Did film completely destroy the market for Robin Hood books? Perhaps not as quickly as we might think.
“I had four blak arrows under my belt, Four for the greefs that I have felt, Four for the number of ill menne, That have opressid me now and then.”
Robin Hood has always been an awkward socialist figure, but according to William Morris (1834-1896), he prepared the way for the radical preacher, John Ball (d.1381).
This post sheds light upon another Robin Hood serial written by George Emmett entitled Robin Hood and the Archers of Merrie Sherwood which was serialised between 1868 and 1869.
In the late-Victorian period The Edinburgh Review wrote that ‘There is now before us such a veritable mountain of pernicious trash, mostly in paper covers, and “Price One Penny”; so-called novelettes, tales, stories of adventure, mystery and crime; pictures of school life hideously unlike reality; exploits of robbers, cut-throats, prostitutes, and rogues, that, but for its actual presence, it would seem incredible’.
In 1865 the penny dreadul “Little John and Will Scarlet” appeared, full of ideas of democracy and egalitarianism.
Paper Presented to the Women’s History Network Conference, Leeds Trinity University, 16-17 September 2016.
Abstract: The earliest ballads of Robin Hood such as A Gest of Robyn Hode (c.1450) and Robin Hood and the Potter (c.1450) give no clue as to the manner of Robin Hood’s birth. This was still the case when Joseph Ritson published his influential ballad anthology entitled Robin Hood: A Collection of All the Ancient Poems, Songs, and Ballads (1795). Five years after Ritson, however, Robert Jamieson published Popular Ballads and Songs, from Tradition, Manuscripts, and Scarce Editions (1806). In that collection two new never-before-seen Robin Hood ballads appeared entitled The Birth of Robin Hood and The Wedding of Robin Hood and Little John. Jamieson had transcribed the ballads from Anna Gordon Brown of Falkland, Scotland. Although twentieth-century Robin Hood critics have derided Mrs. Brown’s ballads as being of little merit compared to earlier material, Mrs. Brown enjoyed a ‘literary afterlife’ in the tradition as Goody – the old woman who recites Robin Hood stories to dinner guests – in the first ever Robin Hood novel entitled Robin Hood: A Tale of the Olden Time (1819). The proposed paper, therefore, is intended to fit into the panel ‘Women Collectors and Collected Women’.
In Thomas Miller’s novel ‘Royston Gower’ (1838), Robin Hood is portrayed as a medieval Chartist activist.
Capt. Alexander Smith’s “A History of the Lives and Robberies of the Most Notorious Highwaymen, Footpads, Shoplifts, and Cheats” (1714) | Stephen Basdeo
Alexander Smith’s A History of the Lives and Robberies of the Most Notorious Highwaymen, Footpads, Shoplifts, and Cheats (1714), with its combination of excessive moralism and sensational reporting, set the tone for all successive ‘true’ crime writing.
During the late-Victorian and Edwardian period many children’s books telling the story of Robin Hood were published, such as John B. Marsh’s Robin Hood (1865), Howard Pyle’s The Merry Adventures of Robin Hood (1883), Henry Gilbert’s Robin Hood and the Men of the Greenwood (1912), and Paul Creswick’s Robin Hood and his Adventures (1917). Stephanie Barczewski argues that Robin Hood in late Victorian children’s books is an anti-imperialist figure, and she bases this assertion largely upon the fact that Robin Hood children’s books are critical of Richard I’s foreign adventures. Yet the situation was more nuanced than that: many of the late Victorian Robin Hood children’s works that were published in the period projected Robin Hood and his fellow outlaws as men who lived up to the Public School Ethos, cultivating the virtues of athleticism, fair play, chivalry, and devotion to duty. Indeed, Edward Gilliatt’s novel In Lincoln Green (1898) is even set in a very ‘Victorianised’ medieval public school. Thus these works represented the ideal qualities that young men would need if they were to serve the country, and thus, as the proposed paper argues, were subtly imperialist.
A little-known Robin Hood poem from 1870.
Abstract. Robin Hood needs no introduction. He is the noble outlaw who steals from the rich to give to the poor, living a merry life in Sherwood Forest. Yet people often forget that Robin Hood was a criminal. Indeed, Robin Hood Studies are often seen as a class apart from traditional legal and criminal histories, perhaps because of their ‘popular’ nature. Undoubtedly, by the nineteenth century, Robin Hood emerged as a national hero, partly due to his glorification by Romantic-era writers such as Sir Walter Scott. Yet as my paper will show, there was always uneasiness in some Robin Hood texts between judging Robin’s good deeds on the one hand, and his criminality on the other. Writers explained this in various ways. Sir Walter Scott in Ivanhoe (1819) disapproved overall of Robin’s outlawry, but concluded that his actions were necessary for the safeguarding of the nation. Thomas Love Peacock in Maid Marian (1822) gave Robin an a detailed backstory, explaining that he was outlawed only because he was guilty of resisting oppressive Forest Laws, and hence there was justification for his criminal career. Pierce Egan, in Robin Hood and Little John (1840), chose not to portray Robin as an outlaw at all, but as a radical political fighter. Yet in these texts also, other outlaws who are not part of Robin’s band are depicted as murderous brutes. My paper thus argues that these moral judgments (and sometimes the absence of any type of judgment) upon Robin Hood’s outlawry were a way of separating one of England’s foremost national heroes, who was ultimately a criminal, from the ‘criminal class,’ a notion which gained currency during the nineteenth century and held that there was a certain underclass in society which was responsible for the majority of crime.
The text of a little-known Robin Hood poem I found in the Victorian magazine “Bentley’s Miscellany” in 1846.
A paper read at Chethams Library, Manchester – 20 May 2016.
The lives of murderers, ravishers, thieves, highwaymen, burglars, forgers, Pirates, and Street Robbers adorned the pages of “The Newgate Calendar”.
Jack Sheppard’s lover and 18th-century sex worker.
Walter Scott’s novel “Ivanhoe” (1819) is perhaps the best Robin Hood story ever written.
This is the text of a public talk given at Abbey House Museum, Kirkstall, Leeds on 1 March 2015 to complement their Crime and Punishment Exhibition.
The penny dreadful author that you’ve never heard of…
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.
Recidivism…refers to a person’s relapse into criminal behavior, often after the person receives sanctions or undergoes intervention for a previous crime.
“A Lytell Geste of Robyn Hode” (c.1450): Alleviating the Fear of Crime in Late Medieval & Early Modern England?
Did people *need* the myth of a good outlaw?
Do we read ‘books,’ or do we read texts? What is a book?