Robin Hood and Other Outlaw Tales

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Robin Hood and Other Outlaw Tales Edited by Stephen Knight and Thomas Ohlgren with contributions by Thomas E. Kelly Russell A. Peck Michael Swanton Paul Whitfield White Published for TEAMS (The Consortium for the Teaching of the Middle Ages) in Association with the University of Rochester by Medieval Institute Publications WESTERN MICHIGAN UNIVERSITY Kalamazoo, Michigan — 2000 Contents Illustrations vii Preface xiii General Introduction 1 Select Bibliography 18 The Chroniclers' Robin Hood Introduction 21 From Andrew of Wyntoun's Orygynale Chronicle (c. 1420) 24 From Walter Bower's Continuation of John of Fordun's Scotichronicon (c. 1440) 25 From John Major's Historia Majoris Britanniae (1521) 26 From Richard Grafton's Chronicle at Large (1569) 27 Early Ballads and Tales Robin Hood and the Monk 31 Robin Hood and the Potter 57 A Gest ofRobyn Hode 80 Robin Hood and Guy of Gisborne 169 The Tale of Gamelyn 184 Robyn and Gandelyn 227 Adam Bell, Clim of the Clough, and William of Cloudesley 235 Robin Hood Plays Robyn Hod and the Shryff off Notyngham 269 Robin Hood and the Friar and Robin Hood and the Potter 281 Introduction to the Munday Plays 296 The Downfall of Robert, Earle of Huntington, by Anthony Munday 303 From The Death of Robert, Earle of Huntington, by Anthony Munday 402 Robin Hood and His Crew of Souldiers 441 Later Ballads Introduction 453 Robin Hood and the Curtal Friar 458 The Jolly Pinder of Wakefield 469 Robin Hood and Little John 476 Robin Hood and Allin a Dale 486 Robin Hood and Maid Marian 493 Robin Hood and Will Scarlet 499 Robin Hood's Progress to Nottingham 507 Robin Hood Rescues Three Young Men 513 L ittle John Goes a Begging 521 Robin Hood's Birth, Breeding, Valour, and Marriage 527 Robin Hood and the Golden Arrow 541 Robin Hood and the Bishop 549 Robin Hood's Golden Prize 556 Robin Hood and Queen Catherin 563 Robin Hood's Fishing 581 The Death of Robin Hood 592 A True Tale of Robin Hood 602 Robin Hood and the Pedlars 626 Other Outlaw Tales in Prose Translation Hereward the Wake, translated by Michael Swanton 633 From Eustache the Monk, translated by Thomas E. Kelly 668 From Fouke le Fitz~Waryn, translated by Thomas E. Kelly 687.

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Volume 1, Issue 1 2017 ROBIN HOOD and the FOREST LAWS
Te Bulletin of the International Association for Robin Hood Studies Volume 1, Issue 1 2017 ROBIN HOOD AND THE FOREST LAWS Stephen Knight The University of Melbourne The routine opening for a Robin Hood film or novel shows a peasant being harassed for breaking the forest laws by the brutal, and usually Norman, authorities. Robin, noble in both social and behavioral senses, protects the peasant, and offends the authorities. So the hero takes to the forest with the faithful peasant for a life of manly companionship and liberal resistance, at least until King Richard returns and reinstates Robin for his loyalty to true values, social and royal, which are somehow congruent with his forest freedom. The story makes us moderns feel those values are age-old. But this is not the case. The modern default opening is not part of the early tradition. Its source appears to be the very well-known and influential Robin Hood and his Merry Men by Henry Gilbert (1912). The apparent lack of interest in the forest laws theme in the early ballads might simply be taken as reality: Barbara A. Hanawalt sees a strong fit between the early Robin Hood poems and contemporary outlaw actuality. Her detailed analysis of what outlaws actually did against the law indicates that robbery and assault were normal and that breach of the forest laws was never an issue.1 The forest laws themselves are certainly medieval.2 They were famously imposed by the Norman kings, they harassed ordinary people, stopping them using the forests for their animals and as a source for food and timber, and Sherwood was one of the most aggressively policed forests—but this did not cross into the early Robin Hood materials.
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<I>Medieval Cultural Studies: Essays in Honour Of
208 Reviews details. These, Duffy shows, were frequently crossed out, erased or changed by later owners, particularly when the Reformation made dangerous any relics of Catholic ‘superstitions’. In examining the life of prayer and the meditation to which it presumably gave rise, Duffy considers how far the individual felt personally the apparent sentiments of the prayers in the books, such as the psalms. He examines the additional materials that owners added to their copies to assess what their personal preoccupations might be, concentrating on one or two representative examples rather than producing statistics that would necessarily be of doubtful validity. Some of the additional prayers are effectively charms or sympathetic magic. As time passed, he shows, the books’ contents became somewhat standardised with a heavy emphasis on the moral and didactic. They also included a greater percentage of vernacular material. He judges the English version to be particularly distinct in the amount of supernaturalism that they contain, material that he thinks Continental bishops were able to exclude from editions in their dioceses. The Reformation, however, altered the acceptable form of prayers and although the Books of Hours did not vanish overnight, the editions in the first half of Elizabeth’s reign were evidently not in demand as their approach seemed alien to Protestant ideas of Christian prayer. Perhaps the most interesting chapter is the one in which he turns his attention to the annotations that Sir Thomas More made in the Book of Hours that he took to the Tower with him and clearly used while he was there. While More was a powerful religious thinker, Duffy shows that others in their own books expressed similar sentiments and that these sentiments are as much communal as they are individual.
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Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham
Early Theatre 14.1 (2011) Alexis Butzner ‘Sette on foote with gode Wyll’: Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham Lythe and listin, gentilmen, That be of frebore blode; I shall you tel of a gode yeman, His name was Robyn Hode. A Gest of Robyn Hode1 In the greenwood of England, a game is afoot. Robin Hood, the noble ban- dit, has been identified as the audacious hero of Sherwood and Barnsdale for centuries, and his constant presence in ballads and drama since the four- teenth century attests to his popularity in and influence on the culture of the English nation. In a manuscript fragment of the late fifteenth century,2 the legend finds incarnation in a twenty-one-line drama (forty-two, if the caesurae are recognized instead as line-breaks), known by most scholars as Robin Hood and the Sheriff of Nottingham. The text contains no indication of scene-divisions or stage directions, and does not offer any notation to indi- cate the identity of the various speakers. Because the text offers so little in the way of definite answers, it invites interpretation. Despite their admirable efforts to treat the fragment, however, scholars have reached little consensus: critics, while advancing the probable accuracy of their own reconstructions, have yet to resolve some crucial difficulties that arise in the extant text. By reading the script Robin Hood and the Sheriff of Nottingham as a single and complete play-text, as I do in this re-examination, readers may reconcile its apparent inconsistencies. Since the first extant record of Robin Hood in literature, in the four- teenth century Piers Plowman, tales and rhymes of the legendary outlaw have permeated Anglophone culture — a feat of public memory that, according to Stephen Knight, is surpassed only by stories of King Arthur.3 That the Robin Hood legend survives — and thrives — should not come as a shock; 61 62 Alexis Butzner even in his earliest incarnations, he occupies a liminal space between social strata.
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Treacherous 'Saracens' and Integrated Muslims
TREACHEROUS ‘SARACENS’ AND INTEGRATED MUSLIMS: THE ISLAMIC OUTLAW IN ROBIN HOOD’S BAND AND THE RE-IMAGINING OF ENGLISH IDENTITY, 1800 TO THE PRESENT 1 ERIC MARTONE Stony Brook University [email protected] 53 In a recent Associated Press article on the impending decay of Sherwood Forest, a director of the conservancy forestry commission remarked, “If you ask someone to think of something typically English or British, they think of the Sherwood Forest and Robin Hood… They are part of our national identity” (Schuman 2007: 1). As this quote suggests, Robin Hood has become an integral component of what it means to be English. Yet the solidification of Robin Hood as a national symbol only dates from the 19 th century. The Robin Hood legend is an evolving narrative. Each generation has been free to appropriate Robin Hood for its own purposes and to graft elements of its contemporary society onto Robin’s medieval world. In this process, modern society has re-imagined the past to suit various needs. One of the needs for which Robin Hood has been re-imagined during late modern history has been the refashioning of English identity. What it means to be English has not been static, but rather in a constant state of revision during the past two centuries. Therefore, Robin Hood has been adjusted accordingly. Fictional narratives erase the incongruities through which national identity was formed into a linear and seemingly inevitable progression, thereby fashioning modern national consciousness. As social scientist Etiénne Balibar argues, the “formation of the nation thus appears as the fulfillment of a ‘project’ stretching over centuries, in which there are different stages and moments of coming to self-awareness” (1991: 86).
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Maid Marian Maid Marian Fitzwalter Was Born in 1173 at the Old Bilborough Hall, Which Is Now Harvey Hadden Leisure Centre
Maid Marian Maid Marian Fitzwalter was born in 1173 at the old Bilborough Hall, which is now Harvey Hadden Leisure Centre. It was Marian’s family who had commissioned the building of St Martins church in Bilborough, near where they lived, to be built – a project which Little John had worked on a site labourer. Marian was a free spirit. Rejecting her family’s status and wealth, she spent more time with the regular folk in Bilborough or in the nearby deer park at Wollaton than with the landed aristocracy. It is during this time she met a young Robin, who was living in the area. They remained friends whilst Robin was away during the Crusades. It is during this time that Marian was promised to be married to Eustachius de Moreton, Lord of Wollaton and Algarthorpe (in modern day Basford). Marian was not happy with the match and broke off the engagement, waiting for Robin to return. Eustachius, unhappy that Marian had broken it off, challenged her to a horse race from Algarthorpe to Woodthorpe, the finish line now where the house in Woodthorpe Park stands. Marian won easily and the chided Eustachius returned to Basford. When Robin returned, the two fell in love and she quickly became an important ally in the fight against the evil Sherriff. She was an able spy and lockpick who would help Robin and his outlaw companions whilst still appearing to be a lady of the court. She could pass through Nottingham and its Castle as she pleased, gleaning useful information. Marian received many the scornful look as she cheered on the disguised Robin during the Golden Arrow competition on what is now the Forest Recreation ground and remained to see Robin and his companions share the spoils of his win with the people of Hyson Green.
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Teacher's Guide to the Core Classics Edition of Robin Hood
Teacher’s Guide to The Core Classics Edition of Robin Hood By Judy Gardner Copyright 2003 Core Knowledge Foundation This online edition is provided as a free resource for the benefit of Core Knowledge teachers and others using the Core Classics edition of Robin Hood. This edition is retold from Old Ballads by J. Walker McSpadden. Resale of these pages is strictly prohibited. Publisher’s Note We are happy to make available this Teacher’s Guide to the Core Classics version of Robin Hood and His Merry Outlaws prepared by Judy Gardner. We are presenting it and other guides in an electronic format so that they are accessible to as many teachers as possible. Core Knowledge does not endorse any one method of teaching a text; in fact we encourage the creativity involved in a diversity of approaches. At the same time, we want to help teachers share ideas about what works in the classroom. In this spirit we invite you to use any or all of the ways Judy Gardner has found to make this book enjoyable and understandable to fourth grade students. We hope that you find the background material, which is addressed specifically to teachers, useful preparation for teaching the book. We also hope that the vocabulary and grammar exercises designed for students will help you integrate the reading of literature with the development of skills in language arts. Most of all, we hope this guide helps to make Robin Hood a marvelous adventure in reading for both you and your students. 2 Contents Publisher’s Note.....................................................................................................................2
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The Chartist Robin Hood: Thomas Miller’S Royston Gower; Or, the Days of King John (1838)
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Mikee Delony Abilene Christian University Peer-Reviewed Robin
A REVIEW OF THE YEAR’S PUBLICATIONS IN ROBIN HOOD SCHOLARSHIP Mikee Delony Abilene Christian University Peer-reviewed Robin Hood scholarship published in 2015 includes two single-author books, two edited book chapters, and eight journal articles. These publications examine specific texts from the matter of Robin Hood, providing new approaches to familiar texts and further exploration of less-familiar materials. Many scholars also comment on the tradition’s capacity for seemingly endless adaptation and highlight the similar ideological and political threads woven through the materials. Shining an academic light upon five centuries of Robin Hood texts that celebrate political resistance and public activism against oppression takes on new importance in light of contemporary global resistance to government overreach and systemic oppression. Since Robin Hood scholarship also tends to resist categorization, I have loosely grouped these reviews by literary chronology and genre. GENERAL STUDIES In Reading Robin Hood: Content, Form, and Reception in the Outlaw Myth,1 Stephen Knight revisits the Robin Hood literary tradition from his position as one of the early pioneers in the field of Robin Hood studies. In his survey, which ranges from medieval oral ballads to twenty- first film and television adaptations, Knight notes the multivalent, “unhierarchial, nonlinear” (10) nature of the tradition and suggests that Deleuze and Guattari’s rhizomatic “model of multiplicity” (234) might best describe the “various, porous, [and] richly labile” legend (10). Writing that the Robin Hood tradition “renews itself in turns of current political forces and media of dissemination and consistently has as scant a respect for literary and formalistic authority as it has for social and legal forces of order” (253), Knight celebrates the characteristics that prevent the tradition from achieving canonical status at the same time they have remained relevant for centuries.
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Robin Hood and Other Outlaw Tales
Robin Hood and Other Outlaw Tales edited by Stephen Knight and Thomas Ohlgren ISBN: 9781580440677 (pb) DESCRIPTION: 9781580444248 (pdf) Although nearly everyone has heard the name of Robin Hood, few have actually read any medieval tales about the legendary outlaw. Stephen Knight and Thomas Ohlgren set out to correct this PRICE: discrepancy in their comprehensive collection of all pre-seventeenth-century Robin Hood tales. The $39.95 (pb) editors include such other "outlaw" figures as Hereward the Wake, Eustache the Monk, and Fouke le $32.00 (pdf) Fitz Waryn to further contextualize the tradition of English outlaw tales. In this text the figure of Robin Hood can be viewed in historical perspective, from the early accounts in the chronicles through the PUBLICATION DATE: ballads, plays, and romances that grew around his fame and impressed him on our fictional and 01 August 2000 (pb) historical imaginations. This edition is particularly useful for classrooms, with its extensive 01 August 2000 (pdf) introductions, notes, and glosses, enabling students of any level to approach the texts in their original Middle English. BINDING: Paperback & PDF eBook TABLE OF CONTENTS: Illustrations SIZE: 7 x10 General Introduction PAGES: The Chronicler's Robin Hood 742 Introduction PUBLISHER: Medieval Institute From Andrew of Wyntoun's Orygynale Chronicle (c. 1420) Publications From Walter Bower's Continuation of John of Fordun's Scotichronicon (c. 1440) IMPRINT: Medieval Institute From John Major's Historia Majoris Britanniae (1521) Publications From Richard
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Tics, Similarity and Dissimilarity of the Stories of Robin Hood in England and Robin and Marion in France
KU ScholarWorks | The University of Kansas Pre-1923 Dissertations and Theses Collection http://kuscholarworks.ku.edu The Development, Characteris- tics, Similarity and Dissimilarity of the Stories of Robin Hood in England and Robin and Marion in France by Bonnie Mae Bell 1907 Submitted to the Department of French of the University of Kansas in partial fulfillment of the requirements for the Degree of Master of Arts This work was digitized by the Scholarly Communications program staff in the KU Libraries’ Center for Digital Scholarship. Master thesis Romance Language French Bellf Bonnie M. 1907 "The development, character• istics, similarity, and dissimilarity of the stories of Robin Hood in England and Robin and Marion in France." THE DEVELOPMENT, CHARACTERISTICS, SIMILARITY, AMD DISSIMILARITY OP THE STORIES OF ROBIN HOOD IN. ENGLAND AND ROBIN AND MARION IN FRANCE. BONNIE M. BELL Graduate School 1907. Thesis written for Masters Degree in French, THE DEVELOPMENT, CHARACTERISTICS, SIMILARITY, AND DISSIMILARITY OP THE STORIES OP ROBIN HOOD IN ENGLAND AND ROBIN AND MARION IN PRANCE. Part 1. The story of Robin Hood has "floated down the stream of time" for many centuries and although it may hare lost a little of its fascination, there is still an at• tract Irenes s about it sufficient to interest many. Be• cause of the similarity of names in the English and Prench "ballads one would naturally think that RoMn Hood and Maid Marian might "be th^e same people as Robin and Marion. In reality these characters are not at all similar, and the stories themselres hare few points in common.
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