The working man was not completely at the mercy of unscrupulous employers who might withhold wages and sack them. They could use the law to get revenge.
Did film completely destroy the market for Robin Hood books? Perhaps not as quickly as we might think.
In the archvies of the Bodleian Library, Oxford there is a hitherto neglected Robin Hood novel by Robert Southey entitled ‘Harold, or the Castle of Morford’ (1791). This post is a short introduction to this text.
Scott served as Sheriff of Selkirk, and in 1804, a man appeared before him in the dock charged with stealing from his land. But the law-giver and the offender instead became best friends.
A FAMOUS man is Robin Hood / The English ballad-singer’s joy! / And Scotland has a thief as good, / An outlaw of as daring mood; / She has her brave ROB ROY!
In Thomas Miller’s novel ‘Royston Gower’ (1838), Robin Hood is portrayed as a medieval Chartist activist.
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.