Lesson

11 African Literature
Grade 12, First Semester, Q2 – Week 3

What I Need to Know

Congratulations! You are now in Lesson 4 of this module. It is time for us to

visit another continent. This time let’s go to Africa known to be “The Cradle of
Humankind.”

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 review the elements of a story. Identify the element being
described. Choose your answer from the word bank below.

exposition climax setting theme

rising action conflict mood denouement

plot falling action

1. The complication begins to show itself on the ___________________

characters, setting, and events in the story

2. The result of the climax, and it is the part ___________________

when things start falling into place for the characters
3. The locale or period in which the action of ___________________
a story takes place

4. The sequence of series of events in a story ___________________

5. The underlying message that the writer would
like to get across. ___________________
6. The beginning of the story, wherein the writer ___________________
sets the scene by introducing the characters,
describing the setting, and sometimes will give
a brief background of the story.
7. The event with the greatest tension in the story. ___________________

8. Where the story reaches its final conclusion ___________________

and the writer starts to get ready to tell the ending
by way of explaining a finality to make the story complete.

9. A struggle between two opposing forces ___________________

10. Evokes certain feelings or vibes in readers through

words and descriptions ___________________

What’s In
We were able to go around our neighboring countries in Asia. We have
learned a lot from their literature. Our last stop was in Japan. Let’s look back and see
how much do we remember about their literature by answering the activity below.

1. The country which has much influence on Japanese literature was ____________.
2. Japanese literature can be divided into four periods: the ___________,
____________, ___________________, and ________________.
3. Ancient literature in Japan deals primarily with ______________ and __________.
4. The classical literature in Japan occurred during the golden age, the
____________ period.
5. ______________ is considered the world’s first novel.
6. ____________ and ______________ intertwined during the Medieval period due
to the influence of the civil wars and the emergence of the warrior class.
7. The early modern period gave way to the rise of new genres like the Japanese
_____________, _______________, _________________, and _____________.
 What’s New

Every story has basic components: characters, setting, plot, theme,

conflict. Read Aesop’s fable The Lion and the Mouse, and fill in the story mind map
below. You need to copy the mind map in your LITERATURE ACTIVITY
NOTEBOOK.

The Lion and the Mouse

Once when a Lion was asleep a little Mouse began running up and down
upon him. This soon awakened the Lion, who placed his huge paw upon the Mouse
and opened his big jaws to swallow him.

“Pardon, O King,” cried the little Mouse, “forgive me this time, I shall never
forget it: and I may be able to do you a favor in the future.” The Lion was so taken at
the idea of the Mouse being able to help him, that he let him go.

Some time after, the Lion was caught in a trap, and the hunters tied him to a
tree. Just then the little Mouse happened to pass by, and seeing the sad plight of the
Lion, went up to him and soon gnawed away the ropes that bound the King of the
Beasts. “Was I not right?” said the little Mouse.

Story Mind Map

What is it about? Where did it take place?

Title

Who are the characters? When did it happen?

Why did it happen?

 
What Is It
The development of African literature, from its oral tradition up to the current
trends, reflects the history of its people, the continent’s feelings and the minds of its
population.
Having been denied sharing their unique culture to the rest of the world,
African literature takes pride in their identity as a people along with their rich
heritage. The Dark Continent enjoys a vast collection of masterpieces, both in oral
and written literature, which are highly diverse and at the same time common.
The writings on Africa started in the middle ages when Arabic was introduced
to them and then it moved forward in the 1800s with the coming of the alphabet. With
the birth of the Negritude (which literally means ‘blackness’) movement in 1934,
African writers committed to look into their own culture, traditions, and values that
can be applied in the modern world. The drive of writers to write and excite political
freedom grew and the dignity of African traditions has been asserted. The Negritude
movement opened the avenue for writers to celebrate what is truly African.
Though African writers like Chinua Achebe, Wole Soyinka, Kofi Awoonor,
Ngugi wa Thiong’o, Okot p’Bitek, Dennis Crutus, Es’kia Mphahlele, Nadine
Gordimer, and Jacques Rabemananjara wrote in European language, they
nevertheless embodied the spirit of nationalism. So strong and effective were their
works that they gained worldwide acclaim.
In the aftermath of the colonial experience, African writers have since
chronicled new challenges that have emerged in their respective societies. New,
sovereign governments may have been installed, but their own problems caused
writers to react. This was evident in the case of Ngugi wa Thiong’o, who was
imprisoned for a play considered to have subversive messages against the Kenyan
administration of the time. Corruption in society, a longstanding theme of African
writers in postcolonial times, was reflected in V.Y. Mudimbe’s Before the Birth of the
Moon (1989). (https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-
Philippines-and-of-the-World-1) and Simoun Victor D. Redoblado, (Brilliant Creations Publishing,
Inc., 2017), 108

Even before the colonizers arrived in Africa and indelibly shaped the
continent’s identity, local traditions were already flourishing in terms of cultural
wealth. The following selections, both belonging to the myth genre, attest to the
power of the motherland’s literary tradition that had its roots in ancient times.

The Clever Young Man and the Monster

Tanzania

Once upon a time in East Africa, the monster or ogre Shing’weng’we

swallowed all the people in the world together with all the domestic animals, except
one pregnant woman who hid in a pile of chaff. Later this woman gave birth to a boy
named Masala Kulangwa (whose name means “the smart or clever person who
understands quickly”). When he grew up he asked: “Mother, why are there only the
two of us? Where are the other people?” She answered: “My dear one, everyone
else was swallowed by Shing’weng’we. We two are the only ones left.”
From that day on, the young man started looking for the monster. One day,
he killed a grasshopper and arrived home singing: “Mother, Mother, I have killed
he killed a grasshopper and arrived home singing: “Mother, Mother, I have killed
Shing’weng’we. Rejoice and shout for joy.” But his mother answered: “My dear one,
this is only a grasshopper, not the monster. Let’s roast him and eat him.”
Another day, he killed a bird and arrived home singing: “Mother, Mother, I
have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his mother
answered: “My dear one, this is only a bird, not the monster. Let’s roast it and eat it.”
Another day he killed a small gazelle and arrived home singing: “Mother,
Mother, I have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his
mother answered: “My dear one, this is only a small gazelle, not the monster. Let’s
roast it and eat it.”
Another day he killed an antelope and arrived home singing: “Mother, Mother,
I have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his mother
answered: “My dear one, this is only an antelope, not the monster. Let’s roast it and
eat it.”
Finally, the clever young man Masala Kulangwa found Shing’weng’we,
overcame him and cut open the monster’s stomach. Out came his father, along with
his relatives and all the other people. But by bad luck, when he split open the
monster’s back, Masala Kulangwa cut off the ear of an old woman. This woman
became very angry and insulted the young man. She tried to bewitch him. But
Masala Kulangwa found medicine and healed the old woman. Then, all the people
declared the young man chief and raised him up in the Chief’s Chair. Masala
Kulangwa became the chief of the whole world and his mother became the Queen
Mother.

Rawera (the Comforter) and the Monster

Nairobi, Kenya

A long time ago, the people of Funtu lived happily. They worked hard and
produced much food. They loved each other. The King was kind: everybody loved
him. Meanwhile, there was a woman, Ng’uono, who lived in the village. Because she
was barren, men refused to marry her. Elders forcefully married Ng’uono to Jater, an
old man. Ng’uono and Jater had no friends. Despite being treated badly, they were
not bitter. They humbly accepted their situation.
One day, there was a feast. As usual, Ng’uono and Jater were not invited.
From their home, they heard people singing and shouting joyfully. Suddenly, the
music stopped. Cries of agony filled the air. Curious, Jater and Ng’uono came out.
What they saw frightened them. Creatures bigger than millet granaries, with eyes as
big as cooking pots surrounded the village. These odd-looking beings had hairy
bodies, with claws for toes. Ng’uono and Jater trembled just by looking at them.
“These are monsters. Let us run,” Ng’uono said fearfully. “No. They will reach us in
no time and eat us up,” Jater said. “Come with me,” he said, taking his wife by the
hand. They hid in a hole under a big tree. They could hear people crying as the
monsters chased them. The noise stopped after a long time. “Wait here. I will go and
see what is happening,” Jater said to his wife. “You cannot go out there! You will be
killed,” Ng’uono objected. Jater ignored her and slid out of the hole. There was not a
single person. The monster had flattened all the huts. The crops were all destroyed.
Shocked, Jater stood out there, lost in thought. Back in the hole, Ng’uono was
worried about her husband. Unable to wait any longer, she came out and saw him.
“Oh! What destruction!” she moaned. Walking towards him, she asked, “What shall
we do?” “I don’t know,” Jater replied sadly. They sat under the big tree and soon fell
asleep. Ng’uono was woken up by the cry of a bird perched on her forehead. “Wake
up. What happened?” asked the bird. Sobbing, she told him the story. “Wake up hour
husband and follow me,” the bird commanded. After walking for several days, the
bird led them to a valley, green with vegetation, beautiful flowers and clear streams.
“This is your new home. There are crops of all types: harvest them and eat.” After
saying this the bird turned to fly away. “Oh! Before I leave… Ng’uono, take good care
of your son. Bye.” “What are you talking about? I am …” she started but the bird had
already flown away.
Jater and his wife remained standing, unable to understand. Ng’uono gave
birth to a baby boy a few months later. They called him Rawera, the comforter.
Rawera grew up strong and obedient. One afternoon, while he was out hunting, he
saw huge footprints at the edge of the forest. The footprints were bigger than any he
had seen before. Afraid but curious, he followed the footprints. Deeper and deeper
he went into the thick forest. The forest was so dark that he could not find his way
through. Tired, he sat under the nearest tree and fell asleep, his dog beside him. The
barking of the dog woke him. Sleepily, he stood up. And then heard it: a voice
stronger than thunder. It came from deep inside the forest. He could not understand
what the voice said. Soon, there were more voices, equally loud. The earth shook
and trees swayed. Frightened, Rawera ran. Fear, hunger and confusion slowed him
tremendously. The slower he ran, the louder the voices became. Finally, he reached
the edge of the forest and collapsed. He could no longer hear the terrible voices.
He rested for a few minutes and walked home. “Where have you been,” his
mother asked. “Mother, I was just out for hunting,” “Never stay late in the forest: it is
dangerous,” warned his father. He did not tell them what happened. For many days
after, Rawera thought about the voices. He was sure the creatures were not human.
Determmined to find out, he made several poisoned arrows and spears. He hid
these carefully. For many months, he trained his dog and fed it well. His dog, Sibuor,
grew large and fierce. Satisfied with his preparations, Rawera set out at dawn one
day. He took his weapons and told his parents that he was going hunting. At the
edge of the forest, he stopped to eat, rest and feed his dog. Soon after, they entered
the forest. They walked for a long, long time without hearing any sound. Rawera was
disappointed but he walked on. “Stop!” a voiced called from above. He looked up
anxiously but did not see anything and walked on. “I said stop. You will be killed,” the
shrill voice said again. “Who are you and how do you know where I am going?”
Rawera asked. A bird landed on his forehead, scaring him. He jumped to one side,
ready to attack. “Do not kill me. I want to save you,” the bird said, perching on
Sibuor’s head. “The voices you hear the other time belong to monsters. They ate
your ancestors. I am sure your parents told you this. Now, go back home. “Whaaat?
Monsters live here?’ Rawera asked. “Believe it: in this forest live many monsters,”
the bird confirmed. “You say these monsters ate my people? How then can you tell
me to go back? I will find and kill them all. Show me where to find them,” Rawera
said defiantly. “Well, I have warned you. Come with me.”
The bird led Rawera and Sibuor further into the forest. “Look over there,” he
said upon reaching a clearing. Rawera trembled at the sight before him: many giants
seated round a big fire. Their bodies were hairy. Smoke escaped from their big
noses. Seeing how frightened Rawera was, the bird said, “I told you. You can fight
them, can you?” “Bu-u-t they killed my people. I must kill them,” Rawera stammered.
“Because you are so determined, I will help you,” said the bird. “When you shoot
them, aim for the palm. Go now.” His dog beside him, Rawera walked into the
clearing. The monsters smelled him may meters away, stood as one and walked to
meet him, saliva pouring from their big mouths. Terrified, Rawera turned back and
ran. “Do not run. Turn back and shoot,” the bird encouraged him.
He turned, took aim and fired his first arrow. One of the monsters swallowed
it. “Shoot at the palm,” the bird shouted. The monsters were approaching fast.
Rawera let go of another arrow. He aimed at the palm and felled one monster.
Encouraged, he shot the monsters rapidly. Only one remained, the biggest of them.
Rawera had only one arrow left. “Wait,” the bird called out. “Let Sibuor go out
and meet him. Then, shoot the monster through the left ear.” Rawera commanded
his dog to attack the monster. As the monster picked Sibuor to swallow him, Rawera
shot him through the left ear. The monster died. “Cut the monster’s big toes,” the bird
ordered Rawera. When he did, all the people who had been eaten by the monsters
came out. They were excited to be back. They thanked Rawera.
They all walked to the valley where Rawera and his parents lived. Jater and
Ng’uono were happy to see all the people of the village. After listening to Rawera’s
story, everybody was proud of him. They made him chief. All villagers then respected
Ng’uono and Jater.(Simoun Victor D. Rodoblaco, Brilliant Creations Publishing, Inc., 2017, 110-
113)

What’s More
Compare the two African myths to the narrative below. Consider how
the story-telling evolved from the myths of ancient times to the stories of the modern
scene. Analyze the structure, plot, and underlying purpose of the narratives. Copy
the table in your LITERATURE ACTIVITY NOTEBOOK.

Things Fall Apart (summary)

Chinua Achebe

Okonkwo is a wealthy and respected warrior of the Umuofia clan, a lower

Nigerian tribe that is part of a consortium of nine connected villages. He is haunted
by the actions of Unoka, his cowardly and spendthrift father, who died in disrepute,
leaving many village debts unsettled. In response, Okonkwo became a clansman,
warrior, farmer, and family provider extraordinaire. He has a twelve-year-old son
named Nwoye whom he finds lazy; Okonkwo worries that Nwoye will end up a failure
like Unoka.
In a settlement with a neighboring tribe, Umuofia wins a virgin and a fifteen-year-old
boy. Okonkwo takes charge of the boy, Ikemefuna, and finds an ideal son in him.
Nwoye likewise forms a strong attachment to the newcomer. Despite his fondness
for Ikemefuna and despite the fact that the boy begins to call him “father,” Okonkwo
does not let himself show any affection for him.
During the Week of Peace, Okonkwo accuses his youngest wife, Ojiugo, of
negligence. He severely beats her, breaking the peace of the sacred week. He
makes some sacrifices to show his repentance, but he has shocked his community
irreparably.
Ikemefuna stays with Okonkwo’s family for three years. Nwoye looks up to
him as an older brother and, much to Okonkwo’s pleasure, develops a more
masculine attitude. One day, the locusts come to Umuofia—they will come every
year for seven years before disappearing for another generation. The village
excitedly collects them because they are good to eat when cooked.
Ogbuefi Ezeudu, a respected village elder, informs Okonkwo in private that
the Oracle has said that Ikemefuna must be killed. He tells Okonkwo that because
Ikemefuna calls him “father,” Okonkwo should not take part in the boy’s death.
Okonkwo lies to Ikemefuna, telling him that they must return him to his home village.
Nwoye bursts into tears.
As he walks with the men of Umuofia, Ikemefuna thinks about seeing his
mother. After several hours of walking, some of Okonkwo’s clansmen attack the boy
with machetes. Ikemefuna runs to Okonkwo for help. But Okonkwo, who doesn’t
wish to look weak in front of his fellow tribesmen, cuts the boy down despite the
Oracle’s admonishment. When Okonkwo returns home, Nwoye deduces that his
friend is dead.
Okonkwo sinks into a depression, neither able to sleep nor eat. He visits his
friend Obierika and begins to feel revived a bit. Okonkwo’s daughter Ezinma falls ill,
but she recovers after Okonkwo gathers leaves for her medicine.
The death of Ogbuefi Ezeudu is announced to the surrounding villages by
means of the ekwe, a musical instrument. Okonkwo feels guilty because the last time
Ezeudu visited him was to warn him against taking part in Ikemefuna’s death. At
Ogbuefi Ezeudu’s large and elaborate funeral, the men beat drums and fire their
guns. Tragedy compounds upon itself when Okonkwo’s gun explodes and kills
Ogbuefi Ezeudu’s sixteen-year-old son.
Because killing a clansman is a crime against the earth goddess, Okonkwo
must take his family into exile for seven years in order to atone. He gathers his most
valuable belongings and takes his family to his mother’s natal village, Mbanta. The
men from Ogbuefi Ezeudu’s quarter burn Okonkwo’s buildings and kill his animals to
cleanse the village of his sin.
Okonkwo’s kinsmen, especially his uncle, Uchendu, receive him warmly. They
help him build a new compound of huts and lend him yam seeds to start a farm.
Although he is bitterly disappointed at his misfortune, Okonkwo reconciles himself to
life in his motherland.
During the second year of Okonkwo’s exile, Obierika brings several bags of
cowries (shells used as currency) that he has made by selling Okonkwo’s yams.
Obierika plans to continue to do so until Okonkwo returns to the village. Obierika
also brings the bad news that Abame, another village, has been destroyed by the
white man.
Soon afterward, six missionaries travel to Mbanta. Through an interpreter
named Mr. Kiaga, the missionaries’ leader, Mr. Brown, speaks to the villagers. He
tells them that their gods are false and that worshipping more than one God is
idolatrous. But the villagers do not understand how the Holy Trinity can be accepted
as one God. Although his aim is to convert the residents of Umuofia to Christianity,
Mr. Brown does not allow his followers to antagonize the clan.
Mr. Brown grows ill and is soon replaced by Reverend James Smith, an
intolerant and strict man. The more zealous converts are relieved to be free of Mr.
Brown’s policy of restraint. One such convert, Enoch, dares to unmask an egwugwu
during the annual ceremony to honor the earth deity, an act equivalent to killing an
ancestral spirit. The next day, the egwugwu burn Enoch’s compound and Reverend
Smith’s church to the ground.
 The District Commissioner is upset by the burning of the church and requests
that the leaders of Umuofia meet with him. Once they are gathered, however, the
leaders are handcuffed and thrown in jail, where they suffer insults and physical
abuse.
After the prisoners are released, the clansmen hold a meeting, during which
five court messengers approach and order the clansmen to desist. Expecting his
fellow clan members to join him in uprising, Okonkwo kills their leader with his
machete. When the crowd allows the other messengers to escape, Okonkwo
realizes that his clan is not willing to go to war.
When the District Commissioner arrives at Okonkwo’s compound, he finds
that Okonkwo has hanged himself. Obierika and his friends lead the commissioner to
the body. Obierika explains that suicide is a grave sin; thus, according to custom,
none of Okonkwo’s clansmen may touch his body.
(https://www.sparknotes.com/lit/things/summary/)

The Clever Young Man and Things Fall Apart

the Monster & Rawera (the
Comforter) and the Monster
Structure
Exposition
Rising action
Climax
Falling action
Denouement

Plot

Purpose

What I Have Learned

Answer the questions. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.

1. What is unique about African culture as shown in the myths you’ve read?
______________________________________________________________
______________________________________________________________

2. How can you show heroism today? ______________________________

______________________________________________________________
 What I Can Do

Your task is to write a critical review of a myth or story found in your

region or hometown. It may be written in English or in other languages. Your review
must be one to two pages long, double-spaced, and with a proper title.

Writing Short Paper

A short paper is literally “short.” It consists of one or two pages of written
critique that will succinctly discuss your idea, realization, or concept regarding a
literary selection. The point here is to introduce your idea or discovery about a
literary selection.

Tips in Writing Short Paper

1. Choose a literary selection that you want to analyse.
2. Always begin with an outline.
3. Start with a joke, an anecdote, or a quotation from the literary text as your
introduction.(The idea is to hook your readers so that they will be more willing to
listen to your idea).
4. The body of your essay must try to discuss the relation of your idea with the
literary text.
5. The conclusion is just like any conclusion when you are writing an essay –
summarize what you have said or discussed in the body in two to three sentences.

Source: DIWA Senior High School Series, DIWA Learning Systems Inc., 2016, 112-113

Rubric
Criteria Description Score
10 points 7 points 4 points
Outstanding use of Adequate use of Inappropriate use
Accuracy color, design and color, design, and of color, design, and
space; overall space; overall space; lack of
design is pleasing design is mostly harmonious design
and harmonious pleasing and in presentation
harmonious
Cohesion The essay is The essay is The essay is not
cohesive and has moderately cohesive at all and
only one voice. cohesive and has needs further
two or three voices, editing.
which can be
further edited.
Organization The essay is The essay is The essay is not
organized and can moderately organized at all and
be understood organized and needs major
easily. needs some editing. rewriting.
 Score /30

Formative Assessment

Read carefully each statement. Choose the correct answer, and write the
letter of the correct answer in your LITERATURE ACTIVITY NOTEBOOK.

1. This the part of the story where complication begins to show itself on the
characters, setting, and events in the story.
A. exposition B. rising action C. climax D. plot

2. The result of the climax, and it is the part when things start falling into place for the
characters.
A. denouement B. falling action C. conflict D. exposition

3. What is the locale or period in which the action of a story takes place?
A. conflict B. setting C. theme D. plot

4. Which of the following tells about the sequence of series of events in a story?
A. plot B. conflict C. setting D. theme

5. Theme is the underlying message that the writer would like to get across. What is
the theme of Things Fall Apart?
A. struggle between change and tradition
B. struggle between Okonkwo and the whites
C. struggle of Okonkwo
D. struggle of the colonizers

6.  Which of the following is the exposition of the The Clever Young Man and the
Monster?
A. The woman gave birth to a boy named Masala Kulangwa.
B. From that day on, the young man started looking for the monster.
C. When he grew up he asked: “Mother, why are there only the two of us?
D. The monster or ogre Shing’weng’we swallowed all the people in the world.
7. The event with the greatest tension in the story.
A. exposition B. rising action C. climax D. plot

8. Where the story reaches its final conclusion and the writer starts to get ready to
tell the ending by way of explaining a finality to make the story complete.
A. exposition B. climax C. falling action D. denouement

9. A struggle between two opposing forces

A. plot B. conflict C. setting D. theme

10. What is the mood of Things Fall Apart?

A. somber and tragic
B. cheerful and reflective
C. gloomy and melancholy
D. romantic and whimsical
 Lesson

12 European Literature - I
Grade 12, First Semester, Q2 – Week 4

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 18 th 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 20 th 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.  ("21St Century Literature Of The Philippines And Of
The World (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 Call of Destiny
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? ______________
___________________________________________________________________

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 Meet Working Below
s 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 ( : )
4 3 2 1
Character names in ALL CAPS in stage
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
 Formative 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.