This post is not one of my usual essay style posts, with an introduction and conclusion, etc., but more of a research note after having got hold of a first edition of Pierce Egan’s Robin Hood novel.
Pierce Egan the Younger was one of the most popular Victorian penny-a-liner authors. Although he was the son of the more famous Pierce Egan the Elder (1772-1849), very little is known of the son’s early life.[i] The younger Egan first came to public notice when he provided the illustrations to a work that his father had written entitled The Pilgrims of the Thames in Search of the National (1838). In the same year that he collaborated with his father on the Pilgrims, he began writing Robin Hood and Little John; or, The Merry Men of Sherwood Forest. The novel is one of the best (in my opinion) Robin Hood novels published during the nineteenth century. It is also one of the longest: it was sold for a penny in weekly instalments over the course of two years, between 1838 and 1840.
The novel, targeted primarily towards working-class and lower middle-class adults, is filled with sex, violence, and radical politics, and is the story of Robin Hood’s life from his birth to his death. Egan is clearly acquainted with earlier Robin Hood works such as Joseph Ritson’s Robin Hood (1795); Sir Walter Scott’s Ivanhoe (1819); and Thomas Love Peacock’s Maid Marian (1822). Egan’s novel went through several editions throughout the nineteenth century. As an appendix to the first edition in 1840, however, he included a collection of Robin Hood ballads.
Egan’s collection is based upon eighteenth-century versions of Robin Hood’s Garland. These were anthologies of seventeenth-century Robin Hood ballads. And it is only the early modern ballads included in Egan’s collection, such as Robin Hood and the Tanner, Robin Hood and the Jolly Pinder of Wakefield, Robin Hood and Allen-a-Dale, and Robin Hood and the Bishop of Hereford. The medieval poems such as A Gest of Robyn Hode and Robin Hood and the Monk are, strangely, not included in Egan’s version.
The extent of his ‘editing’ of the texts is minimal. In fact, one might be forgiven for thinking that the appending of the ballad collection at the end of Egan’s novel was perhaps the publisher George Pierce’s idea. The preface included at the beginning is virtually plagiarised from Charles Johnson’s account of Robin Hood, with one or two notes from Joseph Ritson inserted towards the end, and there is no attempt to relate the ballads to the sequences and plotlines in Egan’s actual novel.
One contribution to the ballad collection that we can tell Egan did make, however, is in the illustrations he provided (he had also provided all of the illustrations to the novel in the first edition). Through his images, Egan did attempt to provide some continuity with his preceding novel. This is because the characters of Robin Hood and his men who appear in the novel look exactly the same as those which appear in this ballad collection. Furthermore, as the ballads accompany the first edition, and Egan often insisted on providing the illustrations to all of his first editions (later publishers incorporated entirely new illustrations in later editions), then there is no reason to suppose that these illustrations are not his.
First editions of Egan’s Robin Hood with the ballads are rare: more common is the 1850 edition, published by W. S. Johnson, which will still fetch approximately £100.
[i] To learn more about some of the facts I have managed to reconstruct about his early life from archival records clink this link.
Categories: 19th Century, English Literature, Fiction, highwaymen, History, medieval studies, Medievalism, Outlaw, Outlaws, penny blood, penny dreadful, Pierce Egan, Radicalism, Victorian
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