Characterisation — OCR GCSE Classical Civilisation

Characterisation is the art of creating and developing characters in literature. In Classical Civilisation, you will study how ancient authors like Homer, Virgil, and Sophocles use characterisation to bring their stories to life. This topic is crucial because characters are the heart of any narrative; they drive the plot, embody themes, and engage the audience. Understanding characterisation allows you to analyse how authors reveal personality, motivation, and change through direct description, dialogue, actions, and interactions with others.

In the OCR GCSE Classical Civilisation course, characterisation appears in the study of epics (e.g., Homer's Odyssey, Virgil's Aeneid) and tragedies (e.g., Sophocles' Oedipus the King). You will examine how heroes like Odysseus and Aeneas are portrayed as models of virtue or flawed individuals, and how villains like Polyphemus or Juno are depicted. Characterisation also involves understanding stock characters (e.g., the clever slave in comedy) and how they serve the plot. Mastering this topic helps you write sophisticated analyses of how authors shape our perception of characters and their roles in the story.

Characterisation is not just about listing traits; it's about interpreting how an author uses literary techniques to create depth. For example, Homer uses epithets ('resourceful Odysseus') to reinforce key traits, while Virgil uses simile to compare Aeneas to a steadfast oak. You will learn to identify these techniques and explain their effect on the reader. This skill is essential for achieving high marks in the examination, where you must analyse how characterisation contributes to themes like fate, heroism, and piety.

• →Direct vs indirect characterisation: Direct characterisation is when the author explicitly tells us about a character (e.g., 'Achilles was the bravest of the Greeks'). Indirect characterisation is when we infer traits from a character's actions, speech, thoughts, appearance, or how others react to them.
• →Stock characters: Recurring character types in ancient literature, such as the epic hero (e.g., Odysseus), the clever slave (e.g., in Plautus' comedies), or the tragic hero (e.g., Oedipus). These characters often have predictable traits that serve the genre's conventions.
• →Character development (arc): How a character changes over the course of a story. For example, in the Odyssey, Odysseus grows from a boastful warrior to a wiser, more cautious leader. In tragedy, the protagonist often undergoes a fall from grace due to a hamartia (tragic flaw).
• →Epithets and recurring phrases: In epic poetry, characters are often given fixed epithets (e.g., 'grey-eyed Athena', 'swift-footed Achilles') that highlight key attributes. These help the audience remember traits and create a rhythmic pattern in oral performance.
• →Foils and contrasts: Characters who are placed in opposition to highlight each other's traits. For example, in the Aeneid, the dutiful Aeneas is contrasted with the passionate Dido to explore themes of duty vs desire.

• Understanding of temple layout including the naos/cella and cult statue
• Knowledge of the position and function of the altar
• Roles and responsibilities of Greek officials (hiereus, hiereia, mantis)
• Roles and responsibilities of Roman officials (Pontiffs, Pontifex Maximus, Augurs, Vestal Virgins, Haruspex)
• Understanding the purpose and process of animal sacrifice
• Ability to compare Greek and Roman temple use and religious practices
• Knowledge of specific prescribed temples: Parthenon, Temple of Zeus at Olympia, Pantheon, Temple of Fortuna Virilis

• 💡Ensure you can identify and describe the key features of the prescribed temples
• 💡Be prepared to compare the role of priests and priestesses in both cultures
• 💡Use specific terminology (e.g., naos, cella, hiereus, haruspex) accurately
• 💡Practice linking visual evidence from temple architecture to the literary descriptions of sacrifice
• 💡Always use specific evidence from the text to support your points. For example, instead of saying 'Odysseus is clever', quote his trick with the Cyclops ('My name is Nobody') and explain how this shows his cunning. Examiners reward precise references.
• 💡When analysing characterisation, consider the author's purpose. Ask yourself: Why does the author portray this character in this way? What effect does it have on the audience? For instance, Virgil portrays Aeneas as pious to promote Roman values of duty and sacrifice.
• 💡Don't just list traits; explain how they are revealed. Use terms like 'indirect characterisation' and 'foil' to show your understanding of techniques. For example, 'Homer uses indirect characterisation through Penelope's weaving trick to demonstrate her intelligence and loyalty.'

• Confusing the roles of specific Greek and Roman religious officials
• Failing to link the physical layout of the temple to its religious function
• Generalising religious practices without distinguishing between Greek and Roman contexts
• Neglecting to use both literary and visual/material evidence in arguments
• Misconception: 'Characterisation is just describing what a character looks like.' Correction: While appearance can be part of characterisation, it is much broader. It includes personality, motivations, relationships, and how the character changes. Ancient authors often focus on inner qualities rather than physical description.
• Misconception: 'All characters in ancient literature are either good or bad.' Correction: Many characters are morally complex. For example, Odysseus is clever but also deceitful; Achilles is heroic but also prideful. The best analyses acknowledge this nuance.
• Misconception: 'Characterisation is the same in epic and tragedy.' Correction: While both use similar techniques, tragedy often focuses on a character's internal conflict and downfall, while epic emphasises heroic deeds and interactions with gods. The purpose of characterisation differs: in tragedy, it drives the plot towards catharsis; in epic, it reinforces cultural values.