21 Century

st

Literature from the

Philippines and the
World
  

Lesson  
12 European Literature – I-II-III
 
 
Most Essential Learning Competency 
OBJECTIVES:
a. Identify representative texts and authors from
Europe I, II, III; (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
B. C. epics D. prose
 
 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
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 21st century European
writers.

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.”
‘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!’
 
The Miracle of the Sword and
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?
_____________________________________________________________
_____________________________________________________________
___________________________________
 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. RealismD. 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.
ASSIGNMENT

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 English Literature or Asian
Countries. 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 actions. 4 3 2 1

EXPOSITION provides enough background on the characters and setting

for the play to make sense. 4 3 2 1

Has a CONFLICT that gets introduced in the INCITING INCIDENT. 4 3 2 1

Tension/suspense increases through COMPLICATIONS in RISING
4 3 2 1
ACTION
Has a CLIMAX that is the highest point of suspense/tension or a turning
point. 4 3 2 1

FALLING ACTION ties up loose ends and possibly shows how the conflict is
won or lost. 4 3 2 1

The RESOLUTION gives the play an ending that includes a BUTTON at the
end to give a feeling of satisfaction or completion. 4 3 2 1

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 audience. 4 3 2 1
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
directions
Stage directions should be in parenthesis 4 3 2 1
and, if typed, italicized
New scenes begin if there is a change in
LOCATION or TIME
 ------THE END------