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ELA 12: British Literature—Semester A

A dinner date Medieval Times—plus annotation.

  • Credit Recovery Enabled
  • Course Length: 18 weeks
  • Course Type: Basic
  • Category:
    • English
    • Literature
    • High School

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Shmoop's ELA 12 course has been granted a-g certification, which means it has met the rigorous iNACOL Standards for Quality Online Courses and will now be honored as part of the requirements for admission into the University of California system.

This course has also been certified by Quality Matters, a trusted quality assurance organization that provides course review services to certify the quality of online and blended courses.

Put down your E. L. James and pick up some real British bestsellers. British literature may have a reputation for being stuffy and long-winded, but we're focusing on the good bits: the raunchy, the romantic, the revolutionary, and the revelatory. Don't let the big names and the big books scare you off. Guys and gals like Chaucer, Milton, Pope, Austen, and Brontë have a lot to say, and let's be honest: if you're writing world-rocking literature, you're going to need more than 140 characters.

The first semester of our Common Core-aligned course will introduce you to some of the major names and major ideas in British literature—and some of the minor ones, too. Through various readings and activities, we'll:

  • think about questions of national identity, domestic life, and individual agency.
  • ponder the role of women (and men) in shaping Britain and consider the way that a changing class structure brought new voices into print.
  • ask ourselves, why does our dad like Monty Python so much?

By the end of this course, you'll know more about English literature than the queen herself.

Okay, maybe not more than the queen. But definitely more than Prince Harry.

P.S. ELA 12—British Literature is a two-semester course. You're looking at Semester A, but you can check out Semester B here.

Unit Breakdown

1 ELA 12: British Literature—Semester B - Love, Longing, Lust, and Leave Me Alone

It's not your grandma's Jane Austen, Shmoopers: this unit will focus heavily on feminist and gender theory. How? Well, the central focus of Unit 5 will be on making inferences based on the social constructions that surround the framework of a novel or text, as well as drawing conclusions based on language and writing style. Seeing as though we're reading Virginia Woolf, we've…got our work cut out for us.

2 ELA 12: British Literature—Semester B - Seriously Hard Times

"Please, Shmoop, may I have some more literary theory?" Dickens fans, we thought you'd never ask. Unit 6 will focus on social, political, and economic theory, since you mastered feminist theory in the previous unit. Special attention will be paid to sensationalist journalism, memoirs of hard knocks, and British authors who directly affected American writing and activism.

3 ELA 12: British Literature—Semester B - A Challenge to Traditions

So, colonizers learned their lessons and no one is oppressed anymore—right? Uh…notsomuch. We'll read literary theory about Post-colonialism and three very different texts—The Tempest, Wide Sargasso Sea, and White Teeth to see if the same themes play out throughout centuries of literature and tradition. Spoiler alert: they do.

4 ELA 12: British Literature—Semester B - Differences in the Future

To conclude high school, we'll end in the future—with dystopian fiction. This unit includes studies and theory about Shmoop's greatest fears: ubiquitous technology, teen exploitation, and a creative writing project. (We're kidding about one of those. You can decide which one.)

Recommended prerequisites:

  • ELA 11: American Literature—Semester A
  • ELA 11: American Literature—Semester B

    • Sample Lesson - Introduction

    Lesson 2.05: The Once and Future King

    A woodprint of Merlin, scowling over a large book.
    Don't you hate it when you're trying to read and your evil wizard beard gets in the way?
    (Source)

    What do T.H. White, Monty Python, and Disney all have in common?

    If you guessed that they all retold the ol' Arthurian legend, then you would be right. But of these, White was the pioneer. One of the earliest modern retellings of the tale of King Arthur, his The Once and Future King,was first published in four separate books and draws heavily from Malory's Le Morte d'Arthur (alluding directly to Sir Thomas's text on several occasions). Although many other works of fiction have since done the same, White's story took the first step in making Arthur accessible to a modern audience.

    So how does White's version of the tale stack up against Malory's? Well, The Once and Future King follows the source material pretty closely when it comes to characters and plot. All of the basic ingredients are still there—the noble king, the legendary sword, the knights of the Round Table, and the wise old magician who gets himself sealed into a cave for centuries after running afoul of a magical temptress.

    As you journey through the story, however, you'll notice that White bestows upon his characters an emotional depth and individuality that's lacking in Malory's version. We get more insight into ladies man Lancelot's insecurities, Arthur's tragic character flaws, and Merlin's role as a wise and socially conscious, albeit lovesick and slightly absentminded, mentor—all of which leads to a greater emotional impact on the reader when these imperfect heroes meet their downfall. Lev Grossman said it best when he proclaimed that White had taken a story that was "as stiff and two-dimensional as a medieval tapestry" and turned it into something much more "rich and real and devastatingly sad."

    In other words, in the modern era, the cherished tale of King Arthur and his noble knights is no longer a black and white romance. Instead, it has become something that did not appear until centuries after Malory's original retelling: a novel.

    Sample Lesson - Reading

    Reading 2.2.05: Old Stories, Retold

    Now that we've explained why White's modern interpretation of Arthur's adventures is unique and brilliant in its own way, we see how reading his book can hold up.

    Today, you'll be revisiting the most important moments in Arthur's journey in the following selections from The Once and Future King:

    • "The Sword in the Stone": Choose two from this list: Chapters 1, 2, 3, 4, 5, 6, 7, 21, 22, 23, 24
    • "The Ill-Made Knight": Choose two from this list: Chapters 1, 2, 3, 4, 5, 6, 7, 8, 9, 13, 38, 39, 40, 41, 42, 43, 44, 45

    These chapters cover the following:

    • Young Arthur's education and upbringing
    • How he came to be king of England
    • His wedding to Guinevere
    • Merlin's imprisonment in the cave
    • The development of Lancelot and Guinevere's adulterous affair

    (Oh come on, you knew it was coming.)

    As you read, pay special attention to how White portrays the four main characters of Arthur, Lancelot, Guinevere, and Merlin. Does he do a good job of transforming Malory's romantic archetypes into real, fleshed-out characters?

    Sample Lesson - Activity

    Activity 2.05a: Making Legend Come Alive

    Reinventing a legendary character in a way that appeals to a popular audience and at the same time retains his or her integrity can be a difficult task. Just ask Disney, accused by literary critics and Danes of transforming Hans Christian Andersen's Little Mermaid from an earnest sea-dwelling creature with a heart and moral lessons into an animated "gimmick."

    So how does one do the job right, anyway?

    White had his work cut out for him in The Once and Future King, especially when it came to creating three-dimensional protagonists from the relatively vague character traits and scattered hints in Malory's version of the tale.

    Building these new characters therefore required a certain degree of creative license—where Malory's account lacked in characterization, White had to fill in the blanks. As a result, many of the characters in The Once and Future King show new personality traits and eccentricities that were not present in the original retelling, while their back stories have also been more richly developed and fleshed out for readers. (Maybe he could give Disney some pointers.)

    And now, Shmoopers, you're going to do the same thing.

    1. First of all, let us know: which four chapters did you read today? This'll help your teachers grade and know where you're coming from in this activity.

    2. Step One

      Take a look back through the chapters you just read and list all of the character traits and background details for each of these four main characters. Include physical attributes, personality traits, and details about the character's background, education, or upbringing. Take special note of character traits that were different or absent in Malory's version of the story. (If the character didn't appear in your readings today, write "I didn't encounter" and skip to the next box.)

      1. King Arthur/Young Wart

      2. Sir Lancelot

      3. Queen Guinevere

      4. Merlin

    3. Step Two

      Now let's "play essay"—by which we mean, let's look at some prompts for literary analysis essays and answer them with a paragraph or two.

      1. Prompt: How is White's portrayal of your chosen character (Arthur, Lancelot, Guinevere, or Merlin) in The Once and Future King similar to and different from how he or she is portrayed in Malory's Le Morte d'Arthur?

        Let's do this one a bit for you as an example. We'll show you Shmoop's thought process:


        Shmoop's Thought Process: Hmm, we need to compare the older version, Le Morte d'Arthur, with the update from the twentieth century, The Once and Future King. Specifically, we're choosing one character. We think we'll choose Lancelot; in White's version he's complex, internally conflicted, and full of contradictions. To Malory, he's just a himbo ladies' man charmer.

        Since we brainstormed personality traits earlier in this activity and just considered the prompt, we'd write a topic sentence for our paragraph:


        Topic Sentence: Lancelot undergoes changes in White's The Once and Future King when compared to Sir Thomas Malory's original Arthurian legends of the 1400s; this can be shown through both direct characterization and indirect characterization techniques used by the author.

        And since this is a compare-contrast paragraph, we'd use the typical text structure of two paragraphs: one to contrast Lancelot undergoes changes in White's The Once and Future King when compared to Sir Thomas Malory's original Arthurian legends of the 1400s; this can be shown through both direct characterization and indirect characterization techniques used by the author") and a second paragraph to compare (we'd probably start that one like so: "However, many of Lancelot's traits remain the same).

        See what to do when you get a complex essay prompt?

        • Brainstorm ideas
        • Rephrase the prompt in your head
        • Create your thesis or topic sentence
        • Write away, with evidence and analysis, until the prompt is thoroughly addressed

      2. Since you're a pro at this, let's try another.

        Prompt: Many critics of The Once and Future King have noted that White focuses more on developing sympathetic and complex male characters than female ones. How does White's portrayal of Guinevere differ from that of the male characters in his story, and what does this imply about his perspective on the female character?

        Again, aim for one or two paragraphs (about 100 – 200 words), and be sure to use textual evidence to support your answer.

    Expository Writing Rubric - 25 Points

    OutstandingProficientDevelopingNeeds Improvement
    Evidence / Support

    All support is clearly and logically connected to the topic. Examples, evidence, and details are thorough and relevant with effective explanation.

    (10)

    All support about the main topic is relevant. Examples, evidence, and details are explained.

    (9)

    Most support is related to the topic. Examples, evidence, or details are given.

    (8)

    Insufficient examples, evidence, or details. Support may be irrelevant.

    (7)
    Content Understanding

    All content is accurate and analysis is interesting and sophisticated.

    (10)

    All content is accurate.

    (9)

    May contain minor errors.

    (8)

    Major errors.

    (7)
    Style

    Language is clear and interesting. Enhances presentation of information. No errors.

    (5)

    Language is clear and appropriate to topic. Minor spelling or grammatical errors.

    (4)

    Language is occasionally unclear, but meaning is generally understandable. Frequent spelling/grammar errors that do not impede comprehension.

    (4)

    Language use makes writing very difficult to understand. Frequent spelling or grammar errors that impede comprehension.

    (3)

    Sample Lesson - Activity

    1. Who's on the hunt for the Questing Beast?

    2. What is "tilting"?

    3. What would the Wart have been if he hadn't pulled the sword from the stone, making him the king of England?

    4. What is Lancelot's main flaw?

    5. Why did Lancelot insist on going away on a quest?

    6. What does Lancelot agree to do in exchange for King Bagdemagus's daughter helping him escape from his prison?

    7. Who kidnaps Queen Guinevere, and why?

    8. Why did Sir Meliagrance become angry when he saw the blood from Lancelot's cut hand on the sheets?