CAPALONGA COLLEGE INC.

Brgy. Alayao, Capalonga, Camarines Norte

S/Y 2020-2021 1st Semester

MODULE 7 and 8:

“The Restoration Period

and the Enlightenment”
(English-American Literature)

Respectfully Prepared for:

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3rd YEAR- BSED (English)

Respectfully Prepared by:

MARIA ELENA B. PLOPINO

MODULES 7 and 8:
 “The Restoration
Period and
the
Enlightenment”

INTRODUCTIONS
These modules identify characteristics, motifs, archetypes, and symbols of
different literary texts. The activities that included in this module require your
skills in reading the concepts about medieval and renaissance period and
analyze literary texts. Let this module and the rest that will follow work to your
advantage. Good luck!

LEARNING OUTCOMES
After studying this modules, the students are expected to:
a. reads the concepts about the Restoration and the
enlightenment periods,
b. appreciates the literary texts produced in each period and;
c. analyzes the literary pieces in each period.
 LEARNING EXPERIENCE

The Restoration Period

During the years from 1660 to 1798, English life was dominated by a desire for
social and political stability. The nation had been severely shaken by the events
of the civil war and the Puritan dictatorship and sought to reestablish a sense of
order and security. Although the monarchy had been restored, the Parliament
developed into the nation’s supreme ruling force. Despite this shift in power, the
English people generally remained complacent. The nation prospered
financially and its citizens tended to be patriotic and optimistic. This sense of
optimism resulted in part from scientific and philosophical advances that helped
create a belief that everything in the universe could be explained.
The literature written in the year 1660 to 1798 generally characterized English
life that reflects the faith in reason and the desire for stability. Strongly
influenced by the works of Classical Greek and Roman writers, writers
generally displayed their intelligence, education and sense of discipline in their
works. Their works also conveyed their faith in English traditions and captured
the elegance of English aristocratic life at the time. Toward the end of
eighteenth century however, some poets, who are often referred to as Pre-
romantics, began to react against the emphasis on reason and the intellect.
During this period English prose flourished. Writers wrote formal essays on a
variety of subjects, presenting logical, scientific arguments. The literary letter
became a popular form; and literary criticism and fiction flourished. In poetry,
writers generally turned away from lyric and wrote formally-structured poem
often filled with classical allusions. Writers often displayed their wit by
satirizing the society of their day in both poems and essays. The pre-romantic
poets, however, regarded the tastes of the time and reestablished the lyric.

The Eighteenth Century

In the later 1700’s and early 1800’s there

was a movement away from the culture of the Age of Reason, which
emphasized the value of nationalism and focused on contemporary society for
artistic subject matter. The following are cultural trends that were characteristic
of the Romantic Era:
A reverence for nature in its grander aspects, such as mountain
landscapes
A celebration of childhood
An interest in folklore
Fascination with antiquity, particularly The Middle Ages;
A curiosity about dreams, visions and madness
A focus on individual experience, particularly that of the artist

Literary Pieces
The Lamb
William Blake
 Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life and bid thee feed
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing wooly bright;
Gave thee such a tender voice,
Making all the vales rejoice!
Little Lamb who made thee?
Dost thou know who made thee?

Little Lamb, I’ll tell thee,

Little Lamb, I’ll tell thee!
He is called by thy name,
For he calls himself a Lamb:
He is meek and he is mild;
He became a little child.
I a child and thou a lamb,
We are called by his name.
Little Lamb, God bless thee!
Little Lamb, God bless thee!

The Tyger
William Blake

Tyger! Tyger! burning light

In the forest of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

I what distant deeps or skies

Burned the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?

And what shoulder, and what art,

Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread Hand? And what dread feet?

What the hammer? What the chain?

In what furnace was thy brain?
 What the anvil? What dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears

And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright

In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

Knowing the Author

WILLIAM BLAKE
He was born in London and lived most of his life in a working class section of
the city. Trained as an engraver, Blake supported himself as an illustrator
throughout his life. As a child of four, Blake had his first mystical experience
when he reported that he saw God’s face. By the time he was eight, he related
that he had seen angels in a field, the prophet Ezekiel and a tree filled with
angels. By the time of his marriage, Blake had become so consumed in mystical
belief that his wife is said to have remarked: “I have very little of Mr. Blake’s
company. He is always in Paradise.”

Letter to Lord Chesterfield

Samuel Johnson

To the Right Honorable

The Earl of Chesterfield
February 7, 1755

My Lord,

I have been lately been informed by the proprietor of the “The World”, that two
papers, in which my Dictionary is recommended to the public, were written by
your Lordship. To be so distinguished is an honor which, being very little
accustomed to favors from great, I know not well how to receive, or in what
terms to acknowledge.

When, upon some slight encouragement, I first visited your Lordship, I was
overpowered, like the rest of mankind, by the enchantment of your address; and
could not forbear to wish that I might boast myself “Le vainqueur du vainqueur
de la terre,” that I might obtain that regard for which I saw the world
contending, but I found my attendance so little encouraged, that neither pride
nor modesty would suffer me to continue it. When I had once addressed your
Lordship in public, I had exhausted all the art of pleasing which a retired and
uncourtly scholar can possess. I had done all that I could; and no man is well
pleased to have his all neglected, be it ever so little.

Seven years, my Lord, have now passed, since I waited in your outward rooms,
or was repulsed from your door; during which time I have been pushing on my
work through difficulties, of which it is useless to complain, and have brought
it, at last, to the verge of publication, without one act of assistance, one word of
encouragement, or one smile of favor. Such treatment I did not expect, for I
never had a patron before.

The shepherd in Virgil grew at last acquainted with Love, and found him a
native of the rocks.

Is not a patron, my Lord, one who looks with unconcern on a man struggling for
life in the water, and, when he has reached ground, encumbers him with help?
The notice which you have been pleased to take of my labors, had it been early,
had been kind; but it has been delayed till I am indifferent, and cannot enjoy it;
till I am solitary, and cannot impart it; till I am known, and do not want it. I
hope it is no very cynical asperity not to confess obligations where no benefits
has been received, or to be unwilling that the public should consider me as
owing that to a patron, which Providence has enabled me to do for myself.

Having carried on my work thus far with so little obligation to any favorer of
learning, I shall not be disappointed though I should conclude it, if less possible,
with less; for I have been long wakened from that dream of hope, in which I
once boasted myself with so much exultation.

My Lord,
Your Lordship’s most humble,
Most obedient servant,
Sam. Johnson
Knowing the Author

SAMUEL JOHNSON
He was an unattractive figure: blind in one eye, half deaf, misshapen by disease,
and sloppy in dress and personal habits. He spent only one year at Pembroke
College, Oxford, before leaving for lack of funds. After an unsuccessful attempt
in teaching, Johnson went to London, where he began a long period of writing
for magazines, eventually founding two periodicals, “The Rambler and The
Idler. The three major projects of his life, any one of which could be considered
a life’s work, were the Dictionary of the English Language, a complete edition
of Shakespeare and the ten-volume Lives of the English Poets, a combination of
biography and literary criticism.

LEARNING ASSESSMENT

ACTIVITY I.
Direction: Write the meaning of the underlined words.

1. o’er the mead _______________________________________________

2. making all the vales rejoice ___________________________________
3. immortal hand or eye ________________________________________
4. fearful symmetry _____________________________________________
5. he aspire ____________________________________________________

ACTIVITY II
Direction: Read and answer the questions about the poem “The Lamb” by
William Blake.

1. What question does the speaker ask in the first stanza?

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2. What answer does he give in the second?

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3. How does the speaker identify himself in the second stanza?

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4. What two things does the Lamb symbolize?

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5. What properties of the Lamb suggest its use as a symbol?

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Activity III
Direction: Read and answer the questions about the poem “The Tyger” by
William Blake.

1. What qualities of the tiger are emphasized in this poem?

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2. What question does the speaker ask in the first stanza?

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3. Judging from this poem only, what one word or phrase would you use to
describe William Blake?
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ACTIVITY IV.
Direction: Read and answer the questions about the literary text “Letter to Lord
Chesterfield” by Samuel Johnson.

1. How did Johnson learn of Lord Chesterfield’s articles in “The World”?

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2. Why does he feel the need to respond?

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3. How does the definition of a patron in the fourth paragraph apply to

Johnson’s experience with Lord Chesterfield?
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4. From Johnson’s remarks in the next to the last paragraph, what

misinformation do you think Lord Chesterfield may have conveyed in “The
World” articles concerning his relationship with Johnson?
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5. Suppose Lord Chesterfield had assisted Johnson throughout the

development of his “Dictionary”, how do you think Johnson would then
have responded to the articles in “The World”?
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ACTIVITY V.

FINAL OUTPUT

For your final project in this course (Survey of English-American

literature) create your own module of any topic in literature (World
Literature, Philippine Literature, English-American Literature, etc.)
for secondary students (Grades 7-10). Your module should include
the following parts; Title Page, Introductions, Learning Outcomes,
Learning Experience and Learning Assessment. And then,
conduct a dry-run to three students to assess your module’s
effectiveness. Then submit to me your three answered and checked
modules.

CRITERIA

Originality - 50%
Efficacy - 30%
Creativity- 20%
100%