἠν χαλεπος, το δε ἀθλον ἐστι μεγιστον.\nπαντες γαρ οἱ πολιται τον παιδα, ὁς πλειστους τυρους ἐχει, θαυμαζουσιν.\nἀθλος, ἀθλου, ὁ = comórtas μαστιξ, μαστιγος, ἡ = lasc\nἈρτεμις, Ἀρτεμιδος, ἡ = Artaimís μετεχω, μετεσχον + gonideach = glacaim páirt sa\nΒωμος, Βωμου, ὁ = an altóir πλειστος, πλειστη, πλειστον = formhór\nἑκαστος, ἑκαστη, ἑκαστον = gach τυπτω, ἐτυψα = buailim\nἑορτη, ἑορτης, ἡ = féile τυρος, τυρου, ὁ = cáis\nScrúdú Deiridh na Sraithe Sóisearaí 2022 44\nNa Clasaicí - Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh gach píosa oibre le huimhir agus le cuid na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí 2022 45\nNa Clasaicí - Comhleibhéal\nNá scríobh ar an leathanach seo\nScrúdú Deiridh na Sraithe Sóisearaí 2022 46\nNa Clasaicí - Comhleibhéal\nAdmhálacha\nÍomhánna\nÍomhá ar lch 3:\nÍomhá ar lch 4:\nÍomhá ar lch 5:\nÍomhá ar lch 6:\nÍomhá ar lch 8:\nÍomhá ar lch 9:\nDomus_House_3.jpg?ezimgfmt=rs:770x546/rscb20/ng:webp/ngcb20\nÍomhanna ar lch 10: https:// twitter.com/circusmaxi\nÍomhá ar lch 12:\nÍomhanna ar lch 13:\nÍomhá ar lch 17:\nÍomhá ar lch 20:\nÍomhanna ar lch 21:\n/the-ancient-roman-aqueduct-a-timeless-engineering-feat-a2344f04c6e2\nÍomhá ar lch 22:\nÍomhá ar lch 23:\nÍomhanna ar lch 25:\nmapmaking.html;\nmedium-engraving-in-black-on-ivory-laid-image235890665.html\nÍomhanna ar lch 27:\n commedia,_musici_ambulanti,_da_villa_di_cecerone_ a_pompei,_\n9985,_03.JPG; Jxi9nEic=/768x0/filters:no_ upscale():max_bytes(150000):strip_icc():\nformat(webp)/vestal-virgins--priestesses-in-ancient-rome--wood-engraving--published-1880-687096894-5b6e0b9846e0fb00251be731.jpg;\nÍomhanna ar lch 28:\nÍomhanna ar lch 30:\nroman-author-naturalist-and-natural-philosopher-naval-and-army-commander-of-the-early-roman-empire-dated-19th-century-\nimage235171647.html;\nÍomhanna ar leathanaigh 32,33:\nÍomhanna ar leathanaigh 34,35:\nÍomhanna ar lch 37:\nÍomhá ar lch 38:\nÍomhanna ar leathanaigh 39,40:\nÍomha ar lch 41:\nTéacsanna\nSilius Italicus, Punica303-456(Loeb Leabharlann Clasaiceach, aistrithe ag J.D. Duff)\nDiodorus Siculus, Stair 5.38.1 (Loeb Leabharlann Clasaiceach, aistrithe ag C.H. Oldfather)\nHomer, Iliad 24.476-511 (Penguin Classics, aistrithe ag Martin Hammond)\nHomer, Iliad 3.339-381 (Penguin Classics, aistrithe ag Martin Hammond)\nScrúdú Deiridh na Sraithe Sóisearaí 2022 47\nNa Clasaicí - Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 17 Meitheamh\nTráthnóna 1:30 - 3:30", "has_images": true, "image_notes": "image(s) detected on page 48", "topic": null, @@ -3484,7 +3484,7 @@ "parent_question": "1", "marks": 15, "marks_confidence": "derived", - "question_text": "Write the correct information into the table below for the gods and goddesses shown in\nthese six images. The first row of the table has been completed for you.\nRole Greek Name Roman Name Number of\nImage\nGoddess of marriage and childbirth Hera Juno 2\nGoddess of wheat and the harvest\nGoddess of love and beauty\nGod of the sea and horses\nGod of wine and theatre\nGod of the sky and weather.\n1. 2. 3.\n4. 6.\n5.\nClassics – Common Level", + "question_text": "Write the correct information into the table below for the gods and goddesses shown in\nthese six images. The first row of the table has been completed for you.\nRole Greek Name Roman Name Number of\nImage\nGoddess of marriage and childbirth Hera Juno 2\nGoddess of wheat and the harvest\nGoddess of love and beauty\nGod of the sea and horses\nGod of wine and theatre\nGod of the sky and weather.\n1. 2. 3.\n4. 6.\n5.", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -3520,7 +3520,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Explain why the god / goddess from part (b) is your favourite. Give reasons for your answer.\nClassics – Common Level", + "question_text": "Explain why the god / goddess from part (b) is your favourite. Give reasons for your answer.", "has_images": false, "image_notes": null, "topic": null, @@ -3538,7 +3538,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A and Image B show scenes of sacrifice from ancient Greece and Rome.\nStudy the images and answer the following questions.\nImage A: Greek vase painting Image B: Roman sculpture\nGive a description of one of these images.\nChosen Image:\nRefer to details in the image to support your answer.\nClassics – Common Level", + "question_text": "Image A and Image B show scenes of sacrifice from ancient Greece and Rome.\nStudy the images and answer the following questions.\nImage A: Greek vase painting Image B: Roman sculpture\nGive a description of one of these images.\nChosen Image:\nRefer to details in the image to support your answer.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -3574,7 +3574,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A and Image B show scenes of sacrifice from ancient Greece and Rome.\nStudy the images and answer the following questions.\nImage A: Greek vase painting Image B: Roman sculpture\nGive a brief account of an ancient Greek or Roman religious event, such as: a type of ritual,\ndaily practice, or festival. In your account include details, such as: location, roles of\nparticipants, name of god / goddess worshipped, cultural significance, etc.\nName of religious event:\nClassics – Common Level", + "question_text": "Image A and Image B show scenes of sacrifice from ancient Greece and Rome.\nStudy the images and answer the following questions.\nImage A: Greek vase painting Image B: Roman sculpture\nGive a brief account of an ancient Greek or Roman religious event, such as: a type of ritual,\ndaily practice, or festival. In your account include details, such as: location, roles of\nparticipants, name of god / goddess worshipped, cultural significance, etc.\nName of religious event:", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -3592,7 +3592,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "The passage below and Image A are based on Homer’s Odyssey, which tells the story of the Greek\nhero Odysseus as he journeys home after the Trojan War.\nRead the passage, study Image A and answer the following questions.\nFirst, Odysseus had to sail his ship past the monsters Scylla and Charybdis. Charybdis was a\nhuge monster who lived on the seabed and created whirlpools by opening her huge jaws and\nsucking down any passing ships. Scylla was a hideous creature with multiple heads. If a ship\nsailed too close to the cliffs where she lived, she would reach down with her long necks and\nsnatch sailors off the deck. In order to avoid destruction in the whirlpool of Charybdis,\nOdysseus was forced to steer his ship close to Scylla’s cliffs.\nOn another occasion, Odysseus’ men were turned into pigs by the witch Circe. Hermes gave\nOdysseus a drug to make him immune to the magical powers of Circe. When Circe tried to\nturn Odysseus into a pig, she was astonished that her magic did not work. Odysseus then\nthreatened her with his sword and forced her to return his men to human form.\nCirce then warned him that, when he left her island, he would have to sail close to the\nSirens. These were evil, sea-dwelling creatures with wings who sang beautiful songs to\nsailors on passing ships. The singing was so beautiful that sailors were known to jump\noverboard and drown while trying to swim to the Sirens. Those who stayed aboard hit rocks\nand sank as they steered their ship towards the music. Odysseus made his crew block their\nears with wax so that they could not hear the Sirens. He then told his men to tie him to the\nmast of the ship so that he could hear their song but would not be able to leap overboard.\nImage A: Greek vase painting with a scene from the Odyssey\nClassics – Common Level\nWhich moment of Odysseus’ journey is shown in Image A?\nExplain your answer with details from both Image A and the passage.", + "question_text": "The passage below and Image A are based on Homer’s Odyssey, which tells the story of the Greek\nhero Odysseus as he journeys home after the Trojan War.\nRead the passage, study Image A and answer the following questions.\nFirst, Odysseus had to sail his ship past the monsters Scylla and Charybdis. Charybdis was a\nhuge monster who lived on the seabed and created whirlpools by opening her huge jaws and\nsucking down any passing ships. Scylla was a hideous creature with multiple heads. If a ship\nsailed too close to the cliffs where she lived, she would reach down with her long necks and\nsnatch sailors off the deck. In order to avoid destruction in the whirlpool of Charybdis,\nOdysseus was forced to steer his ship close to Scylla’s cliffs.\nOn another occasion, Odysseus’ men were turned into pigs by the witch Circe. Hermes gave\nOdysseus a drug to make him immune to the magical powers of Circe. When Circe tried to\nturn Odysseus into a pig, she was astonished that her magic did not work. Odysseus then\nthreatened her with his sword and forced her to return his men to human form.\nCirce then warned him that, when he left her island, he would have to sail close to the\nSirens. These were evil, sea-dwelling creatures with wings who sang beautiful songs to\nsailors on passing ships. The singing was so beautiful that sailors were known to jump\noverboard and drown while trying to swim to the Sirens. Those who stayed aboard hit rocks\nand sank as they steered their ship towards the music. Odysseus made his crew block their\nears with wax so that they could not hear the Sirens. He then told his men to tie him to the\nmast of the ship so that he could hear their song but would not be able to leap overboard.\nImage A: Greek vase painting with a scene from the Odyssey\nWhich moment of Odysseus’ journey is shown in Image A?\nExplain your answer with details from both Image A and the passage.", "has_images": true, "image_notes": "image(s) detected on page 8", "topic": null, @@ -3610,7 +3610,7 @@ "parent_question": "3", "marks": 15, "marks_confidence": "derived", - "question_text": "The passage below and Image A are based on Homer’s Odyssey, which tells the story of the Greek\nhero Odysseus as he journeys home after the Trojan War.\nRead the passage, study Image A and answer the following questions.\nFirst, Odysseus had to sail his ship past the monsters Scylla and Charybdis. Charybdis was a\nhuge monster who lived on the seabed and created whirlpools by opening her huge jaws and\nsucking down any passing ships. Scylla was a hideous creature with multiple heads. If a ship\nsailed too close to the cliffs where she lived, she would reach down with her long necks and\nsnatch sailors off the deck. In order to avoid destruction in the whirlpool of Charybdis,\nOdysseus was forced to steer his ship close to Scylla’s cliffs.\nOn another occasion, Odysseus’ men were turned into pigs by the witch Circe. Hermes gave\nOdysseus a drug to make him immune to the magical powers of Circe. When Circe tried to\nturn Odysseus into a pig, she was astonished that her magic did not work. Odysseus then\nthreatened her with his sword and forced her to return his men to human form.\nCirce then warned him that, when he left her island, he would have to sail close to the\nSirens. These were evil, sea-dwelling creatures with wings who sang beautiful songs to\nsailors on passing ships. The singing was so beautiful that sailors were known to jump\noverboard and drown while trying to swim to the Sirens. Those who stayed aboard hit rocks\nand sank as they steered their ship towards the music. Odysseus made his crew block their\nears with wax so that they could not hear the Sirens. He then told his men to tie him to the\nmast of the ship so that he could hear their song but would not be able to leap overboard.\nImage A: Greek vase painting with a scene from the Odyssey\nClassics – Common Level\nOutline three ways in which this passage is similar to the stories of other heroes / heroines\nthat you have studied. Support your answer with evidence from other myths.\nSimilarity 1:\nSimilarity 2:\nThis answer box continues onto the next page.\nClassics – Common Level\nSimilarity 3:", + "question_text": "The passage below and Image A are based on Homer’s Odyssey, which tells the story of the Greek\nhero Odysseus as he journeys home after the Trojan War.\nRead the passage, study Image A and answer the following questions.\nFirst, Odysseus had to sail his ship past the monsters Scylla and Charybdis. Charybdis was a\nhuge monster who lived on the seabed and created whirlpools by opening her huge jaws and\nsucking down any passing ships. Scylla was a hideous creature with multiple heads. If a ship\nsailed too close to the cliffs where she lived, she would reach down with her long necks and\nsnatch sailors off the deck. In order to avoid destruction in the whirlpool of Charybdis,\nOdysseus was forced to steer his ship close to Scylla’s cliffs.\nOn another occasion, Odysseus’ men were turned into pigs by the witch Circe. Hermes gave\nOdysseus a drug to make him immune to the magical powers of Circe. When Circe tried to\nturn Odysseus into a pig, she was astonished that her magic did not work. Odysseus then\nthreatened her with his sword and forced her to return his men to human form.\nCirce then warned him that, when he left her island, he would have to sail close to the\nSirens. These were evil, sea-dwelling creatures with wings who sang beautiful songs to\nsailors on passing ships. The singing was so beautiful that sailors were known to jump\noverboard and drown while trying to swim to the Sirens. Those who stayed aboard hit rocks\nand sank as they steered their ship towards the music. Odysseus made his crew block their\nears with wax so that they could not hear the Sirens. He then told his men to tie him to the\nmast of the ship so that he could hear their song but would not be able to leap overboard.\nImage A: Greek vase painting with a scene from the Odyssey\nOutline three ways in which this passage is similar to the stories of other heroes / heroines\nthat you have studied. Support your answer with evidence from other myths.\nSimilarity 1:\nSimilarity 2:\nThis answer box continues onto the next page.\nSimilarity 3:", "has_images": true, "image_notes": "image(s) detected on page 8, 10", "topic": null, @@ -3628,7 +3628,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nClassics – Common Level\nWhy do you think people gathered to watch Camilla as she passed by?\nSupport your answer with analysis of the text.", + "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nWhy do you think people gathered to watch Camilla as she passed by?\nSupport your answer with analysis of the text.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -3646,7 +3646,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nClassics – Common Level\nExplain how Virgil’s description of the mythical character Camilla is different to the lives of\nreal women who lived in ancient Greece / Rome.\nClassics – Common Level", + "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nExplain how Virgil’s description of the mythical character Camilla is different to the lives of\nreal women who lived in ancient Greece / Rome.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -3664,7 +3664,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nClassics – Common Level\nIf you were a young woman living in the ancient world, would you prefer to live in ancient\nGreece or Rome? Give reasons for your answer.", + "question_text": "In this text, the Roman poet Virgil describes the female warrior Camilla.\nRead this text from Virgil’s Aeneid and answer the following questions.\nLast of all came Camilla,\nthe warrior maiden of the Volsci,\nleading a cavalry squadron armoured in bronze.\nNot for her girlish hands were the loom and wool-basket.\nShe was a woman hardened to battle,\nof a fleetness of foot to race the winds.\nShe could have run over the ocean and\nnever wet her foot in the waves.\nYoung men streamed from house and field,\nand mothers came to gaze at her as she passed by.\nCamilla\nIf you were a young woman living in the ancient world, would you prefer to live in ancient\nGreece or Rome? Give reasons for your answer.", "has_images": true, "image_notes": "image(s) detected on page 10, 12", "topic": null, @@ -3682,7 +3682,7 @@ "parent_question": "5", "marks": 15, "marks_confidence": "derived", - "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nClassics – Common Level\nA cross-section of a house in ancient Greece\nMatch any five of these Ancient Greek and Latin housing terms with their definitions.\nWrite the number of the term into the box beside its definition.\n1. andron 2. cubiculum 3. culina 4. domus 5. gynaikon 6. hortus 7. klinai 8. oikos\na house in ancient Greece\na house in ancient Rome\nbedroom\ncouches\ngarden\nkitchen\nmen’s quarters\nwomen’s quarters", + "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nA cross-section of a house in ancient Greece\nMatch any five of these Ancient Greek and Latin housing terms with their definitions.\nWrite the number of the term into the box beside its definition.\n1. andron 2. cubiculum 3. culina 4. domus 5. gynaikon 6. hortus 7. klinai 8. oikos\na house in ancient Greece\na house in ancient Rome\nbedroom\ncouches\ngarden\nkitchen\nmen’s quarters\nwomen’s quarters", "has_images": true, "image_notes": "image(s) detected on page 12, 13", "topic": null, @@ -3700,7 +3700,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nClassics – Common Level\nA cross-section of a house in ancient Greece\nName a modern word that comes from an Ancient Greek or Latin word related to the house.\nYou may use one of the Ancient Greek or Latin terms above.\nModern Word:\nAncient Greek / Latin Word:\nThis question continues onto the next page.\nClassics – Common Level", + "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nA cross-section of a house in ancient Greece\nName a modern word that comes from an Ancient Greek or Latin word related to the house.\nYou may use one of the Ancient Greek or Latin terms above.\nModern Word:\nAncient Greek / Latin Word:\nThis question continues onto the next page.", "has_images": true, "image_notes": "image(s) detected on page 12, 13", "topic": null, @@ -3718,7 +3718,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nClassics – Common Level\nA cross-section of a house in ancient Greece\nExplain how the meanings of the words chosen for part (b) relate to each other.", + "question_text": "Answer the following questions.\nA cross-section of a house in ancient Rome\nA cross-section of a house in ancient Greece\nExplain how the meanings of the words chosen for part (b) relate to each other.", "has_images": true, "image_notes": "image(s) detected on page 12, 13, 14", "topic": null, @@ -3736,7 +3736,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nClassics – Common Level\nWhat aspect of daily life do these four artefacts relate to?\nTick () one box to indicate your answer.\nfarming medicine politics games", + "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nWhat aspect of daily life do these four artefacts relate to?\nTick () one box to indicate your answer.\nfarming medicine politics games", "has_images": true, "image_notes": "image(s) detected on page 14", "topic": null, @@ -3754,7 +3754,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nClassics – Common Level\nWhat can we learn about daily life for young people in the ancient world from the evidence\nfound in Images A-D? Use details from at least two of these images to support your answer.", + "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nWhat can we learn about daily life for young people in the ancient world from the evidence\nfound in Images A-D? Use details from at least two of these images to support your answer.", "has_images": true, "image_notes": "image(s) detected on page 14", "topic": null, @@ -3772,7 +3772,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nClassics – Common Level\nChoose one of the following topics and give an account of how a teenager in ancient Rome\nor ancient Greece may have experienced it:\n• education; clothing; food.\nThis answer box continues onto the next page .\nClassics – Common Level\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 17)\nOR\nSection C: Latin – Classical Language (page 26)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nClassics – Common Level\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", + "question_text": "Study these four images of archaeological artefacts from the Roman Empire.\nAnswer the questions that follow.\nA. B.\nD.\nC.\nChoose one of the following topics and give an account of how a teenager in ancient Rome\nor ancient Greece may have experienced it:\n• education; clothing; food.\nThis answer box continues onto the next page .\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 17)\nOR\nSection C: Latin – Classical Language (page 26)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", "has_images": true, "image_notes": "image(s) detected on page 14, 17", "topic": null, @@ -3790,7 +3790,7 @@ "parent_question": "7", "marks": 10, "marks_confidence": "derived", - "question_text": "This map shows the names of the places where five characters in the Iliad are from.\nWrite the correct place name next to each character’s name in the box below.\nPhthia\nTroy\nSparta\nPylos\nMycenae\nName of Character Name of Place\nAchilles\nAgamemnon\nMenelaus\nNestor\nHector\nClassics – Common Level", + "question_text": "This map shows the names of the places where five characters in the Iliad are from.\nWrite the correct place name next to each character’s name in the box below.\nPhthia\nTroy\nSparta\nPylos\nMycenae\nName of Character Name of Place\nAchilles\nAgamemnon\nMenelaus\nNestor\nHector", "has_images": true, "image_notes": "image(s) detected on page 17", "topic": null, @@ -3880,7 +3880,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete these multiple-choice questions about characters and events in Homer’s Iliad.\nTick () the box to indicate your answer. You may tick one box only for each question.\nWho are the sons of Atreus (the Atreidae)?\nAgamemnon and Menelaus\nParis and Hector\nSarpedon and Glaucus\nClassics – Common Level", + "question_text": "Complete these multiple-choice questions about characters and events in Homer’s Iliad.\nTick () the box to indicate your answer. You may tick one box only for each question.\nWho are the sons of Atreus (the Atreidae)?\nAgamemnon and Menelaus\nParis and Hector\nSarpedon and Glaucus", "has_images": true, "image_notes": "image(s) detected on page 18", "topic": null, @@ -3916,7 +3916,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer these questions about the events which led to the Trojan War.\nChoose one of the events in part (a).\nGive a brief summary of what took place and explain why this event was significant.\nName of chosen event:\nClassics – Common Level", + "question_text": "Answer these questions about the events which led to the Trojan War.\nChoose one of the events in part (a).\nGive a brief summary of what took place and explain why this event was significant.\nName of chosen event:", "has_images": false, "image_notes": null, "topic": null, @@ -3952,7 +3952,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read these two texts from Homer’s Iliad and answer the questions that follow.\nText A: Iliad, Book 3\nThen Iris came as messenger to white-armed Helen,\ntaking on the image of her sister-in-law,\nwife of Antenor's son, fine Helicaon.\nHer name was Laodice, of all Priam's daughters\nthe most beautiful. She found Helen in her room,\nweaving a large cloth, a double purple cloak,\ncreating pictures of the many battle scenes\nbetween horse-taming Trojans and bronze-clad Achaeans,\nwars they suffered for her sake at the hands of Ares.\nStanding nearby, swift-footed Iris said:\n\"Come here, dear girl. Look at the amazing things going on.”\nHelen\nIn your own words, describe in detail what Helen is doing in Text A.\nText B: Iliad, Book 22\nAnd Andromache called throughout the halls\nfor her fair-haired handmaidens to set a great basin\nover the fires, so that a hot bath might rise up for Hector,\nher husband, come home from battle. Poor innocent,\nshe knew nothing yet, knew not that far from healing baths\ngleaming-eyed Athena had struck him down\nby the hand of shining Achilles.\nThen she heard shrieks of grief and mourning from the tower,\nand her body shook, and her shuttle fell to the floor.\nAndromache\nClassics – Common Level", + "question_text": "Read these two texts from Homer’s Iliad and answer the questions that follow.\nText A: Iliad, Book 3\nThen Iris came as messenger to white-armed Helen,\ntaking on the image of her sister-in-law,\nwife of Antenor's son, fine Helicaon.\nHer name was Laodice, of all Priam's daughters\nthe most beautiful. She found Helen in her room,\nweaving a large cloth, a double purple cloak,\ncreating pictures of the many battle scenes\nbetween horse-taming Trojans and bronze-clad Achaeans,\nwars they suffered for her sake at the hands of Ares.\nStanding nearby, swift-footed Iris said:\n\"Come here, dear girl. Look at the amazing things going on.”\nHelen\nIn your own words, describe in detail what Helen is doing in Text A.\nText B: Iliad, Book 22\nAnd Andromache called throughout the halls\nfor her fair-haired handmaidens to set a great basin\nover the fires, so that a hot bath might rise up for Hector,\nher husband, come home from battle. Poor innocent,\nshe knew nothing yet, knew not that far from healing baths\ngleaming-eyed Athena had struck him down\nby the hand of shining Achilles.\nThen she heard shrieks of grief and mourning from the tower,\nand her body shook, and her shuttle fell to the floor.\nAndromache", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -3988,7 +3988,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read these two texts from Homer’s Iliad and answer the questions that follow.\nText A: Iliad, Book 3\nThen Iris came as messenger to white-armed Helen,\ntaking on the image of her sister-in-law,\nwife of Antenor's son, fine Helicaon.\nHer name was Laodice, of all Priam's daughters\nthe most beautiful. She found Helen in her room,\nweaving a large cloth, a double purple cloak,\ncreating pictures of the many battle scenes\nbetween horse-taming Trojans and bronze-clad Achaeans,\nwars they suffered for her sake at the hands of Ares.\nStanding nearby, swift-footed Iris said:\n\"Come here, dear girl. Look at the amazing things going on.”\nHelen\nDo you think Text A and Text B are typical portrayals of female characters in the Iliad?\nExplain your answer with evidence from Text A, Text B and other evidence from the Iliad.\nClassics – Common Level", + "question_text": "Read these two texts from Homer’s Iliad and answer the questions that follow.\nText A: Iliad, Book 3\nThen Iris came as messenger to white-armed Helen,\ntaking on the image of her sister-in-law,\nwife of Antenor's son, fine Helicaon.\nHer name was Laodice, of all Priam's daughters\nthe most beautiful. She found Helen in her room,\nweaving a large cloth, a double purple cloak,\ncreating pictures of the many battle scenes\nbetween horse-taming Trojans and bronze-clad Achaeans,\nwars they suffered for her sake at the hands of Ares.\nStanding nearby, swift-footed Iris said:\n\"Come here, dear girl. Look at the amazing things going on.”\nHelen\nDo you think Text A and Text B are typical portrayals of female characters in the Iliad?\nExplain your answer with evidence from Text A, Text B and other evidence from the Iliad.", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -4006,7 +4006,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "In your opinion, which hero in the Iliad most closely follows the code of behaviour for a Homeric\nhero? Explain your answer with evidence from your reading of the Iliad.\nClassics – Common Level", + "question_text": "In your opinion, which hero in the Iliad most closely follows the code of behaviour for a Homeric\nhero? Explain your answer with evidence from your reading of the Iliad.", "has_images": false, "image_notes": null, "topic": null, @@ -4132,7 +4132,7 @@ "parent_question": "12", "marks": null, "marks_confidence": "uncertain", - "question_text": "Use this list of architectural terms to label any five architectural features in the images below.\nYou may only write one term in each of the boxes below.\n• arch; capital; column; dome; base; pediment; cornice.\nSt . Stephen’s Green, Dublin\nClassics – Common Level", + "question_text": "Use this list of architectural terms to label any five architectural features in the images below.\nYou may only write one term in each of the boxes below.\n• arch; capital; column; dome; base; pediment; cornice.\nSt . Stephen’s Green, Dublin", "has_images": true, "image_notes": "image(s) detected on page 23", "topic": null, @@ -4168,7 +4168,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nDescribe in detail the appearance of the building / structure you named in part (a).\nIn your answer, include details related to key points, such as:\n• architectural features; decoration; interior; exterior; design / layout.\nClassics – Common Level", + "question_text": "Answer the following questions.\nDescribe in detail the appearance of the building / structure you named in part (a).\nIn your answer, include details related to key points, such as:\n• architectural features; decoration; interior; exterior; design / layout.", "has_images": false, "image_notes": null, "topic": null, @@ -4204,7 +4204,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nIn your opinion, are Roman buildings / structures a good way of commemorating people or\nevents? Explain your reasons with evidence from your study of Roman architecture.\nClassics – Common Level\nSection C Latin – Classical Language 180 marks", + "question_text": "Answer the following questions.\nIn your opinion, are Roman buildings / structures a good way of commemorating people or\nevents? Explain your reasons with evidence from your study of Roman architecture.\nSection C Latin – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 26", "topic": null, @@ -4276,7 +4276,7 @@ "parent_question": "14", "marks": 16, "marks_confidence": "derived", - "question_text": "Match the following Latin phrases and abbreviations with their meanings, by placing a tick () in\nthe correct box. Tick one box only in each case.\ni.e.\nin the evening\nin the morning\nid est\nthat is\nClassics – Common Level", + "question_text": "Match the following Latin phrases and abbreviations with their meanings, by placing a tick () in\nthe correct box. Tick one box only in each case.\ni.e.\nin the evening\nin the morning\nid est\nthat is", "has_images": true, "image_notes": "image(s) detected on page 26", "topic": null, @@ -4348,7 +4348,7 @@ "parent_question": "15", "marks": null, "marks_confidence": "uncertain", - "question_text": "Explain how the meaning of one of the English words which you wrote in parts (b) or (c)\nrelates to the meaning of the Latin word that it derives from.\nClassics – Common Level", + "question_text": "Explain how the meaning of one of the English words which you wrote in parts (b) or (c)\nrelates to the meaning of the Latin word that it derives from.", "has_images": false, "image_notes": null, "topic": null, @@ -4366,7 +4366,7 @@ "parent_question": "16", "marks": 20, "marks_confidence": "derived", - "question_text": "Match these images to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2.\n3. 4.\nūna fēmina stat dum labōrat. togam praetextam senātōris in textrīnō facit.\nfēmina in hāc pictūrā est poēta, quī stilum et cēram suam tenet. aliquid scrībere parat.\nfēmina prope virum, quī eam in mātrimōnium dūcit, stat. ea stolam longam gerit.\ncircum fēminam ancillae stant. ūna crīnēs compōnit; aliae speculum et unguenta tenent.\nClassics – Common Level", + "question_text": "Match these images to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2.\n3. 4.\nūna fēmina stat dum labōrat. togam praetextam senātōris in textrīnō facit.\nfēmina in hāc pictūrā est poēta, quī stilum et cēram suam tenet. aliquid scrībere parat.\nfēmina prope virum, quī eam in mātrimōnium dūcit, stat. ea stolam longam gerit.\ncircum fēminam ancillae stant. ūna crīnēs compōnit; aliae speculum et unguenta tenent.", "has_images": true, "image_notes": "image(s) detected on page 28", "topic": null, @@ -4384,7 +4384,7 @@ "parent_question": "17", "marks": 4, "marks_confidence": "derived", - "question_text": "Complete the following passage by writing the number of the correct missing word from the list\nbelow into each blank space. The first one has been done as an example.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nWedding rings from ancient Rome\nThis passage describes a type of marriage in ancient Rome called cum manū (with the hand).\nmanus est __5. _ corporis, sed manus etiam erat nōmen generis nūptiārum. ubi fēmina virum\ncum manū nūpsit, ea in potestātem _____ vēnit et _____ potestāte patris vēnit. ubi fēmina\nvirum nūpsit, _____ erat dominus eius et tōtam potestātem fēminae _____ .\ngenus, generis (n.) = type nūptiae, nūptiārum (f. pl.) = marriage\nmanus, manūs (f.) = hand potestās, potestātis (f.) = control / power\nnūbō, nūbere, nūpsī, nūptum (3) = to marry\nWord List\n1. vir\n2. virī\n3. ē / ex\n4. habuit\n5. pars\nClassics – Common Level", + "question_text": "Complete the following passage by writing the number of the correct missing word from the list\nbelow into each blank space. The first one has been done as an example.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nWedding rings from ancient Rome\nThis passage describes a type of marriage in ancient Rome called cum manū (with the hand).\nmanus est __5. _ corporis, sed manus etiam erat nōmen generis nūptiārum. ubi fēmina virum\ncum manū nūpsit, ea in potestātem ____ vēnit et ____ potestāte patris vēnit. ubi fēmina\nvirum nūpsit, ____ erat dominus eius et tōtam potestātem fēminae ____ .\ngenus, generis (n.) = type nūptiae, nūptiārum (f. pl.) = marriage\nmanus, manūs (f.) = hand potestās, potestātis (f.) = control / power\nnūbō, nūbere, nūpsī, nūptum (3) = to marry\nWord List\n1. vir\n2. virī\n3. ē / ex\n4. habuit\n5. pars", "has_images": true, "image_notes": "image(s) detected on page 29", "topic": null, @@ -4402,7 +4402,7 @@ "parent_question": "18", "marks": 10, "marks_confidence": "derived", - "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nin Siciliā est magnus _______ .\nager\nagrī\nagrum", + "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nin Siciliā est magnus ____ .\nager\nagrī\nagrum", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -4420,7 +4420,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPrōserpina cum _______ in agrō ambulābat.\namīcīs\namīcās\namīcae", + "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPrōserpina cum ____ in agrō ambulābat.\namīcīs\namīcās\namīcae", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -4438,7 +4438,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPlūtō, deus Tartarī, Prōserpinam _______ et rapuit.\nvidēbit\nvidēre\nvīdit", + "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPlūtō, deus Tartarī, Prōserpinam ____ et rapuit.\nvidēbit\nvidēre\nvīdit", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -4456,7 +4456,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPrōserpina clāmāvit, sed amīcae eam nōn _______.\naudīvit\naudīvērunt\naudīvistī", + "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPrōserpina clāmāvit, sed amīcae eam nōn ____.\naudīvit\naudīvērunt\naudīvistī", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -4474,7 +4474,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPlūtō Prōserpinam portāvit et per montēs ______ festīnāvit.\naltum\naltōs\naltus\nClassics – Common Level", + "question_text": "The following sentences are based on the story of Pluto and Proserpina.\nChoose the correct option to fill in the blank space by putting a tick () in the correct box.\nTick one box only in each case. Do not write the answer in the blank space.\nPlūtō Prōserpinam portāvit et per montēs ____ festīnāvit.\naltum\naltōs\naltus", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -4564,7 +4564,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the story of Orpheus and Eurydice.\nChoose the correct translation of the words in bold by placing a tick () in the correct box. Tick\none box only in each case.\nPlūtō tandem dīxit: “Eurydicē tēcum redīre poterit.”\nwill be able\nwas able\nis able\nClassics – Common Level", + "question_text": "The following sentences are based on the story of Orpheus and Eurydice.\nChoose the correct translation of the words in bold by placing a tick () in the correct box. Tick\none box only in each case.\nPlūtō tandem dīxit: “Eurydicē tēcum redīre poterit.”\nwill be able\nwas able\nis able", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -4582,7 +4582,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhere did Psyche’s family abandon her?", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhere did Psyche’s family abandon her?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4600,7 +4600,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nTo where did the wind Zephyr carry Psyche?", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nTo where did the wind Zephyr carry Psyche?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4618,7 +4618,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhy was Psyche happier than any woman? Give two reasons.", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhy was Psyche happier than any woman? Give two reasons.", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4636,7 +4636,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhat did Psyche ask Cupid?", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhat did Psyche ask Cupid?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4654,7 +4654,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhat did Cupid order the wind Zephyr to do?", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhat did Cupid order the wind Zephyr to do?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4672,7 +4672,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhy were Psyche’s sisters jealous of Psyche? Give two reasons.", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhy were Psyche’s sisters jealous of Psyche? Give two reasons.", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4690,7 +4690,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhat question do Psyche’s sisters ask her?", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhat question do Psyche’s sisters ask her?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4708,7 +4708,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nClassics – Common Level\nWhat does Psyche say about her husband?\nThis question continues onto the next page.\nClassics – Common Level", + "question_text": "Read the following passage, and answer the questions below in English.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nThe passage describes how Psyche is brought to the home of her new husband, Cupid, and how\nher sisters react to her new life.\npater et māter et sorōrēs Psȳchēm summō in monte relīquērunt. ventus Zephyrus eam ā monte\nad terram portāvit. post breve tempus Psȳchē circumspectābat et domum magnam invēnit. Psȳchē\nhīc habitābat et erat laetior quam ūlla fēmina. nihil cupiēbat. Psȳchē domum et servōs et omnia\nbona habēbat. marītum tamen numquam vidēbat quod Cupīdō nocte veniēbat et eam ante\nprīmam lūcem relinquēbat.\nprīmō laetissima erat, sed mox familiam vidēre iterum volēbat. ūnā nocte Psȳchē marītum rogāvit:\n“sorōrēsne meae mē vīsitāre possunt?” Cupīdō Psȳchēm multum amābat et postrīdiē Zephyrum\nduās sorōrēs ad Psȳchēm portāre iussit.\nZephyrus duās sorōrēs Psȳchis domum eius portāvit. Psȳchē sorōribus omnia sua ostendit. sorōrēs\ntamen, ubi domum atque servōs Psȳchis vīdērunt, invidae erant, quod vītam faciliōrem quam vītās\neārum habēbat. sorōrēs multa rogābant: “es tū uxor laeta?” “quis est marītus tuus?” “marītum\nmeum nōndum vīdī,” Psȳchē inquit.\nCupīdō, Cupīdinis (m.) = Cupid prīmō = at first\nhīc = here Psȳchē, Psȳchis (f.) = Psyche\ninvidus, invida, invidum = envious / jealous relinquō, relinquere, relīquī, relictum (3) =\niterum = again to abandon / to leave behind\nlūx, lūcis (f.) = light / sunlight ūllus, ūlla, ūllum = any\nmarītus, marītī (m.) = husband uxor, uxōris (f.) = wife\nnōndum = not yet vīta, vītae (f.) = life\nostendō, ostendere, ostendī, ostentum (3) = to show Zephyrus, Zephyrī (m.) = Zephyr,\npostrīdiē = the next day the god of the westerly wind\nWhat does Psyche say about her husband?\nThis question continues onto the next page.", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -4762,7 +4762,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Based on the passage in part (a) and the sentences in part (b), do you think that Psyche’s\nsisters are genuinely concerned about her? Give a reason for your answer.\nClassics – Common Level", + "question_text": "Based on the passage in part (a) and the sentences in part (b), do you think that Psyche’s\nsisters are genuinely concerned about her? Give a reason for your answer.", "has_images": false, "image_notes": null, "topic": null, @@ -4780,7 +4780,7 @@ "parent_question": "21", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the text below into English. It tells the rest of the story of Cupid and Psyche.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nubi marītus suus dormiēbat, Psȳchē lucernam cēpit et eam suprā eum tenēbat. quid vīdit?\nPsȳchē neque serpentem neque animal ante sē cōnspexit, sed pulchrum et grātum deum,\nCupīdinem, fīlium Veneris.\nCupīdō, Cupīdinis (m.) = Cupid Psȳchē, Psȳchis (f.) = Psyche\ngrātus, grāta, grātum = pleasing serpēns, serpentis (m.) = snake\nlucerna, lucernae (f.) = oil lamp suprā + accusative = above\nmarītus, marītī (m.) = husband Venus, Veneris (f.) = Venus\nClassics – Common Level", + "question_text": "Translate the text below into English. It tells the rest of the story of Cupid and Psyche.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nubi marītus suus dormiēbat, Psȳchē lucernam cēpit et eam suprā eum tenēbat. quid vīdit?\nPsȳchē neque serpentem neque animal ante sē cōnspexit, sed pulchrum et grātum deum,\nCupīdinem, fīlium Veneris.\nCupīdō, Cupīdinis (m.) = Cupid Psȳchē, Psȳchis (f.) = Psyche\ngrātus, grāta, grātum = pleasing serpēns, serpentis (m.) = snake\nlucerna, lucernae (f.) = oil lamp suprā + accusative = above\nmarītus, marītī (m.) = husband Venus, Veneris (f.) = Venus", "has_images": true, "image_notes": "image(s) detected on page 35", "topic": null, @@ -4834,7 +4834,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "This image shows Limerick city’s Latin motto, which is based on a famous line from Virgil’s\nAeneid. Translate this Latin motto into English.\nurbs antīqua fuit studiīsque asperrima bellī.\nantīquus, antīqua, antīquum = ancient studium, studiī (n.) = skill / pursuit\nasper, aspera, asperum = fierce\nClassics – Common Level\nSection D Ancient Greek – Classical Language 180 marks", + "question_text": "This image shows Limerick city’s Latin motto, which is based on a famous line from Virgil’s\nAeneid. Translate this Latin motto into English.\nurbs antīqua fuit studiīsque asperrima bellī.\nantīquus, antīqua, antīquum = ancient studium, studiī (n.) = skill / pursuit\nasper, aspera, asperum = fierce\nSection D Ancient Greek – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 36, 37", "topic": null, @@ -4996,7 +4996,7 @@ "parent_question": "23", "marks": 18, "marks_confidence": "derived", - "question_text": "Write the name of each of these deities using the Ancient Greek alphabet.\nThe following six English place names are transliterations of Ancient Greek words.\nMatch each English word to its original Ancient Greek spelling by writing its letter in the box of the\nequivalent Ancient Greek word.\nGaia\nClassics – Common Level", + "question_text": "Write the name of each of these deities using the Ancient Greek alphabet.\nThe following six English place names are transliterations of Ancient Greek words.\nMatch each English word to its original Ancient Greek spelling by writing its letter in the box of the\nequivalent Ancient Greek word.\nGaia", "has_images": true, "image_notes": "image(s) detected on page 37", "topic": null, @@ -5050,7 +5050,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sentence A contains English words that derive from Ancient Greek words.\nRead Sentence A, and use the words in Box A to answer the following questions.\nSentence A:\nAstronomers use the technology of the telescope to see the cosmos, map galaxies and\nplanets, while astronauts leave the atmosphere to explore space.\nBox A:\nἀστηρ, ἀστερος = star ναυτης, ναυτου = sailor σκοπεω = I look at\nἀτμος, ἀτμου = vapour νομος, νομου = law / rule / order σφαιρα, σφαιρας = ball / globe\nγαλα, γαλακτος = milk πλανης, πλανητος = wanderer τεχνη, τεχνης = art / skill / craft\nκοσμος, κοσμου = universe τηλε = at a distance\nλογος, λογου = logic / study\nTwo Ancient Greek words in Box A, ἀστηρ and λογος, combine to make the English\nword astrology. What do you think the English word astrology means? Explain your answer\nwith reference to the meaning of both Ancient Greek words.\nClassics – Common Level", + "question_text": "Sentence A contains English words that derive from Ancient Greek words.\nRead Sentence A, and use the words in Box A to answer the following questions.\nSentence A:\nAstronomers use the technology of the telescope to see the cosmos, map galaxies and\nplanets, while astronauts leave the atmosphere to explore space.\nBox A:\nἀστηρ, ἀστερος = star ναυτης, ναυτου = sailor σκοπεω = I look at\nἀτμος, ἀτμου = vapour νομος, νομου = law / rule / order σφαιρα, σφαιρας = ball / globe\nγαλα, γαλακτος = milk πλανης, πλανητος = wanderer τεχνη, τεχνης = art / skill / craft\nκοσμος, κοσμου = universe τηλε = at a distance\nλογος, λογου = logic / study\nTwo Ancient Greek words in Box A, ἀστηρ and λογος, combine to make the English\nword astrology. What do you think the English word astrology means? Explain your answer\nwith reference to the meaning of both Ancient Greek words.", "has_images": false, "image_notes": null, "topic": null, @@ -5068,7 +5068,7 @@ "parent_question": "25", "marks": 20, "marks_confidence": "derived", - "question_text": "Match these images of gods and goddesses to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2. 3.\n4. 5.\nὁ Ζευς ἐπι του θρονου καθιζει, ἐπει ἐστιν ὁ των θεων βασιλευς. ὁ θεος τον κεραυνον ἐχει.\nὁ του ἡλιου θεος την μουσικην φιλει και κιθαριζει. ἡ ἀδελφη αὐτου ἐστιν ἡ Ἀρτεμις.\nἐν τῳ ἱερῳ τῳ Παρθενωνι ἐστι το μεγιστον ἀγαλμα της Ἀθηνης. ἡ θεα τα ὁπλα χρυσεα φερει.\nἡ της σεληνης θεα τα ζῳα φιλει και το τοξον φερει. ὁ ἀδελφος αὐτης ἐστιν ὁ Ἀπολλων.\nὁ Αἱδης ἐστιν ὁ των νεκρων βασιλευς. ὁ Κερβερος ὁ κυων αὐτου τρεις κεφαλας ἐχει.\nClassics – Common Level", + "question_text": "Match these images of gods and goddesses to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2. 3.\n4. 5.\nὁ Ζευς ἐπι του θρονου καθιζει, ἐπει ἐστιν ὁ των θεων βασιλευς. ὁ θεος τον κεραυνον ἐχει.\nὁ του ἡλιου θεος την μουσικην φιλει και κιθαριζει. ἡ ἀδελφη αὐτου ἐστιν ἡ Ἀρτεμις.\nἐν τῳ ἱερῳ τῳ Παρθενωνι ἐστι το μεγιστον ἀγαλμα της Ἀθηνης. ἡ θεα τα ὁπλα χρυσεα φερει.\nἡ της σεληνης θεα τα ζῳα φιλει και το τοξον φερει. ὁ ἀδελφος αὐτης ἐστιν ὁ Ἀπολλων.\nὁ Αἱδης ἐστιν ὁ των νεκρων βασιλευς. ὁ Κερβερος ὁ κυων αὐτου τρεις κεφαλας ἐχει.", "has_images": true, "image_notes": "image(s) detected on page 39", "topic": null, @@ -5158,7 +5158,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Identify the correct translation of the word or phrase in bold in the following sentences by putting\na tick () in the appropriate box. Tick one box only in each case.\nὁ Αἱδης, ὁς ἐστιν ὁ υἱος του Χρονου, δεινος ἐστιν.\nwho\nwhom\nwhat\nClassics – Common Level", + "question_text": "Identify the correct translation of the word or phrase in bold in the following sentences by putting\na tick () in the appropriate box. Tick one box only in each case.\nὁ Αἱδης, ὁς ἐστιν ὁ υἱος του Χρονου, δεινος ἐστιν.\nwho\nwhom\nwhat", "has_images": false, "image_notes": null, "topic": null, @@ -5176,7 +5176,7 @@ "parent_question": "27", "marks": 10, "marks_confidence": "derived", - "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nοἱ Λακεδαιμονιοι ἠσαν ______ ἀνδρειοτατοι στρατιωται.\nτα\nοἱ\nαἱ", + "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nοἱ Λακεδαιμονιοι ἠσαν ____ ἀνδρειοτατοι στρατιωται.\nτα\nοἱ\nαἱ", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -5194,7 +5194,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nαἱ γυναικες αἱ Λακεδαιμονιαι ἐξεβαινον ἐκ _______ και ἐγυμναζον.\nτην οἰκιαν\nτῃ οἰκιᾳ\nτης οἰκιας", + "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nαἱ γυναικες αἱ Λακεδαιμονιαι ἐξεβαινον ἐκ ____ και ἐγυμναζον.\nτην οἰκιαν\nτῃ οἰκιᾳ\nτης οἰκιας", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -5212,7 +5212,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nἐν Λακεδαιμονι οἱ ________ ἠσαν δυο βασιλεις.\nἀρχοντες\nἀρχων\nἀρχοντων", + "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nἐν Λακεδαιμονι οἱ ____ ἠσαν δυο βασιλεις.\nἀρχοντες\nἀρχων\nἀρχοντων", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -5230,7 +5230,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nἐν τῃ Ἀγωγῃ ἐδει τους παιδας τον σιτον _______.\nκλεπτουσιν\nκλεπτω\nκλεπτειν", + "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nἐν τῃ Ἀγωγῃ ἐδει τους παιδας τον σιτον ____.\nκλεπτουσιν\nκλεπτω\nκλεπτειν", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -5248,7 +5248,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nτα μεγαλα ὀρεα την μεγαλην πολιν _______.\nἐφυλασσομεν\nἐφυλασσε\nἐφυλασσες\nClassics – Common Level", + "question_text": "The following sentences are about ancient Sparta. Put a tick () in the box of the correct form\nneeded to complete the sentence. Tick one box in each case.\nDo not write the answers in the blank space.\nτα μεγαλα ὀρεα την μεγαλην πολιν ____.\nἐφυλασσομεν\nἐφυλασσε\nἐφυλασσες", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -5302,7 +5302,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage and answer the questions in English.\nThe passage describes how the day starts for an ancient Athenian slave.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nὁ δουλος προς την Ἀγοραν πρῳ βαινει, προτερον ὁ ἡλιος ἀνατελλει. ὁ δεσποτης τῳ αὐτῳ\nχρονῳ της ἡμερας ἐτι καθευδει και οὐκ ἐγειρει.\nοἱ πολλοι Ἀθηναιοι δια της Ἀγορας, ἡ ἐστι παρα τῃ Ἀκροπολει, πολλακις βαινουσιν. ἐπει τας\nφωνας και τας βοας πολλων Ἀθηναιων ἐν τῃ Ἀγορᾳ ἀκουει, ὁ δουλος δι’ ὀργης ἐχει. ὁ μεν\nδουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει. ὁ δουλος παντα τον σιτον προς την\nοἰκιαν ὡς ταχιστα φερειν ἐθελει. αὐτος ἀπο του ἐμποριου τον σιτον συλλεγει και τον ἰχθυν\nκαι τον ἀρτον και τας ἐλαας. ὁ δε δουλος τα ἐργα παυει: αὐτῳ γαρ οὐκ ἐστιν ἁλις τα\nχρηματα και ἀνευ του τυρου και του κρεως οἰκαδε τρεχει.\nὁ μαγειρος ἀπο του δουλου τον σιτον λαμβανει, ἀλλα τον τυρον οὐχ εὑρισκει και λεγει:\n“ποῦ ἐστιν ὁ τυρος; δια τί οὐ φερεις τον τυρον;” ὁ μαγειρος δι’ ὀργης ἐχει, ἀλλα το δειπνον\nὡς ταχιστα παρασκευαζει. ὁ δεσποτης προς την τραπεζαν βλεπει. ὁ δεσποτης οὐκ ἐστιν\nεὐδαιμων και λεγει: “ποῦ ἐστι τον ἐμον τυρον; συ εἶ κακος δουλος. εἰ μη γαρ ἐχω τον ἐμον\nτυρον, οὐχ οἱος τ’εἰμι ἐσθιειν ταυτην μεγαλην ἑορτην.”\nἁ λις = enough ���χθυς, ἰχθυος, ὁ = fish\nἀνατελλω = I rise καθευδω = I am asleep\nἀνευ + genitive = without κρεας, κρεως, το = meat\nἀρτος, ἀρτου, ὁ = bread μαγειρος, μαγειρου, ὁ = cook\nδι’ ὀργης ἐχω = I become angry παρα + dative = beside\nἐγειρω = I stir / I wake πρῳ = in the morning\nεἰ μη= unless σιτος, σιτου, ὁ = food\nἐλαα, ἐλαας, ἡ = olive τραπεζα, τραπεζης, ἡ = table\nἐμποριον, ἐμποριου, το = shop τυρος, τυρου, ὁ = cheese\nἑορτη, ἑορτης, ἡ = feast ὡς ταχιστα = as quickly as possible\nAccording to the passage, where is the Agora located in Athens?\nClassics – Common Level", + "question_text": "Read the passage and answer the questions in English.\nThe passage describes how the day starts for an ancient Athenian slave.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nὁ δουλος προς την Ἀγοραν πρῳ βαινει, προτερον ὁ ἡλιος ἀνατελλει. ὁ δεσποτης τῳ αὐτῳ\nχρονῳ της ἡμερας ἐτι καθευδει και οὐκ ἐγειρει.\nοἱ πολλοι Ἀθηναιοι δια της Ἀγορας, ἡ ἐστι παρα τῃ Ἀκροπολει, πολλακις βαινουσιν. ἐπει τας\nφωνας και τας βοας πολλων Ἀθηναιων ἐν τῃ Ἀγορᾳ ἀκουει, ὁ δουλος δι’ ὀργης ἐχει. ὁ μεν\nδουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει. ὁ δουλος παντα τον σιτον προς την\nοἰκιαν ὡς ταχιστα φερειν ἐθελει. αὐτος ἀπο του ἐμποριου τον σιτον συλλεγει και τον ἰχθυν\nκαι τον ἀρτον και τας ἐλαας. ὁ δε δουλος τα ἐργα παυει: αὐτῳ γαρ οὐκ ἐστιν ἁλις τα\nχρηματα και ἀνευ του τυρου και του κρεως οἰκαδε τρεχει.\nὁ μαγειρος ἀπο του δουλου τον σιτον λαμβανει, ἀλλα τον τυρον οὐχ εὑρισκει και λεγει:\n“ποῦ ἐστιν ὁ τυρος; δια τί οὐ φερεις τον τυρον;” ὁ μαγειρος δι’ ὀργης ἐχει, ἀλλα το δειπνον\nὡς ταχιστα παρασκευαζει. ὁ δεσποτης προς την τραπεζαν βλεπει. ὁ δεσποτης οὐκ ἐστιν\nεὐδαιμων και λεγει: “ποῦ ἐστι τον ἐμον τυρον; συ εἶ κακος δουλος. εἰ μη γαρ ἐχω τον ἐμον\nτυρον, οὐχ οἱος τ’εἰμι ἐσθιειν ταυτην μεγαλην ἑορτην.”\nἁ λις = enough ἰχθυς, ἰχθυος, ὁ = fish\nἀνατελλω = I rise καθευδω = I am asleep\nἀνευ + genitive = without κρεας, κρεως, το = meat\nἀρτος, ἀρτου, ὁ = bread μαγειρος, μαγειρου, ὁ = cook\nδι’ ὀργης ἐχω = I become angry παρα + dative = beside\nἐγειρω = I stir / I wake πρῳ = in the morning\nεἰ μη= unless σιτος, σιτου, ὁ = food\nἐλαα, ἐλαας, ἡ = olive τραπεζα, τραπεζης, ἡ = table\nἐμποριον, ἐμποριου, το = shop τυρος, τυρου, ὁ = cheese\nἑορτη, ἑορτης, ἡ = feast ὡς ταχιστα = as quickly as possible\nAccording to the passage, where is the Agora located in Athens?", "has_images": false, "image_notes": null, "topic": null, @@ -5392,7 +5392,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Describe how the master reacts after he looks at the table.\nRead the passage and answer the questions in English.\nThe passage describes how the day starts for an ancient Athenian slave.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nὁ δουλος προς την Ἀγοραν πρῳ βαινει, προτερον ὁ ἡλιος ἀνατελλει. ὁ δεσποτης τῳ αὐτῳ\nχρονῳ της ἡμερας ἐτι καθευδει και οὐκ ἐγειρει.\nοἱ πολλοι Ἀθηναιοι δια της Ἀγορας, ἡ ἐστι παρα τῃ Ἀκροπολει, πολλακις βαινουσιν. ἐπει τας\nφωνας και τας βοας πολλων Ἀθηναιων ἐν τῃ Ἀγορᾳ ἀκουει, ὁ δουλος δι’ ὀργης ἐχει. ὁ μεν\nδουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει. ὁ δουλος παντα τον σιτον προς την\nοἰκιαν ὡς ταχιστα φερειν ἐθελει. αὐτος ἀπο του ἐμποριου τον σιτον συλλεγει και τον ἰχθυν\nκαι τον ἀρτον και τας ἐλαας. ὁ δε δουλος τα ἐργα παυει: αὐτῳ γαρ οὐκ ἐστιν ἁλις τα\nχρηματα και ἀνευ του τυρου και του κρεως οἰκαδε τρεχει.\nὁ μαγειρος ἀπο του δουλου τον σιτον λαμβανει, ἀλλα τον τυρον οὐχ εὑρισκει και λεγει:\n“ποῦ ἐστιν ὁ τυρος; δια τί οὐ φερεις τον τυρον;” ὁ μαγειρος δι’ ὀργης ἐχει, ἀλλα το δειπνον\nὡς ταχιστα παρασκευαζει. ὁ δεσποτης προς την τραπεζαν βλεπει. ὁ δεσποτης οὐκ ἐστιν\nεὐδαιμων και λεγει: “ποῦ ἐστι τον ἐμον τυρον; συ εἶ κακος δουλος. εἰ μη γαρ ἐχω τον ἐμον\nτυρον, οὐχ οἱος τ’εἰμι ἐσθιειν ταυτην μεγαλην ἑορτην.”\nἁ λις = enough ἰχθυς, ἰχθυος, ὁ = fish\nἀνατελλω = I rise καθευδω = I am asleep\nἀνευ + genitive = without κρεας, κρεως, το = meat\nἀρτος, ἀρτου, ὁ = bread μαγειρος, μαγειρου, ὁ = cook\nδι’ ὀργης ἐχω = I become angry παρα + dative = beside\nἐγειρω = I stir / I wake πρῳ = in the morning\nεἰ μη= unless σιτος, σιτου, ὁ = food\nἐλαα, ἐλαας, ἡ = olive τραπεζα, τραπεζης, ἡ = table\nἐμποριον, ἐμποριου, το = shop τυρος, τυρου, ὁ = cheese\nἑορτη, ἑορτης, ἡ = feast ὡς ταχιστα = as quickly as possible\nThe sentence below is taken from the second paragraph of this passage.\nWrite the case, gender and number of one of the words in bold.\nὁ μεν δουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει.\nπολυν:\nπολλα:\nClassics – Common Level", + "question_text": "Describe how the master reacts after he looks at the table.\nRead the passage and answer the questions in English.\nThe passage describes how the day starts for an ancient Athenian slave.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nὁ δουλος προς την Ἀγοραν πρῳ βαινει, προτερον ὁ ἡλιος ἀνατελλει. ὁ δεσποτης τῳ αὐτῳ\nχρονῳ της ἡμερας ἐτι καθευδει και οὐκ ἐγειρει.\nοἱ πολλοι Ἀθηναιοι δια της Ἀγορας, ἡ ἐστι παρα τῃ Ἀκροπολει, πολλακις βαινουσιν. ἐπει τας\nφωνας και τας βοας πολλων Ἀθηναιων ἐν τῃ Ἀγορᾳ ἀκουει, ὁ δουλος δι’ ὀργης ἐχει. ὁ μεν\nδουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει. ὁ δουλος παντα τον σιτον προς την\nοἰκιαν ὡς ταχιστα φερειν ἐθελει. αὐτος ἀπο του ἐμποριου τον σιτον συλλεγει και τον ἰχθυν\nκαι τον ἀρτον και τας ἐλαας. ὁ δε δουλος τα ἐργα παυει: αὐτῳ γαρ οὐκ ἐστιν ἁλις τα\nχρηματα και ἀνευ του τυρου και του κρεως οἰκαδε τρεχει.\nὁ μαγειρος ἀπο του δουλου τον σιτον λαμβανει, ἀλλα τον τυρον οὐχ εὑρισκει και λεγει:\n“ποῦ ἐστιν ὁ τυρος; δια τί οὐ φερεις τον τυρον;” ὁ μαγειρος δι’ ὀργης ἐχει, ἀλλα το δειπνον\nὡς ταχιστα παρασκευαζει. ὁ δεσποτης προς την τραπεζαν βλεπει. ὁ δεσποτης οὐκ ἐστιν\nεὐδαιμων και λεγει: “ποῦ ἐστι τον ἐμον τυρον; συ εἶ κακος δουλος. εἰ μη γαρ ἐχω τον ἐμον\nτυρον, οὐχ οἱος τ’εἰμι ἐσθιειν ταυτην μεγαλην ἑορτην.”\nἁ λις = enough ἰχθυς, ἰχθυος, ὁ = fish\nἀνατελλω = I rise καθευδω = I am asleep\nἀνευ + genitive = without κρεας, κρεως, το = meat\nἀρτος, ἀρτου, ὁ = bread μαγειρος, μαγειρου, ὁ = cook\nδι’ ὀργης ἐχω = I become angry παρα + dative = beside\nἐγειρω = I stir / I wake πρῳ = in the morning\nεἰ μη= unless σιτος, σιτου, ὁ = food\nἐλαα, ἐλαας, ἡ = olive τραπεζα, τραπεζης, ἡ = table\nἐμποριον, ἐμποριου, το = shop τυρος, τυρου, ὁ = cheese\nἑορτη, ἑορτης, ἡ = feast ὡς ταχιστα = as quickly as possible\nThe sentence below is taken from the second paragraph of this passage.\nWrite the case, gender and number of one of the words in bold.\nὁ μεν δουλος πολυν χρονον οὐκ ἐχει, πολλα δε ἐργα ἐχει.\nπολυν:\nπολλα:", "has_images": false, "image_notes": null, "topic": null, @@ -5410,7 +5410,7 @@ "parent_question": "29", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate this passage into English. The passage mentions Achilles, Hector and Patroclus, three\nfamous heroes of the Trojan War. All underlined words are listed in the vocabulary glossary below.\nAchilles dragging the dead body of Hector around the walls of Troy\nὁ μεν Ἀχιλλευς ἠν ὁ μεγιστος των Ἑλληνικων στρατιωτων, ὁ δε Ἑκτωρ ἠν ὁ ἀνδρειοτατος των\nΤρωικων ἀνθρωπων. μετα τον θανατον του Πατροκλου, ὁς ἠν ὁ φιλος του Ἀχιλλεως, ὁ\nἈχιλλευς δι’ ὀργης εἰχε. ὁ Ἀχιλλευς τῳ φιλῳ τιμωρειν ἠθελεν και εἰπεν:\n“ὁ Ἑκτωρ ἀπεκτεινε τον καλον Πατροκλον, ὁν ἐφιλησα. ἐγω οὐν ἐκεινον τον Τρωικον\nδια της Τροιας διωξω. χρη γαρ ἐμε αὐτικα τον Ἑκτορα ἀποκτεινειν και τιμωρειν.”\nαὐτικα = immediately Πατροκλος, Πατροκλου, ὁ = Patroclus\nἈχιλλευς, Ἀχιλλεως, ὁ = Achilles τιμωρεω + dative = I get revenge (for)\nδι’ ὀργης ἐχω = I become angry Τροια, Τροιας, ἡ = Troy\nἙκτωρ, Ἑκτορος, ὁ = Hector Τρωικος, Τρωικη, Τρωικον = Trojan\nἙλληνικος, Ἑλληνικη, Ἑλληνικον = Greek φιλεω = I love\nClassics – Common Level", + "question_text": "Translate this passage into English. The passage mentions Achilles, Hector and Patroclus, three\nfamous heroes of the Trojan War. All underlined words are listed in the vocabulary glossary below.\nAchilles dragging the dead body of Hector around the walls of Troy\nὁ μεν Ἀχιλλευς ἠν ὁ μεγιστος των Ἑλληνικων στρατιωτων, ὁ δε Ἑκτωρ ἠν ὁ ἀνδρειοτατος των\nΤρωικων ἀνθρωπων. μετα τον θανατον του Πατροκλου, ὁς ἠν ὁ φιλος του Ἀχιλλεως, ὁ\nἈχιλλευς δι’ ὀργης εἰχε. ὁ Ἀχιλλευς τῳ φιλῳ τιμωρειν ἠθελεν και εἰπεν:\n“ὁ Ἑκτωρ ἀπεκτεινε τον καλον Πατροκλον, ὁν ἐφιλησα. ἐγω οὐν ἐκεινον τον Τρωικον\nδια της Τροιας διωξω. χρη γαρ ἐμε αὐτικα τον Ἑκτορα ἀποκτεινειν και τιμωρειν.”\nαὐτικα = immediately Πατροκλος, Πατροκλου, ὁ = Patroclus\nἈχιλλευς, Ἀχιλλεως, ὁ = Achilles τιμωρεω + dative = I get revenge (for)\nδι’ ὀργης ἐχω = I become angry Τροια, Τροιας, ἡ = Troy\nἙκτωρ, Ἑκτορος, ὁ = Hector Τρωικος, Τρωικη, Τρωικον = Trojan\nἙλληνικος, Ἑλληνικη, Ἑλληνικον = Greek φιλεω = I love", "has_images": true, "image_notes": "image(s) detected on page 44", "topic": null, @@ -5446,7 +5446,7 @@ "parent_question": "30", "marks": 4, "marks_confidence": "derived", - "question_text": "Complete the following questions based on Text A, which is the writing from this image showing\nAchilles and Ajax playing a game of dice.\nThe underlined words are listed in the vocabulary glossary below.\nText A: Ἀχιλλευς, “τετταρα φερω.” Αἰας, “δυο φερω.”\nΑἰας, Αἰαντος, ὁ = Ajax Ἀχιλλευς, Ἀχιλλεως, ὁ = Achilles τετταρα = τεσσαρα\nTick () the boxes to indicate the correct tense, mood, person and number of φερω, the\nverb in Text A. Tick only one box for each item.\nTense Mood Person Number\nPresent Imperative 1st person Singular\nFuture Indicative 2nd person Plural\nImperfect 3rd person\nAorist\nClassics – Common Level\nClassics – Common Level\nAcknowledgements\nTexts:\nPage 10: Translated by Graham Tingay (1984). Virgil: Selections from the Aeneid. 7.803-817. Cambridge University Press: Cambridge, UK.\nPage 20: Translated by Ian Johnston (2010). Homer. Iliad 3.121-132. Vancouver Island University: Nanaimo, BC, Canada. Accessed at:\nhttp://johnstoniatexts.x10host.com/homer/iliad_title.html\nTranslated by Katie Wan Winkle (2007). Iliad 22.437-476. Hapax Legomenon. Swarthmore College: Swarthmore, Pennsylvania. Accessed at:\nhttps://www.swarthmore.edu/classics/andromache-iliad-22437-476\nImages:\nPage 4: 1: https://www.freepik.com/premium-vector/god-deity-wine-winemaking-fertility-ancient-greek-roman-religion-mythology-\nmythological-character-isolated-white-background-cartoon-vector-illustration_17610569.htm\n2: https://www.pinterest.ie/pin/gods-and-giddesses--107945722308616959/\n3: https://www.freepik.com/premium-vector/father-gods-men_2851907.htm\n4: https://twitter.com/TheMythologyMa1/status/1356214576023539715\n5: https://blog360.com.br/deuses-do-olimpo/\n6: http://clipart-library.com/clipart/124379.htm\nPage 6: Image A: http://www.perseus.tufts.edu/hopper/artifact?name=Toledo+1972.55&object=Vase\nImage B: https://www.gettyimages.ie/detail/news-photo/italy-pompeii-altar-of-the-temple-of-vespasian-1st-century-news-\nphoto/1288511209?adppopup=true\nPage 8: https://www.britishmuseum.org/collection/object/G_1843-1103-31\nPage 10: https://feminaeromanae.org/Vergil_Camilla.html\nPage 12: https://www.mozaweb.com/en/Extra-3D_scenes-Ancient_Roman_domus-12043\nPage 13: https://twitter.com/clasicasieda/status/847851598789345280\nPage 14: A: https://www.smithsonianmag.com/science-nature/best-ancient-world-180974094/\nB: https://twitter.com/sbutcher2017\nC: https://www.vogue.in/fashion/content/vogues-fashion-encyclopaedia-everything-you-need-to- know-about-the-bikini\nD: https://no.wikipedia.org/wiki/Episkyros\nPage 17: https://study.com/learn/lesson/greece-map-history-empire.html\nPage 18: goodreads.com\nPage 20: https://ourmythicalchildhoodblog.com/\nhttps://www.theguardian.com/film/pictures/image/0,8545,-10704917235,00.html\nPage 23: https://en.wikipedia.org/wiki/Cork_Courthouse,_Washington_Street\nhttps://ststephensgreenpark.ie/gallery/\nPage 26: https://www.grammarly.com/blog/ad-nauseam/\nhttps://www.brianmcadam.com/cropped-scales-of-justice-3-clip-art-at-clker-com-vector-clip-art-online-snjwyp-clipart-1-png/\nhttps://www.shutterstock.com/search/et+cetera\nhttps:www.pinterest.co.uk/pin/667025394800152634/\nPage 28: 1: http://vroma.org/vromans/bmcmanus/spinning.htm\n2: https://puzzlefactory.pl/en/puzzle/play/art/491809-roman-wedding-in-the-time-of-the-republic#9x13\n3: https://www.historyextra.com/period/roman/hadrians-wall-what-life-like-roman-women-britain-artefacts/\n4: https://upload.wikimedia.org/wikipedia/commons/e/e6/Fresco_showing_a_woman_so-\ncalled_Sappho_holding_writing_implements%2C_from_Pompeii%2C_Naples_National_Archaeological_Museum_(14842101892).jpg\nPage 29: https://www.britishmuseum.org/collection/object/G_1917-0501-276\nPage 30: https://www.pinterest.ie/pin/334040497353215938/\nhttps://www.wikidata.org/wiki/Q20178094\nhttp://mythdancer.blogspot.com/2015/06/demeter-persephone-and-hades.html\nPage 31: https://www.gettyimages.ie/photos/Orpheus\nhttps://www.wikigallery.org/wiki/painting_362591/Antwerp-School/Orpheus-Searching-Eurydice-In-The-Underworld-(Met.-10-11-63)\nhttps://www.theawl.com/2017/05/to-hell-and-back-in-offenbachs-orphee-aux-enfers-overture/\nPage 32: https://www.redbubble.com/people/kairii1989/works/12397350-psyche-on-a-cliff\nhttps://womennart.com/2019/02/14/the-love-of-psyche-and-eros/\nhttps://www.rct.uk/collection/402959/psyches-sisters-giving-her-a-lamp-and-a-dagger\nPage 35: https://nl.pinterest.com/pin/370843350567434058/\nPage 36: https://www.vectorstock.com/royalty-free-vector/coat-arms-limerick-city-in-munster-vector-32119521\nPage 37: https://i.redd.it/6q1zjelq6iy61.jpg\nPage 39: 1: https://thatmuse.com/2021/12/24/death-burials-funerary-vases-the-ancient-greek-way/\n2: https://upload.wikimedia.org/wikipedia/commons/0/02/\n3: https://ourmythicalchildhoodblog.com/\n4: https://www.liquidsandsolids.com/dreams-of-god/\n5: https://www.storynory.com/how-xxxxxx-found-his-lyre/\nPage 41: https://www.abc.net.au/cm/rimage/13778658-16x9-large.jpg?v=2\nPage 44: https://www.history.com/.image/t_share/MTU3ODc5MDg1ODk0MDgzOTEz/achilles-hero.jpg\nPage 45: https://collections.mfa.org/objects/153522\nClassics – Common Level\nCopyright notice\nThis examination paper may contain text or images for which the State Examinations Commission is not the\ncopyright owner, and which may have been adapted, for the purpose of assessment, without the authors’ prior\nconsent. This examination paper has been prepared in accordance with Section 53(5) of the Copyright and\nRelated Rights Act, 2000. Any subsequent use for a purpose other than the intended purpose is not authorised.\nThe Commission does not accept liability for any infringement of third‐party rights arising from unauthorised\ndistribution or use of this examination paper.\nClassics\nFriday 16 June\nAfternoon 1:30 - 3:30", + "question_text": "Complete the following questions based on Text A, which is the writing from this image showing\nAchilles and Ajax playing a game of dice.\nThe underlined words are listed in the vocabulary glossary below.\nText A: Ἀχιλλευς, “τετταρα φερω.” Αἰας, “δυο φερω.”\nΑἰας, Αἰαντος, ὁ = Ajax Ἀχιλλευς, Ἀχιλλεως, ὁ = Achilles τετταρα = τεσσαρα\nTick () the boxes to indicate the correct tense, mood, person and number of φερω, the\nverb in Text A. Tick only one box for each item.\nTense Mood Person Number\nPresent Imperative 1st person Singular\nFuture Indicative 2nd person Plural\nImperfect 3rd person\nAorist", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -6364,7 +6364,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Críochnaigh an sliocht a leanas le huimhir an fhocail chirt atá ar iarraidh ón liosta thíos a scríobh\nisteach i ngach spás bán. Tá an chéad cheann déanta mar shampla duit.\nTá gach focal a bhfuil líne faoi liostaithe in ord aibítre sa ghluais foclóra thíos.\nFáinní pósta ón Róimh ársa\nSa sliocht seo cuirtear síos ar chineál pósta sa tSean-Róimh ar a dtugtaí cum manū (leis an lámh).\nmanus est __5. _ corporis, sed manus etiam erat nōmen generis nūptiārum. ubi fēmina virum\ncum manū nūpsit, ea in potestātem _____ vēnit et _____ potestāte patris vēnit. ubi fēmina\nvirum nūpsit, _____ erat dominus eius et tōtam potestātem fēminae _____ .\ngenus, generis (n.) = cineál nūptiae, nūptiārum (b. iol.) = pósadh\nmanus, manūs (b.) = lámh potestās, potestātis (b.) = smacht / cumhacht\nnūbō, nūbere, nūpsī, nūptum (3) = pós\nLiosta Focal\n1. vir\n2. virī\n3. ē / ex\n4. habuit\n5. pars\nScrúdú Deiridh na Sraithe Sóisearaí 2023 29\nNa Clasaicí – Comhleibhéal", + "question_text": "Críochnaigh an sliocht a leanas le huimhir an fhocail chirt atá ar iarraidh ón liosta thíos a scríobh\nisteach i ngach spás bán. Tá an chéad cheann déanta mar shampla duit.\nTá gach focal a bhfuil líne faoi liostaithe in ord aibítre sa ghluais foclóra thíos.\nFáinní pósta ón Róimh ársa\nSa sliocht seo cuirtear síos ar chineál pósta sa tSean-Róimh ar a dtugtaí cum manū (leis an lámh).\nmanus est __5. _ corporis, sed manus etiam erat nōmen generis nūptiārum. ubi fēmina virum\ncum manū nūpsit, ea in potestātem ____ vēnit et ____ potestāte patris vēnit. ubi fēmina\nvirum nūpsit, ____ erat dominus eius et tōtam potestātem fēminae ____ .\ngenus, generis (n.) = cineál nūptiae, nūptiārum (b. iol.) = pósadh\nmanus, manūs (b.) = lámh potestās, potestātis (b.) = smacht / cumhacht\nnūbō, nūbere, nūpsī, nūptum (3) = pós\nLiosta Focal\n1. vir\n2. virī\n3. ē / ex\n4. habuit\n5. pars\nScrúdú Deiridh na Sraithe Sóisearaí 2023 29\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 29", "topic": null, @@ -6382,7 +6382,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nin Siciliā est magnus _______ .\nager\nagrī\nagrum", + "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nin Siciliā est magnus ____ .\nager\nagrī\nagrum", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -6400,7 +6400,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPrōserpina cum _______ in agrō ambulābat.\namīcīs\namīcās\namīcae", + "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPrōserpina cum ____ in agrō ambulābat.\namīcīs\namīcās\namīcae", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -6418,7 +6418,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPlūtō, deus Tartarī, Prōserpinam _______ et rapuit.\nvidēbit\nvidēre\nvīdit", + "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPlūtō, deus Tartarī, Prōserpinam ____ et rapuit.\nvidēbit\nvidēre\nvīdit", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -6436,7 +6436,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPrōserpina clāmāvit, sed amīcae eam nōn _______.\naudīvit\naudīvērunt\naudīvistī", + "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPrōserpina clāmāvit, sed amīcae eam nōn ____.\naudīvit\naudīvērunt\naudīvistī", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -6454,7 +6454,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPlūtō Prōserpinam portāvit et per montēs ______ festīnāvit.\naltum\naltōs\naltus\nScrúdú Deiridh na Sraithe Sóisearaí 2023 30\nNa Clasaicí – Comhleibhéal", + "question_text": "Tá na habairtí thíos bunaithe ar scéal Phlútóin agus Proserpina. Roghnaigh an rogha cheart chun\nan spás bán a líonadh trí () a chur sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach\ncás. Ná scríobh an freagra sa spás bán.\nPlūtō Prōserpinam portāvit et per montēs ____ festīnāvit.\naltum\naltōs\naltus\nScrúdú Deiridh na Sraithe Sóisearaí 2023 30\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -7156,7 +7156,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nοἱ Λακεδαιμονιοι ἠσαν ______ ἀνδρειοτατοι στρατιωται.\nτα\nοἱ\nαἱ", + "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nοἱ Λακεδαιμονιοι ἠσαν ____ ἀνδρειοτατοι στρατιωται.\nτα\nοἱ\nαἱ", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -7174,7 +7174,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nαἱ γυναικες αἱ Λακεδαιμονιαι ἐξεβαινον ἐκ _______ και ἐγυμναζον.\nτην οἰκιαν\nτῃ οἰκιᾳ\nτης οἰκιας", + "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nαἱ γυναικες αἱ Λακεδαιμονιαι ἐξεβαινον ἐκ ____ και ἐγυμναζον.\nτην οἰκιαν\nτῃ οἰκιᾳ\nτης οἰκιας", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -7192,7 +7192,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nἐν Λακεδαιμονι οἱ ________ ἠσαν δυο βασιλεις.\nἀρχοντες\nἀρχων\nἀρχοντων", + "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nἐν Λακεδαιμονι οἱ ____ ἠσαν δυο βασιλεις.\nἀρχοντες\nἀρχων\nἀρχοντων", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -7210,7 +7210,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nἐν τῃ Ἀγωγῃ ἐδει τους παιδας τον σιτον _______.\nκλεπτουσιν\nκλεπτω\nκλεπτειν", + "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nἐν τῃ Ἀγωγῃ ἐδει τους παιδας τον σιτον ____.\nκλεπτουσιν\nκλεπτω\nκλεπτειν", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -7228,7 +7228,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nτα μεγαλα ὀρεα την μεγαλην πολιν _______.\nἐφυλασσομεν\nἐφυλασσε\nἐφυλασσες\nScrúdú Deiridh na Sraithe Sóisearaí 2023 41\nNa Clasaicí – Comhleibhéal", + "question_text": "Baineann na habairtí a leanas le Sparta ársa. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás.\nNá scríobh na freagraí sa spás bán.\nτα μεγαλα ὀρεα την μεγαλην πολιν ____.\nἐφυλασσομεν\nἐφυλασσε\nἐφυλασσες\nScrúdú Deiridh na Sraithe Sóisearaí 2023 41\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -7426,7 +7426,7 @@ "parent_question": "30", "marks": null, "marks_confidence": "uncertain", - "question_text": "Críochnaigh na ceisteanna thíos atá bunaithe ar Théacs A, arb í an scríbhneoireacht ón íomhá seo\na léiríonn Aichill agus Ajax ag imirt cluiche díslí.\nTá na focail a bhfuil líne fúthu tugtha sa ghluais foclóra thíos.\nTéacs A: Ἀχιλλευς, “τετταρα φερω.” Αἰας, “δυο φερω.”\nΑἰας, Αἰαντος, ὁ = Ajax Ἀχιλλευς, Ἀχιλλεως, ὁ = Aichill τετταρα = τεσσαρα\nCuir ticeanna () sna boscaí chun aimsir, modh, pearsa agus uimhir φερω, an briathar i\ndTéacs A a chur in iúl. Ná cuir tic ach i mbosca amháin i ngach cás.\nAimsir Modh Pearsa Uimhir\nLáithreach Ordaitheach 1ú phearsa Uatha\nFáistineach Táscach 2ú pearsa Iolra\nGnáthchaite 3ú pearsa\nÉigríochta\nScrúdú Deiridh na Sraithe Sóisearaí 2023 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh aon obair bhreise le huimhir agus le páirt na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí 2023 46\nNa Clasaicí – Comhleibhéal\nAdhmálacha\nTéacsanna\nlch. 10: Aistrithe ag Graham Tingay (1984). Virgil: Selections from the Aeneid. 7.803-817. Cambridge University Press: Cambridge, UK.\nlch. 20: Aistrithe ag Ian Johnston (2010). Homer. Iliad 3.121-132. Vancouver Island University: Nanaimo, BC, Canada. Accessed at:\nhttp://johnstoniatexts.x10host.com/homer/iliad_title.html\nAistrithe ag Katie Wan Winkle (2007). Iliad 22.437-476. Hapax Legomeno., Swarthmore College: Swarthmore, Pennsylvania. Accessed at:\nhttps://www.swarthmore.edu/classics/andromache-iliad-22437-476\nÍomhanna\nlch. 4: 1: https://www.freepik.com/premium-vector/god-deity-wine-winemaking-fertility-ancient-greek-roman-religion-mythology-\nmythological-character-isolated-white-background-cartoon-vector-illustration_17610569.htm\n2: https://www.pinterest.ie/pin/gods-and-giddesses--107945722308616959/\n3: https://www.freepik.com/premium-vector/father-gods-men_2851907.htm\n4: https://twitter.com/TheMythologyMa1/status/1356214576023539715\n5: https://blog360.com.br/deuses-do-olimpo/\n6: http://clipart-library.com/clipart/124379.htm\nlch. 6: íomhá A: http://www.perseus.tufts.edu/hopper/artifact?name=Toledo+1972.55&object=Vase\níomhá B: https://www.gettyimages.ie/detail/news-photo/italy-pompeii-altar-of-the-temple-of-vespasian-1st-century-news-\nphoto/1288511209?adppopup=true\nlch. 8: https://www.britishmuseum.org/collection/object/G_1843-1103-31\nIch. 10: https://feminaeromanae.org/Vergil_Camilla.html\nlch. 12: https://www.mozaweb.com/en/Extra-3D_scenes-Ancient_Roman_domus-12043\nlch. 13: https://twitter.com/clasicasieda/status/847851598789345280\nlch. 14: A: https://www.smithsonianmag.com/science-nature/best-ancient-world-180974094/\nB: https://twitter.com/sbutcher2017\nC: https://www.vogue.in/fashion/content/vogues-fashion-encyclopaedia-everything-you-need-to- know-about-the-bikini\nD: https://no.wikipedia.org/wiki/Episkyros\nlch. 17: https://study.com/learn/lesson/greece-map-history-empire.html\nlch. 18: goodreads.com\nlch. 20: https://ourmythicalchildhoodblog.com/\nhttps://www.theguardian.com/film/pictures/image/0,8545,-10704917235,00.html\nlch. 23: https://en.wikipedia.org/wiki/Cork_Courthouse,_Washington_Street\nhttps://ststephensgreenpark.ie/gallery/\nlch. 26: https://www.grammarly.com/blog/ad-nauseam/\nhttps://www.brianmcadam.com/cropped-scales-of-justice-3-clip-art-at-clker-com-vector-clip-art-online-snjwyp-clipart-1-png/\nhttps://www.shutterstock.com/search/et+cetera\nhttps:www.pinterest.co.uk/pin/667025394800152634/\nlch. 28: 1: http://vroma.org/vromans/bmcmanus/spinning.htm\n2: https://puzzlefactory.pl/en/puzzle/play/art/491809-roman-wedding-in-the-time-of-the-republic#9x13\n3: https://www.historyextra.com/period/roman/hadrians-wall-what-life-like-roman-women-britain-artefacts/\n4: https://upload.wikimedia.org/wikipedia/commons/e/e6/Fresco_showing_a_woman_so-\ncalled_Sappho_holding_writing_implements%2C_from_Pompeii%2C_Naples_National_Archaeological_Museum_(14842101892).jpg\nlch. 29: https://www.britishmuseum.org/collection/object/G_1917-0501-276\nlch. 30: https://www.pinterest.ie/pin/334040497353215938/\nhttps://www.wikidata.org/wiki/Q20178094\nhttp://mythdancer.blogspot.com/2015/06/demeter-persephone-and-hades.html\nlch. 31: https://www.gettyimages.ie/photos/Orpheus\nhttps://www.wikigallery.org/wiki/painting_362591/Antwerp-School/Orpheus-Searching-Eurydice-In-The-Underworld-(Met.-10-11-63)\nhttps://www.theawl.com/2017/05/to-hell-and-back-in-offenbachs-orphee-aux-enfers-overture/\nlch. 32: https://www.redbubble.com/people/kairii1989/works/12397350-psyche-on-a-cliff\nhttps://womennart.com/2019/02/14/the-love-of-psyche-and-eros/\nhttps://www.rct.uk/collection/402959/psyches-sisters-giving-her-a-lamp-and-a-dagger\nlch. 35: https://nl.pinterest.com/pin/370843350567434058/\nlch. 36: https://www.vectorstock.com/royalty-free-vector/coat-arms-limerick-city-in-munster-vector-32119521\nlch. 37: https://i.redd.it/6q1zjelq6iy61.jpg\nlch. 39: 1: https://thatmuse.com/2021/12/24/death-burials-funerary-vases-the-ancient-greek-way/\n2: https://upload.wikimedia.org/wikipedia/commons/0/02/\n3: https://ourmythicalchildhoodblog.com/\n4: https://www.liquidsandsolids.com/dreams-of-god/\n5: https://www.storynory.com/how-xxxxxx-found-his-lyre/\nlch. 41: https://www.abc.net.au/cm/rimage/13778658-16x9-large.jpg?v=2\nlch. 44: https://www.history.com/.image/t_share/MTU3ODc5MDg1ODk0MDgzOTEz/achilles-hero.jpg\nlch. 45: https://collections.mfa.org/objects/153522\nScrúdú Deiridh na Sraithe Sóisearaí 2023 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", + "question_text": "Críochnaigh na ceisteanna thíos atá bunaithe ar Théacs A, arb í an scríbhneoireacht ón íomhá seo\na léiríonn Aichill agus Ajax ag imirt cluiche díslí.\nTá na focail a bhfuil líne fúthu tugtha sa ghluais foclóra thíos.\nTéacs A: Ἀχιλλευς, “τετταρα φερω.” Αἰας, “δυο φερω.”\nΑἰας, Αἰαντος, ὁ = Ajax Ἀχιλλευς, Ἀχιλλεως, ὁ = Aichill τετταρα = τεσσαρα\nCuir ticeanna () sna boscaí chun aimsir, modh, pearsa agus uimhir φερω, an briathar i\ndTéacs A a chur in iúl. Ná cuir tic ach i mbosca amháin i ngach cás.\nAimsir Modh Pearsa Uimhir\nLáithreach Ordaitheach 1ú phearsa Uatha\nFáistineach Táscach 2ú pearsa Iolra\nGnáthchaite 3ú pearsa\nÉigríochta\nScrúdú Deiridh na Sraithe Sóisearaí 2023 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh aon obair bhreise le huimhir agus le páirt na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí 2023 46\nNa Clasaicí – Comhleibhéal\nAdhmálacha\nTéacsanna\nlch. 10: Aistrithe ag Graham Tingay (1984). Virgil: Selections from the Aeneid. 7.803-817. Cambridge University Press: Cambridge, UK.\nlch. 20: Aistrithe ag Ian Johnston (2010). Homer. Iliad 3.121-132. Vancouver Island University: Nanaimo, BC, Canada. Accessed at:\nAistrithe ag Katie Wan Winkle (2007). Iliad 22.437-476. Hapax Legomeno., Swarthmore College: Swarthmore, Pennsylvania. Accessed at:\nÍomhanna\nlch. 4: 1:\nmythological-character-isolated-white-background-cartoon-vector-illustration_17610569.htm\n2:\n3:\n4:\n5:\n6:\nlch. 6: íomhá A:\níomhá B:\nphoto/1288511209?adppopup=true\nlch. 8:\nIch. 10:\nlch. 12:\nlch. 13:\nlch. 14: A:\nB:\nC: know-about-the-bikini\nD:\nlch. 17:\nlch. 18: goodreads.com\nlch. 20:\nlch. 23:\nlch. 26:\nhttps:www.pinterest.co.uk/pin/667025394800152634/\nlch. 28: 1:\n2:\n3:\n4:\ncalled_Sappho_holding_writing_implements%2C_from_Pompeii%2C_Naples_National_Archaeological_Museum_(14842101892).jpg\nlch. 29:\nlch. 30:\nlch. 31:\nlch. 32:\nlch. 35:\nlch. 36:\nlch. 37:\nlch. 39: 1:\n2:\n3:\n4:\n5:\nlch. 41:\nlch. 44:\nlch. 45:\nScrúdú Deiridh na Sraithe Sóisearaí 2023 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -7444,7 +7444,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about ancient Greek/ Roman gods and goddesses.\n1 2\n3 4\nComplete the table by filling in the name and role of each god/ goddess in the above images.\nImage Name Role\nNumber (Greek or Roman) (god/ goddess of…)\n1.\n2.\n3.\n4.\nClassics – Common Level", + "question_text": "Answer the following questions about ancient Greek/ Roman gods and goddesses.\n1 2\n3 4\nComplete the table by filling in the name and role of each god/ goddess in the above images.\nImage Name Role\nNumber (Greek or Roman) (god/ goddess of…)\n1.\n2.\n3.\n4.", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -7480,7 +7480,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about ancient Greek/ Roman gods and goddesses.\n1 2\n3 4\nIn the table below, write the Roman name next to the Greek name of each god/ goddess.\nGreek Name Roman Name\nAphrodite\nDemeter\nHephaestus\nPoseidon\nZeus\nClassics – Common Level", + "question_text": "Answer the following questions about ancient Greek/ Roman gods and goddesses.\n1 2\n3 4\nIn the table below, write the Roman name next to the Greek name of each god/ goddess.\nGreek Name Roman Name\nAphrodite\nDemeter\nHephaestus\nPoseidon\nZeus", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -7498,7 +7498,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nBased on the start of this passage, give a brief description of Echo.", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nBased on the start of this passage, give a brief description of Echo.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -7516,7 +7516,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nExplain how Hera punished Echo.", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nExplain how Hera punished Echo.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -7534,7 +7534,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nWhy did Echo run away to the cave and what happened to her there?", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nWhy did Echo run away to the cave and what happened to her there?", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -7552,7 +7552,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nImage A is a painting of Echo, Narcissus and Cupid. Do you think that the artist has done a\ngood job of portraying Echo and Narcissus? Explain your answer with reference to details\nfrom both the image and the passage.\nThis question continues on the next page.\nClassics – Common Level", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nImage A is a painting of Echo, Narcissus and Cupid. Do you think that the artist has done a\ngood job of portraying Echo and Narcissus? Explain your answer with reference to details\nfrom both the image and the passage.\nThis question continues on the next page.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -7570,7 +7570,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nThe vanity of Narcissus gives us the English word ‘narcissist’, meaning somebody who is very\nvain and self-obsessed. Choose two other expressions which come from other myths and\nexplain their meaning.\nExpression 1:\nMeaning:\nExpression 2:\nMeaning:", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nThe vanity of Narcissus gives us the English word ‘narcissist’, meaning somebody who is very\nvain and self-obsessed. Choose two other expressions which come from other myths and\nexplain their meaning.\nExpression 1:\nMeaning:\nExpression 2:\nMeaning:", "has_images": true, "image_notes": "image(s) detected on page 6, 8", "topic": null, @@ -7588,7 +7588,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nClassics – Common Level\nThis myth of Echo and Narcissus explains the origin of an echo. Summarise another ancient\nGreek/ Roman myth which explains how something was first created or got its name.\nClassics – Common Level", + "question_text": "Read this passage about the myth of Echo and Narcissus and answer the questions below.\nWhen the mountain-nymph Echo was born, she spoke just like everyone else. She was\nchatty, entertaining and clever. She put her social talents to good use. Whenever Zeus\ncame to earth to have affairs with her sister nymphs, she distracted Hera so that the goddess\nwould not find out and punish the nymphs.\nHera became furious when she discovered what Echo had been doing. She cursed Echo by\ntaking away her talents. From that moment on, Echo was only able to repeat the words of\nothers. One day Echo was walking in the forest and she spotted a boy on his own. The boy’s\nname was Narcissus; he was a beautiful young man, but silly and vain. He was so beautiful\nthat girls, boys, and deities alike all desired him. He rejected them all and instead preferred\nto be on his own, gazing at his reflection in the water.\nWhen Echo first saw Narcissus she fell madly in love with him. Echo followed him around\nhoping that he would say something, so that she could repeat it and let him know her\nfeelings. Narcissus continued to turn her down and, in the end, she was so sad and love-sick\nthat she hid herself away in a cave. There she faded away to nothing but her voice. To this\nday her voice remains in woods and caves, repeating the words we say. We call this sound\nan ‘echo’, named after this nymph.\nImage A: Echo, Narcissus and Cupid.\nThis myth of Echo and Narcissus explains the origin of an echo. Summarise another ancient\nGreek/ Roman myth which explains how something was first created or got its name.", "has_images": true, "image_notes": "image(s) detected on page 6, 8", "topic": null, @@ -7624,7 +7624,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nWhy do you think that ancient Greek/ Roman myths often have monsters in them?\nGive reasons for your answer.\nThis question continues on the next page.\nClassics – Common Level", + "question_text": "Answer the following questions.\nWhy do you think that ancient Greek/ Roman myths often have monsters in them?\nGive reasons for your answer.\nThis question continues on the next page.", "has_images": true, "image_notes": "image(s) detected on page 9", "topic": null, @@ -7642,7 +7642,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nMonsters are an example of a theme in ancient Greek/ Roman mythology.\nDiscuss another theme in ancient Greek/ Roman myths.\nSupport your answer with reference to three myths.\nClassics – Common Level", + "question_text": "Answer the following questions.\nMonsters are an example of a theme in ancient Greek/ Roman mythology.\nDiscuss another theme in ancient Greek/ Roman myths.\nSupport your answer with reference to three myths.", "has_images": true, "image_notes": "image(s) detected on page 9", "topic": null, @@ -7714,7 +7714,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the text below and answer the questions on education in ancient Rome. The text is from a\nbiography of Marcus Cato the Elder, the famous Roman statesman.\nAs soon as the boy began to learn his father Marcus Cato taught him to read, although he\nhad a very good slave, called Chilo, who was a school-teacher and was already teaching\nmany boys. But Cato did not think it was right for his son to be scolded by a slave or pulled\nby the ear when slow to learn. Also, Cato believed such an important thing as education\nshould not be left to a slave. He himself therefore taught his son reading, law and\ngymnastics. Cato also gave him instruction in how to throw a javelin, to fight in armour, to\nride and box, to endure both heat and cold, and to swim.\nWhy do you think that Roman statesmen like Cato decided it was important for their sons to\nlearn “how to throw a javelin, to fight in armour, to ride and box, to endure both heat and\ncold, and to swim”? Explain your answer.\nThis question continues on the next page.\nClassics – Common Level\n1. 2.\nImage A", + "question_text": "Read the text below and answer the questions on education in ancient Rome. The text is from a\nbiography of Marcus Cato the Elder, the famous Roman statesman.\nAs soon as the boy began to learn his father Marcus Cato taught him to read, although he\nhad a very good slave, called Chilo, who was a school-teacher and was already teaching\nmany boys. But Cato did not think it was right for his son to be scolded by a slave or pulled\nby the ear when slow to learn. Also, Cato believed such an important thing as education\nshould not be left to a slave. He himself therefore taught his son reading, law and\ngymnastics. Cato also gave him instruction in how to throw a javelin, to fight in armour, to\nride and box, to endure both heat and cold, and to swim.\nWhy do you think that Roman statesmen like Cato decided it was important for their sons to\nlearn “how to throw a javelin, to fight in armour, to ride and box, to endure both heat and\ncold, and to swim”? Explain your answer.\nThis question continues on the next page.\n1. 2.\nImage A", "has_images": true, "image_notes": "image(s) detected on page 12", "topic": null, @@ -7750,7 +7750,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the text below and answer the questions on education in ancient Rome. The text is from a\nbiography of Marcus Cato the Elder, the famous Roman statesman.\nAs soon as the boy began to learn his father Marcus Cato taught him to read, although he\nhad a very good slave, called Chilo, who was a school-teacher and was already teaching\nmany boys. But Cato did not think it was right for his son to be scolded by a slave or pulled\nby the ear when slow to learn. Also, Cato believed such an important thing as education\nshould not be left to a slave. He himself therefore taught his son reading, law and\ngymnastics. Cato also gave him instruction in how to throw a javelin, to fight in armour, to\nride and box, to endure both heat and cold, and to swim.\nExplain two ways in which education in Ireland today is different to education in ancient\nGreece or Rome.\nDifference 1:\nDifference 2:\nClassics – Common Level", + "question_text": "Read the text below and answer the questions on education in ancient Rome. The text is from a\nbiography of Marcus Cato the Elder, the famous Roman statesman.\nAs soon as the boy began to learn his father Marcus Cato taught him to read, although he\nhad a very good slave, called Chilo, who was a school-teacher and was already teaching\nmany boys. But Cato did not think it was right for his son to be scolded by a slave or pulled\nby the ear when slow to learn. Also, Cato believed such an important thing as education\nshould not be left to a slave. He himself therefore taught his son reading, law and\ngymnastics. Cato also gave him instruction in how to throw a javelin, to fight in armour, to\nride and box, to endure both heat and cold, and to swim.\nExplain two ways in which education in Ireland today is different to education in ancient\nGreece or Rome.\nDifference 1:\nDifference 2:", "has_images": true, "image_notes": "image(s) detected on page 12", "topic": null, @@ -7768,7 +7768,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions.\nImagine that you are an adult in ancient Greece or Rome. Write a letter to a friend about\nyour occupation. In your letter, describe at least two activities which you carry out.\nThis question continues on the next page.\nClassics – Common Level", + "question_text": "Answer the following questions.\nImagine that you are an adult in ancient Greece or Rome. Write a letter to a friend about\nyour occupation. In your letter, describe at least two activities which you carry out.\nThis question continues on the next page.", "has_images": true, "image_notes": "image(s) detected on page 13", "topic": null, @@ -7804,7 +7804,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Discuss how one of the topics below relates to daily life in an ancient Greek/ Roman home:\n��� food; religion; family; slaves.\nTopic:\nClassics – Common Level", + "question_text": "Discuss how one of the topics below relates to daily life in an ancient Greek/ Roman home:\n• food; religion; family; slaves.\nTopic:", "has_images": false, "image_notes": null, "topic": null, @@ -7822,7 +7822,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "On this page, Image A shows a diagram of a Roman domus.\nOn the following page, Image B shows a diagram of a Greek oikos.\nAnswer part (i) or part (ii).\nWrite the name and a description of room 1 and room 2 which are labelled in Image A.\nName of room 1:\nDescription:\nName of room 2:\nDescription:\nImage A: domus\nClassics – Common Level\nOR", + "question_text": "On this page, Image A shows a diagram of a Roman domus.\nOn the following page, Image B shows a diagram of a Greek oikos.\nAnswer part (i) or part (ii).\nWrite the name and a description of room 1 and room 2 which are labelled in Image A.\nName of room 1:\nDescription:\nName of room 2:\nDescription:\nImage A: domus\nOR", "has_images": true, "image_notes": "image(s) detected on page 15, 16", "topic": null, @@ -7840,7 +7840,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "On this page, Image A shows a diagram of a Roman domus.\nOn the following page, Image B shows a diagram of a Greek oikos.\nAnswer part (i) or part (ii).\nWrite the name and a description of room 1 and room 2 which are labelled in Image B.\nName of room 1:\nDescription:\nName of room 2:\nDescription:\nImage B: oikos\nClassics – Common Level\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 18)\nOR\nSection C: Latin – Classical Language (page 27)\nOR\nSection D: Ancient Greek – Classical Language (page 38)\nDo not write on this page.\nClassics – Common Level\nSection B The World of Achilles, Rome 180 marks", + "question_text": "On this page, Image A shows a diagram of a Roman domus.\nOn the following page, Image B shows a diagram of a Greek oikos.\nAnswer part (i) or part (ii).\nWrite the name and a description of room 1 and room 2 which are labelled in Image B.\nName of room 1:\nDescription:\nName of room 2:\nDescription:\nImage B: oikos\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 18)\nOR\nSection C: Latin – Classical Language (page 27)\nOR\nSection D: Ancient Greek – Classical Language (page 38)\nDo not write on this page.\nSection B The World of Achilles, Rome 180 marks", "has_images": true, "image_notes": "image(s) detected on page 15, 16, 18", "topic": null, @@ -7858,7 +7858,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A is a mosaic depicting the Judgement of Paris.\nA\nGive the names of two characters in Image A and explain how you identified each one.\nCharacter 1:\nExplanation:\nCharacter 2:\nExplanation:\nClassics – Common Level", + "question_text": "Image A is a mosaic depicting the Judgement of Paris.\nA\nGive the names of two characters in Image A and explain how you identified each one.\nCharacter 1:\nExplanation:\nCharacter 2:\nExplanation:", "has_images": true, "image_notes": "image(s) detected on page 18", "topic": null, @@ -7894,7 +7894,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A is a mosaic depicting the Judgement of Paris.\nA\nExplain how the Judgement of Paris connects to the myth of the Trojan War.\nClassics – Common Level", + "question_text": "Image A is a mosaic depicting the Judgement of Paris.\nA\nExplain how the Judgement of Paris connects to the myth of the Trojan War.", "has_images": true, "image_notes": "image(s) detected on page 18", "topic": null, @@ -7930,7 +7930,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following extract and answer the following questions.\nBook 3 of the Iliad: Paris faces Menelaus in battle\nWhen godlike Paris saw Menelaus emerging through the front ranks, his heart failed him\ncompletely and he retreated into his own contingent of warriors to avoid death. Like a man\nwho catches sight of a snake in a wooded ravine and sharply recoils, knees trembling, and\nretreats, pale-faced, so godlike Paris disappeared back into the mass of proud Trojans,\nterrified of Menelaus, son of Atreus.\nHector saw him and attacked him sharply: “Paris, you are a disgrace, with your wonderful\nlooks, you should never have been born, or married. How I wish that were the case! Far\nbetter that than to be the disgrace you are now, trusted by nobody.”\nDo you think that this poetic device is used effectively in this extract? In your answer explain\nwhy Homer uses this type of poetic device throughout the Iliad.\nClassics – Common Level", + "question_text": "Read the following extract and answer the following questions.\nBook 3 of the Iliad: Paris faces Menelaus in battle\nWhen godlike Paris saw Menelaus emerging through the front ranks, his heart failed him\ncompletely and he retreated into his own contingent of warriors to avoid death. Like a man\nwho catches sight of a snake in a wooded ravine and sharply recoils, knees trembling, and\nretreats, pale-faced, so godlike Paris disappeared back into the mass of proud Trojans,\nterrified of Menelaus, son of Atreus.\nHector saw him and attacked him sharply: “Paris, you are a disgrace, with your wonderful\nlooks, you should never have been born, or married. How I wish that were the case! Far\nbetter that than to be the disgrace you are now, trusted by nobody.”\nDo you think that this poetic device is used effectively in this extract? In your answer explain\nwhy Homer uses this type of poetic device throughout the Iliad.", "has_images": false, "image_notes": null, "topic": null, @@ -7966,7 +7966,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following extract and answer the following questions.\nBook 3 of the Iliad: Paris faces Menelaus in battle\nWhen godlike Paris saw Menelaus emerging through the front ranks, his heart failed him\ncompletely and he retreated into his own contingent of warriors to avoid death. Like a man\nwho catches sight of a snake in a wooded ravine and sharply recoils, knees trembling, and\nretreats, pale-faced, so godlike Paris disappeared back into the mass of proud Trojans,\nterrified of Menelaus, son of Atreus.\nHector saw him and attacked him sharply: “Paris, you are a disgrace, with your wonderful\nlooks, you should never have been born, or married. How I wish that were the case! Far\nbetter that than to be the disgrace you are now, trusted by nobody.”\nWhat is your opinion of the character of Paris in the Iliad? Support your answer with\nevidence from this extract and/ or your reading of the Iliad.\nClassics – Common Level", + "question_text": "Read the following extract and answer the following questions.\nBook 3 of the Iliad: Paris faces Menelaus in battle\nWhen godlike Paris saw Menelaus emerging through the front ranks, his heart failed him\ncompletely and he retreated into his own contingent of warriors to avoid death. Like a man\nwho catches sight of a snake in a wooded ravine and sharply recoils, knees trembling, and\nretreats, pale-faced, so godlike Paris disappeared back into the mass of proud Trojans,\nterrified of Menelaus, son of Atreus.\nHector saw him and attacked him sharply: “Paris, you are a disgrace, with your wonderful\nlooks, you should never have been born, or married. How I wish that were the case! Far\nbetter that than to be the disgrace you are now, trusted by nobody.”\nWhat is your opinion of the character of Paris in the Iliad? Support your answer with\nevidence from this extract and/ or your reading of the Iliad.", "has_images": true, "image_notes": "image(s) detected on page 21", "topic": null, @@ -8002,7 +8002,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Briefly explain how the actions of Achilles relate to at least one concept in part (a).\nClassics – Common Level", + "question_text": "Briefly explain how the actions of Achilles relate to at least one concept in part (a).", "has_images": true, "image_notes": "image(s) detected on page 22", "topic": null, @@ -8038,7 +8038,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Do you have sympathy for this character from part (a)? Explain your answer.\nClassics – Common Level", + "question_text": "Do you have sympathy for this character from part (a)? Explain your answer.", "has_images": false, "image_notes": null, "topic": null, @@ -8128,7 +8128,7 @@ "parent_question": "12", "marks": 12, "marks_confidence": "derived", - "question_text": "Match each Roman architectural term with its definition by writing the correct letter in each box.\nAqueduct an oblong shaped race-track\nClassics – Common Level", + "question_text": "Match each Roman architectural term with its definition by writing the correct letter in each box.\nAqueduct an oblong shaped race-track", "has_images": true, "image_notes": "image(s) detected on page 24", "topic": null, @@ -8182,7 +8182,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "Describe what took place in the public building, structure or space named in part (a).\nClassics – Common Level", + "question_text": "Describe what took place in the public building, structure or space named in part (a).", "has_images": false, "image_notes": null, "topic": null, @@ -8236,7 +8236,7 @@ "parent_question": "14", "marks": null, "marks_confidence": "uncertain", - "question_text": "Why do you think that this building in Ireland was made with features of Roman\narchitecture? Give reasons for your answer.\nClassics – Common Level\nSection C Latin - Classical Language 180 marks", + "question_text": "Why do you think that this building in Ireland was made with features of Roman\narchitecture? Give reasons for your answer.\nSection C Latin - Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 27", "topic": null, @@ -8308,7 +8308,7 @@ "parent_question": "15", "marks": 8, "marks_confidence": "derived", - "question_text": "Identify the correct translation of each of these famous Latin quotes, by placing a tick () in the\ncorrect box. Tick one box only in each case.\nvēnī, vīdī, vīcī\nwe came, we saw, we conquered\nhe will come, he will see, he will conquer\nI came, I saw, I conquered\nJulius Caesar\nClassics – Common Level", + "question_text": "Identify the correct translation of each of these famous Latin quotes, by placing a tick () in the\ncorrect box. Tick one box only in each case.\nvēnī, vīdī, vīcī\nwe came, we saw, we conquered\nhe will come, he will see, he will conquer\nI came, I saw, I conquered\nJulius Caesar", "has_images": true, "image_notes": "image(s) detected on page 27", "topic": null, @@ -8344,7 +8344,7 @@ "parent_question": "16", "marks": null, "marks_confidence": "uncertain", - "question_text": "What has your study of Latin taught you about any other language you know?\nExplain your answer.\nClassics – Common Level", + "question_text": "What has your study of Latin taught you about any other language you know?\nExplain your answer.", "has_images": false, "image_notes": null, "topic": null, @@ -8362,7 +8362,7 @@ "parent_question": "17", "marks": 20, "marks_confidence": "derived", - "question_text": "Match the images of different people in the Roman world to their descriptions below.\nWrite the number of the image in the box beside its description.\n3 4 5\nin lūdō sunt puerī parvī. magistrum audiunt. magister est Graecus et bene docet.\nsum mīles Rōmānus. ego scūtum et gladium habeō. necesse erit mihi contrā hostēs\npugnāre.\nin templō sunt multae fēminae. sacrum ignem cūstōdiunt quod eae sunt sacerdōtēs\ndeae Vestae.\nsum servus. labōrō in vīllā. nocte vīnum dominae et amīcīs dō. cēnant dum ego serviō.\nlabōrō in urbe. ego multum pānem cīvibus Rōmānīs parō. necesse est mihi cotidiē\nignem facere.\nClassics – Common Level", + "question_text": "Match the images of different people in the Roman world to their descriptions below.\nWrite the number of the image in the box beside its description.\n3 4 5\nin lūdō sunt puerī parvī. magistrum audiunt. magister est Graecus et bene docet.\nsum mīles Rōmānus. ego scūtum et gladium habeō. necesse erit mihi contrā hostēs\npugnāre.\nin templō sunt multae fēminae. sacrum ignem cūstōdiunt quod eae sunt sacerdōtēs\ndeae Vestae.\nsum servus. labōrō in vīllā. nocte vīnum dominae et amīcīs dō. cēnant dum ego serviō.\nlabōrō in urbe. ego multum pānem cīvibus Rōmānīs parō. necesse est mihi cotidiē\nignem facere.", "has_images": true, "image_notes": "image(s) detected on page 29", "topic": null, @@ -8452,7 +8452,7 @@ "parent_question": "18", "marks": 20, "marks_confidence": "derived", - "question_text": "The following sentences are about the goddess Venus. Choose the correct translation of the\nwords in bold by placing a tick () in the correct box. Tick one box only in each case.\n“festīnātē ad āram,” sacerdōs ante sacrificium iussit.\ndid you hurry\nto hurry\nhurry\nClassics – Common Level", + "question_text": "The following sentences are about the goddess Venus. Choose the correct translation of the\nwords in bold by placing a tick () in the correct box. Tick one box only in each case.\n“festīnātē ad āram,” sacerdōs ante sacrificium iussit.\ndid you hurry\nto hurry\nhurry", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -8470,7 +8470,7 @@ "parent_question": "19", "marks": 15, "marks_confidence": "derived", - "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nmercātōrēs in forum celeriter ___________.\nambulābat\nambulābam\nambulābant", + "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nmercātōrēs in forum celeriter ____.\nambulābat\nambulābam\nambulābant", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -8488,7 +8488,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\npuella __________ in tabernā emēbat.\nlibrōrum\nlibrum\nlibrīs", + "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\npuella ____ in tabernā emēbat.\nlibrōrum\nlibrum\nlibrīs", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -8506,7 +8506,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nnūntius prope templum ___________ stābat.\ningēns\ningenti\ningentis", + "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nnūntius prope templum ____ stābat.\ningēns\ningenti\ningentis", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -8542,7 +8542,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nsī imperātor adveniet, magna turba _____________.\nerit\nest\nerant\nClassics – Common Level", + "question_text": "The following sentences describe a typical day in the Roman Forum. Identify the correct option to\nfill the blank space by placing a tick () in the correct box. Tick one box only in each case.\nDo not write in the blank space.\nsī imperātor adveniet, magna turba ____.\nerit\nest\nerant", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -8560,7 +8560,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage below and answer the following questions in English. This passage describes a\nhumorous event in the Forum between a salesman and Octavian, the first emperor of Rome.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Octāviānus hostem Antōnium in proeliō superāvit. post proelium Octāviānus Rōmam rediit et\ncircum forum ambulābat. in viā cōnspexit senem, quī duōs corvōs in caveā habēbat. ūnus corvus,\n“salvē,” inquit, “Octāviānē, victor, imperātor!” Octāviānus rīdēbat et corvum emere volēbat. senex\nrespondit, “vēndam.” Octāviānus corvum ēmit; senex laetus discessit.\npostquam tamen servus Octāviānī senem in viā prope forum iterum cōnspexit. servus Octāviānō\ndīxit senem alterum corvum habēre. secundus corvus statim, “salvē!” inquit, “Antōnī, victor,\nimperātor.” senex perterritus erat. sed Octāviānus magnā vōce rīdēbat et alterum corvum ēmit.\nservus imperātōris eī multam pecūniam dedit et senex laetissimus discessit.\nalter, altera, alterum = the other Octāviānus, Octāviānī (m.) = Octavian\nAntōnius, Antōniī (m.) = Antony postquam = afterwards\ncavea, caveae (f.) = cage redeō, redīre, rediī, reditum (irregular) = to return\ncorvus, corvī (m.) = crow rīdeō, rīdēre, rīsī, rīsum (3) = to laugh (at) / to smile\nemō, emere, ēmī, emptum (3) = to buy victor, victōris (m.) = winner / conqueror / victor\niterum = again\nWho did Octavian defeat in battle?\nClassics – Common Level", + "question_text": "Read the passage below and answer the following questions in English. This passage describes a\nhumorous event in the Forum between a salesman and Octavian, the first emperor of Rome.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Octāviānus hostem Antōnium in proeliō superāvit. post proelium Octāviānus Rōmam rediit et\ncircum forum ambulābat. in viā cōnspexit senem, quī duōs corvōs in caveā habēbat. ūnus corvus,\n“salvē,” inquit, “Octāviānē, victor, imperātor!” Octāviānus rīdēbat et corvum emere volēbat. senex\nrespondit, “vēndam.” Octāviānus corvum ēmit; senex laetus discessit.\npostquam tamen servus Octāviānī senem in viā prope forum iterum cōnspexit. servus Octāviānō\ndīxit senem alterum corvum habēre. secundus corvus statim, “salvē!” inquit, “Antōnī, victor,\nimperātor.” senex perterritus erat. sed Octāviānus magnā vōce rīdēbat et alterum corvum ēmit.\nservus imperātōris eī multam pecūniam dedit et senex laetissimus discessit.\nalter, altera, alterum = the other Octāviānus, Octāviānī (m.) = Octavian\nAntōnius, Antōniī (m.) = Antony postquam = afterwards\ncavea, caveae (f.) = cage redeō, redīre, rediī, reditum (irregular) = to return\ncorvus, corvī (m.) = crow rīdeō, rīdēre, rīsī, rīsum (3) = to laugh (at) / to smile\nemō, emere, ēmī, emptum (3) = to buy victor, victōris (m.) = winner / conqueror / victor\niterum = again\nWho did Octavian defeat in battle?", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -8686,7 +8686,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage below and answer the following questions in English. This passage describes a\nhumorous event in the Forum between a salesman and Octavian, the first emperor of Rome.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Octāviānus hostem Antōnium in proeliō superāvit. post proelium Octāviānus Rōmam rediit et\ncircum forum ambulābat. in viā cōnspexit senem, quī duōs corvōs in caveā habēbat. ūnus corvus,\n“salvē,” inquit, “Octāviānē, victor, imperātor!” Octāviānus rīdēbat et corvum emere volēbat. senex\nrespondit, “vēndam.” Octāviānus corvum ēmit; senex laetus discessit.\npostquam tamen servus Octāviānī senem in viā prope forum iterum cōnspexit. servus Octāviānō\ndīxit senem alterum corvum habēre. secundus corvus statim, “salvē!” inquit, “Antōnī, victor,\nimperātor.” senex perterritus erat. sed Octāviānus magnā vōce rīdēbat et alterum corvum ēmit.\nservus imperātōris eī multam pecūniam dedit et senex laetissimus discessit.\nalter, altera, alterum = the other Octāviānus, Octāviānī (m.) = Octavian\nAntōnius, Antōniī (m.) = Antony postquam = afterwards\ncavea, caveae (f.) = cage redeō, redīre, rediī, reditum (irregular) = to return\ncorvus, corvī (m.) = crow rīdeō, rīdēre, rīsī, rīsum (3) = to laugh (at) / to smile\nemō, emere, ēmī, emptum (3) = to buy victor, victōris (m.) = winner / conqueror / victor\niterum = again\nWhy do you think that the old man was ‘laetissimus’ when he left? Give two reasons.\nClassics – Common Level", + "question_text": "Read the passage below and answer the following questions in English. This passage describes a\nhumorous event in the Forum between a salesman and Octavian, the first emperor of Rome.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Octāviānus hostem Antōnium in proeliō superāvit. post proelium Octāviānus Rōmam rediit et\ncircum forum ambulābat. in viā cōnspexit senem, quī duōs corvōs in caveā habēbat. ūnus corvus,\n“salvē,” inquit, “Octāviānē, victor, imperātor!” Octāviānus rīdēbat et corvum emere volēbat. senex\nrespondit, “vēndam.” Octāviānus corvum ēmit; senex laetus discessit.\npostquam tamen servus Octāviānī senem in viā prope forum iterum cōnspexit. servus Octāviānō\ndīxit senem alterum corvum habēre. secundus corvus statim, “salvē!” inquit, “Antōnī, victor,\nimperātor.” senex perterritus erat. sed Octāviānus magnā vōce rīdēbat et alterum corvum ēmit.\nservus imperātōris eī multam pecūniam dedit et senex laetissimus discessit.\nalter, altera, alterum = the other Octāviānus, Octāviānī (m.) = Octavian\nAntōnius, Antōniī (m.) = Antony postquam = afterwards\ncavea, caveae (f.) = cage redeō, redīre, rediī, reditum (irregular) = to return\ncorvus, corvī (m.) = crow rīdeō, rīdēre, rīsī, rīsum (3) = to laugh (at) / to smile\nemō, emere, ēmī, emptum (3) = to buy victor, victōris (m.) = winner / conqueror / victor\niterum = again\nWhy do you think that the old man was ‘laetissimus’ when he left? Give two reasons.", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -8740,7 +8740,7 @@ "parent_question": "21", "marks": 12, "marks_confidence": "derived", - "question_text": "Choose the correct translation or grammatical description of the words in bold below by\nplacing a tick () in the correct box. Tick one box only in each case.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nRead the sentences and passage below, which tell the fable of a stag and his antlers.\ncrūra parva nōn amat sed magna cornua laudat.\naccusative plural\nnominative plural\nnominative singular\ncervus, cervī (m.) = stag / a male deer effigiēs, effigiēī (f.) = image\ncornū, cornūs (n.) = horn / antler fōns, fontis (m.) = fountain / spring\ncrūs, crūris (n.) = leg\nClassics – Common Level", + "question_text": "Choose the correct translation or grammatical description of the words in bold below by\nplacing a tick () in the correct box. Tick one box only in each case.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nRead the sentences and passage below, which tell the fable of a stag and his antlers.\ncrūra parva nōn amat sed magna cornua laudat.\naccusative plural\nnominative plural\nnominative singular\ncervus, cervī (m.) = stag / a male deer effigiēs, effigiēī (f.) = image\ncornū, cornūs (n.) = horn / antler fōns, fontis (m.) = fountain / spring\ncrūs, crūris (n.) = leg", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -8776,7 +8776,7 @@ "parent_question": "21", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the sentences and passage below, which tell the fable of a stag and his antlers.\nTranslate the following passage, which continues the story from part (a).\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nvirī cum canibus ad cervum celeriter currēbant. cervus currēbat et in silvam fugam fēcit.\nsubitō stetit; cervus movēre nōn poterat quod arborēs eum retinēbant. cervus dīxit, “heu,\nīnfēlīx sum! ōlim crūra parva damnāvi, sed crūra mē paene servāvērunt.”\ncervus, cervī (m.) = stag / male deer heu = oh no / alas\ncrūs crūris (n.) = leg paene = almost\ndamnō, damnāre, damnāvi, damnātum (1) = to curse stō, stāre, stetī, stātum (1) = to stop\nfuga, fugae (f.) = escape / flight\nClassics – Common Level", + "question_text": "Read the sentences and passage below, which tell the fable of a stag and his antlers.\nTranslate the following passage, which continues the story from part (a).\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nvirī cum canibus ad cervum celeriter currēbant. cervus currēbat et in silvam fugam fēcit.\nsubitō stetit; cervus movēre nōn poterat quod arborēs eum retinēbant. cervus dīxit, “heu,\nīnfēlīx sum! ōlim crūra parva damnāvi, sed crūra mē paene servāvērunt.”\ncervus, cervī (m.) = stag / male deer heu = oh no / alas\ncrūs crūris (n.) = leg paene = almost\ndamnō, damnāre, damnāvi, damnātum (1) = to curse stō, stāre, stetī, stātum (1) = to stop\nfuga, fugae (f.) = escape / flight", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -8848,7 +8848,7 @@ "parent_question": "22", "marks": 8, "marks_confidence": "derived", - "question_text": "Read the following grammatical statements about words in Text A. Place a tick () in the\nbox to indicate whether each statement is true or false.\nTrue False\nAnswer the following questions about Text A, which is from a letter found in the Roman fort of\nVindolanda. All underlined words are listed alphabetically in the vocabulary glossary below.\nText A: An invitation written by Claudia Severa to her sister Sulpicia Lepidina\na Claudiā Sevērā, Sulpiciae Lepīdinae: III Īdūs Septembrēs, soror, tē ad diem sollemnem\nnātālem meum rogō et spērābō tē, soror, valē soror, anima mea cārissima.\nIII Īdūs Septembres = ‘on the 11th of September’ sollemnis, sollemne = festive\nnātālis, nātālis (m.) = birthday spero, sperare, speravi, speratum (1) = to expect\ncārissima is a verb in the first-person plural.\nRuins of the Roman fort of Vindolanda, near Hadrian’s Wall\nClassics – Common Level", + "question_text": "Read the following grammatical statements about words in Text A. Place a tick () in the\nbox to indicate whether each statement is true or false.\nTrue False\nAnswer the following questions about Text A, which is from a letter found in the Roman fort of\nVindolanda. All underlined words are listed alphabetically in the vocabulary glossary below.\nText A: An invitation written by Claudia Severa to her sister Sulpicia Lepidina\na Claudiā Sevērā, Sulpiciae Lepīdinae: III Īdūs Septembrēs, soror, tē ad diem sollemnem\nnātālem meum rogō et spērābō tē, soror, valē soror, anima mea cārissima.\nIII Īdūs Septembres = ‘on the 11th of September’ sollemnis, sollemne = festive\nnātālis, nātālis (m.) = birthday spero, sperare, speravi, speratum (1) = to expect\ncārissima is a verb in the first-person plural.\nRuins of the Roman fort of Vindolanda, near Hadrian’s Wall", "has_images": true, "image_notes": "image(s) detected on page 36", "topic": null, @@ -8866,7 +8866,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about Text A, which is from a letter found in the Roman fort of\nVindolanda. All underlined words are listed alphabetically in the vocabulary glossary below.\nText A: An invitation written by Claudia Severa to her sister Sulpicia Lepidina\na Claudiā Sevērā, Sulpiciae Lepīdinae: III Īdūs Septembrēs, soror, tē ad diem sollemnem\nnātālem meum rogō et spērābō tē, soror, valē soror, anima mea cārissima.\nIII Īdūs Septembres = ‘on the 11th of September’ sollemnis, sollemne = festive\nnātālis, nātālis (m.) = birthday spero, sperare, speravi, speratum (1) = to expect\nTranslate the following sentence, which is taken from Text A.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nIII Īdūs Septembrēs, soror, tē ad diem sollemnem nātālem meum rogō.\nIII Īdūs Septembrēs = ‘on the 11th of September’ sollemnis, sollemne = festive / of feasting\nnātālis, nātālis (m.) = birthday\nVindolanda Tablet 291 showing the archaeological remains of Claudia Severa’s letter\nClassics – Common Level\nSection D Ancient Greek – Classical Language 180 marks", + "question_text": "Answer the following questions about Text A, which is from a letter found in the Roman fort of\nVindolanda. All underlined words are listed alphabetically in the vocabulary glossary below.\nText A: An invitation written by Claudia Severa to her sister Sulpicia Lepidina\na Claudiā Sevērā, Sulpiciae Lepīdinae: III Īdūs Septembrēs, soror, tē ad diem sollemnem\nnātālem meum rogō et spērābō tē, soror, valē soror, anima mea cārissima.\nIII Īdūs Septembres = ‘on the 11th of September’ sollemnis, sollemne = festive\nnātālis, nātālis (m.) = birthday spero, sperare, speravi, speratum (1) = to expect\nTranslate the following sentence, which is taken from Text A.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nIII Īdūs Septembrēs, soror, tē ad diem sollemnem nātālem meum rogō.\nIII Īdūs Septembrēs = ‘on the 11th of September’ sollemnis, sollemne = festive / of feasting\nnātālis, nātālis (m.) = birthday\nVindolanda Tablet 291 showing the archaeological remains of Claudia Severa’s letter\nSection D Ancient Greek – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 36, 37, 38", "topic": null, @@ -9028,7 +9028,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete questions (a), (b) and (c) using the Ancient Greek words in Box 1.\nYou may not use the same English word more than once.\nBox 1\nγραφω = I write λογος, λογου = word / story πυρ, πυρος = fire\nγραμμα, γραμματος = letter μανια, μανιας = madness πολις, πολεως = city\nἡλιος, ἡλιου = sun μονος, μονη, μονον = alone / only χρονος, χρονου = time\nWrite down one English word that derives from a combination of two Ancient Greek words\nin Box 1.\nAncient Greek word 1: Ancient Greek word 2:\nE nglish word:\nClassics – Common Level", + "question_text": "Complete questions (a), (b) and (c) using the Ancient Greek words in Box 1.\nYou may not use the same English word more than once.\nBox 1\nγραφω = I write λογος, λογου = word / story πυρ, πυρος = fire\nγραμμα, γραμματος = letter μανια, μανιας = madness πολις, πολεως = city\nἡλιος, ἡλιου = sun μονος, μονη, μονον = alone / only χρονος, χρονου = time\nWrite down one English word that derives from a combination of two Ancient Greek words\nin Box 1.\nAncient Greek word 1: Ancient Greek word 2:\nE nglish word:", "has_images": true, "image_notes": "image(s) detected on page 38", "topic": null, @@ -9064,7 +9064,7 @@ "parent_question": "25", "marks": 20, "marks_confidence": "derived", - "question_text": "Match the following scenes from daily life in Athens to their descriptions below.\nWrite the number of the image in the box beside its description.\nοἱ πολλοι, οἱ πολιται τε και οἱ δουλοι και αἱ γυναικες, δια της ἀγορας βαινουσιν.\nοἱ Ἀθηναιοι νεανιαι την μουσικην του ποιητου ἀκουουσιν. ὁ ποιητης καλλιστως κιθαριζει.\nοἱ ναυται πολλα ἐκ του πλοιου λαμβανουσιν. αὐτους δει παντα προς την ἀγοραν φερειν.\nπολλαι αἱ γυναικες ἐν τῃ οἰκιᾳ εἰσιν. ἡ δεσποινα μετα τριων καλων θυγατερων την μουσικην\nτου αὐλου ἀκουει.\nClassics – Common Level", + "question_text": "Match the following scenes from daily life in Athens to their descriptions below.\nWrite the number of the image in the box beside its description.\nοἱ πολλοι, οἱ πολιται τε και οἱ δουλοι και αἱ γυναικες, δια της ἀγορας βαινουσιν.\nοἱ Ἀθηναιοι νεανιαι την μουσικην του ποιητου ἀκουουσιν. ὁ ποιητης καλλιστως κιθαριζει.\nοἱ ναυται πολλα ἐκ του πλοιου λαμβανουσιν. αὐτους δει παντα προς την ἀγοραν φερειν.\nπολλαι αἱ γυναικες ἐν τῃ οἰκιᾳ εἰσιν. ἡ δεσποινα μετα τριων καλων θυγατερων την μουσικην\nτου αὐλου ἀκουει.", "has_images": true, "image_notes": "image(s) detected on page 39", "topic": null, @@ -9082,7 +9082,7 @@ "parent_question": "26", "marks": 15, "marks_confidence": "derived", - "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς ἐν ______ μετα του πατρος ἐνοικει.\nἈττικην\nἈττικῃ\nἈττικη", + "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς ἐν ____ μετα του πατρος ἐνοικει.\nἈττικην\nἈττικῃ\nἈττικη", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -9100,7 +9100,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς προς την Κρητην _______ μετα ἑπτα κορων και ἑξ νεανιων.\nἠλθεν\nἠλθον\nἠλθομεν", + "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς προς την Κρητην ____ μετα ἑπτα κορων και ἑξ νεανιων.\nἠλθεν\nἠλθον\nἠλθομεν", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -9118,7 +9118,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Μινως τον Θησεα ________ ἀποκτεινειν τον Μινωταυρον.\nἐκελευσε\nκελευειν\nκελευεσει", + "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Μινως τον Θησεα ____ ἀποκτεινειν τον Μινωταυρον.\nἐκελευσε\nκελευειν\nκελευεσει", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -9154,7 +9154,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς ἐν τῃ νησῳ την ________ και καλην Ἀριαδνην ἐλειψεν.\nἀνδρειον\nἀνδρεια\nἀνδρειαν\nClassics – Common Level", + "question_text": "The following sentences are based on the myth of Theseus and the Minotaur. Put a tick () in the\nbox of the correct form needed to complete each sentence below. Tick one box in each case.\nDo not write in the blank space.\nὁ Θησευς ἐν τῃ νησῳ την ____ και καλην Ἀριαδνην ἐλειψεν.\nἀνδρειον\nἀνδρεια\nἀνδρειαν", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -9244,7 +9244,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "These sentences are about heroes from the Trojan War. Identify the correct translation of the\nword or phrase in bold in the following sentences by putting a tick () in the correct box.\nTick one box only in each case.\nἡ Ἀνδρομαχη εἰπε τῳ Ἑκτορι, “τί λεγεις;”\nwho\nwhat\nwhose\nClassics – Common Level", + "question_text": "These sentences are about heroes from the Trojan War. Identify the correct translation of the\nword or phrase in bold in the following sentences by putting a tick () in the correct box.\nTick one box only in each case.\nἡ Ἀνδρομαχη εἰπε τῳ Ἑκτορι, “τί λεγεις;”\nwho\nwhat\nwhose", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -9262,7 +9262,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage below and answer the following questions in English. This passage is based\non a scene from Homer’s Odyssey when the comrades of Odysseus meet the goddess Circe.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ δε του Ὀδυσσεως ἑταιροι την της Κιρκης οἰκιαν ἐν δεινῃ ὑλῃ εὑρισκουσιν. ἐγγυς της\nοἰκιας εἰσι πολλα θηρια, λυκοι τε και λεοντες. ἐπει οἱ ἀνθρωποι προς παντα τα θηρια βλεπουσι,\nμεγιστον φοβον ἐχουσι και προς την της οἰκιας θυραν τρεχουσιν. ἐκει εἱς των ἑταιρων τινα δεινην\nφωνην ἀκουει. ἡ γαρ Κιρκη ἐν τῃ οἰκιᾳ ἀειδει.\nεὐθυς οἱ μεν ἀνθρωποι αὐτην καλουσιν και εὐθυς ἡ δε θεα ἐκ της οἰκιας ἐκβαινει και\nαὐτοις τους φιλους λογους λεγει· ‘’χαιρετε, ὠ ξενοι. νυν δε εἰσβαινετε εἰς την ἐμην οἰκιαν. ὑμεις\nγαρ καμνετε, και ἐγω σιτον τε και οἰνον ὑμιν παρεχειν ἐθελω.’’ ἡ δε Κιρκη δια θυρας της οἰκιας\nαὐτους βαινειν πειθει.\nἀειδω = I sing Κιρκη, Κιρκης, ἡ = Circe\nἐγγυς + genitive = near λυκος, λυκου, ὁ = wolf\nεὐθυς = immediately Ὀδυσσευς, Ὀδυσσεως = Odysseus\nθηριον, θηριου, το = wild beast οἰνος, οἰνου ὁ = wine\nκαλεω = I call σιτος, σιτου, ὁ = bread\nκαμνω = I am suffering ὑλη, ὑλης, ἡ = woods\nWhere was the home of Circe located?\nClassics – Common Level", + "question_text": "Read the passage below and answer the following questions in English. This passage is based\non a scene from Homer’s Odyssey when the comrades of Odysseus meet the goddess Circe.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ δε του Ὀδυσσεως ἑταιροι την της Κιρκης οἰκιαν ἐν δεινῃ ὑλῃ εὑρισκουσιν. ἐγγυς της\nοἰκιας εἰσι πολλα θηρια, λυκοι τε και λεοντες. ἐπει οἱ ἀνθρωποι προς παντα τα θηρια βλεπουσι,\nμεγιστον φοβον ἐχουσι και προς την της οἰκιας θυραν τρεχουσιν. ἐκει εἱς των ἑταιρων τινα δεινην\nφωνην ἀκουει. ἡ γαρ Κιρκη ἐν τῃ οἰκιᾳ ἀειδει.\nεὐθυς οἱ μεν ἀνθρωποι αὐτην καλουσιν και εὐθυς ἡ δε θεα ἐκ της οἰκιας ἐκβαινει και\nαὐτοις τους φιλους λογους λεγει· ‘’χαιρετε, ὠ ξενοι. νυν δε εἰσβαινετε εἰς την ἐμην οἰκιαν. ὑμεις\nγαρ καμνετε, και ἐγω σιτον τε και οἰνον ὑμιν παρεχειν ἐθελω.’’ ἡ δε Κιρκη δια θυρας της οἰκιας\nαὐτους βαινειν πειθει.\nἀειδω = I sing Κιρκη, Κιρκης, ἡ = Circe\nἐγγυς + genitive = near λυκος, λυκου, ὁ = wolf\nεὐθυς = immediately Ὀδυσσευς, Ὀδυσσεως = Odysseus\nθηριον, θηριου, το = wild beast οἰνος, οἰνου ὁ = wine\nκαλεω = I call σιτος, σιτου, ὁ = bread\nκαμνω = I am suffering ὑλη, ὑλης, ἡ = woods\nWhere was the home of Circe located?", "has_images": true, "image_notes": "image(s) detected on page 42", "topic": null, @@ -9388,7 +9388,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the passage below and answer the following questions in English. This passage is based\non a scene from Homer’s Odyssey when the comrades of Odysseus meet the goddess Circe.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ δε του Ὀδυσσεως ἑταιροι την της Κιρκης οἰκιαν ἐν δεινῃ ὑλῃ εὑρισκουσιν. ἐγγυς της\nοἰκιας εἰσι πολλα θηρια, λυκοι τε και λεοντες. ἐπει οἱ ἀνθρωποι προς παντα τα θηρια βλεπουσι,\nμεγιστον φοβον ἐχουσι και προς την της οἰκιας θυραν τρεχουσιν. ἐκει εἱς των ἑταιρων τινα δεινην\nφωνην ἀκουει. ἡ γαρ Κιρκη ἐν τῃ οἰκιᾳ ἀειδει.\nεὐθυς οἱ μεν ἀνθρωποι αὐτην καλουσιν και εὐθυς ἡ δε θεα ἐκ της οἰκιας ἐκβαινει και\nαὐτοις τους φιλους λογους λεγει· ‘’χαιρετε, ὠ ξενοι. νυν δε εἰσβαινετε εἰς την ἐμην οἰκιαν. ὑμεις\nγαρ καμνετε, και ἐγω σιτον τε και οἰνον ὑμιν παρεχειν ἐθελω.’’ ἡ δε Κιρκη δια θυρας της οἰκιας\nαὐτους βαινειν πειθει.\nἀειδω = I sing Κιρκη, Κιρκης, ἡ = Circe\nἐγγυς + genitive = near λυκος, λυκου, ὁ = wolf\nεὐθυς = immediately Ὀδυσσευς, Ὀδυσσεως = Odysseus\nθηριον, θηριου, το = wild beast οἰνος, οἰνου ὁ = wine\nκαλεω = I call σιτος, σιτου, ὁ = bread\nκαμνω = I am suffering ὑλη, ὑλης, ἡ = woods\nChoose any noun and any verb from the words in this passage. Identify the gender and\ncase of the noun, and the tense and person of the verb.\nNoun: Gender: Case:\nV erb: Tense: Person:\nClassics – Common Level", + "question_text": "Read the passage below and answer the following questions in English. This passage is based\non a scene from Homer’s Odyssey when the comrades of Odysseus meet the goddess Circe.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ δε του Ὀδυσσεως ἑταιροι την της Κιρκης οἰκιαν ἐν δεινῃ ὑλῃ εὑρισκουσιν. ἐγγυς της\nοἰκιας εἰσι πολλα θηρια, λυκοι τε και λεοντες. ἐπει οἱ ἀνθρωποι προς παντα τα θηρια βλεπουσι,\nμεγιστον φοβον ἐχουσι και προς την της οἰκιας θυραν τρεχουσιν. ἐκει εἱς των ἑταιρων τινα δεινην\nφωνην ἀκουει. ἡ γαρ Κιρκη ἐν τῃ οἰκιᾳ ἀειδει.\nεὐθυς οἱ μεν ἀνθρωποι αὐτην καλουσιν και εὐθυς ἡ δε θεα ἐκ της οἰκιας ἐκβαινει και\nαὐτοις τους φιλους λογους λεγει· ‘’χαιρετε, ὠ ξενοι. νυν δε εἰσβαινετε εἰς την ἐμην οἰκιαν. ὑμεις\nγαρ καμνετε, και ἐγω σιτον τε και οἰνον ὑμιν παρεχειν ἐθελω.’’ ἡ δε Κιρκη δια θυρας της οἰκιας\nαὐτους βαινειν πειθει.\nἀειδω = I sing Κιρκη, Κιρκης, ἡ = Circe\nἐγγυς + genitive = near λυκος, λυκου, ὁ = wolf\nεὐθυς = immediately Ὀδυσσευς, Ὀδυσσεως = Odysseus\nθηριον, θηριου, το = wild beast οἰνος, οἰνου ὁ = wine\nκαλεω = I call σιτος, σιτου, ὁ = bread\nκαμνω = I am suffering ὑλη, ὑλης, ἡ = woods\nChoose any noun and any verb from the words in this passage. Identify the gender and\ncase of the noun, and the tense and person of the verb.\nNoun: Gender: Case:\nV erb: Tense: Person:", "has_images": true, "image_notes": "image(s) detected on page 42, 43", "topic": null, @@ -9406,7 +9406,7 @@ "parent_question": "28", "marks": 1, "marks_confidence": "derived", - "question_text": "Translate the following passage, which continues the story told in part (a).\nThis passage describes Odysseus as he tries to find his comrades near Circe’s house.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ ἑταιροι τῃ Κιρκῃ ἐπιστευον. οἱ γαρ ἀνθρωποι τον της θεας κινδυνον οὐκ ἐγιγνωσκον. ὁ μεν\nὈδυσσευς την της Κιρκης οἰκιαν ἐν τῃ ὑλῃ ηὑρεν, ὁ δε Ὀδυσσευς τους ἑταιρους εὑρισκειν οὐχ\nοἱος τ’ἠν. ἐγγυς δε της οἰκιας ἠσαν πολλοι ὑες. ἐπει τους ὑας εἰδεν, ὁ Ὀδυσσευς τῃ βοῃ εἰπεν,\n“ὠ φιλοι ἑταιροι, ἐγω ὑμας οὐκ ἀκουω. ποῦ ἐστε; ὑμεις τι χαλεπον καμνετε;”\nἐγγυς + genitive = near Ὀδυσσευς, Ὀδυσσεως, ὁ = Odysseus\nκαμνω = I suffer ὑλη, ὑλης, ἡ = woods\nΚιρκη, Κιρκης, ἡ = Circe ὑς, ὑος, ὁ = pig\nClassics – Common Level", + "question_text": "Translate the following passage, which continues the story told in part (a).\nThis passage describes Odysseus as he tries to find his comrades near Circe’s house.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nοἱ ἑταιροι τῃ Κιρκῃ ἐπιστευον. οἱ γαρ ἀνθρωποι τον της θεας κινδυνον οὐκ ἐγιγνωσκον. ὁ μεν\nὈδυσσευς την της Κιρκης οἰκιαν ἐν τῃ ὑλῃ ηὑρεν, ὁ δε Ὀδυσσευς τους ἑταιρους εὑρισκειν οὐχ\nοἱος τ’ἠν. ἐγγυς δε της οἰκιας ἠσαν πολλοι ὑες. ἐπει τους ὑας εἰδεν, ὁ Ὀδυσσευς τῃ βοῃ εἰπεν,\n“ὠ φιλοι ἑταιροι, ἐγω ὑμας οὐκ ἀκουω. ποῦ ἐστε; ὑμεις τι χαλεπον καμνετε;”\nἐγγυς + genitive = near Ὀδυσσευς, Ὀδυσσεως, ὁ = Odysseus\nκαμνω = I suffer ὑλη, ὑλης, ἡ = woods\nΚιρκη, Κιρκης, ἡ = Circe ὑς, ὑος, ὁ = pig", "has_images": true, "image_notes": "image(s) detected on page 44", "topic": null, @@ -9496,7 +9496,7 @@ "parent_question": "29", "marks": null, "marks_confidence": "uncertain", - "question_text": "Text A is adapted from Aesop’s fable, The Frogs Ask for a King.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nText A\nοἱ βατραχοι, λυπουμενοι τῃ ἀναρχιᾳ, πρεσβεις ἐπεμψαν ἐπι τον Δια, αἰτουντες βασιλεα\nαὐτοις παρεσχειν. ὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nαἰσθομενος = ‘sensing’ καθιημι, καθηκε = I drop down\nαἰτουντες = ‘asking for’ λιμνη, λιμνης, ἡ = pond\nἀναρχια, ἀναρχιας, ἡ = anarchy / disorder λυπουμενοι = ‘being annoyed with’\nβατραχος, βατραχου, ὁ = frog ξυλον, ξυλου, το = log / a piece of wood\nεὐηθεια, εὐηθειας, ἡ = stupidity πρεσβυς, πρεσβεως, ὁ = ambassador\nTranslate the final sentence in Text A.\nὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nClassics – Common Level\nClassics – Common Level\nAcknowledgements\nImages\nPage 4:\n1 - https://venetianred.wordpress.com/tag/greek-mythology/\n2 - https://en.wikipedia.org/wiki/Syncretism\n3 - https://www.simonandschuster.com/books/Joan-Holub/Goddess-Girls/9781442461390\n4 - https://fineartamerica.com/art/paintings/urania\nPage 6: https://fineartamerica.com/featured/echo-and-narcissus-nicolas-poussin.html (edited 9.10.2023)\nPage 9: https://www.pinterest.ie/ev1lr0b/chimera/\nPage 12: https://radio.lublin.pl/2020/02/unikatowe-znalezisko-rysik-z-wczesnego-sredniowiecza/\nPage 13: https://pixabay.com/photos/roman-soldier-story-4174331/\nhttps://news.cgtn.com/news/2021-10-18/2022-Beijing-Olympics-torch-lighting-ceremony-starts-in-Greece-14sDCr2UDGU/index.html\nhttps://www.unrv.com/medicine.php\nPage 15: https://www.mozaweb.com/hu/Extra-3D_modell-Okori_romai_lakohaz-12043\nPage 16: https://twitter.com/clasicasieda/status/847851598789345280\nPage 18: https://www.researchgate.net/figure/The-Judgement-of-Paris-Los-Amores-mosaic-in-Castulo-Linares-Spain_fig1_348678126\nPage 22: https://www.britishmuseum.org/collection/object/G_1848-0801-1\nPage 24: https://commons.wikimedia.org/wiki/File:Map_of_Pompeii.png\nPage 27: https://www.commonwealmagazine.org/poem-pro-horatio\nhttps://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSL_w085ursUKUlbBfySe_QjyhikFtw6Ym01D83nVzdQw8e3c-F\nhttps://spartacus-educational.com/D20March.htm\nhttps://howtodoright.com/wp-content/uploads/2019/02/jcaesar-bust-001.jpg\nPage 29: 1 - https://www.grunge.com/253430/what-it-was-really-like-to-be-a- /\n2 - https://www.romanobritain.org/2-arl_life/arl_dinner_party.php\n3 - https://ancientromancitizens.weebly.com/education.html\n4 - https://www.telegraph.co.uk/opinion/2017/10/21/sacred-mysteriesdisreputable-bakers-unclean-undertakers/\n5 - https://www.timetrips.co.uk/romsol-camp.html\nPage 30: https://www.planetpompeii.com/en/map/the-temple-of-venus/16-imaginary-reconstruction-of-the-temple-of-venus.html\nPage 31: https://www.daviddarling.info/encyclopedia_of_history/F/Forum_Romanum.html\nPage 32: https://www.aionart.com/catalogue/7253/\nPage 34: https://teachingenglishiseasy.wordpress.com/tag/a-stag-at-the-pool/\nPage 36: https://www.romansinfocus.com/content/remains-fort\nPage 37: https://www.wikiwand.com/en/Claudia_Severa\nPage 39: 1 - https://femminaclassica.com/the-brutality-of-citizan-wives/\n2 - https://www.curriculumvisions.com/search/A/agora/agora.html\n3 - https://www.flickr.com/photos/136041510@N05/albums/72157659712097618/page1.\n4 - https://www.shutterstock.com/search/greek+ship\nPage 40: https://claphamschool.org/our-community/blog/theseus-minotur\nhttps://www.deviantart.com/sevenlivesofliz/art/Ariadne-902580350\nPage 41: https://history.howstuffworks.com/history-vs-myth/helen-of-troy.htm\nhttps://mythus.fandom.com/wiki/Patroclus\nhttps://i0.wp.com/interestingliterature.com/wp-content/uploads/2021/01/Achilles.jpg?resize=431%2C608&ssl=1\nhttps://www.thoughtco.com/thmb/zT7waPdnkUVQAfKid0QVe3Lzol8=/395x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyI\nmages-153417626-005f14cd68f5489e9d66cb4f0de608d9.jpg\nPage 42: https://andamaninspirations.com/2019/03/26/circes-transformations-art-images-of-the-greek-sorceress-through-the-ages/\nPage 44: https://andamaninspirations.com/2019/03/26/circes-transformations-art-images-of-the-greek-sorceress-through-the-ages/\nPage 45: https://en.wikipedia.org/wiki/The_Frogs_and_the_Sun#/media/File:Grandville_Frogs_&_Sun.jpg\nTexts\nPage 11: http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Lives/Cato_Major*.html\nPage 20: Trans, M. Hammond. Iliad. London: Penguin Classics. 1987.\nPage 36,37: https://en.wikipedia.org/wiki/Claudia_Severa\nPage 45: Nairn & Nairn. Greek Through Reading. London: Bristol Classical Press. 1993.\nClassics – Common Level\nCopyright notice\nThis examination paper may contain text or images for which the State Examinations Commission is not the\ncopyright owner, and which may have been adapted, for the purpose of assessment, without the authors’ prior\nconsent. This examination paper has been prepared in accordance with Section 53(5) of the Copyright and\nRelated Rights Act, 2000. Any subsequent use for a purpose other than the intended purpose is not authorised.\nThe Commission does not accept liability for any infringement of third‐party rights arising from unauthorised\ndistribution or use of this examination paper.\nClassics\nFriday 14 June\nAfternoon 1:30 - 3:30", + "question_text": "Text A is adapted from Aesop’s fable, The Frogs Ask for a King.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nText A\nοἱ βατραχοι, λυπουμενοι τῃ ἀναρχιᾳ, πρεσβεις ἐπεμψαν ἐπι τον Δια, αἰτουντες βασιλεα\nαὐτοις παρεσχειν. ὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nαἰσθομενος = ‘sensing’ καθιημι, καθηκε = I drop down\nαἰτουντες = ‘asking for’ λιμνη, λιμνης, ἡ = pond\nἀναρχια, ἀναρχιας, ἡ = anarchy / disorder λυπουμενοι = ‘being annoyed with’\nβατραχος, βατραχου, ὁ = frog ξυλον, ξυλου, το = log / a piece of wood\nεὐηθεια, εὐηθειας, ἡ = stupidity πρεσβυς, πρεσβεως, ὁ = ambassador\nTranslate the final sentence in Text A.\nὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -9518,7 +9518,7 @@ "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, - "marking_scheme_answer": ": 30 marc\n12\nmharc: 1 mharc ar gach ainm, 2 mharc ar gach ról.\nÍomhá ainm Ról\nUimhir (Gréagach nó Rómhánach) (dia/ bandia an/ na…)\n1. Aitéiné / Minerva freagra bailí amháin, amhail:\ngaois, cogadh, fíodóireacht.\n2. Háidéas / Plútón freagra bailí amháin, amhail:\nan domhan thíos, saibhreas, miotal.\n3. Artaimís / Diana freagra bailí amháin, amhail:\nainmhithe fiáine, an ghealach, breith\nlinbh.\n4. Apalló freagra bailí amháin, amhail:\nfilíocht, leigheas, an ghrian.", + "marking_scheme_answer": ": 30 marc\nmharc: 1 mharc ar gach ainm, 2 mharc ar gach ról.\nÍomhá ainm Ról\nUimhir (Gréagach nó Rómhánach) (dia/ bandia an/ na…)\n1. Aitéiné / Minerva freagra bailí amháin, amhail:\ngaois, cogadh, fíodóireacht.\n2. Háidéas / Plútón freagra bailí amháin, amhail:\nan domhan thíos, saibhreas, miotal.\n3. Artaimís / Diana freagra bailí amháin, amhail:\nainmhithe fiáine, an ghealach, breith\nlinbh.\n4. Apalló freagra bailí amháin, amhail:\nfilíocht, leigheas, an ghrian.", "source_pdf": "2024 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -9788,7 +9788,7 @@ "has_images": true, "image_notes": "image(s) detected on page 12", "topic": null, - "marking_scheme_answer": ": 30 marc\nmhic\nfoghlaim “conas sleá a chaitheamh, troid i gcathéide, marcaíocht agus dornálaíocht a\n5\nmharc\n5 mharc: míniú an-mhaith, tá 2 mhionsonra ar a laghad ann faoi shaol laethúil na Róimhe\n3 mharc: míniú maith, tá 1 mhionsonra ar a laghad ann faoi shaol laethúil na Róimhe\n1 mharc: míniú an-bhunúsach nó míchruinn, níor luadh sonraí ar bith faoi shaol laethúil na\nRóimhe\nClasaicaí na Sraithe Sóisearaí 2024\nScéim Mharcála", + "marking_scheme_answer": ": 30 marc\nmhic\nfoghlaim “conas sleá a chaitheamh, troid i gcathéide, marcaíocht agus dornálaíocht a\nmharc\n5 mharc: míniú an-mhaith, tá 2 mhionsonra ar a laghad ann faoi shaol laethúil na Róimhe\n3 mharc: míniú maith, tá 1 mhionsonra ar a laghad ann faoi shaol laethúil na Róimhe\n1 mharc: míniú an-bhunúsach nó míchruinn, níor luadh sonraí ar bith faoi shaol laethúil na\nRóimhe\nClasaicaí na Sraithe Sóisearaí 2024\nScéim Mharcála", "source_pdf": "2024 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -9932,7 +9932,7 @@ "has_images": true, "image_notes": "image(s) detected on page 18", "topic": null, - "marking_scheme_answer": ": 28 marc\n8\nmarc\nCarachtar: 4 mharc\n• 2 mharc ar gach ainm ceart (Afraidíté, Héire, Aitéine, Páras, Hermeas)\nMíniú: 4 mharc\n• 2 mharc, pointe bailí ar bith do gach carachtar", + "marking_scheme_answer": ": 28 marc\nmarc\nCarachtar: 4 mharc\n• 2 mharc ar gach ainm ceart (Afraidíté, Héire, Aitéine, Páras, Hermeas)\nMíniú: 4 mharc\n• 2 mharc, pointe bailí ar bith do gach carachtar", "source_pdf": "2024 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -10256,7 +10256,7 @@ "has_images": false, "image_notes": null, "topic": null, - "marking_scheme_answer": ": 34 marc\n14\nmharc\n14 mharc: cur síos an-mhaith, tá 3 ghníomhaíocht chearta ar a laghad ann agus roinnt fíricí / sonraí\n/ eochairthéarmaí\nClasaicaí na Sraithe Sóisearaí 2024\nScéim Mharcála\n10 marc: cur síos maith, tá 2 ghníomhaíocht chearta ar a laghad ann agus roinnt fíricí / sonraí /\neochairthéarmaí\n6 mharc: cur síos bunúsach nó míchruinn ar cad a tharla, d’fhéadfadh 1 fhíric/sonra ceart ar a\nlaghad a bheith ann\n3 mharc: ráiteas an-bhunúsach nó míchruinn, gan aon tagairt d’fhíricí nó do shonraí ann", + "marking_scheme_answer": ": 34 marc\nmharc\n14 mharc: cur síos an-mhaith, tá 3 ghníomhaíocht chearta ar a laghad ann agus roinnt fíricí / sonraí\n/ eochairthéarmaí\nClasaicaí na Sraithe Sóisearaí 2024\nScéim Mharcála\n10 marc: cur síos maith, tá 2 ghníomhaíocht chearta ar a laghad ann agus roinnt fíricí / sonraí /\neochairthéarmaí\n6 mharc: cur síos bunúsach nó míchruinn ar cad a tharla, d’fhéadfadh 1 fhíric/sonra ceart ar a\nlaghad a bheith ann\n3 mharc: ráiteas an-bhunúsach nó míchruinn, gan aon tagairt d’fhíricí nó do shonraí ann", "source_pdf": "2024 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -10540,7 +10540,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nmercātōrēs in forum celeriter ___________.\nambulābat\nambulābam\nambulābant", + "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nmercātōrēs in forum celeriter ____.\nambulābat\nambulābam\nambulābant", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -10558,7 +10558,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\npuella __________ in tabernā emēbat.\nlibrōrum\nlibrum\nlibrīs", + "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\npuella ____ in tabernā emēbat.\nlibrōrum\nlibrum\nlibrīs", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -10576,7 +10576,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nnūntius prope templum ___________ stābat.\ningēns\ningenti\ningentis", + "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nnūntius prope templum ____ stābat.\ningēns\ningenti\ningentis", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -10612,7 +10612,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nsī imperātor adveniet, magna turba _____________.\nerit\nest\nerant\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 31\nNa Clasaicí – Comhleibhéal", + "question_text": "Cuirtear síos ar lá tipiciúil sa bhFóram Rómhánach sna habairtí thíos. Sainaithin an rogha cheart\nchun an spás bán a líonadh agus cuir tic () sa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i\nngach cás. Ná scríobh sa spás bán.\nsī imperātor adveniet, magna turba ____.\nerit\nest\nerant\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 31\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -11152,7 +11152,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς ἐν ______ μετα του πατρος ἐνοικει.\nἈττικην\nἈττικῃ\nἈττικη", + "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς ἐν ____ μετα του πατρος ἐνοικει.\nἈττικην\nἈττικῃ\nἈττικη", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -11170,7 +11170,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς προς την Κρητην _______ μετα ἑπτα κορων και ἑξ νεανιων.\nἠλθεν\nἠλθον\nἠλθομεν", + "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς προς την Κρητην ____ μετα ἑπτα κορων και ἑξ νεανιων.\nἠλθεν\nἠλθον\nἠλθομεν", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -11188,7 +11188,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Μινως τον Θησεα ________ ἀποκτεινειν τον Μινωταυρον.\nἐκελευσε\nκελευειν\nκελευεσει", + "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Μινως τον Θησεα ____ ἀποκτεινειν τον Μινωταυρον.\nἐκελευσε\nκελευειν\nκελευεσει", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -11224,7 +11224,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς ἐν τῃ νησῳ την ________ και καλην Ἀριαδνην ἐλειψεν.\nἀνδρειον\nἀνδρεια\nἀνδρειαν\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 40\nNa Clasaicí – Comhleibhéal", + "question_text": "Tá na habairtí thíos bunaithe ar mhiotas Théiséis agus an Mhíonótáir. Cuir tic () sa bhosca le\nléiriú cén fhoirm cheart a theastaíonn chun gach abairt thíos a chríochnú. Ná cuir tic ach i mbosca\namháin i ngach cás. Ná scríobh sa spásanna bána.\nὁ Θησευς ἐν τῃ νησῳ την ____ και καλην Ἀριαδνην ἐλειψεν.\nἀνδρειο��\nἀνδρεια\nἀνδρειαν\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 40\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -11566,7 +11566,7 @@ "parent_question": "29", "marks": null, "marks_confidence": "uncertain", - "question_text": "Rinneadh Téacs A a oiriúnú ó fhabhalscéal Aesóip, Iarrann na Froganna Rí.\nTá na focail ar fad a bhfuil líne fúthu liostaithe in ord aibítre sa ghluais foclóra thíos\nTéacs A\nοἱ βατραχοι, λυπουμενοι τῃ ἀναρχιᾳ, πρεσβεις ἐπεμψαν ἐπι τον Δια, αἰτουντες βασιλεα\nαὐτοις παρεσχειν. ὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nαἰσθομενος = ‘ag brath’ καθιημι, καθηκε = ligim anuas\nαἰτουντες = ‘ag iarraidh’ λιμνη, λιμνης, ἡ = lochán\nἀναρχια, ἀναρχιας, ἡ = ainriail / neamhord λυπουμενοι = ‘a bheith cráite le’\nβατραχος, βατραχου, ὁ = frog ξυλον, ξυλου, το = lomán / píosa adhmaid\nεὐηθεια, εὐηθειας, ἡ = dúire πρεσβυς, πρεσβεως, ὁ = ambasadóir\nAistrigh an abairt dheireanach i dTéacs A.\nὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh gach píosa oibre le huimhir agus le páirt na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 46\nNa Clasaicí – Comhleibhéal\nAdmhálacha\nÍomhánna\nLeathanach 4:\n1 - https://venetianred.wordpress.com/tag/greek-mythology/\n2 - https://en.wikipedia.org/wiki/Syncretism\n3 - https://www.simonandschuster.com/books/Joan-Holub/Goddess-Girls/9781442461390\n4 - https://fineartamerica.com/art/paintings/urania\nLeathanach 6: https://fineartamerica.com/featured/echo-and-narcissus-nicolas-poussin.html (edited 10.9.2023)\nLeathanach 9: https://www.pinterest.ie/ev1lr0b/chimera/\nLeathanach 12: https://radio.lublin.pl/2020/02/unikatowe-znalezisko-rysik-z-wczesnego-sredniowiecza/\nLeathanach 13: https://pixabay.com/photos/roman-soldier-story-4174331/\nhttps://news.cgtn.com/news/2021-10-18/2022-Beijing-Olympics-torch-lighting-ceremony-starts-in-Greece-14sDCr2UDGU/index.html\nhttps://www.unrv.com/medicine.php\nLeathanach 15: https://www.mozaweb.com/hu/Extra-3D_modell-Okori_romai_lakohaz-12043\nLeathanach 16: https://twitter.com/clasicasieda/status/847851598789345280\nLeathanach 18: https://www.researchgate.net/figure/The-Judgement-of-Paris-Los-Amores-mosaic-in-Castulo-Linares-Spain_fig1_348678126\nLeathanach 22: https://www.britishmuseum.org/collection/object/G_1848-0801-1\nLeathanach 24: https://commons.wikimedia.org/wiki/File:Map_of_Pompeii.png\nLeathanach 27: https://www.commonwealmagazine.org/poem-pro-horatio\nhttps://encrypted-tbn3.gstatic.com/images?q=tbn:ANd9GcSL_w085ursUKUlbBfySe_QjyhikFtw6Ym01D83nVzdQw8e3c-F\nhttps://spartacus-educational.com/D20March.htm\nhttps://howtodoright.com/wp-content/uploads/2019/02/jcaesar-bust-001.jpg\nLeathanach 29: 1 - https://www.grunge.com/253430/what-it-was-really-like-to-be-a- /\n2 - https://www.romanobritain.org/2-arl_life/arl_dinner_party.php\n3 - https://ancientromancitizens.weebly.com/education.html\n4 - https://www.telegraph.co.uk/opinion/2017/10/21/sacred-mysteriesdisreputable-bakers-unclean-undertakers/\n5 - https://www.timetrips.co.uk/romsol-camp.html\nLeathanach 30: https://www.planetpompeii.com/en/map/the-temple-of-venus/16-imaginary-reconstruction-of-the-temple-of-venus.html\nLeathanach 31: https://www.daviddarling.info/encyclopedia_of_history/F/Forum_Romanum.html\nLeathanach 32: https://www.aionart.com/catalogue/7253/\nLeathanach 34: https://teachingenglishiseasy.wordpress.com/tag/a-stag-at-the-pool/\nLeathanach 36: https://www.romansinfocus.com/content/remains-fort\nLeathanach 37: https://www.wikiwand.com/en/Claudia_Severa\nLeathanach 39: 1 - https://femminaclassica.com/the-brutality-of-citizan-wives/\n2 - https://www.curriculumvisions.com/search/A/agora/agora.html\n3 - https://www.flickr.com/photos/136041510@N05/albums/72157659712097618/page1.\n4 - https://www.shutterstock.com/search/greek+ship\nLeathanach 40: https://claphamschool.org/our-community/blog/theseus-minotur\nhttps://www.deviantart.com/sevenlivesofliz/art/Ariadne-902580350\nLeathanach 41: https://history.howstuffworks.com/history-vs-myth/helen-of-troy.htm\nhttps://mythus.fandom.com/wiki/Patroclus\nhttps://i0.wp.com/interestingliterature.com/wp-content/uploads/2021/01/Achilles.jpg?resize=431%2C608&ssl=1\nhttps://www.thoughtco.com/thmb/zT7waPdnkUVQAfKid0QVe3Lzol8=/395x0/filters:no_upscale():max_bytes(150000):strip_icc()/GettyI\nmages-153417626-005f14cd68f5489e9d66cb4f0de608d9.jpg\nLeathanach 42: https://andamaninspirations.com/2019/03/26/circes-transformations-art-images-of-the-greek-sorceress-through-the-ages/\nLeathanach 44: https://andamaninspirations.com/2019/03/26/circes-transformations-art-images-of-the-greek-sorceress-through-the-ages/\nLeathanach 45: https://en.wikipedia.org/wiki/The_Frogs_and_the_Sun#/media/File:Grandville_Frogs_&_Sun.jpg\nTéacsanna\nLeathanach 11: http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Plutarch/Lives/Cato_Major*.html\nLeathanach 20: Trans, M. Hammond. Iliad. London: Penguin Classics. 1987.\nLeathanach 36,37: https://en.wikipedia.org/wiki/Claudia_Severa\nLeathanach 45: Nairn & Nairn. Greek Through Reading. London: Bristol Classical Press. 1993.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", + "question_text": "Rinneadh Téacs A a oiriúnú ó fhabhalscéal Aesóip, Iarrann na Froganna Rí.\nTá na focail ar fad a bhfuil líne fúthu liostaithe in ord aibítre sa ghluais foclóra thíos\nTéacs A\nοἱ βατραχοι, λυπουμενοι τῃ ἀναρχιᾳ, πρεσβεις ἐπεμψαν ἐπι τον Δια, αἰτουντες βασιλεα\nαὐτοις παρεσχειν. ὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nαἰσθομενος = ‘ag brath’ καθιημι, καθηκε = ligim anuas\nαἰτουντες = ‘ag iarraidh’ λιμνη, λιμνης, ἡ = lochán\nἀναρχια, ἀναρχιας, ἡ = ainriail / neamhord λυπουμενοι = ‘a bheith cráite le’\nβατραχος, βατραχου, ὁ = frog ξυλον, ξυλου, το = lomán / píosa adhmaid\nεὐηθεια, εὐηθειας, ἡ = dúire πρεσβυς, πρεσβεως, ὁ = ambasadóir\nAistrigh an abairt dheireanach i dTéacs A.\nὁ δε Ζευς αἰσθομενος την εὐηθειαν αὐτων, ξυλον εἰς την λιμνην καθηκε.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh gach píosa oibre le huimhir agus le páirt na ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 46\nNa Clasaicí – Comhleibhéal\nAdmhálacha\nÍomhánna\nLeathanach 4:\n1 -\n2 -\n3 -\n4 -\nLeathanach 6: (edited 10.9.2023)\nLeathanach 9:\nLeathanach 12:\nLeathanach 13:\nLeathanach 15:\nLeathanach 16:\nLeathanach 18:\nLeathanach 22:\nLeathanach 24:\nLeathanach 27:\nLeathanach 29: 1 - /\n2 -\n3 -\n4 -\n5 -\nLeathanach 30:\nLeathanach 31:\nLeathanach 32:\nLeathanach 34:\nLeathanach 36:\nLeathanach 37:\nLeathanach 39: 1 -\n2 -\n3 -\n4 -\nLeathanach 40:\nLeathanach 41:\nmages-153417626-005f14cd68f5489e9d66cb4f0de608d9.jpg\nLeathanach 42:\nLeathanach 44:\nLeathanach 45:\nTéacsanna\nLeathanach 11:\nLeathanach 20: Trans, M. Hammond. Iliad. London: Penguin Classics. 1987.\nLeathanach 36,37:\nLeathanach 45: Nairn & Nairn. Greek Through Reading. London: Bristol Classical Press. 1993.\nScrúdú Deiridh na Sraithe Sóisearaí, 2024 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicaí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -11584,7 +11584,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about ancient Greek / Roman heroes.\n1. 2.\n3. 4.\nComplete the following table by filling in the name of the hero in each of the above images.\nImage\nName of hero\nNumber\n1.\n2.\n3.\n4.\nClassics – Common Level", + "question_text": "Answer the following questions about ancient Greek / Roman heroes.\n1. 2.\n3. 4.\nComplete the following table by filling in the name of the hero in each of the above images.\nImage\nName of hero\nNumber\n1.\n2.\n3.\n4.", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -11620,7 +11620,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about ancient Greek / Roman heroes.\n1. 2.\n3. 4.\nChoose a myth about a hero you have studied, and describe the role of any female character\nin that myth. You may choose a myth about a hero shown in Images 1-4.\nName of myth:\nRole of female character:\nClassics – Common Level", + "question_text": "Answer the following questions about ancient Greek / Roman heroes.\n1. 2.\n3. 4.\nChoose a myth about a hero you have studied, and describe the role of any female character\nin that myth. You may choose a myth about a hero shown in Images 1-4.\nName of myth:\nRole of female character:", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -11710,7 +11710,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following statements about the passage. Place a tick () in the box to indicate\nwhether each statement is true or false.\nTrue False\nRead this passage about the myth of Romulus and Remus, and answer the following questions.\nThe twins, Romulus and Remus, wanted to rule a city near the river Tiber, where they had\nbeen raised by a wolf. They agreed to ask the gods to send a sign showing which brother\nwould get to rule the new city. Romulus went to the Palatine Hill, and Remus went to the\nAventine Hill. First, Remus saw the flight of six vultures; Romulus then saw twelve vultures.\nEach brother was announced as a king by his own followers, Remus because he first saw the\nvultures, Romulus because he saw the higher number of birds. Each brother, unwilling to\ndeclare the other one king, began to build walls around his hills. One day Remus jumped\nover his brother’s new walls to make fun of him, at which point Romulus, in great anger,\nkilled Remus with a spear, saying, “So perish whoever else shall jump over my walls!” In this\nway, Romulus became king, and he named the new city Rome.\nRomulus was the first king of Rome.\nClassics – Common Level", + "question_text": "Read the following statements about the passage. Place a tick () in the box to indicate\nwhether each statement is true or false.\nTrue False\nRead this passage about the myth of Romulus and Remus, and answer the following questions.\nThe twins, Romulus and Remus, wanted to rule a city near the river Tiber, where they had\nbeen raised by a wolf. They agreed to ask the gods to send a sign showing which brother\nwould get to rule the new city. Romulus went to the Palatine Hill, and Remus went to the\nAventine Hill. First, Remus saw the flight of six vultures; Romulus then saw twelve vultures.\nEach brother was announced as a king by his own followers, Remus because he first saw the\nvultures, Romulus because he saw the higher number of birds. Each brother, unwilling to\ndeclare the other one king, began to build walls around his hills. One day Remus jumped\nover his brother’s new walls to make fun of him, at which point Romulus, in great anger,\nkilled Remus with a spear, saying, “So perish whoever else shall jump over my walls!” In this\nway, Romulus became king, and he named the new city Rome.\nRomulus was the first king of Rome.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -11746,7 +11746,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about the myth of Romulus and Remus, and answer the following questions.\nThe twins, Romulus and Remus, wanted to rule a city near the river Tiber, where they had\nbeen raised by a wolf. They agreed to ask the gods to send a sign showing which brother\nwould get to rule the new city. Romulus went to the Palatine Hill, and Remus went to the\nAventine Hill. First, Remus saw the flight of six vultures; Romulus then saw twelve vultures.\nEach brother was announced as a king by his own followers, Remus because he first saw the\nvultures, Romulus because he saw the higher number of birds. Each brother, unwilling to\ndeclare the other one king, began to build walls around his hills. One day Remus jumped\nover his brother’s new walls to make fun of him, at which point Romulus, in great anger,\nkilled Remus with a spear, saying, “So perish whoever else shall jump over my walls!” In this\nway, Romulus became king, and he named the new city Rome.\nBased on this version of the myth of Romulus and Remus, what are two values which you\nthink were important to the Romans? Explain your answer.\nValue 1:\nValue 2:\nClassics – Common Level", + "question_text": "Read this passage about the myth of Romulus and Remus, and answer the following questions.\nThe twins, Romulus and Remus, wanted to rule a city near the river Tiber, where they had\nbeen raised by a wolf. They agreed to ask the gods to send a sign showing which brother\nwould get to rule the new city. Romulus went to the Palatine Hill, and Remus went to the\nAventine Hill. First, Remus saw the flight of six vultures; Romulus then saw twelve vultures.\nEach brother was announced as a king by his own followers, Remus because he first saw the\nvultures, Romulus because he saw the higher number of birds. Each brother, unwilling to\ndeclare the other one king, began to build walls around his hills. One day Remus jumped\nover his brother’s new walls to make fun of him, at which point Romulus, in great anger,\nkilled Remus with a spear, saying, “So perish whoever else shall jump over my walls!” In this\nway, Romulus became king, and he named the new city Rome.\nBased on this version of the myth of Romulus and Remus, what are two values which you\nthink were important to the Romans? Explain your answer.\nValue 1:\nValue 2:", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -11764,7 +11764,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Text A and Text B are different versions of the myth of Orpheus and Eurydice. Read both texts, and\nanswer the questions below.\nText A:\nAs the bride Eurydice approached the groom Orpheus, a snake bit her, and she died. Orpheus\nwent to the underworld to try to get Eurydice back. Hades was charmed and soothed by\nOrpheus’ beautiful music and agreed that Orpheus could take Eurydice back to earth on one\ncondition: that he would lead the way and not look back at her until they had returned.\nOrpheus climbed the path out of the underworld in front of Eurydice. He joyfully stepped out\ninto the upper world and quickly looked back for Eurydice, but since she hadn’t yet reached the\nland of the living, at that very moment she disappeared back into the underworld.\nText B:\nOn the day that Orpheus was meant to marry Eurydice, a satyr spied Eurydice walking through\nthe meadows and wanted to make her his bride instead. The satyr chased her, but suddenly\nEurydice fell into a nest of snakes and died.\nOrpheus was distraught and journeyed to the underworld, singing a song of grief. He sang a\nsong for the ferryman, Charon, who let him pass over the river Styx. He sang for Hades and\nPersephone. The queen loved his music so much that she allowed him to take his wife back on\none condition: that he would trust the gods and not look back to see if Eurydice’s ghost was\nfollowing. However, just before the threshold of the gates to the underworld, doubt entered\nOrpheus’ mind, and he glanced behind only to see the ghost of his beloved being dragged back\ninto the realm of Hades.\nGive two differences between the versions of the myth in Text A and Text B.\nDifference 1:\nDifference 2:\nClassics – Common Level", + "question_text": "Text A and Text B are different versions of the myth of Orpheus and Eurydice. Read both texts, and\nanswer the questions below.\nText A:\nAs the bride Eurydice approached the groom Orpheus, a snake bit her, and she died. Orpheus\nwent to the underworld to try to get Eurydice back. Hades was charmed and soothed by\nOrpheus’ beautiful music and agreed that Orpheus could take Eurydice back to earth on one\ncondition: that he would lead the way and not look back at her until they had returned.\nOrpheus climbed the path out of the underworld in front of Eurydice. He joyfully stepped out\ninto the upper world and quickly looked back for Eurydice, but since she hadn’t yet reached the\nland of the living, at that very moment she disappeared back into the underworld.\nText B:\nOn the day that Orpheus was meant to marry Eurydice, a satyr spied Eurydice walking through\nthe meadows and wanted to make her his bride instead. The satyr chased her, but suddenly\nEurydice fell into a nest of snakes and died.\nOrpheus was distraught and journeyed to the underworld, singing a song of grief. He sang a\nsong for the ferryman, Charon, who let him pass over the river Styx. He sang for Hades and\nPersephone. The queen loved his music so much that she allowed him to take his wife back on\none condition: that he would trust the gods and not look back to see if Eurydice’s ghost was\nfollowing. However, just before the threshold of the gates to the underworld, doubt entered\nOrpheus’ mind, and he glanced behind only to see the ghost of his beloved being dragged back\ninto the realm of Hades.\nGive two differences between the versions of the myth in Text A and Text B.\nDifference 1:\nDifference 2:", "has_images": true, "image_notes": "image(s) detected on page 8", "topic": null, @@ -11800,7 +11800,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Text A and Text B are different versions of the myth of Orpheus and Eurydice. Read both texts, and\nanswer the questions below.\nText A:\nAs the bride Eurydice approached the groom Orpheus, a snake bit her, and she died. Orpheus\nwent to the underworld to try to get Eurydice back. Hades was charmed and soothed by\nOrpheus’ beautiful music and agreed that Orpheus could take Eurydice back to earth on one\ncondition: that he would lead the way and not look back at her until they had returned.\nOrpheus climbed the path out of the underworld in front of Eurydice. He joyfully stepped out\ninto the upper world and quickly looked back for Eurydice, but since she hadn’t yet reached the\nland of the living, at that very moment she disappeared back into the underworld.\nText B:\nOn the day that Orpheus was meant to marry Eurydice, a satyr spied Eurydice walking through\nthe meadows and wanted to make her his bride instead. The satyr chased her, but suddenly\nEurydice fell into a nest of snakes and died.\nOrpheus was distraught and journeyed to the underworld, singing a song of grief. He sang a\nsong for the ferryman, Charon, who let him pass over the river Styx. He sang for Hades and\nPersephone. The queen loved his music so much that she allowed him to take his wife back on\none condition: that he would trust the gods and not look back to see if Eurydice’s ghost was\nfollowing. However, just before the threshold of the gates to the underworld, doubt entered\nOrpheus’ mind, and he glanced behind only to see the ghost of his beloved being dragged back\ninto the realm of Hades.\nExplain why there are different versions of ancient Greek / Roman myths.\nClassics – Common Level", + "question_text": "Text A and Text B are different versions of the myth of Orpheus and Eurydice. Read both texts, and\nanswer the questions below.\nText A:\nAs the bride Eurydice approached the groom Orpheus, a snake bit her, and she died. Orpheus\nwent to the underworld to try to get Eurydice back. Hades was charmed and soothed by\nOrpheus’ beautiful music and agreed that Orpheus could take Eurydice back to earth on one\ncondition: that he would lead the way and not look back at her until they had returned.\nOrpheus climbed the path out of the underworld in front of Eurydice. He joyfully stepped out\ninto the upper world and quickly looked back for Eurydice, but since she hadn’t yet reached the\nland of the living, at that very moment she disappeared back into the underworld.\nText B:\nOn the day that Orpheus was meant to marry Eurydice, a satyr spied Eurydice walking through\nthe meadows and wanted to make her his bride instead. The satyr chased her, but suddenly\nEurydice fell into a nest of snakes and died.\nOrpheus was distraught and journeyed to the underworld, singing a song of grief. He sang a\nsong for the ferryman, Charon, who let him pass over the river Styx. He sang for Hades and\nPersephone. The queen loved his music so much that she allowed him to take his wife back on\none condition: that he would trust the gods and not look back to see if Eurydice’s ghost was\nfollowing. However, just before the threshold of the gates to the underworld, doubt entered\nOrpheus’ mind, and he glanced behind only to see the ghost of his beloved being dragged back\ninto the realm of Hades.\nExplain why there are different versions of ancient Greek / Roman myths.", "has_images": true, "image_notes": "image(s) detected on page 8", "topic": null, @@ -11818,7 +11818,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these three images of archaeological artefacts from the ancient world.\nAnswer the questions that follow.\nA. B.\nRoman mosaic Roman wall-painting\nC.\nGreek wall-painting\nWhat can we learn about diet and dining in ancient Greece and Rome from these images?\nIn your answer refer to at least one detail from each image.\nImage A:\nClassics – Common Level\nImage B:\nImage C:", + "question_text": "Study these three images of archaeological artefacts from the ancient world.\nAnswer the questions that follow.\nA. B.\nRoman mosaic Roman wall-painting\nC.\nGreek wall-painting\nWhat can we learn about diet and dining in ancient Greece and Rome from these images?\nIn your answer refer to at least one detail from each image.\nImage A:\nImage B:\nImage C:", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -11836,7 +11836,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these three images of archaeological artefacts from the ancient world.\nAnswer the questions that follow.\nA. B.\nRoman mosaic Roman wall-painting\nC.\nGreek wall-painting\nDo young people today experience food in the same way as young people did in ancient\nGreece or Rome? Give reasons for your answer, including specific details.\nClassics – Common Level", + "question_text": "Study these three images of archaeological artefacts from the ancient world.\nAnswer the questions that follow.\nA. B.\nRoman mosaic Roman wall-painting\nC.\nGreek wall-painting\nDo young people today experience food in the same way as young people did in ancient\nGreece or Rome? Give reasons for your answer, including specific details.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -11854,7 +11854,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Choose one person from List A and choose one person from List B.\nGive four pieces of information about each person’s experience in society. You should include\nspecific details about topics, such as: daily routine, home life, social status, and occupation.\nList A List B\nslave in ancient Greece\nslave in ancient Rome\nwealthy woman in ancient Rome\nwealthy woman in ancient Greece\nmale citizen in ancient Greece\nmale citizen in ancient Rome\nPerson from List A:\n1.\n2.\n3.\n4.\nPerson from List B:\n1.\n2.\n3.\n4.\nClassics – Common Level", + "question_text": "Choose one person from List A and choose one person from List B.\nGive four pieces of information about each person’s experience in society. You should include\nspecific details about topics, such as: daily routine, home life, social status, and occupation.\nList A List B\nslave in ancient Greece\nslave in ancient Rome\nwealthy woman in ancient Rome\nwealthy woman in ancient Greece\nmale citizen in ancient Greece\nmale citizen in ancient Rome\nPerson from List A:\n1.\n2.\n3.\n4.\nPerson from List B:\n1.\n2.\n3.\n4.", "has_images": false, "image_notes": null, "topic": null, @@ -11890,7 +11890,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "How has learning about ancient Greece and Rome helped you to understand the world we\nlive in today? In your answer, you may discuss your study of myth and/or daily life.\nClassics – Common Level\nDo not write on this page.\nClassics – Common Level\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 16)\nOR\nSection C: Latin – Classical Language (page 28)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nClassics – Common Level\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", + "question_text": "How has learning about ancient Greece and Rome helped you to understand the world we\nlive in today? In your answer, you may discuss your study of myth and/or daily life.\nDo not write on this page.\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 16)\nOR\nSection C: Latin – Classical Language (page 28)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", "has_images": true, "image_notes": "image(s) detected on page 16", "topic": null, @@ -11908,7 +11908,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "The three images below show different types of buildings in ancient Rome.\n1. 2.\n3.\nIdentify the types of building in Images 1-3 by writing the number of each image in the\ntable below.\nBuilding: Amphitheatre Temple Thermae\nImage\nNumber:\nClassics – Common Level", + "question_text": "The three images below show different types of buildings in ancient Rome.\n1. 2.\n3.\nIdentify the types of building in Images 1-3 by writing the number of each image in the\ntable below.\nBuilding: Amphitheatre Temple Thermae\nImage\nNumber:", "has_images": true, "image_notes": "image(s) detected on page 16", "topic": null, @@ -11944,7 +11944,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "The three images below show different types of buildings in ancient Rome.\n1. 2.\n3.\nExplain the function of any two ancient Roman buildings, structures or public spaces which\nyou have studied.\nbuilding, structure or public space 1:\nFunction:\nof building, structure or public space 2:\nFunction:\nClassics – Common Level", + "question_text": "The three images below show different types of buildings in ancient Rome.\n1. 2.\n3.\nExplain the function of any two ancient Roman buildings, structures or public spaces which\nyou have studied.\nbuilding, structure or public space 1:\nFunction:\nof building, structure or public space 2:\nFunction:", "has_images": true, "image_notes": "image(s) detected on page 16", "topic": null, @@ -11962,7 +11962,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Imagine that you are attending an event or participating in an activity at a public location in\nancient Rome, and answer the questions below.\nDescribe the event / activity, including details about the points below.\nYou may support your answer with a diagram in the space on the next page.\n• who is present\n• what is happening\n• your personal experience of attending or participating\n• layout of the building, structure or public space where it takes place.\nName of event / activity:\nName of building, structure or public space:\nDescription:\nClassics – Common Level\nSpace for optional diagram:", + "question_text": "Imagine that you are attending an event or participating in an activity at a public location in\nancient Rome, and answer the questions below.\nDescribe the event / activity, including details about the points below.\nYou may support your answer with a diagram in the space on the next page.\n• who is present\n• what is happening\n• your personal experience of attending or participating\n• layout of the building, structure or public space where it takes place.\nName of event / activity:\nName of building, structure or public space:\nDescription:\nSpace for optional diagram:", "has_images": false, "image_notes": null, "topic": null, @@ -11980,7 +11980,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Imagine that you are attending an event or participating in an activity at a public location in\nancient Rome, and answer the questions below.\nExplain why the event / activity in part (a) takes place in this specific building, structure or\npublic space.\nClassics – Common Level", + "question_text": "Imagine that you are attending an event or participating in an activity at a public location in\nancient Rome, and answer the questions below.\nExplain why the event / activity in part (a) takes place in this specific building, structure or\npublic space.", "has_images": false, "image_notes": null, "topic": null, @@ -11998,7 +11998,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A shows a sculpture which decorated a monument commissioned by the Roman emperor\nMarcus Aurelius. Answer the questions below.\nImage A: Marcus Aurelius on horseback\nWhy did Romans include works of art, like the sculpture shown in Image A, when they\ncommissioned buildings, structures or public spaces? Explain your answer, referring to at\nleast one example you have studied.\nThis answer box continues onto the next page\nClassics – Common Level", + "question_text": "Image A shows a sculpture which decorated a monument commissioned by the Roman emperor\nMarcus Aurelius. Answer the questions below.\nImage A: Marcus Aurelius on horseback\nWhy did Romans include works of art, like the sculpture shown in Image A, when they\ncommissioned buildings, structures or public spaces? Explain your answer, referring to at\nleast one example you have studied.\nThis answer box continues onto the next page", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -12016,7 +12016,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Image A shows a sculpture which decorated a monument commissioned by the Roman emperor\nMarcus Aurelius. Answer the questions below.\nImage A: Marcus Aurelius on horseback\nIn your opinion, is art / architecture useful as an historical source? Give reasons for your\nanswer with evidence from at least one building, structure or public space you have studied.\nClassics – Common Level", + "question_text": "Image A shows a sculpture which decorated a monument commissioned by the Roman emperor\nMarcus Aurelius. Answer the questions below.\nImage A: Marcus Aurelius on horseback\nIn your opinion, is art / architecture useful as an historical source? Give reasons for your\nanswer with evidence from at least one building, structure or public space you have studied.", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -12034,7 +12034,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read Text A and answer the questions below.\nText A: Iliad Book 16\nThen Patroclus was minded to destroy the Trojans. Three times that peer of swift Ares\nattacked them, shouting his dread war-cry, and each time he killed nine men. But when, like\na god, you charged at them again, Patroclus, then your fate loomed in sight. For Apollo met\nyou, terrible in combat. Apollo advanced, veiled in a dense mist, invisible to Patroclus in the\ntumult, stood behind him and struck him in the back with the flat of his hand. The warrior’s\nvision spun as Apollo knocked the helmet from his head. The long-shadowed spear, thick,\nheavy, strong, and tipped with bronze, was wholly shattered; the tasselled shield on its strap\nfell to the ground, and that blow from Lord Apollo, son of Zeus, also loosened his\nbreastplate. Then Patroclus’ mind dimmed; his noble limbs were slack beneath him, and he\nstood there dazed.\nA Dardanian, Euphorbus, the best spearman, horseman and runner of his generation, now\ncast his sharp spear and struck Patroclus in the back between the shoulders. He was first to\nhurl his spear, not killing you, horse-tamer Patroclus, but pulling the spear from your flesh\nand running back into the throng, fearing to stand and fight you, unarmed now though you\nwere. And Patroclus, stunned by both the god’s blow and Euphorbus’ spear, retreated into\nthe Myrmidon ranks, dodging fate. But Hector, seeing Patroclus withdraw, made his way to\nhim through the ranks, and drove at him with his spear, piercing the lower belly and\nramming the point home.\nDescribe in detail the results of Apollo’s action in Text A.\nClassics – Common Level", + "question_text": "Read Text A and answer the questions below.\nText A: Iliad Book 16\nThen Patroclus was minded to destroy the Trojans. Three times that peer of swift Ares\nattacked them, shouting his dread war-cry, and each time he killed nine men. But when, like\na god, you charged at them again, Patroclus, then your fate loomed in sight. For Apollo met\nyou, terrible in combat. Apollo advanced, veiled in a dense mist, invisible to Patroclus in the\ntumult, stood behind him and struck him in the back with the flat of his hand. The warrior’s\nvision spun as Apollo knocked the helmet from his head. The long-shadowed spear, thick,\nheavy, strong, and tipped with bronze, was wholly shattered; the tasselled shield on its strap\nfell to the ground, and that blow from Lord Apollo, son of Zeus, also loosened his\nbreastplate. Then Patroclus’ mind dimmed; his noble limbs were slack beneath him, and he\nstood there dazed.\nA Dardanian, Euphorbus, the best spearman, horseman and runner of his generation, now\ncast his sharp spear and struck Patroclus in the back between the shoulders. He was first to\nhurl his spear, not killing you, horse-tamer Patroclus, but pulling the spear from your flesh\nand running back into the throng, fearing to stand and fight you, unarmed now though you\nwere. And Patroclus, stunned by both the god’s blow and Euphorbus’ spear, retreated into\nthe Myrmidon ranks, dodging fate. But Hector, seeing Patroclus withdraw, made his way to\nhim through the ranks, and drove at him with his spear, piercing the lower belly and\nramming the point home.\nDescribe in detail the results of Apollo’s action in Text A.", "has_images": false, "image_notes": null, "topic": null, @@ -12070,7 +12070,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read Text A and answer the questions below.\nText A: Iliad Book 16\nThen Patroclus was minded to destroy the Trojans. Three times that peer of swift Ares\nattacked them, shouting his dread war-cry, and each time he killed nine men. But when, like\na god, you charged at them again, Patroclus, then your fate loomed in sight. For Apollo met\nyou, terrible in combat. Apollo advanced, veiled in a dense mist, invisible to Patroclus in the\ntumult, stood behind him and struck him in the back with the flat of his hand. The warrior’s\nvision spun as Apollo knocked the helmet from his head. The long-shadowed spear, thick,\nheavy, strong, and tipped with bronze, was wholly shattered; the tasselled shield on its strap\nfell to the ground, and that blow from Lord Apollo, son of Zeus, also loosened his\nbreastplate. Then Patroclus’ mind dimmed; his noble limbs were slack beneath him, and he\nstood there dazed.\nA Dardanian, Euphorbus, the best spearman, horseman and runner of his generation, now\ncast his sharp spear and struck Patroclus in the back between the shoulders. He was first to\nhurl his spear, not killing you, horse-tamer Patroclus, but pulling the spear from your flesh\nand running back into the throng, fearing to stand and fight you, unarmed now though you\nwere. And Patroclus, stunned by both the god’s blow and Euphorbus’ spear, retreated into\nthe Myrmidon ranks, dodging fate. But Hector, seeing Patroclus withdraw, made his way to\nhim through the ranks, and drove at him with his spear, piercing the lower belly and\nramming the point home.\nGive two reasons why Euphorbus’ actions do not follow the Homeric code for heroes.\nReason 1:\nReason 2:\nClassics – Common Level", + "question_text": "Read Text A and answer the questions below.\nText A: Iliad Book 16\nThen Patroclus was minded to destroy the Trojans. Three times that peer of swift Ares\nattacked them, shouting his dread war-cry, and each time he killed nine men. But when, like\na god, you charged at them again, Patroclus, then your fate loomed in sight. For Apollo met\nyou, terrible in combat. Apollo advanced, veiled in a dense mist, invisible to Patroclus in the\ntumult, stood behind him and struck him in the back with the flat of his hand. The warrior’s\nvision spun as Apollo knocked the helmet from his head. The long-shadowed spear, thick,\nheavy, strong, and tipped with bronze, was wholly shattered; the tasselled shield on its strap\nfell to the ground, and that blow from Lord Apollo, son of Zeus, also loosened his\nbreastplate. Then Patroclus’ mind dimmed; his noble limbs were slack beneath him, and he\nstood there dazed.\nA Dardanian, Euphorbus, the best spearman, horseman and runner of his generation, now\ncast his sharp spear and struck Patroclus in the back between the shoulders. He was first to\nhurl his spear, not killing you, horse-tamer Patroclus, but pulling the spear from your flesh\nand running back into the throng, fearing to stand and fight you, unarmed now though you\nwere. And Patroclus, stunned by both the god’s blow and Euphorbus’ spear, retreated into\nthe Myrmidon ranks, dodging fate. But Hector, seeing Patroclus withdraw, made his way to\nhim through the ranks, and drove at him with his spear, piercing the lower belly and\nramming the point home.\nGive two reasons why Euphorbus’ actions do not follow the Homeric code for heroes.\nReason 1:\nReason 2:", "has_images": false, "image_notes": null, "topic": null, @@ -12088,7 +12088,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about the world of Achilles.\nGive a definition for four of these ancient Greek concepts.\n• kleos; timé; aidós; hubris; areté; heros.\nConcept 1:\nDefinition:\nConcept 2:\nDefinition:\nConcept 3:\nDefinition:\nConcept 4:\nDefinition:\nClassics – Common Level", + "question_text": "Answer the following questions about the world of Achilles.\nGive a definition for four of these ancient Greek concepts.\n• kleos; timé; aidós; hubris; areté; heros.\nConcept 1:\nDefinition:\nConcept 2:\nDefinition:\nConcept 3:\nDefinition:\nConcept 4:\nDefinition:", "has_images": true, "image_notes": "image(s) detected on page 24", "topic": null, @@ -12124,7 +12124,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about the world of Achilles.\nIn your opinion, which of these two heroes, Achilles or Hector, better demonstrates the\nHomeric code in his actions? Support your answer with evidence from the Iliad.\nClassics – Common Level", + "question_text": "Answer the following questions about the world of Achilles.\nIn your opinion, which of these two heroes, Achilles or Hector, better demonstrates the\nHomeric code in his actions? Support your answer with evidence from the Iliad.", "has_images": true, "image_notes": "image(s) detected on page 24", "topic": null, @@ -12142,7 +12142,7 @@ "parent_question": "12", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about non-combatant characters in the Iliad.\nMatch the names of the characters below to their descriptions by completing the table.\nThe first one has been completed for you.\n1. Briseis; 2. Priam; 3. Hecuba; 4. Helen; 5. Astyanax; 6. Chryseis.\nDescription Number\nThe face that launched a thousand ships 4.\nHector’s father\nAchilles’ war prize\nHector’s mother\nAgamemnon’s war prize\nHector’s son.\nClassics – Common Level", + "question_text": "Answer the following questions about non-combatant characters in the Iliad.\nMatch the names of the characters below to their descriptions by completing the table.\nThe first one has been completed for you.\n1. Briseis; 2. Priam; 3. Hecuba; 4. Helen; 5. Astyanax; 6. Chryseis.\nDescription Number\nThe face that launched a thousand ships 4.\nHector’s father\nAchilles’ war prize\nHector’s mother\nAgamemnon’s war prize\nHector’s son.", "has_images": true, "image_notes": "image(s) detected on page 26", "topic": null, @@ -12178,7 +12178,7 @@ "parent_question": "12", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about non-combatant characters in the Iliad.\nIn your opinion, which type of character in the Iliad is more interesting, hero or non-\ncombatant? Give reasons for your answer.\nClassics – Common Level\nSection C Latin – Classical Language 180 marks", + "question_text": "Answer the following questions about non-combatant characters in the Iliad.\nIn your opinion, which type of character in the Iliad is more interesting, hero or non-\ncombatant? Give reasons for your answer.\nSection C Latin – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 26", "topic": null, @@ -12200,7 +12200,7 @@ "has_images": false, "image_notes": null, "topic": null, - "marking_scheme_answer": ": 17 marks\nmeaning.\n12 marks: 2 marks each\n6\n5\n1\n3\n4\n2", + "marking_scheme_answer": ": 17 marks\nmeaning.\n12 marks: 2 marks each", "source_pdf": "2025 - Classics - Common Level - Exam Paper.pdf" }, { @@ -12214,7 +12214,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "Why do you think that Latin phrases and abbreviations are still used today? Explain your\nanswer.\nClassics – Common Level", + "question_text": "Why do you think that Latin phrases and abbreviations are still used today? Explain your\nanswer.", "has_images": false, "image_notes": null, "topic": null, @@ -12250,7 +12250,7 @@ "parent_question": "14", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete the table below by writing in the first three principal parts of the Latin verb that\neach English adjective derives from. The first one has been completed for you.\nEnglish adjective Latin verb (first three principal parts)\nvisible video, videre, vidi\nportable\naudible\nClassics – Common Level", + "question_text": "Complete the table below by writing in the first three principal parts of the Latin verb that\neach English adjective derives from. The first one has been completed for you.\nEnglish adjective Latin verb (first three principal parts)\nvisible video, videre, vidi\nportable\naudible", "has_images": false, "image_notes": null, "topic": null, @@ -12268,7 +12268,7 @@ "parent_question": "15", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match these images to their descriptions below.\nWrite the number of each image in the box beside its description.\n1. 2.\n3. 4.\nduo hominēs in genua prōcumbunt. alius, quī stat, deōs prope larārium ōrat.\nhomō taurōs per agrum dūcit. agricolae labōrant et animālia prope aedificium stant.\nhomō taurum tenet. alius stat et secūrem suprā animal tollit. sacrificium deīs facient.\nhominēs pōcula tenent. servus stat et vīnum ex amphorā fundit. aliī cēnant et aliī serviunt.\nClassics – Common Level", + "question_text": "Match these images to their descriptions below.\nWrite the number of each image in the box beside its description.\n1. 2.\n3. 4.\nduo hominēs in genua prōcumbunt. alius, quī stat, deōs prope larārium ōrat.\nhomō taurōs per agrum dūcit. agricolae labōrant et animālia prope aedificium stant.\nhomō taurum tenet. alius stat et secūrem suprā animal tollit. sacrificium deīs facient.\nhominēs pōcula tenent. servus stat et vīnum ex amphorā fundit. aliī cēnant et aliī serviunt.", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -12286,7 +12286,7 @@ "parent_question": "16", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete the following passage about Roman hospitality by writing the number of the correct\nmissing word from the list below into each blank space. The first one has been completed for you.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nTwo parts of a Roman tessera hospitālis which was shared between a host and his guest.\ndeus Iuppiter peregrīnōs ___5__. Rōmānī igitur peregrīnōs in domōs suās _____ dēbēbant.\nubi cīvis Rōmānus peregrīnum accēpit, ūnam partem tesserae hospitālis _____ dedit. cīvis\nRōmānus alteram _____ tesserae hospitālis sibi retinuit. duae partēs tesserae hospitālis _____\nsigna amīcitiae novae.\namīcitia, amīcitiae (f.) = friendship\nigitur = therefore\nperegrīnus, peregrīnī (m.) = foreigner / traveller\nretineō, retinēre, retinuī, retentum (2) = to keep / hold back\nsignum, signī (n.) = sign / token\ntessera hospitālis, tesserae hospitālis (f.) = a token of hospitality\nWord List\n1. partem\n2. invītāre\n3. erant\n4. eī\n5. servābat\nClassics – Common Level", + "question_text": "Complete the following passage about Roman hospitality by writing the number of the correct\nmissing word from the list below into each blank space. The first one has been completed for you.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nTwo parts of a Roman tessera hospitālis which was shared between a host and his guest.\ndeus Iuppiter peregrīnōs ___5__. Rōmānī igitur peregrīnōs in domōs suās ____ dēbēbant.\nubi cīvis Rōmānus peregrīnum accēpit, ūnam partem tesserae hospitālis ____ dedit. cīvis\nRōmānus alteram ____ tesserae hospitālis sibi retinuit. duae partēs tesserae hospitālis ____\nsigna amīcitiae novae.\namīcitia, amīcitiae (f.) = friendship\nigitur = therefore\nperegrīnus, peregrīnī (m.) = foreigner / traveller\nretineō, retinēre, retinuī, retentum (2) = to keep / hold back\nsignum, signī (n.) = sign / token\ntessera hospitālis, tesserae hospitālis (f.) = a token of hospitality\nWord List\n1. partem\n2. invītāre\n3. erant\n4. eī\n5. servābat", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -12304,7 +12304,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nrēgīna, nōmine Dīdō, ____________ accipit.\nTrōiānī\nTrōiānīs\nTrōiānōs", + "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nrēgīna, nōmine Dīdō, ____ accipit.\nTrōiānī\nTrōiānīs\nTrōiānōs", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -12322,7 +12322,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nDīdō servōs cēnam magnam ____________ iubet.\nparat\nparāre\nparāvit", + "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nDīdō servōs cēnam magnam ____ iubet.\nparat\nparāre\nparāvit", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -12340,7 +12340,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nDīdō Aenēān ____________ dē itinere eius rogat.\nmulta\nmultīs\nmultō", + "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nDīdō Aenēān ____ dē itinere eius rogat.\nmulta\nmultīs\nmultō", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -12358,7 +12358,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\ntum dux Trōiānus omnia dē bellō ____________.\nnārrant\nnārrat\nnārrāmus", + "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\ntum dux Trōiānus omnia dē bellō ____.\nnārrant\nnārrat\nnārrāmus", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -12376,7 +12376,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nomnēs, ____________ eum audiunt, lacrimant.\nquem\nquōs\nquī\nClassics – Common Level", + "question_text": "The following sentences tell the myth of queen Dido welcoming Aeneas and the Trojans to\nCarthage. Identify the correct option to fill the blank space by placing a tick () in the correct box.\nTick one box only in each case. Do not write in the blank space.\nomnēs, ____ eum audiunt, lacrimant.\nquem\nquōs\nquī", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -12466,7 +12466,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are also about the myth of Dido and Aeneas. Choose the correct\ntranslation of the words in bold by placing a tick () in the correct box. Tick one box only in each\ncase.\nubi Trōiānī tandem discēdunt, Dīdō est trīstior quam Aenēās.\nsadder than Aeneas\nas sad as Aeneas\nwith whom Aeneas was sad\nClassics – Common Level", + "question_text": "The following sentences are also about the myth of Dido and Aeneas. Choose the correct\ntranslation of the words in bold by placing a tick () in the correct box. Tick one box only in each\ncase.\nubi Trōiānī tandem discēdunt, Dīdō est trīstior quam Aenēās.\nsadder than Aeneas\nas sad as Aeneas\nwith whom Aeneas was sad", "has_images": true, "image_notes": "image(s) detected on page 33", "topic": null, @@ -12484,7 +12484,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhat was the first thing that Jupiter and Mercury did when they arrived at the marsh?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhat was the first thing that Jupiter and Mercury did when they arrived at the marsh?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12502,7 +12502,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhat did both gods want to do?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhat did both gods want to do?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12520,7 +12520,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nHow did the men and women in the marsh treat Jupiter and Mercury?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nHow did the men and women in the marsh treat Jupiter and Mercury?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12538,7 +12538,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhat did the gods finally find?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhat did the gods finally find?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12556,7 +12556,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhat did Baucis do when she saw Jupiter and Mercury?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhat did Baucis do when she saw Jupiter and Mercury?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12574,7 +12574,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostr�� sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhy did Baucis’ words please Jupiter?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhy did Baucis’ words please Jupiter?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12592,7 +12592,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhat miraculous thing happened when the gods drank all the wine?", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhat miraculous thing happened when the gods drank all the wine?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12610,7 +12610,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nClassics – Common Level\nWhy did Philemon think that his guests were gods?\nClassics – Common Level", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes\nhow Philemon and Baucis showed hospitality to the gods.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nōlim Iuppiter et Mercurius ad palūdem advēnērunt. prīmum deī virōs simulāvērunt. deī, quod\nerant fessī, in vīllā dormīre cupiēbant. multī virī et multae fēminae in palūde habitābant, sed\niānuās nōn aperuērunt et deōs nōn salūtāvērunt. tandem deī invēnērunt ūnam parvam vīllam\nquae erat aperta. marītus et uxor, Philēmōn et Baucis, in parvā vīllā habitābant. ubi Baucis Iovem\net Mercurium vīdit, fēmina \"amīcī, intrāte!\" clāmāvit.\nverba fēminae Iovem dēlectāvērunt quod, quamquam Philēmōn et Baucis multam pecūniam nōn\nhabēbant, hospitēs suōs magnā cum cūrā accēpērunt. uxor cēnam bonam parāvit, et tōtum\nvīnum, quod in vīllā habēbant, hospitibus dedit. ubi deī omnem vīnum bibērunt, vīnum\nmīrābiliter iterum appāruit. Philēmōn uxōrī dīxit, \"hospitēs nostrī sunt deī quod vīnum ex nihilō\nfaciunt.\"\naperiō, aperīre, aperuī, apertum (4) = to open\napertus, aperta, apertum = open\nappāreō, appārēre, appāruī, appāritum (2) = to appear\nBaucis, Baucidis (f.) = Baucis\ncūra, cūrae (f.) = care\ndēlectō, dēlectāre, dēlectāvī, dēlectātum (1) = to please\nfessus, fessa, fessum = tired\nhospes, hospitis (m.) = guest\niānua, iānuae (f.) = door\niterum = again\nnihilum, nihilī (n.) = nothing\npalūs, palūdis (f.) = marsh\nPhilēmōn, Philēmonis (m.) = Philemon\nquamquam = although\nsimulō, simulāre, simulāvī, simulātum (1) = to pretend to be\ntōtus, tōta, tōtum = all the\nWhy did Philemon think that his guests were gods?", "has_images": true, "image_notes": "image(s) detected on page 34", "topic": null, @@ -12628,7 +12628,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the passage below into English. It continues the story of Baucis and Philemon from the\nprevious question. All underlined words are listed alphabetically in the vocabulary glossary below.\nPhilēmōn et Baucis timēbant quod cum deīs sedēbant. Iuppiter tamen erat laetus et dīxit:\n“prō hospitiō bonō vōbīs dōnum dabō.” subitō Iuppiter parvam vīllam in templum splendidum\nmūtāvit. tum Iuppiter eōs rogāvit, “aliud dōnum cupitis?” Philēmōn respondit, “dum vīvimus,\nesse semper ūnā cupimus.” vir et fēmina templum multōs annōs ūnā custōdiēbant. tandem\nIuppiter eōs in arborēs mūtāvit.\nalius, alia, aliud = another Philēmōn, Philēmonis (m.) = Philemon\narbor, arboris (f.) = tree prō + ablative = in return for, because of\nBaucis, Baucidis (f.) = Baucis ūnā = together\nhospitium, hospitiī (n.) = hospitality vīvō, vīvere, vīxī, vīctum (3) = to live\nmūtō, mūtāre, mūtāvī, mūtātum (1) = to change\nClassics – Common Level\nSection D Ancient Greek – Classical Language 180 marks", + "question_text": "Translate the passage below into English. It continues the story of Baucis and Philemon from the\nprevious question. All underlined words are listed alphabetically in the vocabulary glossary below.\nPhilēmōn et Baucis timēbant quod cum deīs sedēbant. Iuppiter tamen erat laetus et dīxit:\n“prō hospitiō bonō vōbīs dōnum dabō.” subitō Iuppiter parvam vīllam in templum splendidum\nmūtāvit. tum Iuppiter eōs rogāvit, “aliud dōnum cupitis?” Philēmōn respondit, “dum vīvimus,\nesse semper ūnā cupimus.” vir et fēmina templum multōs annōs ūnā custōdiēbant. tandem\nIuppiter eōs in arborēs mūtāvit.\nalius, alia, aliud = another Philēmōn, Philēmonis (m.) = Philemon\narbor, arboris (f.) = tree prō + ablative = in return for, because of\nBaucis, Baucidis (f.) = Baucis ūnā = together\nhospitium, hospitiī (n.) = hospitality vīvō, vīvere, vīxī, vīctum (3) = to live\nmūtō, mūtāre, mūtāvī, mūtātum (1) = to change\nSection D Ancient Greek – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 37", "topic": null, @@ -12808,7 +12808,7 @@ "parent_question": "21", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following phobias (fears) are derived from Ancient Greek words. Explain what each\nphobia means in English. The first one has been completed for you.\nThe following six medical conditions are transliterations of Ancient Greek words.\nMatch each English word to its original Ancient Greek spelling by writing its letter in the box of the\nequivalent Ancient Greek word.\ndendrophobia\nClassics – Common Level", + "question_text": "The following phobias (fears) are derived from Ancient Greek words. Explain what each\nphobia means in English. The first one has been completed for you.\nThe following six medical conditions are transliterations of Ancient Greek words.\nMatch each English word to its original Ancient Greek spelling by writing its letter in the box of the\nequivalent Ancient Greek word.\ndendrophobia", "has_images": true, "image_notes": "image(s) detected on page 37", "topic": null, @@ -12862,7 +12862,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "Sentence A contains English words that derive from Ancient Greek words.\nRead Sentence A, and use the words in Box A to answer the following questions.\nSentence A:\nAt the hospital, the paediatrician gave the baby an antibiotic from the pharmacy, while the\ngerontologist diagnosed the elderly patient using an endoscopy.\nBox A:\nἀντι = against ἰατρευω = I heal, I treat medically\nβιος, βιου, ὁ = life λογος, λογου, ὁ = word\nγερων, γεροντος, ὁ = old man παις, παιδος, ὁ / ἡ = child\nδιαγνωσις, διαγνωσεως, ἡ = judgement σκοπεω = I look at, I examine\nἐνδον = inside φαρμακον, φαρμακου, το = drug, medicine\nTwo Ancient Greek words in Box A, γερων and ἰατρευω, combine to make the English word\n‘geriatrics’. What do you think the English word ‘geriatrics’ means? Explain your answer with\nreference to the meaning of both Ancient Greek words.\nClassics – Common Level", + "question_text": "Sentence A contains English words that derive from Ancient Greek words.\nRead Sentence A, and use the words in Box A to answer the following questions.\nSentence A:\nAt the hospital, the paediatrician gave the baby an antibiotic from the pharmacy, while the\ngerontologist diagnosed the elderly patient using an endoscopy.\nBox A:\nἀντι = against ἰατρευω = I heal, I treat medically\nβιος, βιου, ὁ = life λογος, λογου, ὁ = word\nγερων, γεροντος, ὁ = old man παις, παιδος, ὁ / ἡ = child\nδιαγνωσις, διαγνωσεως, ἡ = judgement σκοπεω = I look at, I examine\nἐνδον = inside φαρμακον, φαρμακου, το = drug, medicine\nTwo Ancient Greek words in Box A, γερων and ἰατρευω, combine to make the English word\n‘geriatrics’. What do you think the English word ‘geriatrics’ means? Explain your answer with\nreference to the meaning of both Ancient Greek words.", "has_images": false, "image_notes": null, "topic": null, @@ -12880,7 +12880,7 @@ "parent_question": "23", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match these images of illness and healing to their descriptions below.\nWrite the number of each image in the box beside its description.\n1. 2. 3.\n4. 5.\nἡ Σφιγξ λεγει, “την νοσον παυσεις.” ὁ ἀνηρ, ὀνοματι Οἰδιπους, ἀκουει το της Σφιγγος αἰνιγμα.\nἈσκληπιος θεραπευει το σωμα της γυναικος, ἥ ἐπι κλινης ἐστιν. ἡ ἀλλη γυνη προς αὐτους βλεπει.\nὁ νεανιας τον του ἀνδρος βραχιονα ἰατρευει. ὁ μεν νεανιας μενει, ὁ δε ἀνηρ φευγειν ἐθελει.\nεἰσι τρεις φιλοι μετα του ἀνδρος, ὅ ἐπι κλινης ἐστιν. ὁ γερων αὐτον ἰατρευει.\nοἱ πολλοι ἀνδρες ἐν τῳ ἱερῳ καθευδουσιν. ὁ γερων προς την σεληνην βλεπει και λεγει,\n“ὠ θεοι, παυετε την των τουτων ἀνδρων νοσον.”\nClassics – Common Level", + "question_text": "Match these images of illness and healing to their descriptions below.\nWrite the number of each image in the box beside its description.\n1. 2. 3.\n4. 5.\nἡ Σφιγξ λεγει, “την νοσον παυσεις.” ὁ ἀνηρ, ὀνοματι Οἰδιπους, ἀκουει το της Σφιγγος αἰνιγμα.\nἈσκληπιος θεραπευει το σωμα της γυναικος, ἥ ἐπι κλινης ἐστιν. ἡ ἀλλη γυνη προς αὐτους βλεπει.\nὁ νεανιας τον του ἀνδρος βραχιονα ἰατρευει. ὁ μεν νεανιας μενει, ὁ δε ἀνηρ φευγειν ἐθελει.\nεἰσι τρεις φιλοι μετα του ἀνδρος, ὅ ἐπι κλινης ἐστιν. ὁ γερων αὐτον ἰατρευει.\nοἱ πολλοι ἀνδρες ἐν τῳ ἱερῳ καθευδουσιν. ὁ γερων προς την σεληνην βλεπει και λεγει,\n“ὠ θεοι, παυετε την των τουτων ἀνδρων νοσον.”", "has_images": true, "image_notes": "image(s) detected on page 39", "topic": null, @@ -12970,7 +12970,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell the story of a Persian king and a Greek doctor.\nIdentify the correct translation of the word or phrase in bold in the following sentences by putting\na tick () in the appropriate box. Tick one box only in each case.\nἐπειτα ὁ δουλος ἐκ της Ἑλλαδος και ὁ των Περσων βασιλευς φιλοι ἠσαν.\nin\nto\nfrom\nClassics – Common Level", + "question_text": "The following sentences tell the story of a Persian king and a Greek doctor.\nIdentify the correct translation of the word or phrase in bold in the following sentences by putting\na tick () in the appropriate box. Tick one box only in each case.\nἐπειτα ὁ δουλος ἐκ της Ἑλλαδος και ὁ των Περσων βασιλευς φιλοι ἠσαν.\nin\nto\nfrom", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -12988,7 +12988,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\nΠατροκλος, ὁς στρατιωτης ἠν, τον ___________ ἐν τῃ μαχῃ ἐβλαψεν.\nβραχιονα\nβραχιονος\nβραχιονι", + "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\nΠατροκλος, ὁς στρατιωτης ἠν, τον ____ ἐν τῃ μαχῃ ἐβλαψεν.\nβραχιονα\nβραχιονος\nβραχι��νι", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -13006,7 +13006,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“οὐκ ἐθελω ______________,” Πατροκλος εἰπεν.\nἀποθνῃσκω\nἀποθνῃσκουσιν\nἀποθανειν", + "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“οὐκ ἐθελω ____,” Πατροκλος εἰπεν.\nἀποθνῃσκω\nἀποθνῃσκουσιν\nἀποθανειν", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -13024,7 +13024,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“μη φροντιζε. ἐξεστι ___________ σε ἰατρευειν,” Ἀχιλλευς εἰπεν.\nμου\nμε\nμοι", + "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“μη φροντιζε. ἐξεστι ____ σε ἰατρευειν,” Ἀχιλλευς εἰπεν.\nμου\nμε\nμοι", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -13042,7 +13042,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“____________, δυο, τρεις,” Ἀχιλλευς εἰπε και ἐκ του βραχιονος το τοξευμα ἐλαβεν.\nἐκ\nεἱς\nεἰς", + "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“____, δυο, τρεις,” Ἀχιλλευς εἰπε και ἐκ του βραχιονος το τοξευμα ἐλαβεν.\nἐκ\nεἱς\nεἰς", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -13060,7 +13060,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“ὠ φιλε, _______ μεν στρατιωτης εἶ, καλος δε ἰατρος,” Πατροκλος εἰπεν.\nἀνδρειος\nἀνδρεια\nἀνδρειας\nClassics – Common Level", + "question_text": "The following sentences tell a story about Achilles and Patroklos. Put a tick () in the box of the\ncorrect form needed to complete the sentence. Tick one box in each case. Do not write the\nanswers in the blank space.\n“ὠ φιλε, ____ μεν στρατιωτης εἶ, καλος δε ἰατρος,” Πατροκλος εἰπεν.\nἀνδρειος\nἀνδρεια\nἀνδρειας", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -13096,7 +13096,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage, and answer the questions below in English. The passage describes the\nbirth and upbringing of Apollo’s son, Asklepios, the ancient Greek god of healing. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nἈπολλων φιλει την κορην, ὀνοματι Κορωνιδα, την θυγατερα του Φλεγυαντος. ὁ μεν Ἀπολλων\nἐστιν εὐδαιμων διοτι Κορωνις ἐστιν ἐγκυμων μετα υἱου ἑαυτου, ἡ δε Κορωνις οὐκ ἐστιν\nεὐδαιμων διοτι ἀλλον ἀνδρα φιλει. ὁ κοραξ προς τον Ἀπολλωνα βαινει και ἀγγελει· “ἡ Κορωνις\nἀλλον ἀνδρα φιλει κ��ι μετα αὐτου οἰκει.”\nὁ Ἀπολλων δι’ ὀργης ἐχει. τον μεν κορακα ἀπο μελανος εἰς λευκον στρεφει, Κορωνιδα δε\nἀποκτεινει, ἀλλα ὁ θεος λαμβανει τον υἱον ἐκ της γαστρος της Κορωνιδος. Ἀπολλων φερει τον\nυἱον, ὀνοματι Ἀσκληπιον, προς τον κενταυρον τον Χειρωνα. ὁ παις σοφιαν των φαρμακων και\nτων ζῳων ἀπο του κενταυρου μανθανει. νυν ὁ Ἀσκληπιος ἐστιν θεος φαρμακου· και τους των\nἀνθρωπων θανατους κωλυει, και τους ἀνθρωπους ἐξ Αἱδου ἀγει.\nΑἱδης, Αἱδου, ὁ = Hades, the Underworld Κορωνις, Κορωνιδος, ἡ = Koronis\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios λευκος, λευκη, λευκον = white\nγαστηρ, γαστρος, ἡ = belly μελανος = ‘black’ (genitive case)\nδι’ ὀργης ἐχω = I become angry στρεφω = I turn\nἐγκυμων, ἐγκυμoν = pregnant φαρμακον, φαρμακου, το = medicine\nεὐδαιμων, εὐδαιμον = happy φιλεω = I love\nζῳον, ζῳου, το = animal Φλεγυας, Φλεγυαντος, ὁ = Phlegyas\nκεν ταυρος, κενταυρου, ὁ = centaur Χειρων, Χειρωνος, ὁ = Chiron\nκορ αξ, κορακος, ὁ = crow\nAt the beginning of this story, why is Apollo happy?\nClassics – Common Level", + "question_text": "Read the following passage, and answer the questions below in English. The passage describes the\nbirth and upbringing of Apollo’s son, Asklepios, the ancient Greek god of healing. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nἈπολλων φιλει την κορην, ὀνοματι Κορωνιδα, την θυγατερα του Φλεγυαντος. ὁ μεν Ἀπολλων\nἐστιν εὐδαιμων διοτι Κορωνις ἐστιν ἐγκυμων μετα υἱου ἑαυτου, ἡ δε Κορωνις οὐκ ἐστιν\nεὐδαιμων διοτι ἀλλον ἀνδρα φιλει. ὁ κοραξ προς τον Ἀπολλωνα βαινει και ἀγγελει· “ἡ Κορωνις\nἀλλον ἀνδρα φιλει και μετα αὐτου οἰκει.”\nὁ Ἀπολλων δι’ ὀργης ἐχει. τον μεν κορακα ἀπο μελανος εἰς λευκον στρεφει, Κορωνιδα δε\nἀποκτεινει, ἀλλα ὁ θεος λαμβανει τον υἱον ἐκ της γαστρος της Κορωνιδος. Ἀπολλων φερει τον\nυἱον, ὀνοματι Ἀσκληπιον, προς τον κενταυρον τον Χειρωνα. ὁ παις σοφιαν των φαρμακων και\nτων ζῳων ἀπο του κενταυρου μανθανει. νυν ὁ Ἀσκληπιος ἐστιν θεος φαρμακου· και τους των\nἀνθρωπων θανατους κωλυει, και τους ἀνθρωπους ἐξ Αἱδου ἀγει.\nΑἱδης, Αἱδου, ὁ = Hades, the Underworld Κορωνις, Κορωνιδος, ἡ = Koronis\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios λευκος, λευκη, λευκον = white\nγαστηρ, γαστρος, ἡ = belly μελανος = ‘black’ (genitive case)\nδι’ ὀργης ἐχω = I become angry στρεφω = I turn\nἐγκυμων, ἐγκυμoν = pregnant φαρμακον, φαρμακου, το = medicine\nεὐδαιμων, εὐδαιμον = happy φιλεω = I love\nζῳον, ζῳου, το = animal Φλεγυας, Φλεγυαντος, ὁ = Phlegyas\nκεν ταυρος, κενταυρου, ὁ = centaur Χειρων, Χειρωνος, ὁ = Chiron\nκορ αξ, κορακος, ὁ = crow\nAt the beginning of this story, why is Apollo happy?", "has_images": false, "image_notes": null, "topic": null, @@ -13204,7 +13204,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "What two things is Asklepios able to do for mortals?\nRead the following passage, and answer the questions below in English. The passage describes the\nbirth and upbringing of Apollo’s son, Asklepios, the ancient Greek god of healing. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nἈπολλων φιλει την κορην, ὀνοματι Κορωνιδα, την θυγατερα του Φλεγυαντος. ὁ μεν Ἀπολλων\nἐστιν εὐδαιμων διοτι Κορωνις ἐστιν ἐγκυμων μετα υἱου ἑαυτου, ἡ δε Κορωνις οὐκ ἐστιν\nεὐδαιμων διοτι ἀλλον ἀνδρα φιλει. ὁ κοραξ προς τον Ἀπολλωνα βαινει και ἀγγελει· “ἡ Κορωνις\nἀλλον ἀνδρα φιλει και μετα αὐτου οἰκει.”\nὁ Ἀπολλων δι’ ὀργης ἐχει. τον μεν κορακα ἀπο μελανος εἰς λευκον στρεφει, Κορωνιδα δε\nἀποκτεινει, ἀλλα ὁ θεος λαμβανει τον υἱον ἐκ της γαστρος της Κορωνιδος. Ἀπολλων φερει τον\nυἱον, ὀνοματι Ἀσκληπιον, προς τον κενταυρον τον Χειρωνα. ὁ παις σοφιαν των φαρμακων και\nτων ζῳων ἀπο του κενταυρου μανθανει. νυν ὁ Ἀσκληπιος ἐστιν θεος φαρμακου· και τους των\nἀνθρωπων θανατους κωλυει, και τους ἀνθρωπους ἐξ Αἱδου ἀγει.\nΑἱδης, Αἱδου, ὁ = Hades, the Underworld Κορωνις, Κορωνιδος, ἡ = Koronis\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios λευκος, λευκη, λευκον = white\nγαστηρ, γαστρος, ἡ = belly μελανος = ‘black’ (genitive case)\nδι’ ὀργης ἐχω = I become angry στρεφω = I turn\nἐγκυμων, ἐγκυμoν = pregnant φαρμακον, φαρμακου, το = medicine\nεὐδαιμων, εὐδαιμον = happy φιλεω = I love\nζῳον, ζῳου, το = animal Φλεγυας, Φλεγυαντος, ὁ = Phlegyas\nκεν ταυρος, κενταυρου, ὁ = centaur Χειρων, Χειρωνος, ὁ = Chiron\nκορ αξ, κορακος, ὁ = crow\nThe sentence below is taken from the first paragraph of this passage.\nWrite the case, gender and number of one of the words in bold.\nἡ Κορωνις ἀλλον ἀνδρα φιλει και μετα αὐτου οἰκει.\nἀνδρα:\nor\nαὐτου:\nClassics – Common Level", + "question_text": "What two things is Asklepios able to do for mortals?\nRead the following passage, and answer the questions below in English. The passage describes the\nbirth and upbringing of Apollo’s son, Asklepios, the ancient Greek god of healing. All underlined\nwords are listed alphabetically in the vocabulary glossary below.\nἈπολλων φιλει την κορην, ὀνοματι Κορωνιδα, την θυγατερα του Φλεγυαντος. ὁ μεν Ἀπολλων\nἐστιν εὐδαιμων διοτι Κορωνις ἐστιν ἐγκυμων μετα υἱου ἑαυτου, ἡ δε Κορωνις οὐκ ἐστιν\nεὐδαιμων διοτι ἀλλον ἀνδρα φιλει. ὁ κοραξ προς τον Ἀπολλωνα βαινει και ἀγγελει· “ἡ Κορωνις\nἀλλον ἀνδρα φιλει και μετα αὐτου οἰκει.”\nὁ Ἀπολλων δι’ ὀργης ἐχει. τον μεν κορακα ἀπο μελανος εἰς λευκον στρεφει, Κορωνιδα δε\nἀποκτεινει, ἀλλα ὁ θεος λαμβανει τον υἱον ἐκ της γαστρος της Κορωνιδος. Ἀπολλων φερει τον\nυἱον, ὀνοματι Ἀσκληπιον, προς τον κενταυρον τον Χειρωνα. ὁ παις σοφιαν των φαρμακων και\nτων ζῳων ἀπο του κενταυρου μανθανει. νυν ὁ Ἀσκληπιος ἐστιν θεος φαρμακου· και τους των\nἀνθρωπων θανατους κωλυει, και τους ἀνθρωπους ἐξ Αἱδου ἀγει.\nΑἱδης, Αἱδου, ὁ = Hades, the Underworld Κορωνις, Κορωνιδος, ἡ = Koronis\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios λευκος, λευκη, λευκον = white\nγαστηρ, γαστρος, ἡ = belly μελανος = ‘black’ (genitive case)\nδι’ ὀργης ἐχω = I become angry στρεφω = I turn\nἐγκυμων, ἐγκυμoν = pregnant φαρμακον, φαρμακου, το = medicine\nεὐδαιμων, εὐδαιμον = happy φιλεω = I love\nζῳον, ζῳου, το = animal Φλεγυας, Φλεγυαντος, ὁ = Phlegyas\nκεν ταυρος, κενταυρου, ὁ = centaur Χειρων, Χειρωνος, ὁ = Chiron\nκορ αξ, κορακος, ὁ = crow\nThe sentence below is taken from the first paragraph of this passage.\nWrite the case, gender and number of one of the words in bold.\nἡ Κορωνις ἀλλον ἀνδρα φιλει και μετα αὐτου οἰκει.\nἀνδρα:\nor\nαὐτου:", "has_images": false, "image_notes": null, "topic": null, @@ -13222,7 +13222,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the following passage into English. It continues the story from the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nἐπει Ζευς ὁ των θεων βασιλευς τας τεχνας του Ἀσκληπιου ἐγιγνωσκεν, εἰπεν· “φοβον ἐχω.\nἈσκληπιος διδαξει παντας τους ἀνθρωπους τα φαρμακα.” οὐν Ζευς αὐτον ἀπεκτεινε κεραυνῳ.\nἈπολλων ὠργισθη Διι και ἀπεκτεινε τους Κυκλωπας διοτι τον κεραυνον ἐποιησαν. Ζευς τον\nἈπολλωνα εἰς Ταρταρον πεμπειν ἠθελησεν, ἀλλα ἀντι τουτου τον Ἀπολλωνα εἰναι τον δουλον\nτῳ Ἀδμητῳ πολυν χρονον ἐκελευσεν. ὁ μεν Ἀπολλων ἐποιησεν πολυ ἐργον τῳ Ἀδμητῳ, ὁ δε\nθεος κακα οὐκ ἐπαθεν.\nἈδμητος, Ἀδμητου, ὁ = Admetos ποιεω = I make, I do\nἀντι τουτου = ‘instead of this’ Ταρταρος, Ταρταρου, ὁ = Tartaros, the Underworld\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios τεχνη, τεχνης, ἡ = art, skill, craft\nκεραυνος, κεραυνου, ὁ = thunderbolt φαρμακον, φαρμακου, το = medicine\nΚυκλωψ, Κυκλωπος, ὁ = Cyclops ὠργισθη Διι = ‘became angry with Zeus’\nClassics – Common Level", + "question_text": "Translate the following passage into English. It continues the story from the previous question.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nἐπει Ζευς ὁ των θεων βασιλευς τας τεχνας του Ἀσκληπιου ἐγιγνωσκεν, εἰπεν· “φοβον ἐχω.\nἈσκληπιος διδαξει παντας τους ἀνθρωπους τα φαρμακα.” οὐν Ζευς αὐτον ἀπεκτεινε κεραυνῳ.\nἈπολλων ὠργισθη Διι και ἀπεκτεινε τους Κυκλωπας διοτι τον κεραυνον ἐποιησαν. Ζευς τον\nἈπολλωνα εἰς Ταρταρον πεμπειν ἠθελησεν, ἀλλα ἀντι τουτου τον Ἀπολλωνα εἰναι τον δουλον\nτῳ Ἀδμητῳ πολυν χρονον ἐκελευσεν. ὁ μεν Ἀπολλων ἐποιησεν πολυ ἐργον τῳ Ἀδμητῳ, ὁ δε\nθεος κακα οὐκ ἐπαθεν.\nἈδμητος, Ἀδμητου, ὁ = Admetos ποιεω = I make, I do\nἀντι τουτου = ‘instead of this’ Ταρταρος, Ταρταρου, ὁ = Tartaros, the Underworld\nἈσκληπιος, Ἀσκληπιου, ὁ = Asklepios τεχνη, τεχνης, ἡ = art, skill, craft\nκεραυνος, κεραυνου, ὁ = thunderbolt φαρμακον, φαρμακου, το = medicine\nΚυκλωψ, Κυκλωπος, ὁ = Cyclops ὠργισθη Διι = ‘became angry with Zeus’", "has_images": false, "image_notes": null, "topic": null, @@ -13312,7 +13312,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Text A is from an oath by the ancient Greek doctor Hippocrates.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nText A: Hippocratic Oath\nὀμνυμι, Ἀπολλωνα και Ἀσκληπιον και ῾Υγειαν και θεους, κατα δυναμιν την ἐμην ὁρχον ποιειν.\nἁγνως δε και ὁσιως διατηρησω βιον τον ἐμον και τεχνην την ἐμην.\nἁγνος, ἁγνη, ἁγνον = holy ὁρχος, ὁρχου, ὁ = oath\nἈσκληπιος, Ἀσκληπιου, ὁ = Αsklepios ὁσιος, ὁσια, ὁσιον = holy, pious\nδιατηρεω = I watch closely, I observe ποιεω = I make, I do\nκατα δυναμιν = ‘according to ability’ τεχνη, τεχνης, ἡ = art, skill, craft\nὀμνυμι = I swear ῾Υγεια, ῾Υγειας, ἡ = (the goddess) Hygiene\nWhy do you think that doctors today still swear by a modern version of this ancient Greek\noath? Explain your answer.\nClassics – Common Level\nClassics – Common Level\nAcknowledgements\nImages:\nPage 4: https://dzen.ru/a/XTondqmKKgCtpZsF. Accessed 26.2.24\nPage 4: https://www.tate.org.uk/art/artists/henry-gibbs-2329 Accessed 9.3.2024\nPage 4: https://www.flickr.com/photos/45595786@N07/4188083603 Accessed 1.3.2024\nPage 4: https://classicalwisdomkids.substack.com/p/postcard-from-tbilisi Accessed 26.2.24\nPage 6: https://bookpalace.com/acatalog/info_BaraldiRome1LL.html Accessed 9/3/2024\nPage 8: https://www.pinterest.ie/pin/93168286021668080/ Accessed 9/3/2024\nPage 10: https://www.artyfactory.com/still-life/still-life-lessons.html Accessed 4/3/2024\nPage 10: https://www.theguardian.com/science/2020/apr/26/pompeii-ruins-show-that-the-romans-invented-recycling?page=with%3Aimg-3#img-3\nAccessed 4/3/2024\nPage 10: https://www.worldhistory.org/image/2749/paestum-painting-scene-from-a-symposium/ Accessed 4/3/2024\nPage 16: https://ie.pinterest.com/pin/9922061672529899/ Accessed, 27.4.24\nPage 16: https://en.m.wikipedia.org/wiki/Maison_carr%C3%A9e#/media/File%3AMaison_carr%C3%A9e_(3).jpg Accessed, 27.4.24\nPage 16: https://www.purefrance.com/en/blog/arles-amphitheatre Accessed 27/4/2024\nPage 20: Equestrian Sculpture of Marcus Aurelius (article) | Khan Academy Accessed 27/4/2024\nPage 24: https://sandhyaprabhat.com/homers-iliad Accessed 27/4/2024\nPage 26:\nhttps://i.guim.co.uk/img/media/223fe4851f4273bf7ceff1032f56c52291661ac0/221_0_5695_3417/master/5695.jpg?width=1200&height=1200&qu\nality=85&auto=format&fit=crop&s=d7f75ea236f50e5ae5c414909aa11dbe Accessed 27/4/2024\nPage 30: https://lifeintheboomerlane.com/2012/03/31/hebbs-you-know-who-you-are/drwn1042-roman-wine-drinking/ Accessed 27/4/2024\nhttps://www.meisterdrucke.ie/fine-art-prints/J.-Williamson/1456442/The-Roman-Empire--.html Accessed 8/5/2024\nhttps://religioromana.wordpress.com/lararium/ Accessed 8/5/2024\nhttps://pixels.com/featured/-a-roman-priest-wields-his-axe-mary-evans-picture-library.html Accessed 8/5/2024\npage 31: https://blogs.warwick.ac.uk/numismatics/entry/tessera_hospitalis_a/ Accessed 8/5/2024\nPage 32: https://fineartamerica.com/featured/the-meeting-of-dido-and-aeneas-nathaniel-dance-holland.html Accessed 7/3/2024\nPage 32: https://fineartamerica.com/featured/the-feast-of-dido-and-aeneas-an-allegorical-portrait-of-the-family-of-the-duc-and-duchesse-du-\nmaine-francois-de-troy.html Accessed 7/3/2024\nPage 32: https://www.meisterdrucke.ie/fine-art-prints/Baron-Pierre-Narcisse-Guerin/62071/Aeneas-telling-Dido-of-the-Disaster-at-Troy%2C-1815-\n.html Accessed 8/3/2024\nPage 33: https://craftfineart.com/strany/zoom.php?id=8383 Accessed 8/3/2024\nPage 33: https://www.meisterdrucke.ie/fine-art-prints/Guido-Reni/587546/Aeneas-takes-leave-of-Dido%2C-c.1630-.html Accessed 8/3/2024\nPage 34: https://www.mediastorehouse.com.au/fine-art-storehouse/digital-vision-vectors/strangers-village-greek-mythology-18305739.html\nAccessed 27/4/2024\nPage 37: https://www.britannica.com/biography/Galen Accessed 8/3/2024\nPage 39: https://collections.louvre.fr/en/ark:/53355/cl010250724 Accessed 23.11.23\nPage 39: https://jonathanokolica.weebly.com/greek-medicine.html Accessed 27/4/2024\nPage 39: https://ie.pinterest.com/pin/444589794450229220/ Accessed 23.11.23\nPage 39: https://www.greece-is.com/of-gods-and-dreams-the-ancient-healing-sanctuary-of-epidaurus/ Accessed 27/4/2024\nPage 39: https://www.greece-is.com/wp-content/uploads/2017/01/DGA-419113.jpg Accessed 27/4/2024\nPage 40: https://smarthistory.org/alexander-mosaic-from-the-house-of-the-faun-pompeii/ Accessed 27/4/2024\nPage 41: https://www.worldhistory.org/uploads/images/14193.jpg?v=1708445527 Accessed 27/4/2024\nPage 45: https://blogs.acu.edu/1410_PSYC49301/2013/09/06/hippocrates-overcoming-the-fall/ Accessed 24.11.23\nTexts:\nPage 8: https://www.coursehero.com/file/48035687/Summary-of-Orpheusdocx/ Accessed 11.5.2024\nPage 22: https://www.poetryintranslation.com/PITBR/Greek/Iliad16.php Accessed 16/3/2024\nPage 47: Maurice Balm and Gilbert Lawall. Athenaze. Volume 1. Teacher’s Handbook. 1990. Oxford University Press. Page 70. (adapted)\nClassics – Common Level\nCopyright notice\nThis examination paper may contain text or images for which the State Examinations Commission is not the\ncopyright owner, and which may have been adapted, for the purpose of assessment, without the authors’ prior\nconsent. This examination paper has been prepared in accordance with Section 53(5) of the Copyright and\nRelated Rights Act, 2000. Any subsequent use for a purpose other than the intended purpose is not authorised.\nThe Commission does not accept liability for any infringement of third‐party rights arising from unauthorised\ndistribution or use of this examination paper.\nClassics\nFriday 13 June\nAfternoon 1:30 - 3:30", + "question_text": "Text A is from an oath by the ancient Greek doctor Hippocrates.\nAll underlined words are listed alphabetically in the vocabulary glossary below.\nText A: Hippocratic Oath\nὀμνυμι, Ἀπολλωνα και Ἀσκληπιον και ῾Υγειαν και θεους, κατα δυναμιν την ἐμην ὁρχον ποιειν.\nἁγνως δε και ὁσιως διατηρησω βιον τον ἐμον και τεχνην την ἐμην.\nἁγνος, ἁγνη, ἁγνον = holy ὁρχος, ὁρχου, ὁ = oath\nἈσκληπιος, Ἀσκληπιου, ὁ = Αsklepios ὁσιος, ὁσια, ὁσιον = holy, pious\nδιατηρεω = I watch closely, I observe ποιεω = I make, I do\nκατα δυναμιν = ‘according to ability’ τεχνη, τεχνης, ἡ = art, skill, craft\nὀμνυμι = I swear ῾Υγεια, ῾Υγειας, ἡ = (the goddess) Hygiene\nWhy do you think that doctors today still swear by a modern version of this ancient Greek\noath? Explain your answer.", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -13946,7 +13946,7 @@ "has_images": false, "image_notes": null, "topic": null, - "marking_scheme_answer": ": 17 marc\n12 mharc: 2 mharc an ceann\nBrí Uimhir\n6\n5\n1\n3\nbeir ar an bhfaill 4\ndíreach 2", + "marking_scheme_answer": ": 17 marc\n12 mharc: 2 mharc an ceann\nBrí Uimhir\nbeir ar an bhfaill 4\ndíreach 2", "source_pdf": "2025 - Classics - Common Level (Irish) - Exam Paper.pdf" }, { @@ -14032,7 +14032,7 @@ "parent_question": "16", "marks": null, "marks_confidence": "uncertain", - "question_text": "Críochnaigh an sliocht a leanas faoin bhfáilteachas Rómhánach agus scríobh uimhir an fhocail chirt\natá ar iarraidh ón liosta thíos i ngach spás bán. Tá an chéad cheann déanta duit. Tá na focail ar fad\na bhfuil líne fúthu tugtha in ord aibítre sa ghluais foclóra thíos.\nDhá chuid de tessera hospitālis a roinntí idir óstach agus a aoí.\ndeus Iuppiter peregrīnōs ___5__. Rōmānī igitur peregrīnōs in domōs suās _____ dēbēbant.\nubi cīvis Rōmānus peregrīnum accēpit, ūnam partem tesserae hospitālis _____ dedit. cīvis\nRōmānus alteram _____ tesserae hospitālis sibi retinuit. duae partēs tesserae hospitālis _____\nsigna amīcitiae novae.\namīcitia, amīcitiae (b.) = cairdeas\nigitur = mar sin\nperegrīnus, peregrīnī (f.) = eachtrannach / taistealaí\nretineō, retinēre, retinuī, retentum (2) = coimeád / coinnigh siar\nsignum, signī (n.) = comhartha / comharthach\ntessera hospitālis, tesserae hospitālis (b.) = comhartha fáilteachais\nLiosta Focal\n1. partem\n2. invītāre\n3. erant\n4. eī\n5. servābat\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 31\nNa Clasaicí – Comhleibhéal", + "question_text": "Críochnaigh an sliocht a leanas faoin bhfáilteachas Rómhánach agus scríobh uimhir an fhocail chirt\natá ar iarraidh ón liosta thíos i ngach spás bán. Tá an chéad cheann déanta duit. Tá na focail ar fad\na bhfuil líne fúthu tugtha in ord aibítre sa ghluais foclóra thíos.\nDhá chuid de tessera hospitālis a roinntí idir óstach agus a aoí.\ndeus Iuppiter peregrīnōs ___5__. Rōmānī igitur peregrīnōs in domōs suās ____ dēbēbant.\nubi cīvis Rōmānus peregrīnum accēpit, ūnam partem tesserae hospitālis ____ dedit. cīvis\nRōmānus alteram ____ tesserae hospitālis sibi retinuit. duae partēs tesserae hospitālis ____\nsigna amīcitiae novae.\namīcitia, amīcitiae (b.) = cairdeas\nigitur = mar sin\nperegrīnus, peregrīnī (f.) = eachtrannach / taistealaí\nretineō, retinēre, retinuī, retentum (2) = coimeád / coinnigh siar\nsignum, signī (n.) = comhartha / comharthach\ntessera hospitālis, tesserae hospitālis (b.) = comhartha fáilteachais\nLiosta Focal\n1. partem\n2. invītāre\n3. erant\n4. eī\n5. servābat\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 31\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -14050,7 +14050,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nrēgīna, nōmine Dīdō, ____________ accipit.\nTrōiānī\nTrōiānīs\nTrōiānōs", + "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nrēgīna, nōmine Dīdō, ____ accipit.\nTrōiānī\nTrōiānīs\nTrōiānōs", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -14068,7 +14068,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nDīdō servōs cēnam magnam ____________ iubet.\nparat\nparāre\nparāvit", + "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nDīdō servōs cēnam magnam ____ iubet.\nparat\nparāre\nparāvit", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -14086,7 +14086,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nDīdō Aenēān ____________ dē itinere eius rogat.\nmulta\nmultīs\nmultō", + "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nDīdō Aenēān ____ dē itinere eius rogat.\nmulta\nmultīs\nmultō", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -14104,7 +14104,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\ntum dux Trōiānus omnia dē bellō ____________.\nnārrant\nnārrat\nnārrāmus", + "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\ntum dux Trōiānus omnia dē bellō ____.\nnārrant\nnārrat\nnārrāmus", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -14122,7 +14122,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nomnēs, ____________ eum audiunt, lacrimant.\nquem\nquōs\nquī\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 32\nNa Clasaicí – Comhleibhéal", + "question_text": "Insíonn na habairtí a leanas miotas na banríona Díodó nuair a chuir sí fáilte roimh Aeinéas agus\nna Traígh go dtí an Chartaig. Luaigh an rogha cheart chun an spás bán a líonadh le tic () a chur\nsa bhosca ceart. Ná cuir tic ach in aon bhosca amháin i ngach cás. Ná scríobh sa spás bán.\nomnēs, ____ eum audiunt, lacrimant.\nquem\nquōs\nquī\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 32\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -14734,7 +14734,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\nΠατροκλος, ὁς στρατιωτης ἠν, τον ___________ ἐν τῃ μαχῃ ἐβλαψεν.\nβραχιονα\nβραχιονος\nβραχιονι", + "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\nΠατροκλος, ὁς στρατιωτης ἠν, τον ____ ἐν τῃ μαχῃ ἐβλαψεν.\nβραχιονα\nβραχιονος\nβραχιονι", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -14752,7 +14752,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“οὐκ ἐθελω ______________,” Πατροκλος εἰπεν.\nἀποθνῃσκειν\nἀποθνῃσκουσιν\nἀποθανειν", + "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“οὐκ ἐθελω ____,” Πατροκλος εἰπεν.\nἀποθνῃσκειν\nἀποθνῃσκουσιν\nἀποθανειν", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -14770,7 +14770,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“μη φροντιζε. ἐξεστι___________ σε ἰατρευειν,” Ἀχιλλευς εἰπεν.\nμου\nμε\nμοι", + "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“μη φροντιζε. ἐξεστι____ σε ἰατρευειν,” Ἀχιλλευς εἰπεν.\nμου\nμε\nμοι", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -14788,7 +14788,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“____________, δυο, τρεις,” Ἀχιλλευς εἰπε και ἐκ του βραχιονος το τοξευμα ἐλαβεν.\nἐκ\nεἱς\nεἰς", + "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“____, δυο, τρεις,” Ἀχιλλευς εἰπε και ἐκ του βραχιονος το τοξευμα ἐλαβεν.\nἐκ\nεἱς\nεἰς", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -14806,7 +14806,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“ὠ φιλε, _______ μεν στρατιωτης εἶ, καλος δε ἰατρος,” Πατροκλος εἰπεν.\nἀνδρειος\nἀνδρεια\nἀνδρειας\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 41\nNa Clasaicí – Comhleibhéal", + "question_text": "Baineann na habairtí a leanas le hAichill agus Patraclas. Cuir tic () sa bhosca den fhoirm cheart a\ntheastaíonn chun an abairt a chríochnú. Ná cuir tic ach i mbosca amháin i ngach cás. Ná scríobh na\nfreagraí sa spás bán.\n“ὠ φιλε, ____ μεν στρατιωτης εἶ, καλος δε ἰατρος,” Πατροκλος εἰπεν.\nἀνδρειος\nἀνδρεια\nἀνδρειας\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 41\nNa Clasaicí – Comhleibhéal", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -15058,7 +15058,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Tagann Téacs A as mionn leis an dochtúir Sean-Ghréagaigh Hipeacraitéas.\nTá na focail ar fad a bhfuil línte fúthu tugtha in ord aibítre sa ghluais foclóra thíos.\nTéacs A: An Mionn Hipeacraitéach\nὀμνυμι, Ἀπολλωνα και Ἀσκληπιον και ῾Υγειαν και θεους, κατα δυναμιν την ἐμην ὁρχον ποιειν.\nἁγνως δε και ὁσιως διατηρησω βιον τον ἐμον και τεχνην την ἐμην.\nἁγνος, ἁγνη, ἁγνον = naofa ὁρχος, ὁρχου, ὁ = mionn\nἈσκληπιος, Ἀσκληπιου, ὁ = Aescaláipias ὁσιος, ὁσια, ὁσιον = naofa, cráifeach\nδιατηρεω = féachaim go géar ar, breathnaím ποιεω = déanaim\nκατα δυναμιν = ‘de réir cumais’ τεχνη, τεχνης, ἡ = ealaín, scil, ceird\nὀμνυμι = mionnaím ῾Υγεια, ῾Υγειας, ἡ = (an bandia) Hygeia\nCén fáth, dar leat, go mionnaíonn dochtúirí an lae inniu fós ar leagan nua-aimseartha de\nmhionn seo na Sean-Ghréige? Mínigh do fhreagra.\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh aon obair bhreise go soiléir le huimhir agus le páirt\nna ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 46\nNa Clasaicí – Comhleibhéal\nAdhmálacha\nÍomhánna:\nLch 4: https://dzen.ru/a/XTondqmKKgCtpZsF. Oscailte ag 26.2.24\nLch 4: https://www.tate.org.uk/art/artists/henry-gibbs-2329 Oscailte ag 9.3.2024\nLch 4: https://www.flickr.com/photos/45595786@N07/4188083603 Oscailte ag 1.3.2024\nLch 4: https://classicalwisdomkids.substack.com/p/postcard-from-tbilisi Oscailte ag 26.2.24\nLch 6: https://bookpalace.com/acatalog/info_BaraldiRome1LL.html Oscailte ag 9/3/2024\nLch 8: https://www.pinterest.ie/pin/93168286021668080/ Oscailte ag 9/3/2024\nLch 10: https://www.artyfactory.com/still-life/still-life-lessons.html Oscailte ag 4/3/2024\nLch 10: https://www.theguardian.com/science/2020/apr/26/pompeii-ruins-show-that-the-romans-invented-recycling?page=with%3Aimg-3#img-3\nOscailte ag 4/3/2024\nLch 10: https://www.worldhistory.org/image/2749/paestum-painting-scene-from-a-symposium/ Oscailte ag 4/3/2024\nLch 16: https://ie.pinterest.com/pin/9922061672529899/ Oscailte ag, 27.4.24\nLch 16: https://en.m.wikipedia.org/wiki/Maison_carr%C3%A9e#/media/File%3AMaison_carr%C3%A9e_(3).jpg Oscailte ag, 27.4.24\nLch 16: https://www.purefrance.com/en/blog/arles-amphitheatre Oscailte ag 27/4/2024\nLch 20: Equestrian Sculpture of Marcus Aurelius (article) | Khan Academy Oscailte ag 27/4/2024\nLch 24: https://sandhyaprabhat.com/homers-iliad Oscailte ag 27/4/2024\nLch 26:\nhttps://i.guim.co.uk/img/media/223fe4851f4273bf7ceff1032f56c52291661ac0/221_0_5695_3417/master/5695.jpg?width=1200&height=1200&qu\nality=85&auto=format&fit=crop&s=d7f75ea236f50e5ae5c414909aa11dbe Oscailte ag 27/4/2024\nLch 30: https://lifeintheboomerlane.com/2012/03/31/hebbs-you-know-who-you-are/drwn1042-roman-wine-drinking/ Oscailte ag 27/4/2024\nhttps://www.meisterdrucke.ie/fine-art-prints/J.-Williamson/1456442/The-Roman-Empire--.html Oscailte ag 8/5/2024\nhttps://religioromana.wordpress.com/lararium/ Oscailte ag 8/5/2024\nhttps://pixels.com/featured/-a-roman-priest-wields-his-axe-mary-evans-picture-library.html Oscailte ag 8/5/2024\nLch 31: https://blogs.warwick.ac.uk/numismatics/entry/tessera_hospitalis_a/ Oscailte ag 8/5/2024\nLch 32: https://fineartamerica.com/featured/the-meeting-of-dido-and-aeneas-nathaniel-dance-holland.html Oscailte ag 7/3/2024\nLch 32: https://fineartamerica.com/featured/the-feast-of-dido-and-aeneas-an-allegorical-portrait-of-the-family-of-the-duc-and-duchesse-du-\nmaine-francois-de-troy.html Oscailte ag 7/3/2024\nLch 32: https://www.meisterdrucke.ie/fine-art-prints/Baron-Pierre-Narcisse-Guerin/62071/Aeneas-telling-Dido-of-the-Disaster-at-Troy%2C-1815-\n.html Oscailte ag 8/3/2024\nLch 33: https://craftfineart.com/strany/zoom.php?id=8383 Oscailte ag 8/3/2024\nLch 33: https://www.meisterdrucke.ie/fine-art-prints/Guido-Reni/587546/Aeneas-takes-leave-of-Dido%2C-c.1630-.html Oscailte ag 8/3/2024\nLch 34: https://www.mediastorehouse.com.au/fine-art-storehouse/digital-vision-vectors/strangers-village-greek-mythology-18305739.html\nOscailte ag 27/4/2024\nLch 37: https://www.britannica.com/biography/Galen Oscailte ag 8/3/2024\nLch 39: https://collections.louvre.fr/en/ark:/53355/cl010250724 Oscailte ag 23.11.23\nLch 39: https://jonathanokolica.weebly.com/greek-medicine.html Oscailte ag 27/4/2024\nLch 39: https://ie.pinterest.com/pin/444589794450229220/ Oscailte ag 23.11.23\nLch 39: https://www.greece-is.com/of-gods-and-dreams-the-ancient-healing-sanctuary-of-epidaurus/ Oscailte ag 27/4/2024\nLch 39: https://www.greece-is.com/wp-content/uploads/2017/01/DGA-419113.jpg Oscailte ag 27/4/2024\nLch 40: https://smarthistory.org/alexander-mosaic-from-the-house-of-the-faun-pompeii/ Oscailte ag 27/4/2024\nLch 41: https://www.worldhistory.org/uploads/images/14193.jpg?v=1708445527 Oscailte ag 27/4/2024\nLch 45: https://blogs.acu.edu/1410_PSYC49301/2013/09/06/hippocrates-overcoming-the-fall/ Oscailte ag 24.11.23\nTéacsanna:\nLch 8: https://www.coursehero.com/file/48035687/Summary-of-Orpheusdocx/ Oscailte ag 11.5.2024\nLch 22: https://www.poetryintranslation.com/PITBR/Greek/Iliad16.php Oscailte ag 16/3/2024\nLch 47: Maurice Balm and Gilbert Lawall. Athenaze. Volume 1. Teacher’s Handbook. 1990. Oxford University Press. Page 70. (adapted)\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", + "question_text": "Tagann Téacs A as mionn leis an dochtúir Sean-Ghréagaigh Hipeacraitéas.\nTá na focail ar fad a bhfuil línte fúthu tugtha in ord aibítre sa ghluais foclóra thíos.\nTéacs A: An Mionn Hipeacraitéach\nὀμνυμι, Ἀπολλωνα και Ἀσκληπιον και ῾Υγειαν και θεους, κατα δυναμιν την ἐμην ὁρχον ποιειν.\nἁγνως δε και ὁσιως διατηρησω βιον τον ἐμον και τεχνην την ἐμην.\nἁγνος, ἁγνη, ἁγνον = naofa ὁρχος, ὁρχου, ὁ = mionn\nἈσκληπιος, Ἀσκληπιου, ὁ = Aescaláipias ὁσιος, ὁσια, ὁσιον = naofa, cráifeach\nδιατηρεω = féachaim go géar ar, breathnaím ποιεω = déanaim\nκατα δυναμιν = ‘de réir cumais’ τεχνη, τεχνης, ἡ = ealaín, scil, ceird\nὀμνυμι = mionnaím ῾Υγεια, ῾Υγειας, ἡ = (an bandia) Hygeia\nCén fáth, dar leat, go mionnaíonn dochtúirí an lae inniu fós ar leagan nua-aimseartha de\nmhionn seo na Sean-Ghréige? Mínigh do fhreagra.\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 45\nNa Clasaicí – Comhleibhéal\nSpás breise scríbhneoireachta. Lipéadaigh aon obair bhreise go soiléir le huimhir agus le páirt\nna ceiste.\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 46\nNa Clasaicí – Comhleibhéal\nAdhmálacha\nÍomhánna:\nLch 4: Oscailte ag 26.2.24\nLch 4: Oscailte ag 9.3.2024\nLch 4: Oscailte ag 1.3.2024\nLch 4: Oscailte ag 26.2.24\nLch 6: Oscailte ag 9/3/2024\nLch 8: Oscailte ag 9/3/2024\nLch 10: Oscailte ag 4/3/2024\nLch 10:\nOscailte ag 4/3/2024\nLch 10: Oscailte ag 4/3/2024\nLch 16: Oscailte ag, 27.4.24\nLch 16: Oscailte ag, 27.4.24\nLch 16: Oscailte ag 27/4/2024\nLch 20: Equestrian Sculpture of Marcus Aurelius (article) | Khan Academy Oscailte ag 27/4/2024\nLch 24: Oscailte ag 27/4/2024\nLch 26:\nality=85&auto=format&fit=crop&s=d7f75ea236f50e5ae5c414909aa11dbe Oscailte ag 27/4/2024\nLch 30: Oscailte ag 27/4/2024\n Oscailte ag 8/5/2024\n Oscailte ag 8/5/2024\n Oscailte ag 8/5/2024\nLch 31: Oscailte ag 8/5/2024\nLch 32: Oscailte ag 7/3/2024\nLch 32:\nmaine-francois-de-troy.html Oscailte ag 7/3/2024\nLch 32:\n.html Oscailte ag 8/3/2024\nLch 33: Oscailte ag 8/3/2024\nLch 33: Oscailte ag 8/3/2024\nLch 34:\nOscailte ag 27/4/2024\nLch 37: Oscailte ag 8/3/2024\nLch 39: Oscailte ag 23.11.23\nLch 39: Oscailte ag 27/4/2024\nLch 39: Oscailte ag 23.11.23\nLch 39: Oscailte ag 27/4/2024\nLch 39: Oscailte ag 27/4/2024\nLch 40: Oscailte ag 27/4/2024\nLch 41: Oscailte ag 27/4/2024\nLch 45: Oscailte ag 24.11.23\nTéacsanna:\nLch 8: Oscailte ag 11.5.2024\nLch 22: Oscailte ag 16/3/2024\nLch 47: Maurice Balm and Gilbert Lawall. Athenaze. Volume 1. Teacher’s Handbook. 1990. Oxford University Press. Page 70. (adapted)\nScrúdú Deiridh na Sraithe Sóisearaí, 2025 47\nNa Clasaicí – Comhleibhéal\nNá scríobh ar an leathanach seo\nFógra cóipchirt\nD’fhéadfadh sé go bhfuil téacsanna nó íomhánna sa scrúdpháipéar seo nach é Coimisiún na Scrúduithe Stáit\núinéir an chóipchirt ina leith, agus d’fhéadfadh sé gur athchóiríodh iad, chun críche measúnaithe, gan cead na\nn-údar a fháil roimh ré. Ullmhaíodh an scrúdpháipéar seo de réir Alt 53(5) den Acht um Chóipcheart agus\nCearta Gaolmhara, 2000. Ní údaraítear aon úsáid dá éis chun aon chríoch ach amháin chun na críche dá bhfuil\nsé beartaithe. Ní ghlacann an Coimisiún aon dliteanas as sárú ar bith ar chearta tríú páirtí a eascraíonn as\ndáileadh nó úsáid neamhúdaraithe an scrúdpháipéir seo.\nScrúdú Deiridh na Sraithe Sóisearaí – Comhleibhéal\nNa Clasaicí\nDé hAoine 1 Meitheamh\nTráthnóna 1:30 - 3:30", "has_images": true, "image_notes": "image(s) detected on page 45, 46, 48", "topic": null, @@ -15076,7 +15076,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about the symbols of ancient Greek/ Roman gods and goddesses.\n1. 2. 3.\n4. 5. 6.\nComplete the following table by filling in both the Greek and Roman names of the god/ goddess\nassociated with each symbol shown above. The first one has been completed as an example.\nImage\nGreek name Roman name\nnumber\n1. Hestia Vesta\n2.\n3.\n4.\n5.\n6.\nClassics – Common Level", + "question_text": "Answer the following questions about the symbols of ancient Greek/ Roman gods and goddesses.\n1. 2. 3.\n4. 5. 6.\nComplete the following table by filling in both the Greek and Roman names of the god/ goddess\nassociated with each symbol shown above. The first one has been completed as an example.\nImage\nGreek name Roman name\nnumber\n1. Hestia Vesta\n2.\n3.\n4.\n5.\n6.", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -15112,7 +15112,7 @@ "parent_question": "1", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about the symbols of ancient Greek/ Roman gods and goddesses.\n1. 2. 3.\n4. 5. 6.\nWhy do you think the Greeks and Romans used symbols to represent gods and goddesses?\nClassics – Common Level", + "question_text": "Answer the following questions about the symbols of ancient Greek/ Roman gods and goddesses.\n1. 2. 3.\n4. 5. 6.\nWhy do you think the Greeks and Romans used symbols to represent gods and goddesses?", "has_images": true, "image_notes": "image(s) detected on page 4", "topic": null, @@ -15202,7 +15202,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following statements about the passage. Put a tick () in the box to indicate\nwhether each statement is true or false.\nTrue False\nRead this passage about Penelope, a character in the Odyssey, and answer the questions below.\nAfter her husband, Odysseus, left for war in Troy, Penelope remained at home in Ithaca.\nFor twenty years, she raised their son Telemachus and managed the kingdom on her own.\nAs years passed without any word from Odysseus, many suitors gathered at her home,\nseeking to marry her and to take control of Ithaca.\nTo delay choosing a suitor, the queen devised a clever trick. She promised the suitors she\nwould marry one of them as soon as she finished weaving a funeral shroud for Odysseus’\nfather, Laertes. Each day she worked tirelessly at her loom and each night she secretly\nunravelled all the work she had done. In this way Penelope remained faithful to Odysseus,\nbelieving that he would one day return. However, after three years the suitors discovered\nthe queen’s secret and demanded that she immediately choose one of them as a\nhusband.\nPenelope still did not wish to marry any of them, so she proposed an impossible task. She\npromised that she would marry the man who could string Odysseus’ bow and shoot an\narrow through twelve axe-heads. All the suitors quickly tried, but they were all too weak\nto even string the bow, except for one man dressed like an old beggar. To everyone’s\nsurprise, this weary looking old man easily strung the bow and shot the arrow straight\nthrough the axe-heads. Penelope at once recognised her husband as his beggar’s disguise\nfell away. At last, Odysseus and Penelope were reunited.\nPenelope remarried in Odysseus’ absence.\nClassics – Common Level", + "question_text": "Read the following statements about the passage. Put a tick () in the box to indicate\nwhether each statement is true or false.\nTrue False\nRead this passage about Penelope, a character in the Odyssey, and answer the questions below.\nAfter her husband, Odysseus, left for war in Troy, Penelope remained at home in Ithaca.\nFor twenty years, she raised their son Telemachus and managed the kingdom on her own.\nAs years passed without any word from Odysseus, many suitors gathered at her home,\nseeking to marry her and to take control of Ithaca.\nTo delay choosing a suitor, the queen devised a clever trick. She promised the suitors she\nwould marry one of them as soon as she finished weaving a funeral shroud for Odysseus’\nfather, Laertes. Each day she worked tirelessly at her loom and each night she secretly\nunravelled all the work she had done. In this way Penelope remained faithful to Odysseus,\nbelieving that he would one day return. However, after three years the suitors discovered\nthe queen’s secret and demanded that she immediately choose one of them as a\nhusband.\nPenelope still did not wish to marry any of them, so she proposed an impossible task. She\npromised that she would marry the man who could string Odysseus’ bow and shoot an\narrow through twelve axe-heads. All the suitors quickly tried, but they were all too weak\nto even string the bow, except for one man dressed like an old beggar. To everyone’s\nsurprise, this weary looking old man easily strung the bow and shot the arrow straight\nthrough the axe-heads. Penelope at once recognised her husband as his beggar’s disguise\nfell away. At last, Odysseus and Penelope were reunited.\nPenelope remarried in Odysseus’ absence.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -15238,7 +15238,7 @@ "parent_question": "2", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage about Penelope, a character in the Odyssey, and answer the questions below.\nAfter her husband, Odysseus, left for war in Troy, Penelope remained at home in Ithaca.\nFor twenty years, she raised their son Telemachus and managed the kingdom on her own.\nAs years passed without any word from Odysseus, many suitors gathered at her home,\nseeking to marry her and to take control of Ithaca.\nTo delay choosing a suitor, the queen devised a clever trick. She promised the suitors she\nwould marry one of them as soon as she finished weaving a funeral shroud for Odysseus’\nfather, Laertes. Each day she worked tirelessly at her loom and each night she secretly\nunravelled all the work she had done. In this way Penelope remained faithful to Odysseus,\nbelieving that he would one day return. However, after three years the suitors discovered\nthe queen’s secret and demanded that she immediately choose one of them as a\nhusband.\nPenelope still did not wish to marry any of them, so she proposed an impossible task. She\npromised that she would marry the man who could string Odysseus’ bow and shoot an\narrow through twelve axe-heads. All the suitors quickly tried, but they were all too weak\nto even string the bow, except for one man dressed like an old beggar. To everyone’s\nsurprise, this weary looking old man easily strung the bow and shot the arrow straight\nthrough the axe-heads. Penelope at once recognised her husband as his beggar’s disguise\nfell away. At last, Odysseus and Penelope were reunited.\nDo you think that the final paragraph in this passage makes for a good ending to the story?\nGive reasons for your answer.\nClassics – Common Level", + "question_text": "Read this passage about Penelope, a character in the Odyssey, and answer the questions below.\nAfter her husband, Odysseus, left for war in Troy, Penelope remained at home in Ithaca.\nFor twenty years, she raised their son Telemachus and managed the kingdom on her own.\nAs years passed without any word from Odysseus, many suitors gathered at her home,\nseeking to marry her and to take control of Ithaca.\nTo delay choosing a suitor, the queen devised a clever trick. She promised the suitors she\nwould marry one of them as soon as she finished weaving a funeral shroud for Odysseus’\nfather, Laertes. Each day she worked tirelessly at her loom and each night she secretly\nunravelled all the work she had done. In this way Penelope remained faithful to Odysseus,\nbelieving that he would one day return. However, after three years the suitors discovered\nthe queen’s secret and demanded that she immediately choose one of them as a\nhusband.\nPenelope still did not wish to marry any of them, so she proposed an impossible task. She\npromised that she would marry the man who could string Odysseus’ bow and shoot an\narrow through twelve axe-heads. All the suitors quickly tried, but they were all too weak\nto even string the bow, except for one man dressed like an old beggar. To everyone’s\nsurprise, this weary looking old man easily strung the bow and shot the arrow straight\nthrough the axe-heads. Penelope at once recognised her husband as his beggar’s disguise\nfell away. At last, Odysseus and Penelope were reunited.\nDo you think that the final paragraph in this passage makes for a good ending to the story?\nGive reasons for your answer.", "has_images": true, "image_notes": "image(s) detected on page 6", "topic": null, @@ -15256,7 +15256,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these five images of married couples from Greek and Roman mythology.\nA. B.\nC. D. E.\nIdentify the married couple shown in one image.\nGive the name of each person in the couple and describe what is happening in the image.\nImage letter: Married couple:\nDescription:\nClassics – Common Level", + "question_text": "Study these five images of married couples from Greek and Roman mythology.\nA. B.\nC. D. E.\nIdentify the married couple shown in one image.\nGive the name of each person in the couple and describe what is happening in the image.\nImage letter: Married couple:\nDescription:", "has_images": true, "image_notes": "image(s) detected on page 8", "topic": null, @@ -15292,7 +15292,7 @@ "parent_question": "3", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these five images of married couples from Greek and Roman mythology.\nA. B.\nC. D. E.\nIn your opinion, are myths about love or marriage relevant in today's world?\nExplain your answer.\nClassics – Common Level", + "question_text": "Study these five images of married couples from Greek and Roman mythology.\nA. B.\nC. D. E.\nIn your opinion, are myths about love or marriage relevant in today's world?\nExplain your answer.", "has_images": true, "image_notes": "image(s) detected on page 8", "topic": null, @@ -15328,7 +15328,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Use Text A and Text B to answer the questions below.\nAnswer the following questions about public entertainment.\nText A: Emperor Domitian constantly gave grand and costly entertainments, both in the\nColosseum and in the Circus. He gave hunts of wild beasts, gladiatorial shows at night by\nthe light of torches, and not only combats between men but even between women as well.\nText B: Women gladiators also competed in a contest so fiercely that jokes about their\nbehaviour were directed at other very important women. Because of that, the emperor\nSeptimius Severus no longer permitted any woman, whatever her origin, to fight in a\ngladiatorial contest.\nExplain what we learn from Text B about attitudes to women in ancient Rome.\nClassics – Common Level", + "question_text": "Use Text A and Text B to answer the questions below.\nAnswer the following questions about public entertainment.\nText A: Emperor Domitian constantly gave grand and costly entertainments, both in the\nColosseum and in the Circus. He gave hunts of wild beasts, gladiatorial shows at night by\nthe light of torches, and not only combats between men but even between women as well.\nText B: Women gladiators also competed in a contest so fiercely that jokes about their\nbehaviour were directed at other very important women. Because of that, the emperor\nSeptimius Severus no longer permitted any woman, whatever her origin, to fight in a\ngladiatorial contest.\nExplain what we learn from Text B about attitudes to women in ancient Rome.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -15364,7 +15364,7 @@ "parent_question": "4", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about public entertainment.\nText A: Emperor Domitian constantly gave grand and costly entertainments, both in the\nColosseum and in the Circus. He gave hunts of wild beasts, gladiatorial shows at night by\nthe light of torches, and not only combats between men but even between women as well.\nText B: Women gladiators also competed in a contest so fiercely that jokes about their\nbehaviour were directed at other very important women. Because of that, the emperor\nSeptimius Severus no longer permitted any woman, whatever her origin, to fight in a\ngladiatorial contest.\nDo you think that public entertainment was important for people in the ancient world?\nSupport your answer with details from any type of public entertainment in ancient Greece or\nRome.\nClassics – Common Level", + "question_text": "Answer the following questions about public entertainment.\nText A: Emperor Domitian constantly gave grand and costly entertainments, both in the\nColosseum and in the Circus. He gave hunts of wild beasts, gladiatorial shows at night by\nthe light of torches, and not only combats between men but even between women as well.\nText B: Women gladiators also competed in a contest so fiercely that jokes about their\nbehaviour were directed at other very important women. Because of that, the emperor\nSeptimius Severus no longer permitted any woman, whatever her origin, to fight in a\ngladiatorial contest.\nDo you think that public entertainment was important for people in the ancient world?\nSupport your answer with details from any type of public entertainment in ancient Greece or\nRome.", "has_images": true, "image_notes": "image(s) detected on page 10", "topic": null, @@ -15382,7 +15382,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the questions below about the Roman artefacts shown in Images A–F.\nA. B.\nC.\nClassics – Common Level\nD. E.\nF.\nGive a detailed description of one of the artefacts shown in Images A–F.\nClassics – Common Level", + "question_text": "Answer the questions below about the Roman artefacts shown in Images A–F.\nA. B.\nC.\nD. E.\nF.\nGive a detailed description of one of the artefacts shown in Images A–F.", "has_images": true, "image_notes": "image(s) detected on page 12, 13", "topic": null, @@ -15400,7 +15400,7 @@ "parent_question": "5", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the questions below about the Roman artefacts shown in Images A–F.\nA. B.\nC.\nClassics – Common Level\nD. E.\nF.\nWhat do these artefacts tell us about the ancient Romans who owned them?\nDiscuss at least two artefacts in your answer.\nClassics – Common Level", + "question_text": "Answer the questions below about the Roman artefacts shown in Images A–F.\nA. B.\nC.\nD. E.\nF.\nWhat do these artefacts tell us about the ancient Romans who owned them?\nDiscuss at least two artefacts in your answer.", "has_images": true, "image_notes": "image(s) detected on page 12, 13", "topic": null, @@ -15436,7 +15436,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read Text A and answer the following questions.\nAnswer the following questions about daily life.\nText A: Life in the ancient Greek countryside\nSince men spent most of their time away from the house, Greek home life in the\ncountryside was dominated by women. Just like the free women who lived in the city,\nfree women in the countryside were also in charge of raising the children, spinning,\nweaving and sewing the family’s clothes. They supervised the daily running of the\nhousehold, including chores such as cooking, cleaning, and carrying water from the\nfountain. Their duties also extended to agricultural work such as the growing and\nharvesting of olives, fruit and vegetables. In this society, lots of slaves were available to\ncarry out these tasks. It was only in the poorest homes that free women were expected to\ncarry out all of these duties on their own.\nHow was life in the ancient Greek countryside different for wealthy women compared\nto poor women?\nClassics – Common Level", + "question_text": "Read Text A and answer the following questions.\nAnswer the following questions about daily life.\nText A: Life in the ancient Greek countryside\nSince men spent most of their time away from the house, Greek home life in the\ncountryside was dominated by women. Just like the free women who lived in the city,\nfree women in the countryside were also in charge of raising the children, spinning,\nweaving and sewing the family’s clothes. They supervised the daily running of the\nhousehold, including chores such as cooking, cleaning, and carrying water from the\nfountain. Their duties also extended to agricultural work such as the growing and\nharvesting of olives, fruit and vegetables. In this society, lots of slaves were available to\ncarry out these tasks. It was only in the poorest homes that free women were expected to\ncarry out all of these duties on their own.\nHow was life in the ancient Greek countryside different for wealthy women compared\nto poor women?", "has_images": true, "image_notes": "image(s) detected on page 15", "topic": null, @@ -15454,7 +15454,7 @@ "parent_question": "6", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about daily life.\nText A: Life in the ancient Greek countryside\nSince men spent most of their time away from the house, Greek home life in the\ncountryside was dominated by women. Just like the free women who lived in the city,\nfree women in the countryside were also in charge of raising the children, spinning,\nweaving and sewing the family’s clothes. They supervised the daily running of the\nhousehold, including chores such as cooking, cleaning, and carrying water from the\nfountain. Their duties also extended to agricultural work such as the growing and\nharvesting of olives, fruit and vegetables. In this society, lots of slaves were available to\ncarry out these tasks. It was only in the poorest homes that free women were expected to\ncarry out all of these duties on their own.\nWrite about one topic from List A or List B. Include detailed information and key terms in\nyour answer. You may use a labelled diagram as part of your answer.\nList A: The Roman home List B: The Greek home\nHospitality in the triclinium Hospitality in the andron\nReligion in the atrium Religion in the oikia\nLayout of the rooms in the domus Layout of the rooms in the oikia\nName of Topic:\nClassics – Common Level\nOptional Diagram:\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 18)\nOR\nSection C: Latin – Classical Language (page 28)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nClassics – Common Level\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", + "question_text": "Answer the following questions about daily life.\nText A: Life in the ancient Greek countryside\nSince men spent most of their time away from the house, Greek home life in the\ncountryside was dominated by women. Just like the free women who lived in the city,\nfree women in the countryside were also in charge of raising the children, spinning,\nweaving and sewing the family’s clothes. They supervised the daily running of the\nhousehold, including chores such as cooking, cleaning, and carrying water from the\nfountain. Their duties also extended to agricultural work such as the growing and\nharvesting of olives, fruit and vegetables. In this society, lots of slaves were available to\ncarry out these tasks. It was only in the poorest homes that free women were expected to\ncarry out all of these duties on their own.\nWrite about one topic from List A or List B. Include detailed information and key terms in\nyour answer. You may use a labelled diagram as part of your answer.\nList A: The Roman home List B: The Greek home\nHospitality in the triclinium Hospitality in the andron\nReligion in the atrium Religion in the oikia\nLayout of the rooms in the domus Layout of the rooms in the oikia\nName of Topic:\nOptional Diagram:\nCandidates must answer one of the following sections:\nSection B: The World of Achilles,Rome – Classical Studies (page 18)\nOR\nSection C: Latin – Classical Language (page 28)\nOR\nSection D: Ancient Greek – Classical Language (page 37)\nSection B The World of Achilles, Rome - 180 marks\nClassical Studies", "has_images": true, "image_notes": "image(s) detected on page 15, 18", "topic": null, @@ -15472,7 +15472,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "Complete the following table by ticking the correct box to indicate whether this character\nfrom the Iliad is Trojan or Greek. The first one has been completed as an example.\nName of character Greek Trojan\nAstyanax \nAjax\nOdysseus\nPriam\nDiomedes\nHector\nHecuba\nMenelaus\nParis\nAndromache\nHelen\nClassics – Common Level", + "question_text": "Complete the following table by ticking the correct box to indicate whether this character\nfrom the Iliad is Trojan or Greek. The first one has been completed as an example.\nName of character Greek Trojan\nAstyanax \nAjax\nOdysseus\nPriam\nDiomedes\nHector\nHecuba\nMenelaus\nParis\nAndromache\nHelen", "has_images": true, "image_notes": "image(s) detected on page 18", "topic": null, @@ -15526,7 +15526,7 @@ "parent_question": "7", "marks": null, "marks_confidence": "uncertain", - "question_text": "Which army in the Trojan War do you think acted more honourably, the Greeks or the\nTrojans? Explain your answer with examples from the Iliad.\nClassics – Common Level", + "question_text": "Which army in the Trojan War do you think acted more honourably, the Greeks or the\nTrojans? Explain your answer with examples from the Iliad.", "has_images": false, "image_notes": null, "topic": null, @@ -15544,7 +15544,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read Text A, which is similar to the story of the Iliad, and answer the following questions.\nText A is based on the Táin, an Irish epic poem which tells the story of the Irish hero Cú Chulainn.\nCú Chulainn Achilles\nText A: The Táin\nCú Chulainn, trained by the druid Cathbad, became the most outstanding warrior in all of\nUlster. On the day he was to take up the weapons which would prove his coming of age, the\ndruid prophesied that the one who earned their rightful spear, sword and shield that day\nwould become the greatest hero of all time but would also die an early death. Cú Chulainn,\nthinking only of immortal fame, wielded one weapon after another, but they all shattered\nwith the force of his extraordinary strength.\nFinally, the king gave his own weapons to Cú Chulainn which were strong enough to\nwithstand the warrior’s might. However, Cú Chulainn’s most deadly weapon turned out to\nbe his supernatural anger. When Cú Chulainn was possessed by his anger, he was an\nunstoppable force that would kill friend and foe alike. And so, he gained fame and glory on\nthe battlefield until his early death as prophesied by Cathbad.\nGive two similarities between Cú Chulainn and Achilles based on Text A and your study of\nthe Iliad.\nSimilarity 1:\nSimilarity 2:\nClassics – Common Level", + "question_text": "Read Text A, which is similar to the story of the Iliad, and answer the following questions.\nText A is based on the Táin, an Irish epic poem which tells the story of the Irish hero Cú Chulainn.\nCú Chulainn Achilles\nText A: The Táin\nCú Chulainn, trained by the druid Cathbad, became the most outstanding warrior in all of\nUlster. On the day he was to take up the weapons which would prove his coming of age, the\ndruid prophesied that the one who earned their rightful spear, sword and shield that day\nwould become the greatest hero of all time but would also die an early death. Cú Chulainn,\nthinking only of immortal fame, wielded one weapon after another, but they all shattered\nwith the force of his extraordinary strength.\nFinally, the king gave his own weapons to Cú Chulainn which were strong enough to\nwithstand the warrior’s might. However, Cú Chulainn’s most deadly weapon turned out to\nbe his supernatural anger. When Cú Chulainn was possessed by his anger, he was an\nunstoppable force that would kill friend and foe alike. And so, he gained fame and glory on\nthe battlefield until his early death as prophesied by Cathbad.\nGive two similarities between Cú Chulainn and Achilles based on Text A and your study of\nthe Iliad.\nSimilarity 1:\nSimilarity 2:", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -15580,7 +15580,7 @@ "parent_question": "8", "marks": null, "marks_confidence": "uncertain", - "question_text": "(i) Identify another ancient Greek or Roman source which deals with anger.\nAuthor: Title:\nRead Text A, which is similar to the story of the Iliad, and answer the following questions.\nText A is based on the Táin, an Irish epic poem which tells the story of the Irish hero Cú Chulainn.\nCú Chulainn Achilles\nText A: The Táin\nCú Chulainn, trained by the druid Cathbad, became the most outstanding warrior in all of\nUlster. On the day he was to take up the weapons which would prove his coming of age, the\ndruid prophesied that the one who earned their rightful spear, sword and shield that day\nwould become the greatest hero of all time but would also die an early death. Cú Chulainn,\nthinking only of immortal fame, wielded one weapon after another, but they all shattered\nwith the force of his extraordinary strength.\nFinally, the king gave his own weapons to Cú Chulainn which were strong enough to\nwithstand the warrior’s might. However, Cú Chulainn’s most deadly weapon turned out to\nbe his supernatural anger. When Cú Chulainn was possessed by his anger, he was an\nunstoppable force that would kill friend and foe alike. And so, he gained fame and glory on\nthe battlefield until his early death as prophesied by Cathbad.\nWhat does this source say about views or values related to anger in the ancient world?\nClassics – Common Level", + "question_text": "(i) Identify another ancient Greek or Roman source which deals with anger.\nAuthor: Title:\nRead Text A, which is similar to the story of the Iliad, and answer the following questions.\nText A is based on the Táin, an Irish epic poem which tells the story of the Irish hero Cú Chulainn.\nCú Chulainn Achilles\nText A: The Táin\nCú Chulainn, trained by the druid Cathbad, became the most outstanding warrior in all of\nUlster. On the day he was to take up the weapons which would prove his coming of age, the\ndruid prophesied that the one who earned their rightful spear, sword and shield that day\nwould become the greatest hero of all time but would also die an early death. Cú Chulainn,\nthinking only of immortal fame, wielded one weapon after another, but they all shattered\nwith the force of his extraordinary strength.\nFinally, the king gave his own weapons to Cú Chulainn which were strong enough to\nwithstand the warrior’s might. However, Cú Chulainn’s most deadly weapon turned out to\nbe his supernatural anger. When Cú Chulainn was possessed by his anger, he was an\nunstoppable force that would kill friend and foe alike. And so, he gained fame and glory on\nthe battlefield until his early death as prophesied by Cathbad.\nWhat does this source say about views or values related to anger in the ancient world?", "has_images": true, "image_notes": "image(s) detected on page 20", "topic": null, @@ -15598,7 +15598,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these sculptures of gods and goddesses who are in the Iliad.\nA. B. C.\nD. E.\nComplete the table by writing the letter of each god/ goddess shown beside the correct\ndescription below. The first one has been completed as an example.\nB. is persuaded by Thetis to favour the Trojans.\na river god of Troy, who tries to prevent Achilles’ anger from destroying all the Trojans.\nsupports the Greeks, especially the heroes Achilles and Odysseus.\nmakes new armour and an elaborate shield for Achilles.\nhates the Trojans with a passion and seduces Zeus to distract him.\nClassics – Common Level", + "question_text": "Study these sculptures of gods and goddesses who are in the Iliad.\nA. B. C.\nD. E.\nComplete the table by writing the letter of each god/ goddess shown beside the correct\ndescription below. The first one has been completed as an example.\nB. is persuaded by Thetis to favour the Trojans.\na river god of Troy, who tries to prevent Achilles’ anger from destroying all the Trojans.\nsupports the Greeks, especially the heroes Achilles and Odysseus.\nmakes new armour and an elaborate shield for Achilles.\nhates the Trojans with a passion and seduces Zeus to distract him.", "has_images": true, "image_notes": "image(s) detected on page 22", "topic": null, @@ -15634,7 +15634,7 @@ "parent_question": "9", "marks": null, "marks_confidence": "uncertain", - "question_text": "Study these sculptures of gods and goddesses who are in the Iliad.\nA. B. C.\nD. E.\nGive a detailed account of one scene from the Iliad which features any god/ goddess.\nYou may discuss gods/ goddesses in Images A–E.\nClassics – Common Level", + "question_text": "Study these sculptures of gods and goddesses who are in the Iliad.\nA. B. C.\nD. E.\nGive a detailed account of one scene from the Iliad which features any god/ goddess.\nYou may discuss gods/ goddesses in Images A–E.", "has_images": true, "image_notes": "image(s) detected on page 22", "topic": null, @@ -15652,7 +15652,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about classical architecture in Ireland.\nImage A: The Four Courts in Dublin\nName and describe four features of classical architecture shown in Image A.\nName of architectural feature 1:\nDescription:\nName of architectural feature 2:\nDescription:\nName of architectural feature 3:\nDescription:\nName of architectural feature 4:\nDescription:\nClassics – Common Level", + "question_text": "Answer the following questions about classical architecture in Ireland.\nImage A: The Four Courts in Dublin\nName and describe four features of classical architecture shown in Image A.\nName of architectural feature 1:\nDescription:\nName of architectural feature 2:\nDescription:\nName of architectural feature 3:\nDescription:\nName of architectural feature 4:\nDescription:", "has_images": true, "image_notes": "image(s) detected on page 24", "topic": null, @@ -15670,7 +15670,7 @@ "parent_question": "10", "marks": null, "marks_confidence": "uncertain", - "question_text": "Answer the following questions about classical architecture in Ireland.\nImage A: The Four Courts in Dublin\nExplain what you have learnt from comparing a building in your local area with a building in\nancient Rome. Make two points.\n1:\n2:\nReconstruction of ancient Rome\nClassics – Common Level", + "question_text": "Answer the following questions about classical architecture in Ireland.\nImage A: The Four Courts in Dublin\nExplain what you have learnt from comparing a building in your local area with a building in\nancient Rome. Make two points.\n1:\n2:\nReconstruction of ancient Rome", "has_images": true, "image_notes": "image(s) detected on page 24, 25", "topic": null, @@ -15688,7 +15688,7 @@ "parent_question": "11", "marks": null, "marks_confidence": "uncertain", - "question_text": "Discuss three aspects of Roman history, society or public life which you explored in your study of\nRoman buildings, structures and public spaces.\n1:\n2:\n3:\nClassics – Common Level", + "question_text": "Discuss three aspects of Roman history, society or public life which you explored in your study of\nRoman buildings, structures and public spaces.\n1:\n2:\n3:", "has_images": false, "image_notes": null, "topic": null, @@ -15742,7 +15742,7 @@ "parent_question": "12", "marks": null, "marks_confidence": "uncertain", - "question_text": "Imagine that you are giving a guided tour of your favourite ancient Roman building, structure or\nsite, and answer the following questions.\nWhat would you consider to be the highlight of your tour? You may include details about\narchitecture, decoration, layout, and history of the building, structure or site.\nClassics – Common Level\nSection C Latin – Classical Language 180 marks", + "question_text": "Imagine that you are giving a guided tour of your favourite ancient Roman building, structure or\nsite, and answer the following questions.\nWhat would you consider to be the highlight of your tour? You may include details about\narchitecture, decoration, layout, and history of the building, structure or site.\nSection C Latin – Classical Language 180 marks", "has_images": false, "image_notes": null, "topic": null, @@ -15778,7 +15778,7 @@ "parent_question": "13", "marks": null, "marks_confidence": "uncertain", - "question_text": "Give two other Latin phrases or abbreviations that you know, and explain the English\nmeaning of each one.\nLatin phrase or abbreviation 1:\nMeaning:\nLatin phrase or abbreviation 2:\nMeaning:\nClassics – Common Level", + "question_text": "Give two other Latin phrases or abbreviations that you know, and explain the English\nmeaning of each one.\nLatin phrase or abbreviation 1:\nMeaning:\nLatin phrase or abbreviation 2:\nMeaning:", "has_images": false, "image_notes": null, "topic": null, @@ -15868,7 +15868,7 @@ "parent_question": "14", "marks": null, "marks_confidence": "uncertain", - "question_text": "Explain the connection between the meaning of one English word from parts (a) or (b) and\nthe meaning of the Latin word it derives from.\nClassics – Common Level", + "question_text": "Explain the connection between the meaning of one English word from parts (a) or (b) and\nthe meaning of the Latin word it derives from.", "has_images": false, "image_notes": null, "topic": null, @@ -15886,7 +15886,7 @@ "parent_question": "15", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match these images from the myth of Romulus and Remus to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2.\n3. 4.\nRomulus et Remus sunt infantes quos lupa prope aquam invenit.\nFaustulus est pastor qui duos infantes prope aquam lupamque invenit.\nF austulus duos infantes ad uxorem suam portat. uxor et ancilla sua parvos pueros amant.\nduo infantes, Romulus et Remus, sunt in cista quam aqua ad terram portat.\nClassics – Common Level", + "question_text": "Match these images from the myth of Romulus and Remus to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2.\n3. 4.\nRomulus et Remus sunt infantes quos lupa prope aquam invenit.\nFaustulus est pastor qui duos infantes prope aquam lupamque invenit.\nF austulus duos infantes ad uxorem suam portat. uxor et ancilla sua parvos pueros amant.\nduo infantes, Romulus et Remus, sunt in cista quam aqua ad terram portat.", "has_images": true, "image_notes": "image(s) detected on page 30", "topic": null, @@ -15976,7 +15976,7 @@ "parent_question": "16", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following statements about Text A. Place a tick () in each box below to indicate whether\neach statement is true or false.\nText A is adapted from Cicero’s book On Divination.\nThe underlined words are listed alphabetically in the glossary below.\nText A: Remus auspicio se devovet sed Romulus pulcher in alto quaerit Aventino.\nauspicium, -i (n.) = prophecy using the flight of birds\nAventinus, -i (m.) = The Aventine Hill\ndevoveo, devovere, devovi, devotum = to devote\nTrue False\nquaerit is a verb in the infinitive.\nClassics – Common Level", + "question_text": "Read the following statements about Text A. Place a tick () in each box below to indicate whether\neach statement is true or false.\nText A is adapted from Cicero’s book On Divination.\nThe underlined words are listed alphabetically in the glossary below.\nText A: Remus auspicio se devovet sed Romulus pulcher in alto quaerit Aventino.\nauspicium, -i (n.) = prophecy using the flight of birds\nAventinus, -i (m.) = The Aventine Hill\ndevoveo, devovere, devovi, devotum = to devote\nTrue False\nquaerit is a verb in the infinitive.", "has_images": true, "image_notes": "image(s) detected on page 31", "topic": null, @@ -16066,7 +16066,7 @@ "parent_question": "17", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about the Vestal Virgins.\nFor each sentence, write the English translation of the words in bold.\nsi Vestalis non erat virgo, pontifex maximus eam morte horribili puniebat.\nTemple of Vesta\nClassics – Common Level", + "question_text": "The following sentences are about the Vestal Virgins.\nFor each sentence, write the English translation of the words in bold.\nsi Vestalis non erat virgo, pontifex maximus eam morte horribili puniebat.\nTemple of Vesta", "has_images": true, "image_notes": "image(s) detected on page 32", "topic": null, @@ -16138,7 +16138,7 @@ "parent_question": "18", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are based on Livy’s History of Rome.\nIn each sentence, change the Latin word in bold from singular to plural.\nAn example is given below.\nExample:\nSentence: Romulus urbem Romam aedificavit.\nAnswer: aedificaverunt\nRomani Romulum deum facere constituerunt.\nClassics – Common Level", + "question_text": "The following sentences are based on Livy’s History of Rome.\nIn each sentence, change the Latin word in bold from singular to plural.\nAn example is given below.\nExample:\nSentence: Romulus urbem Romam aedificavit.\nAnswer: aedificaverunt\nRomani Romulum deum facere constituerunt.", "has_images": true, "image_notes": "image(s) detected on page 33", "topic": null, @@ -16174,7 +16174,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions below in English. The passage tells the story\nof Aeneas’ escape from Troy. The underlined words are listed alphabetically in the glossary below.\nAeneas erat miles Troianus qui in bello contra Graecos pugnabat. Venus et Anchises erant\nparentes Aeneae. Aeneas uxorem etiam habebat, nomine Creusam. Creusa et Aeneas filium,\nnomine Ascanium, habebant.\npost decem annos dux Graecorum, Ulysses, consilium cepit. Graecos equum aedificare iussit. tum\nUlysses dixit, “relinquite equum extra muros Troiae.” Troiani erant laeti quod crediderunt equum\nesse donum. dum Aeneas dormit, umbra Hectoris ad eum in somnio venit. Hector Aenean monuit\net dixit, “equus non est donum. dolus est; Ulysses milites in equo posuit.” subito Aeneas surrexit.\ntum Aeneas totam urbem in flammis vidit.\nAeneas patriam servare non poterat. patrem suum, qui erat senex, in umeris portavit et fīlium, qui\nerat puer parvus, manu tenuit. dum Aeneas eos ex urbe ducit, uxorem suam amisit et necesse erat\nsibi fugere sine Creusa.\nAenean = Aeneas (accusative case) Graeci, -orum (m. pl.) = the Greeks\nAene as, Aeneae (m.) = Aeneas Hector, Hectoris (m.) = Hector\namit to, amittere, amisi, amissum = to lose manu = ‘by the hand’\nAnchises, Anchisae (m.) = Anchises somnium, -i (n.) = dream\nAsca nius, -i (m.) = Ascanius totus, -a, -um = whole, entire\ncapio, capere, cepi, captum + consilium = to make a plan Troia, -ae (f.) = Troy\ncontra + accusative = against Troianus, -a, -um = Trojan\nCreu sa, -ae (f.) = Creusa Ulysses, Ulyssis (m.) = Ulysses\ndolus, -i (m.) = trick umbra, -ae (f.) = ghost\nextra + accusative = outside umerus, -i (m.) = shoulder\nList three members of Aeneas’ family and state their relationship to him.\nName 1: Relationship to Aeneas:\nClassics – Common Level\nName 2: Relationship to Aeneas:\nName 3: Relationship to Aeneas:", + "question_text": "Read the following passage and answer the questions below in English. The passage tells the story\nof Aeneas’ escape from Troy. The underlined words are listed alphabetically in the glossary below.\nAeneas erat miles Troianus qui in bello contra Graecos pugnabat. Venus et Anchises erant\nparentes Aeneae. Aeneas uxorem etiam habebat, nomine Creusam. Creusa et Aeneas filium,\nnomine Ascanium, habebant.\npost decem annos dux Graecorum, Ulysses, consilium cepit. Graecos equum aedificare iussit. tum\nUlysses dixit, “relinquite equum extra muros Troiae.” Troiani erant laeti quod crediderunt equum\nesse donum. dum Aeneas dormit, umbra Hectoris ad eum in somnio venit. Hector Aenean monuit\net dixit, “equus non est donum. dolus est; Ulysses milites in equo posuit.” subito Aeneas surrexit.\ntum Aeneas totam urbem in flammis vidit.\nAeneas patriam servare non poterat. patrem suum, qui erat senex, in umeris portavit et fīlium, qui\nerat puer parvus, manu tenuit. dum Aeneas eos ex urbe ducit, uxorem suam amisit et necesse erat\nsibi fugere sine Creusa.\nAenean = Aeneas (accusative case) Graeci, -orum (m. pl.) = the Greeks\nAene as, Aeneae (m.) = Aeneas Hector, Hectoris (m.) = Hector\namit to, amittere, amisi, amissum = to lose manu = ‘by the hand’\nAnchises, Anchisae (m.) = Anchises somnium, -i (n.) = dream\nAsca nius, -i (m.) = Ascanius totus, -a, -um = whole, entire\ncapio, capere, cepi, captum + consilium = to make a plan Troia, -ae (f.) = Troy\ncontra + accusative = against Troianus, -a, -um = Trojan\nCreu sa, -ae (f.) = Creusa Ulysses, Ulyssis (m.) = Ulysses\ndolus, -i (m.) = trick umbra, -ae (f.) = ghost\nextra + accusative = outside umerus, -i (m.) = shoulder\nList three members of Aeneas’ family and state their relationship to him.\nName 1: Relationship to Aeneas:\nName 2: Relationship to Aeneas:\nName 3: Relationship to Aeneas:", "has_images": false, "image_notes": null, "topic": null, @@ -16282,7 +16282,7 @@ "parent_question": "19", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following passage and answer the questions below in English. The passage tells the story\nof Aeneas’ escape from Troy. The underlined words are listed alphabetically in the glossary below.\nAeneas erat miles Troianus qui in bello contra Graecos pugnabat. Venus et Anchises erant\nparentes Aeneae. Aeneas uxorem etiam habebat, nomine Creusam. Creusa et Aeneas filium,\nnomine Ascanium, habebant.\npost decem annos dux Graecorum, Ulysses, consilium cepit. Graecos equum aedificare iussit. tum\nUlysses dixit, “relinquite equum extra muros Troiae.” Troiani erant laeti quod crediderunt equum\nesse donum. dum Aeneas dormit, umbra Hectoris ad eum in somnio venit. Hector Aenean monuit\net dixit, “equus non est donum. dolus est; Ulysses milites in equo posuit.” subito Aeneas surrexit.\ntum Aeneas totam urbem in flammis vidit.\nAeneas patriam servare non poterat. patrem suum, qui erat senex, in umeris portavit et fīlium, qui\nerat puer parvus, manu tenuit. dum Aeneas eos ex urbe ducit, uxorem suam amisit et necesse erat\nsibi fugere sine Creusa.\nAenean = Aeneas (accusative case) Graeci, -orum (m. pl.) = the Greeks\nAene as, Aeneae (m.) = Aeneas Hector, Hectoris (m.) = Hector\namit to, amittere, amisi, amissum = to lose manu = ‘by the hand’\nAnchises, Anchisae (m.) = Anchises somnium, -i (n.) = dream\nAsca nius, -i (m.) = Ascanius totus, -a, -um = whole, entire\ncapio, capere, cepi, captum + consilium = to make a plan Troia, -ae (f.) = Troy\ncontra + accusative = against Troianus, -a, -um = Trojan\nCreu sa, -ae (f.) = Creusa Ulysses, Ulyssis (m.) = Ulysses\ndolus, -i (m.) = trick umbra, -ae (f.) = ghost\nextra + accusative = outside umerus, -i (m.) = shoulder\nIn your opinion, was Aeneas successful in helping his family to escape from Troy?\nGive reasons for your answer.\nClassics – Common Level", + "question_text": "Read the following passage and answer the questions below in English. The passage tells the story\nof Aeneas’ escape from Troy. The underlined words are listed alphabetically in the glossary below.\nAeneas erat miles Troianus qui in bello contra Graecos pugnabat. Venus et Anchises erant\nparentes Aeneae. Aeneas uxorem etiam habebat, nomine Creusam. Creusa et Aeneas filium,\nnomine Ascanium, habebant.\npost decem annos dux Graecorum, Ulysses, consilium cepit. Graecos equum aedificare iussit. tum\nUlysses dixit, “relinquite equum extra muros Troiae.” Troiani erant laeti quod crediderunt equum\nesse donum. dum Aeneas dormit, umbra Hectoris ad eum in somnio venit. Hector Aenean monuit\net dixit, “equus non est donum. dolus est; Ulysses milites in equo posuit.” subito Aeneas surrexit.\ntum Aeneas totam urbem in flammis vidit.\nAeneas patriam servare non poterat. patrem suum, qui erat senex, in umeris portavit et fīlium, qui\nerat puer parvus, manu tenuit. dum Aeneas eos ex urbe ducit, uxorem suam amisit et necesse erat\nsibi fugere sine Creusa.\nAenean = Aeneas (accusative case) Graeci, -orum (m. pl.) = the Greeks\nAene as, Aeneae (m.) = Aeneas Hector, Hectoris (m.) = Hector\namit to, amittere, amisi, amissum = to lose manu = ‘by the hand’\nAnchises, Anchisae (m.) = Anchises somnium, -i (n.) = dream\nAsca nius, -i (m.) = Ascanius totus, -a, -um = whole, entire\ncapio, capere, cepi, captum + consilium = to make a plan Troia, -ae (f.) = Troy\ncontra + accusative = against Troianus, -a, -um = Trojan\nCreu sa, -ae (f.) = Creusa Ulysses, Ulyssis (m.) = Ulysses\ndolus, -i (m.) = trick umbra, -ae (f.) = ghost\nextra + accusative = outside umerus, -i (m.) = shoulder\nIn your opinion, was Aeneas successful in helping his family to escape from Troy?\nGive reasons for your answer.", "has_images": false, "image_notes": null, "topic": null, @@ -16300,7 +16300,7 @@ "parent_question": "20", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the following passage into English. It continues the story from the previous question.\nThe underlined words are listed alphabetically in the glossary below.\nmiser Aeneas ad Italiam Troia navigat. iter est longum et mare magna pericula habet. una nocte\ntempestas ferox multos nautas necat. Aeneas est perterritus. Venus ab monte Olympo omnia\nspectat et auxilium ab Iove petit. dea rogat, “quod fatum erit meo filio?”\nAeneas, Aeneae (m.) = Aeneas\nfatum, -i (n.) = fate, destiny\nItalia, -ae (f.) = Italy\nOlympus, -i (m.) = Olympus\ntempestas, tempestatis (f.) = storm\nTroia, -ae (f.) = Troy\nClassics – Common Level\nSection D Ancient Greek – Classical Language 180 marks", + "question_text": "Translate the following passage into English. It continues the story from the previous question.\nThe underlined words are listed alphabetically in the glossary below.\nmiser Aeneas ad Italiam Troia navigat. iter est longum et mare magna pericula habet. una nocte\ntempestas ferox multos nautas necat. Aeneas est perterritus. Venus ab monte Olympo omnia\nspectat et auxilium ab Iove petit. dea rogat, “quod fatum erit meo filio?”\nAeneas, Aeneae (m.) = Aeneas\nfatum, -i (n.) = fate, destiny\nItalia, -ae (f.) = Italy\nOlympus, -i (m.) = Olympus\ntempestas, tempestatis (f.) = storm\nTroia, -ae (f.) = Troy\nSection D Ancient Greek – Classical Language 180 marks", "has_images": true, "image_notes": "image(s) detected on page 36, 37", "topic": null, @@ -16372,7 +16372,7 @@ "parent_question": "21", "marks": null, "marks_confidence": "uncertain", - "question_text": "Transliterate into English the following names of Ancient Greek philosophers.\nΠυθαγορας\nClassics – Common Level", + "question_text": "Transliterate into English the following names of Ancient Greek philosophers.\nΠυθαγορας", "has_images": true, "image_notes": "image(s) detected on page 37", "topic": null, @@ -16462,7 +16462,7 @@ "parent_question": "22", "marks": null, "marks_confidence": "uncertain", - "question_text": "Explain the connection between the meaning of one English word from parts (a) or (b) and\nthe meaning of the Ancient Greek word which it derives from.\nClassics – Common Level", + "question_text": "Explain the connection between the meaning of one English word from parts (a) or (b) and\nthe meaning of the Ancient Greek word which it derives from.", "has_images": false, "image_notes": null, "topic": null, @@ -16480,7 +16480,7 @@ "parent_question": "23", "marks": null, "marks_confidence": "uncertain", - "question_text": "Match these images from Homer’s Odyssey to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2. 3.\n4.\nΤηλεμαχος, ὁς νεανιας ἐστι, τον ἀγαθον βασιλεα ἐν καλῃ οἰκιᾳ χαιρει.\nὁ των Φαιακων βασιλευς ἐν καλῃ οἰκιᾳ τῃ θυγατρι λεγει και ἡ κορη ἀκριβως ἀκουει.\nἡ δουλη, ἥ τους του γεροντος ποδας λουει, αὐτον γιγνωσκει.\nἐν τῳ πλοιῳ ὁ ἀνηρ τον νεανιαν κελευει πλειν προς την γην του βασιλεως.\nClassics – Common Level", + "question_text": "Match these images from Homer’s Odyssey to their descriptions below.\nWrite the number of each image into the table beside its description.\n1. 2. 3.\n4.\nΤηλεμαχος, ὁς νεανιας ἐστι, τον ἀγαθον βασιλεα ἐν καλῃ οἰκιᾳ χαιρει.\nὁ των Φαιακων βασιλευς ἐν καλῃ οἰκιᾳ τῃ θυγατρι λεγει και ἡ κορη ἀκριβως ἀκουει.\nἡ δουλη, ἥ τους του γεροντος ποδας λουει, αὐτον γιγνωσκει.\nἐν τῳ πλοιῳ ὁ ἀνηρ τον νεανιαν κελευει πλειν προς την γην του βασιλεως.", "has_images": true, "image_notes": "image(s) detected on page 39", "topic": null, @@ -16570,7 +16570,7 @@ "parent_question": "24", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read the following statements about Text A and Text B.\nPlace a tick () in the box to indicate whether each statement is true or false.\nText A is the first line of Homer’s Iliad and Text B is the first line of Homer’s Odyssey.\nThe underlined words are listed alphabetically in the glossary below.\nText A: μηνιν ἀειδε, θεα, Πηληιαδεω Ἀχιληος\nText B: ἀνδρα μοι ἐννεπε, Μουσα, πολυτροπον\nἀ ειδω = I sing Μουσα, -ης, ἡ = Muse\nἈχιλλευς, Ἀχιληος, ὁ = Achilles Πηληιαδεω = ‘son of Pelias’\nἐνεπω = I tell πολυτροπος, -ον = much-wandering, wily\nμηνις, μηνιος, ἡ = anger\nTrue False\nIn Text B, ἀνδρα is a neuter plural noun.\nClassics – Common Level", + "question_text": "Read the following statements about Text A and Text B.\nPlace a tick () in the box to indicate whether each statement is true or false.\nText A is the first line of Homer’s Iliad and Text B is the first line of Homer’s Odyssey.\nThe underlined words are listed alphabetically in the glossary below.\nText A: μηνιν ἀειδε, θεα, Πηληιαδεω Ἀχιληος\nText B: ἀνδρα μοι ἐννεπε, Μουσα, πολυτροπον\nἀ ειδω = I sing Μουσα, -ης, ἡ = Muse\nἈχιλλευς, Ἀχιληος, ὁ = Achilles Πηληιαδεω = ‘son of Pelias’\nἐνεπω = I tell πολυτροπος, -ον = much-wandering, wily\nμηνις, μηνιος, ἡ = anger\nTrue False\nIn Text B, ἀνδρα is a neuter plural noun.", "has_images": true, "image_notes": "image(s) detected on page 40", "topic": null, @@ -16660,7 +16660,7 @@ "parent_question": "25", "marks": null, "marks_confidence": "uncertain", - "question_text": "The following sentences are about Agamemnon, the leader of the Greeks in Homer’s Iliad.\nFor each sentence, write the English translation of the words in bold.\nἈγαμεμνων Ἰφιγενειαν ἀποκτεινει. οὐκ ἐξεστι τῃ κορῃ αὐτον παυειν.\nClassics – Common Level", + "question_text": "The following sentences are about Agamemnon, the leader of the Greeks in Homer’s Iliad.\nFor each sentence, write the English translation of the words in bold.\nἈγαμεμνων Ἰφιγενειαν ἀποκτεινει. οὐκ ἐξεστι τῃ κορῃ αὐτον παυειν.", "has_images": true, "image_notes": "image(s) detected on page 41", "topic": null, @@ -16732,7 +16732,7 @@ "parent_question": "26", "marks": null, "marks_confidence": "uncertain", - "question_text": "For each sentence below, change the Ancient Greek word in bold from singular to plural.\nAn example is given below.\nThese sentences are based on a comedy by Aristophanes, which tells the story of an old man who\nloves to go to the lawcourts and his son who wants to stop him.\nExample:\nSentence: ὙΙΟΣ: ὠ γερων, μη τρεχε προς το δικαστηριον, ἀλλα δει σε μενειν.\nAnswer: τα\nὙΙΟΣ: κρινεις τον κυνα διοτι ὁ κυων ἐκλεψε τον τυρον.\nClassics – Common Level", + "question_text": "For each sentence below, change the Ancient Greek word in bold from singular to plural.\nAn example is given below.\nThese sentences are based on a comedy by Aristophanes, which tells the story of an old man who\nloves to go to the lawcourts and his son who wants to stop him.\nExample:\nSentence: ὙΙΟΣ: ὠ γερων, μη τρεχε προς το δικαστηριον, ἀλλα δει σε μενειν.\nAnswer: τα\nὙΙΟΣ: κρινεις τον κυνα διοτι ὁ κυων ἐκλεψε τον τυρον.", "has_images": true, "image_notes": "image(s) detected on page 42", "topic": null, @@ -16750,7 +16750,7 @@ "parent_question": "27", "marks": null, "marks_confidence": "uncertain", - "question_text": "Translate the following passage into English. It is about the trial of Socrates in Athens.\nThe underlined words are listed alphabetically in the glossary below.\nΣωκρατης μετα των φιλων δια της ἀγορας ἐβαινεν. ὁ Σωκρατης τοις φιλοις τους σοφους λογους\nπερι της σοφιας και της ἀληθειας ἐλεγεν. οἱ πολλοι Ἀθηναιοι τους του Σωκρατους λογους\nἐθαυμαζον, ἀλλα οἱ ἀλλοι τον γεροντα οὐκ ἐφιλησαν. οἱ ἐχθροι τον Σωκρατην προς το\nδεσμωτηριον προσεπεμψαν. οἱ μεν φιλοι φοβον εἰχον, ὁ δε Σωκρατης τον του θανατου φοβον\nοὐκ εἰχεν.\nἀληθεια, -ας, ἡ = truth\nφιλεω = I like, love\nΣωκρατης, Σωκρατους, ὁ = Socrates\nClassics – Common Level", + "question_text": "Translate the following passage into English. It is about the trial of Socrates in Athens.\nThe underlined words are listed alphabetically in the glossary below.\nΣωκρατης μετα των φιλων δια της ἀγορας ἐβαινεν. ὁ Σωκρατης τοις φιλοις τους σοφους λογους\nπερι της σοφιας και της ἀληθειας ἐλεγεν. οἱ πολλοι Ἀθηναιοι τους του Σωκρατους λογους\nἐθαυμαζον, ἀλλα οἱ ἀλλοι τον γεροντα οὐκ ἐφιλησαν. οἱ ἐχθροι τον Σωκρατην προς το\nδεσμωτηριον προσεπεμψαν. οἱ μεν φιλοι φοβον εἰχον, ὁ δε Σωκρατης τον του θανατου φοβον\nοὐκ εἰχεν.\nἀληθεια, -ας, ἡ = truth\nφιλεω = I like, love\nΣωκρατης, Σωκρατους, ὁ = Socrates", "has_images": true, "image_notes": "image(s) detected on page 43", "topic": null, @@ -16786,7 +16786,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "Read this passage and answer the questions below in English.\nThis passage is about the contest between Athena and Poseidon.\nThe underlined words are listed alphabetically in the glossary below.\nὁ μεν Ποσειδων θεος της τε θαλασσης και των ἱππων ἠν, ἡ δ’ Ἀθηνη θεα των τε τεχνων και του\nπολεμου ἠν. Ποσειδων δυσκολωτατος παντων των θεων ἠν, ἀλλα Ἀθηνη σοφωτατη. οἱ δυο θεοι\nτα αὐτα οὐκ ἐφιλησαν, ἀλλα οὑτοι την τιμην της αὐτης πολεως, ἥ καλη και κλεινη ἠν, ἐχειν\nἠθελησαν.\nἠν οὐν ἀγων τῃ πολει μεταξυ των δυοιν θεων. ὁ δε Κεκροψ ἠν κριτης του ἀγωνος δια την ἑαυτου\nδοξαν. πρωτος μεν Ποσειδων ἐν τῃ ἀκροπολει την κρηνην του ἁλμυρου ὑδατος ἀπο της\nθαλασσης ἐθηκεν, ἀλλα οἱ πολιται οὐκ ἐφιλησαν το του θεου δωρον διοτι οὐ χρησιμον ἠν.\nἐπειτα δε Ἀθηνη την ἐλαιαν ἐν τῃ ἀκροπολει ἐθηκεν. εὐθυς Κεκροψ την της θεας νικην ἠγγειλεν.\nὁ γαρ κριτης ἐνομιζε ὁτι ἡ ἐλαια τῳ δημῳ σιτον αεἰ παρεξει. νυν δε το ὀνομα τησδε της πολεως\nἐστιν αἱ Ἀθηναι. οἱ πολιται των Ἀθηνων πολλα τῃ σοφωτατῃ θεᾳ Ἀθηνῃ ἐν τῃ ἀκροπολει\nθυουσιν.\nἀγγελλω = I announce κλεινος, -η, -ον = famous\nἈθηναι, -ων, αἱ = Athens κρηνη, -ης, ἡ = spring, fountain\nἀκροπολις, ἀκροπολεως, ἡ = acropolis μεταξυ + genitive = between\nἁλμυρος, -α, -ον = salty, salt οὑτοι = ‘they’\nδοξα, -ης, ἡ = good reputation τα αὐτα = ‘the same things’\nδυσκολος, -ον = hard to please, grouchy τεχνη, -ης, ἡ = art, skill, craft\nἐθηκεν = ‘he/ she placed’ φιλεω = Ι like, I love\nἐλαια, -ας, ἡ = olive tree χρησιμος, -η, -ον = useful\nΚεκροψ, Κεκροπος, ὁ = Kekrops\nWhat do we learn about Athena in the first sentence?\nClassics – Common Level", + "question_text": "Read this passage and answer the questions below in English.\nThis passage is about the contest between Athena and Poseidon.\nThe underlined words are listed alphabetically in the glossary below.\nὁ μεν Ποσειδων θεος της τε θαλασσης και των ἱππων ἠν, ἡ δ’ Ἀθηνη θεα των τε τεχνων και του\nπολεμου ἠν. Ποσειδων δυσκολωτατος παντων των θεων ἠν, ἀλλα Ἀθηνη σοφωτατη. οἱ δυο θεοι\nτα αὐτα οὐκ ἐφιλησαν, ἀλλα οὑτοι την τιμην της αὐτης πολεως, ἥ καλη και κλεινη ἠν, ἐχειν\nἠθελησαν.\nἠν οὐν ἀγων τῃ πολει μεταξυ των δυοιν θεων. ὁ δε Κεκροψ ἠν κριτης του ἀγωνος δια την ἑαυτου\nδοξαν. πρωτος μεν Ποσειδων ἐν τῃ ἀκροπολει την κρηνην του ἁλμυρου ὑδατος ἀπο της\nθαλασσης ἐθηκεν, ἀλλα οἱ πολιται οὐκ ἐφιλησαν το του θεου δωρον διοτι οὐ χρησιμον ἠν.\nἐπειτα δε Ἀθηνη την ἐλαιαν ἐν τῃ ἀκροπολει ἐθηκεν. εὐθυς Κεκροψ την της θεας νικην ἠγγειλεν.\nὁ γαρ κριτης ἐνομιζε ὁτι ἡ ἐλαια τῳ δημῳ σιτον αεἰ παρεξει. νυν δε το ὀνομα τησδε της πολεως\nἐστιν αἱ Ἀθηναι. οἱ πολιται των Ἀθηνων πολλα τῃ σοφωτατῃ θεᾳ Ἀθηνῃ ἐν τῃ ἀκροπολει\nθυουσιν.\nἀγγελλω = I announce κλεινος, -η, -ον = famous\nἈθηναι, -ων, αἱ = Athens κρηνη, -ης, ἡ = spring, fountain\nἀκροπολις, ἀκροπολεως, ἡ = acropolis μεταξυ + genitive = between\nἁλμυρος, -α, -ον = salty, salt οὑτοι = ‘they’\nδοξα, -ης, ἡ = good reputation τα αὐτα = ‘the same things’\nδυσκολος, -ον = hard to please, grouchy τεχνη, -ης, ἡ = art, skill, craft\nἐθηκεν = ‘he/ she placed’ φιλεω = Ι like, I love\nἐλαια, -ας, ἡ = olive tree χρησιμος, -η, -ον = useful\nΚεκροψ, Κεκροπος, ὁ = Kekrops\nWhat do we learn about Athena in the first sentence?", "has_images": false, "image_notes": null, "topic": null, @@ -16894,7 +16894,7 @@ "parent_question": "28", "marks": null, "marks_confidence": "uncertain", - "question_text": "How do the citizens honour Athena?\nRead this passage and answer the questions below in English.\nThis passage is about the contest between Athena and Poseidon.\nThe underlined words are listed alphabetically in the glossary below.\nὁ μεν Ποσειδων θεος της τε θαλασσης και των ἱππων ἠν, ἡ δ’ Ἀθηνη θεα των τε τεχνων και του\nπολεμου ἠν. Ποσειδων δυσκολωτατος παντων των θεων ἠν, ἀλλα Ἀθηνη σοφωτατη. οἱ δυο θεοι\nτα αὐτα οὐκ ἐφιλησαν, ἀλλα οὑτοι την τιμην της αὐτης πολεως, ἥ καλη και κλεινη ἠν, ἐχειν\nἠθελησαν.\nἠν οὐν ἀγων τῃ πολει μεταξυ των δυοιν θεων. ὁ δε Κεκροψ ἠν κριτης του ἀγωνος δια την ἑαυτου\nδοξαν. πρωτος μεν Ποσειδων ἐν τῃ ἀκροπολει την κρηνην του ἁλμυρου ὑδατος ἀπο της\nθαλασσης ἐθηκεν, ἀλλα οἱ πολιται οὐκ ἐφιλησαν το του θεου δωρον διοτι οὐ χρησιμον ἠν.\nἐπειτα δε Ἀθηνη την ἐλαιαν ἐν τῃ ἀκροπολει ἐθηκεν. εὐθυς Κεκροψ την της θεας νικην ἠγγειλεν.\nὁ γαρ κριτης ἐνομιζε ὁτι ἡ ἐλαια τῳ δημῳ σιτον αεἰ παρεξει. νυν δε το ὀνομα τησδε της πολεως\nἐστιν αἱ Ἀθηναι. οἱ πολιται των Ἀθηνων πολλα τῃ σοφωτατῃ θεᾳ Ἀθηνῃ ἐν τῃ ἀκροπολει\nθυουσιν.\nἀγγελλω = I announce κλεινος, -η, -ον = famous\nἈθηναι, -ων, αἱ = Athens κρηνη, -ης, ἡ = spring, fountain\nἀκροπολις, ἀκροπολεως, ἡ = acropolis μεταξυ + genitive = between\nἁλμυρος, -α, -ον = salty, salt οὑτοι = ‘they’\nδοξα, -ης, ἡ = good reputation τα αὐτα = ‘the same things’\nδυσκολος, -ον = hard to please, grouchy τεχνη, -ης, ἡ = art, skill, craft\nἐθηκεν = ‘he/ she placed’ φιλεω = Ι like, I love\nἐλαια, -ας, ἡ = olive tree χρησιμος, -η, -ον = useful\nΚεκροψ, Κεκροπος, ὁ = Kekrops\nIdentify two Ancient Greek prepositional phrases in the passage and translate them into\nEnglish.\nPrepositional phrase 1:\nTranslation:\nPrepositional phrase 2:\nTranslation:\nClassics – Common Level\nClassics – Common Level\nAcknowledgements\nImages:\nPage 4: https://www.etsy.com/ie/listing/814525615/greek-gods-symbols-bannerpercy-\njackson?click_key=118dfb3df16a9007e7ad8313e63573c6249cf28d%3A814525615&click_sum=de3e7ab2&external=1&rec_type=ss&ref=landingpag\ne_similar_listing_top-1&pro=1\nPage 6: https://johnwilliamwaterhouse.home.blog/2019/05/31/penelope-and-the-suitors/\nPage 8: https://www.gettyimages.ae/detail/news-photo/this-illustration-dating-to-1898-shows-the-ancient-greek-news-\nphoto/2238458763?adppopup=true\nhttps://ie.pinterest.com/pin/119908408824578196/\nhttps://img1.etsystatic.com/124/1/5317736/il_fullxfull.881534207_rqe6.jpg\nhttps://ie.pinterest.com/pin/580260733272273341/\nhttp://www.vintagechildrensbooksmykidloves.com/2008/08/daulaires-book-of-greek-myths.html\nPage 10: https://www.britishmuseum.org/collection/object/G_1847-0424-19\nPage 15: https://crunchlearning.com/farming-in-ancient-greece/\nPage 12: https://www.metmuseum.org/art/collection/search/254714\nhttps://artsandculture.google.com/story/ZQWBdVu1iU5snw: Museo Archeologico Nationale di Taranto\nwww.flickr.com/photos/archstanton/53447300953/in/pool-classicalantiquity/\nPage 13: https://www.dailymail.co.uk/sciencetech/article-6018423/Amateur-treasure-hunter-unearths-1-800-year-old-Roman-xxxxxx-xxxx-\nSomerset.html\nhttps://x.com/Symmach_/status/1499849621379686401\nhttps://collections.louvre.fr/en/ark:/53355/cl010251283\nPage 18: https://www.goodreads.com/book/show/7953150-tales-of-the-greeks-and-trojans\nPage 20: https://www.etsy.com/ie/listing/1110852184/cu-chulainn-the-hound-of-ulster-art\nhttps://www.greekmythology.com/Myths/Mortals/Paris/paris.html#google_vignette\nPage 22: https://www.namuseum.gr/en/collection/klasiki-periodos-2/\nPage 22: https://www.wikidata.org/wiki/Q3559549\nhttps://artsandculture.google.com/asset/statue-of-\nxxxxxxx/9gHnD9Jf2FDNDQ?ms=%7B%22x%22%3A0.5%2C%22y%22%3A0.5%2C%22z%22%3A8.057066597758606%2C%22size%22%3A%7B\n%22width%22%3A4.332605186991093%2C%22height%22%3A1.2375%7D%7D\nhttps://ie.pinterest.com/pin/360499145152941589/\nhttps://www.flickr.com/photos/140377809@N05/43052192502\nPage 24: https://en.wikipedia.org/wiki/Four_Courts#/media/File:Four_Courts,_DUBLIN_-_panoramio.jpg\nPage 25: https://www.theartnewspaper.com/2024/07/05/paul-roberts-ancient-rome-fifty-monuments\nPage 30: https://commons.wikimedia.org/wiki/File:Mignard_-_The_Shepherd_Faustulus_Bringing_Romulus_and_Remus_to_His_Wife.jpg\nhttps://ie.pinterest.com/pin/717761259344847207/\nhttps://i.pinimg.com/originals/2f/e6/8e/2fe68ea22118b789e0c203d3537e8a15.jpg\nhttps://www.youtube.com/watch?v=erIKsNgVeh8&t=84s\nPage 31: https://www.amazon.co.uk/Divination-Marcu-Tullius-Cicero/dp/1976458854\nPage 32: https://www.pinterest.com/pin/reconstruction-of-the-temple-of-vesta-rome-roman-forum--524669425338602435/\nPage 33: https://www.goodreads.com/book/show/8328551-the-history-of-rome\nPage 36: https://www.meisterdrucke.ie/fine-art-prints/European-School/1006706/Aeneas%27-Fleet-in-the-Tempest.html\nPage 37: https://upload.wikimedia.org/wikipedia/commons/4/49/%22The_School_of_Athens%22_by_Raffaello_Sanzio_da_Urbino.jpg\nPage 39: https://bookpalace.com/acatalog/info_McConnellGreet.html\nhttps://search.app/sRACzdDYL6QZ1JAh8\nhttps://search.app/PCbkNty69awauCck6\nhttps://search.app/iS2Lsx4cKcnZ31rB7\nPage 40: https://neilpacker.tumblr.com/post/162253149802/published-in-the-usa-in-september-boxed-set-of\nPage 41: https://en.wikipedia.org/wiki/Iphigenia#/media/File:Wall_painting_-_sacrifice_of_Iphigenia_-_Pompeii_(VI_8_5)_-_Napoli_MAN_9112_-\n_01.jpg\nPage 42: https://en.wikipedia.org/wiki/Ancient_Greek_comedy#/media/File:Theatre_slave_Louvre_CA7249.jpg\nPage 43: https://oracycambridge.org/chatgpt-socrates/\nTexts:\nPage 10: Lefkowitz, M. & Fant, M. B. (1982). Women’s Life in Greece and Rome. Duckworth.\nPage 15:\nhttps://www.penn.museum/sites/Greek_World/women.html#:~:text=Since%20men%20spent%20most%20of,daily%20running%20of%20the%20ho\nusehold.\nPage 20: https://www.megainteresting.com/science/article/cu-chulainn-the-achilles-of-celtic-mythology-651585913532\nClassics – Common Level\nCopyright notice\nThis examination paper may contain text or images for which the State Examinations Commission is not the\ncopyright owner, and which may have been adapted, for the purpose of assessment, without the authors’ prior\nconsent. This examination paper has been prepared in accordance with section 53(5) of the Copyright and\nRelated Rights Act, 2000. Any subsequent use for a purpose other than the intended purpose is not authorised.\nThe Commission does not accept liability for any infringement of third-party rights arising from unauthorised\ndistribution or use of this examination paper.\nClassics\nFriday 12 June\nAfternoon 1:30 - 3:30", + "question_text": "How do the citizens honour Athena?\nRead this passage and answer the questions below in English.\nThis passage is about the contest between Athena and Poseidon.\nThe underlined words are listed alphabetically in the glossary below.\nὁ μεν Ποσειδων θεος της τε θαλασσης και των ἱππων ἠν, ἡ δ’ Ἀθηνη θεα των τε τεχνων και του\nπολεμου ἠν. Ποσειδων δυσκολωτατος παντων των θεων ἠν, ἀλλα Ἀθηνη σοφωτατη. οἱ δυο θεοι\nτα αὐτα οὐκ ἐφιλησαν, ἀλλα οὑτοι την τιμην της αὐτης πολεως, ἥ καλη και κλεινη ἠν, ἐχειν\nἠθελησαν.\nἠν οὐν ἀγων τῃ πολει μεταξυ των δυοιν θεων. ὁ δε Κεκροψ ἠν κριτης του ἀγωνος δια την ἑαυτου\nδοξαν. πρωτος μεν Ποσειδων ἐν τῃ ἀκροπολει την κρηνην του ἁλμυρου ὑδατος ἀπο της\nθαλασσης ἐθηκεν, ἀλλα οἱ πολιται οὐκ ἐφιλησαν το του θεου δωρον διοτι οὐ χρησιμον ἠν.\nἐπειτα δε Ἀθηνη την ἐλαιαν ἐν τῃ ἀκροπολει ἐθηκεν. εὐθυς Κεκροψ την της θεας νικην ἠγγειλεν.\nὁ γαρ κριτης ἐνομιζε ὁτι ἡ ἐλαια τῳ δημῳ σιτον αεἰ παρεξει. νυν δε το ὀνομα τησδε της πολεως\nἐστιν αἱ Ἀθηναι. οἱ πολιται των Ἀθηνων πολλα τῃ σοφωτατῃ θεᾳ Ἀθηνῃ ἐν τῃ ἀκροπολει\nθυουσιν.\nἀγγελλω = I announce κλεινος, -η, -ον = famous\nἈθηναι, -ων, αἱ = Athens κρηνη, -ης, ἡ = spring, fountain\nἀκροπολις, ἀκροπολεως, ἡ = acropolis μεταξυ + genitive = between\nἁλμυρος, -α, -ον = salty, salt οὑτοι = ‘they’\nδοξα, -ης, ἡ = good reputation τα αὐτα = ‘the same things’\nδυσκολος, -ον = hard to please, grouchy τεχνη, -ης, ἡ = art, skill, craft\nἐθηκεν = ‘he/ she placed’ φιλεω = Ι like, I love\nἐλαια, -ας, ἡ = olive tree χρησιμος, -η, -ον = useful\nΚεκροψ, Κεκροπος, ὁ = Kekrops\nIdentify two Ancient Greek prepositional phrases in the passage and translate them into\nEnglish.\nPrepositional phrase 1:\nTranslation:\nPrepositional phrase 2:\nTranslation:", "has_images": true, "image_notes": "image(s) detected on page 46", "topic": null,