During the sixteenth century a new genre of popular literature arrived in England. Adapted from literature that was flourishing in Spain, a stream of printed books and pamphlets shined a light on the seedy underworld in England’s capital city. The genre — Rogue Literature.
The first rogue novel entitled “Lazarillo de Tormes” was published in Spain in 1554. Taking for its subject socially marginal protagonists, it kickstarted a genre which would lead ultimately to the birth of the novel.
Crime historians often pay little regard to medieval outlaw literature, but my paper aims to use the history of crime in the early modern period to add a new context to their study. The ballad A Lytell Geste of Robyn Hode was first printed in the early sixteenth century. Around the same time also we see other outlaw ballads printed such as Adam Bell, Clim of the Clough, and William of Cloudesly (c.1530). My paper explores one reason why the figure of the outlaw hero became popular in print during the sixteenth century. Could it be that the idealisation of the outlaw occurred during the sixteenth century because another, more sinister criminal figure was also emerging in print: the ‘rogue’? Whilst outlaws such as Robin Hood were ‘curteyse’ and ‘dyde pore men moch god’, the figure of the rogue was more menacing. The word ‘rogue’ was first coined in 1561. Unlike the relatively good greenwood outlaw who lived apart from mainstream society, however, rogues were part of it, describing somebody who would rob, cheat, and swindle people indiscriminately, all the while effecting the disguise of a law-abiding citizen. Thus there was a need for people to believe in a good outlaw, because real-life offenders were ultimately more menacing. Hence the proposed paper explores the dichotomy between outlaws and rogues in print, in the process highlighting how changes in the nature of crime in the early modern period might have affected medieval outlaw myths.