A forthcoming public talk to be delivered at Pontefract Castle on 8 May 2016.
A forthcoming public talk to be delivered at Pontefract Castle on 8 May 2016.
I am participating on a round table discussion on this novel at a forthcoming conference, and have used my notes to write a review.
Although taking their inspiration primarily from the medieval period, the Pre-Raphaelites never painted Robin Hood. William Windus’ “The Outlaw”, however, bears a suspicious likeness to Robin Hood.
Walter Scott’s novel “Ivanhoe” (1819) is perhaps the best Robin Hood story ever written.
An atheist, monarchy-hating, Robin Hood scholar.
The penny dreadful author that you’ve never heard of…
“The Noble Birth and Gallant Atchievements of that Remarkable Out-Law Robin Hood. Together with a True Account of the Many Merry and Extravagant Exploits he Play’s in Twelve Several Stories” (1662)
John Dryden (1631-1700) is a significant figure in the literary history of the 17th century. In the Sixth Part of his Miscellany Poems he included an old ballad of Robin Hood. This post seeks to explain why he did this.
Examining how Scott’s fictional interpretation of the Middle Ages, in particular the notion that Robin Hood was a Saxon yeoman, influenced historical scholarship in the early-to-mid nineteenth century.
Did people *need* the myth of a good outlaw?
In the 16th century there was an understanding among some thinkers that Christ may have died on a simple wooden stake or tree, rather than a two beam cross, and similarly the Geste of Robyn Hode makes reference to “Cryst that dyed on a tree”.
According to the legend, in old age Robin Hood fell ill and went to visit his cousin, who was the Prioress of Kirklees, so that he could be bled. However, his cousin conspired with her lover, Sir Roger of Doncaster, to kill Robin. So she opened a vein, locked Robin in the upper room of the gatehouse, and let him bleed to death.