21 Century st

Literature from
the Philippines
and the World
Quarter 2 - Module 2
Literature Around the World

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 Lesson
12 European Literature - I

Grade 11/12, First Semester, Q2 – Module 6

What I Need to Know

Congratulations! You are now in Lesson 4 of this module. In this lesson, your quest is
to explore the literature of Europe.

In this Lesson, you are going to:

a. Identify representative texts and authors from Asia, North America,

Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)

What I Know

Let’s check your knowledge about European literature.

Answer
each item below. Choose the correct answer, and write ONLY the letter your answer in your
LITERATURE ACTIVITY NOTEBOOK.

1. Who is Sir Kay’s squire?

A. Merlin B. Arthur C. His cousin D. Sir Ector

2. Who lied about finding the sword?

A. Arthur B. Archbishop C. Kay D. Ector

3. Why did Merlin wait to the very last minute to have Arthur pull the sword from the stone?
A. To show everyone how smart he is
B. To show everyone Arthur was king
C. To prove that the Archbishop is very noble
D. To show that those arrogant men were weak

4. How does Arthur prove he is the rightful king of England?

A. by winning the tournament
B. he married the princess
C. by pulling the sword from the stone
D. by dividing the stone
5. The Middle Ages in Europe had been regarded as the Age of ___.
A. poetry B. drama C. epics D. prose

6. No other period in English literature displayed more variety in style, theme, and content.
What period is it?
A. Medieval B. Romantic C. Victorian D. Enlightenment

7. What period in European literature gives attention to detail and replicates the true nature
of reality?
A. Romantic B. Victorian C. Realism D. Naturalism

8. During this period, writers identify the underlying causes for a person’s actions or beliefs;
the environment played a large part in the narrative structure of their works.
A. Realism B. Naturalism C. Victorianism D. Imperialism

9. The ________ literary period uses crime and punishment as example of the principles
used in their work.
A. Realism B. Naturalism C. Imperialism D. Existentialism

10. Writers during this period are now free to try new concepts in writing like the use of the
unreliable narrator.
A. Naturalism B. Existentialism C. Modernism D. Naturalism

What’s New

Let’s see what you know, what you don’t know, and what you want to know
about Europe. Fill in the columns in the worksheet below.
What You Know About What You Do not Know What You Want to Know
Europe About Europe About Europe

 
What Is It
 The history and catalogue of the European literature is so rich that it is quite close to
impossible to describe it and give justice to its entire list of great works and even greater
writers in an introduction. However, to give learners a little background information,
European literature refers to the literature in many languages; among the most important of
the modern written works are those in English, Spanish, French, Dutch, Polish, German,
Italian, Modern Greek, Czech, Russian, Bosnian and works by the Scandinavians and Irish.
Important classical and medieval traditions are those in Latin, Ancient Greek, Old Norse,
Medieval French and the Italian Tuscan dialect of the renaissance are also part of its
collection.
The Medieval Period (500-1500) of European literature already saw masterful works
like Beowulf, The Song of Roland, The Nibelungenlied, and seminal work of Geoffrey
Chaucer, The Canterbury Tales. The mentioned works of art was followed by even more
popular titles, because during the Renaissance Period, writers like Edmun Spencer (The
Faerie Queen), John Milton (Paradise Lost), and William Shakespeare (Romeo and
Juliet ;Macbeth) took the level of its literary standard into a whole new high.
Following the Medieval Period was the Age of Enlightenment (1700-1800) and at its
center was a celebration of ideas – ideas about what the human mind was capable of, and
what could be achieved through deliberate action and scientific methodology. Many of the
new, enlightened ideas were political in nature. Writers like Voltaire and Jean-Jacques
Rousseau were the torchbearers of Enlightenment literature and philosophy.
No other period in English literature displays more variety in style, theme, and
content than the Romantic Movement (1798-1870) of the 18th and 19th centuries.
Romanticism is concerned with the masses and not with the middle class, the individual
more than with society. With writers like Mary Shelley and her masterpiece, Frankenstein
and Lord Byron’s Don Juan, the focus of literature shifted from the scientific to the
mysterious.
Then came the Victorian Period. The name given to the period is borrowed from the
royal matriarch of England, Queen Victoria. The Victorian writers exhibited some well-
established habits from previous eras, while at the same time pushing arts and letters in new
and interesting directions. Victorian novelists and poets like Charlotte and Emily Bronte, Lord
Tennyson, Robert Browning, Gustave Flaubert, George Eliot, Fyodor Dosteyevsky, and
Thomas Hardy wrote with simplicity, truth and tempered emotion.
Realism (1820-1920), the next period in European literature, is precisely what it
sounds like. It is attention to detail, and an effort to replicate the true nature of reality in a
way that novelists had never attempted. Famous writers during this period were Franz
Kafka, William Butler Yeats, T.S. Eliot, and Vicente Biasco Ibanez, among others.
Naturalism (1870-1920) sought to go further and be more explanatory than Realism
by identifying the underlying causes for a person’s actions or beliefs. In Naturalism, the
environment played a large part in the narrative structure. Emile Zola, one of the most
influential writers in this period of literature, provided inspiration and model in writing during
this period.
Crime and punishment is a profound example of how some of the principles of
existentialist (1850-today), the next literary period. Doytoyevsky’s story shows that thinking
can be perverted, leading to ethical decay and personal destruction. Another
writer, Franz Kafka, has also been associated with 20th century existentialism. But the name
most related to existential literature is Albert Camus.
The Modernist Period (1910-1965) in literature presented a new way of living and
seeing the world. Writers are now free to try new concepts in writing like the use of the
unreliable narrator, among others. Modernism was set in motion, in one sense, through a
series of cultural shocks where the poets took fullest advantage of the new spirit of the
times, and stretched the possibilities of their craft to lengths not previously imagined.
All these period in literature influenced and led to what is now seen in the works of
21 century European writers.  ("21St Century Literature Of The Philippines And Of The World
st

(1) Scribd" 2020)

 King Arthur is a key figure in all of European literature. The legendary king
and the episodes of his life have been echoed in literary texts for several centuries. The
following selection presents the pivotal movement in which a precocious young man began
his transformation into ruler of England.

The Miracle of the Sword and Stone

Now Arthur, the prince, had all this time been nourished in Sir Ector’s house as his
own son, and was fair and tall and comely, being of the age of fifteen years, great in
strength, gentle in manner, and accomplished in all exercises proper for the training of a
knight.
But as yet he knew not of his father, for Merlin had so dealth, that none save Uther
and himself knew aught about him. Wherefore it befell, that many of the knights and barons
who heard King Uther speak before his death, and call his son Arthur his successor, were in
great amazement; and some doubted, and others were displeased.
Anon the chief lords and princes set forth each to his own land, and, raising, armed
men and multitudes of followers, determined every one to gain the crown for himself; for they
said in their hearts, “If there be any such a son at all as he of whom this wizard forced the
king to speak, who are we that a beardless boy should have rule over us?”
So the land stood long in great peril, for every lord and baron sought but his own
advantage; and the Saxons, growing ever more adventurous, wasted and overran the towns
and villages in every part.
Then, Merlin went to Brice, the Archbishop of Canterbury, and advised him to require
all the earls and barons of the realm and all knights and gentlemen-at-arms to come to him
at London, before Christmas, under pain of cursing, that they might learn the will of Heaven
who should be king. This, therefore, the archbishop did, and upon Christmas Eve were met
together in London all the greatest princes, lords, and barons; and long before day they
prayed in St. Paul’s Church, and the archbishop besought Heaven for a sign who should be
lawful king of all the realm.
And as they prayed, there was seen in the churchyard, set straight before the
doorways of the church, a huge square stone having a naked sword stuck in the midst of it.
And on the sword was written in letters of gold, “Whoso pullet out the sword from this stone
is born the rightful King of Britain.”
At this, all the people wondered greatly; and, when Mass was over, the nobles,
knights, and princes ran out eagerly from the church to see the stone and sword, and a law
was forthwith made that whoso should pull out the sword should be acknowledged
straightway King of Britain.
Then, many knights and barons pulled at the sword with all their might, and some of
them tried many times, but none could stir or move it.
When all had tried in vain, the archbishop declared the man whom Heaven had
chosen was not yet there. “But God,” said he, “will doubtless make him known ere many
days.”
So ten knights were chosen, being men of high renown, to watch and keep the
sword, and there was proclamation made through all the land that whosoever would, had
leave and liberty to try and pull it from the stone. But though great multitudes of people
came, both gentle and simple, for many days, no man could ever move the sword a hair’s
breadth from its place.
Now at the New Year’s Eve, a great tournament was to be held in London, which the
archbishop had devised to keep together lords and commons, lest they should grow
estranged in the troublous and unsettled times. To the which tournament there came, with
many other knights, Sir Ector, Arthur’s foster-father, who had great possessions near to
London, and with him came his son, Sir Key, but recently made knight, to take his part in
jousting, and young Arthur also to witness all the sports and fighting.
 But as they rode towards the jousts, Sir Key found suddenly he had no sword, for he
had left it at his father’s house; and turning to young Arthur, he prayed him to ride back and
fetch it for him. “I will with a good will,” said Arthur, and rode fast back after the sword.
But when he came to the house he found it locked and empty, for all were gone forth
to see the tournament. Whereat, being angry and impatient, he said within himself, “I will ride
to the churchyard and take with me the sword that sticketh in the stone, for my brother shall
not go without a sword this day.”
So he rode and came to the churchyard, and alighting from his horse he tied him to
the gate, and went to the pavilion, which was pitched near the stone, wherein abode the ten
knights who watched and kept it, but he found no knights there, for all were gone to see the
jousting.
Then he took the sword by its handle, and lightly and fiercely he pulled it out of the
stone, and took his horse and rode until he came to Sir Key and delivered him the sword.
But as soon as Sir Key saw it, he knew well it was the sword of the stone, and riding swiftly
to his father, he cried out, “Lo! here, sir, is the sword of the stone, wherefore it is I who must
be king of all this land.”
When Sir Ector saw the sword, he turned back straight with Arthur and Sir Key and
came to the churchyard, and there alighting, they went all three into the church, and Sir Key
was sworn to tell truly how he came by the sword. Then he confessed it was his brother
Arthur who had brought it to him.
Whereat Sir Ector, turning to young Arthur, asked him – “How gottest thou the
sword?”
“Sir,” said he, “I will tell you. When I went home to fetch my brother’s sword, I found
nobody to deliver it to me, for all were abroad to the jousts. Yet was I loath to leave my
brother swordless, and, bethinking me of this one, I came hither eagerly to fetch it for him,
and pulled it out of the stone without any pain.”
Then said Sir Ector, much amazed and looking steadfastly on Arthur, “If this indeed
be thus, ‘tis thou who shalt be king of all this land – and God will have it so – for none but he
who should be rightful Lord of Britain might ever draw this sword from that stone. But let me
now with mine own eyes see thee put back the sword into its place and draw it forth again.”
“That is no mystery,” said Arthur, and straightway set it in the stone. And then Sir
Ector pulled at it himself, and after him Sir Key, with all his might, but both of them in vain;
then Arthur reaching forth his hand and grasping at the pommel, pulled it out easily, and at
once.
Then fell Sir Ector down upon his knees upon the ground before young Arthur, and
Sir Key also with him, and straightway did him homage as their sovereign lord.
But Arthur cried aloud, “Alas! mine own dear father and my brother, why kneel ye
thus to me?”
“Nay, my Lord Arthur,” answered then Sir Ector, “we are of no blood-kinship with thee
and little though I thought how high thy kin might be, yet wast thou never more than foster-
child of mine.” And then he told him all he knew about his infancy, and how a stranger had
delivered him, with a great sum of gold, into his hands to be brought up and nourished as his
own born child, and then had disappeared.
But when young Arthur heard of it, he fell upon Sir Ector’s neck, and wept, and made
great lamentation, “For now,” said he, “I have in one day lost my father and my mother and
my brother.”
“Sir,” said Sir Ector presentlym, “when thou shalt be made king, be good and
gracious unto me and mine.”
“If not,” said Arthur, “I were no true man’s son at all, for thou art he in all the world to
whom I owe the most; and my good lady and mother, thy wife, hath ever kept and fostered
me as though I were her own; so if it be God’s will that I be king hereafter as thou sayest,
desire of me whatever thing thou wilt and I will do it; and God forbid that I should fail thee in
it.”
“I will but pray,” replied Sir Ector, “that thou wilt make my son Sir Key, thy foster-
brother, seneschal of all the lands.”
 “That shall he be, “said Arthur; “and never shall another hold that office, save thy
son, while he and I do live.” (Simoun Victor D. Rodoblaco, Brilliant Creations Publishing,

What’s More

Determine how the Arthurian themes are echoed in the work of 21 st century
writer, Alan Fenton. Then, identify how the writer uses characters, scenes, and imagery that
parallel the tales of King Arthur and his knights. Copy the table in your LITERATURE
ACTIVITY NOTEBOOK. Then, fill in the table that can be found after the story with your
answer.

CALL OF DESTINY (excerpt)

Alan Fenton

On the summit of a hill in the county of Somerset stands a solitary church tower,
bearing witness to the ferocity of nature and of man. It is all that survives of two churches
that once stood here. The first was destroyed by an earthquake, the second by the
command of Henry the Eight. As sunset approaches, subtle details of stone and lichen,
archway and niche, buttress and embrasure, are lost in the deepening shadows. Silhouetted
against the evening sky the stark stone mass of the tower dominates the soft contours of the
landscape, uniting earth and heaven.
A few yards from the base of the tower, on a mound that marks the crest of the Tor
two motionless figures stand, one taller than the other. Seen from the valley below, their dark
shapes loom, remote and mysterious. There is a haunting and powerful aura about them, as
if they were not people but primeval monoliths or statues of pagan gods in an ancient burial
ground. In some strange way they are beings apart, belonging not to the present time, but to
time itself.
The hill is otherwise deserted, as are the woods at its foot and the countryside
beyond.
The red ball of the sun sinks below the horizon, the west wind that has gusted all day
is suddenly stilled. Not a sound, not even a breath of air, disturbs the silence. Nothing stirs.
In this hushed moment, the earth and all the planets that only an instant before wheeled
round the sun, seem to hang motionless in space.
Slowly the taller figures raises his hand, as if to release the world from its spell, then
touches the boy lightly on the shoulder. ‘Shall we go? It’s getting late.’
They begin the descent. ‘Tell me more about him.’ says the boy.
‘He was a great leader,’ his older companion responds. ‘King of Britain, as they
called it then. When he came to the throne the country was under constant attack by its
enemies, both from outside and within.’
Down the steep track they jolt, each for a time absorbed in his own thoughts, the
boy’s head buzzing with questions.
‘But what exactly did he do?’
‘The world had gone mad. The king tried to bring it back to its senses, and restore
meaning to people’s lives. He wanted to give them courage and hope for the future. But to
do that he first had to impose order on chaos.’
“How do you mean, impose?’
The man nods approvingly. ‘You are right to question that word. He questioned it too.
The thought of using force troubled him. But after much heart searching he decided that if
mankind was to be saved, he had no other choice. He was given the power to do it, you see,
power so formidable that many thought he had been sent to earth by God, or even that he
himself was a divine being.’
 ‘And was he?’
‘No.’
‘So he was just an ordinary man?’
A brief silence. ‘He was a man, but no ordinary man. When he was young he found it
hard to believe he had a special destiny. He wanted to lead a fun life and have a happy time,
just as most people do. But as he grew older he came to understand that he was not the
same as other men, and that the road he would have to take would be a different one.’
‘Because of the power he had?’
‘Yes. And because of the way he chose to use it.’
‘How do you mean?’
‘Other men would have used it for selfish ends, but not him. He decided to fight the
forces of darkness and chaos. He was a brave and cunning warrior; but he was also much
more than that, a philosopher and a visionary, a wise and humane individual, gallant, just
and honourable. Those who ruled by terror feared him. Those whom they terrorised,
worshipped him. And in return he loved and honoured them, the ordinary men and women.
He had a dream, a dream that one day the meek really would inherit the earth. But he knew
they could only do it with his help.’
‘Was there no one else they could turn to?’
‘No one else whom good men and women would follow, no other leader who had the
courage and strength of character to meet the challenge. Not that he was the only one who
saw the world descending into chaos; there were leaders in other lands who feared for the
future but were too weak, or too corrupt, or simply too afraid to act. As everything around
them disintegrated, resigned to self-destruction, accepting that mankind was doomed. They
had abandoned all hope of changing anything; they no longer cared what happened. But he
cared. He did everything in his power to create a new world for mankind, a world based on
love and respect and justice.’
‘And did he succeed?’
‘

For a while. Until things started to go wrong.’

The boy is impatient. ‘But how? Why? I want to know everything.’
‘It’s a long story. Are you sure you want to hear it?’ asks the man, teasing his young
friend.
‘You know I do!’
A loving hand rests lightly on the boy’s head. ‘Then you shall.’
A mole of thought furrows the boy’s brow. ‘Is it just a story? or was there really such
a person?’
‘There was,’ says the man, adding tantalisingly, ‘and may be again.’ The boy looks
puzzled.
‘There are those who say that if ever he is needed, he will come again.’
The boy’s eyes shine. ‘What will he do?
In the twilight the first star shows itself. A pale silver of moon floats above the
horizon.
‘Now there’s a question,’ the man says softly. ‘What will he do…? Well now, I
imagine he will try to save mankind, just as he did all those centuries ago. Lord knows, we
need saving.’
The boy nods in acknowledgement, though scarcely understanding.
‘You never told me his name.’
‘You know it already.’
‘I do?’

‘From the story books.’

the boy stands still and looks up at his beloved mentor, puzzled.
The man looks fondly down. ‘You want a clue?’
‘Yes.’
 ‘You have the same name as that king.’
For a second or two the wide eyes dream, catching the starlight, then suddenly
sparkle as he laughs with delight. ‘Oh, that king!’ On an impulse he cups his hands around
his mouth and shatters the silence, crying out the name at the top of his voice. ‘Arthur!’
https://www.alanfenton.co.uk/the-call-of-destiny-the-first-book-by-author-alan-fenton/

The Miracle of the Sword and Call of Destiny

Stone
Characters
* protagonist
* antagonist
Scenes
Imagery

What I Have Learned

Answer the questions below. Write your answers in your LITERATURE

ACTIVITY NOTEBOOK.

1. What is the moral of the story The Miracle of the Sword and Stone?
_______________________________________
___________________________________________________________________

2. What is the theme of The Miracle of the Sword and the Stone? ______________
___________________________________________________________________

What I Can Do

As a volunteer for a charitable institution that services children in foster care, you and
your fellow volunteers are tasked to perform a play of a folktale from the Brothers Grimm.
The concept is to encourage the children to read fairy tales and enlightened of their origins
as stories. Your play must be less than 10 minutes, suitable for children, and must also have
a part for audience interaction. You will be peer-evaluated by your other fellow volunteers
using the rubric below.

PLAYWRITING RUBRIC
Exceeds Meets Working Below
Towards
PLOT makes sense. 4 3 2 1
CHARACTERS are believable for the situation. They
are well-developed and have motivations for their 4 3 2 1
actions.
EXPOSITION provides enough background on the
4 3 2 1
characters and setting for the play to make sense.
Has a CONFLICT that gets introduced in the
4 3 2 1
INCITING INCIDENT.
Tension/suspense increases through 4 3 2 1
 COMPLICATIONS in RISING ACTION
Has a CLIMAX that is the highest point of
4 3 2 1
suspense/tension or a turning point.
FALLING ACTION ties up loose ends and possibly
4 3 2 1
shows how the conflict is won or lost.
The RESOLUTION gives the play an ending that
includes a BUTTON at the end to give a feeling of 4 3 2 1
satisfaction or completion.
The play shows action rather than telling us about it. 4 3 2 1
The play can be produced on a stage in front of a live
4 3 2 1
audience.
Formatted correctly:
Includes a title and list of characters
Character names in ALL CAPS at the
beginning of the line of dialogue, followed by
a colon ( : )
Character names in ALL CAPS in stage 4 3 2 1
directions
Stage directions should be in parenthesis
and, if typed, italicized
New scenes begin if there is a change in
LOCATION or TIME
Adopted: https://www.emsd63.org/cms/lib7/IL01906326/Centricity/Domain/225/PLAYWRITING
%20RUBRIC%20w%20Sample.pdf

Post assessment

Let’s check what you’ve learned from our lesson on European

literature. Answer each item below. Choose the correct answer, and write ONLY the letter
your answer in your LITERATURE ACTIVITY NOTEBOOK.

1. No other period in English literature displayed more variety in style, theme, and content.
What period is it?
A. Medieval B. Romantic C. Victorian D. Enlightenment

2. What period in European literature gives attention to detail and replicates the true nature
of reality?
A. Romantic B. Victorian C. Realism D. Naturalism

3. During this period, writers identify the underlying causes for a person’s actions or beliefs;
the environment played a large part in the narrative structure of their works.
A. Realism B. Naturalism C. Victorianism D. Imperialism

4. The ________ literary period uses crime and punishment as example of the principles
used in their work.
A. Realism B. Naturalism C. Imperialism D. Existentialism

5. Writers during this period are now free to try new concepts in writing like the use of the
unreliable narrator.
A. Naturalism B. Existentialism C. Modernism D. Naturalism

6. Who is Sir Kay’s squire?

A. Merlin B. Arthur C. His cousin D. Sir Ector

7. Which of the following is NOT a theme of The Miracle of the Sword and the Stone?
A. deception B. trust C. betrayal D. love

8. Why did Merlin wait to the very last minute to have Arthur pull the sword from the stone?
A. To show everyone how smart he is
B. To show everyone Arthur was king
C. To prove that the Archbishop is very noble
D. To show that those arrogant men were weak

9. How does Arthur prove he is the rightful king of England?

A. by winning the tournament
B. he married the princess
C. by pulling the sword from the stone
D. by dividing the stone

10. Which of the following is the moral of the story The Miracle of the Sword and the Stone?
A. Follow your instincts.
B. It's about recognizing other people’s powers.
C. Follow your destiny no matter what happens.
D. It's about how to grow up well and be a good person.