Robin Hood (TV Series 2006–2009) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error After 5 years of fighting in the crusades, Robin returns to England and leads a band of outlaws to outwit the Sheriff of Nottingham. Creators: War breaks out in Nottingham as the Sheriff attacks with everything he has. Robin and the gang fight to defend the castle, but are forced to retreat. Finally it comes down to the feared few: Robin, ... 9.0 Robin cannot come to terms with losing Marian. He refuses to help Edward in confronting the King and abandons Much and the gang: his world has fallen apart. There is no point in being Robin Hood ... 8.5 Gisborne awaits his execution in a Nottingham dungeon, and meets a fellow prisoner who has a profound effect upon him. Robin thinks he can strike a deal with Sheriff Isabella, but his plans are ...

8.5 a list of 44 titles created 30 Nov 2010 a list of 34 titles created 06 May 2013 a list of 42 titles created 28 Jul 2013 a list of 37 titles created 26 Jan 2014 a list of 45 titles created 6 months ago Search for " Robin Hood " on Amazon.com Connect with IMDb Title: Robin Hood (2006–2009) 7.6/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. 1 2 3 4 5 6 7 8 9 10 7.9/10 X These are the brand new adventures of Merlin, the legendary sorcerer as a young man, when he was just a servant to young prince Arthur on the royal court of Camelot who has soon become his best friend and turned Arthur into a great king and a legend.

Stars: John Hurt, Colin Morgan, Bradley James After the mysterious murder of his father, a son's search for answers begins a momentous fight against tyranny. Stars: Craig Horner, Bridget Regan, Bruce Spence Far from home, Jason washes up on the shores of the ancient and mysterious city of Atlantis. Stars: Mark Addy, Jack Donnelly, Robert Emms The Musketeers (TV Series 2014) Adventure | Drama Set on the streets of 17th century Paris, series gives a contemporary take on the classic story about a group of highly trained soldiers and bodyguards assigned to protect King and country. Stars: Luke Pasqualino, Tom Burke, Santiago Cabrera King Uther dies suddenly. Britain is facing chaos. The sorcerer Merlin appoints the not so known son and heir Arthur as the king who was raised as a commoner, but his half sister has other ...

See full summary » Stars: Joseph Fiennes, Jamie Campbell Bower, Tamsin Egerton Miss Marie Lloyd (TV Movie 2007) Biography | Musical In the first decade of the twentieth century Miss Marie Lloyd is the biggest female entertainer in England, adored by her public, in a biography commented on in song by 'the Showman'. ... See full summary » Director: James Hawes The relationship between childhood sweethearts, a farmer's daughter and boy from a rich family, turns tumultuous in this modern interpretation of Wuthering Heights Stars: Sarah Smart, Joe McFadden, Alun Armstrong Edit Storyline Returning from five years of fighting in the crusades, Robin of Locksley and his manservant Much discover their beloved home under the rule of the dastardly Sheriff of Nottingham. To fight the tyranny, Robin becomes the leader of a band of outlaws with Will Scarlett, Allan A Dale, Royston White, Little John, and Djaq. Meanwhile, feisty Lady Marian inspires the love of both her childhood sweetheart Robin and the Sheriff's second-in-command Sir Guy of Gisborne.

Later episodes find the addition of friends and foes such as Prince John, warrior monk Tuck, village girl Kate, Guy's sister Isabella, and mysterious Archer. Written by L. Hamre 3 March 2007 (USA) See more » Also Known As: Did You Know? Trivia Four tapes were swiped in August 2006 in Budapest, where the 13-part series was being edited, and the thieves were demanding one million pounds (1.9 million dollars, 1.5 million euros) for their safe return. The production offered a 40,000 pounds reward for the return of the tapes. The Hungarian police found the tapes the next month. See more » Goofs Many of Marian's blouses are shown to be of modern construction and coloring. Seaming, hems, dotted swiss fabric (fourteenth century), etc. See more » Quotes Come on BBC, you can do better! 7 October 2007 | by razorsharp2505-1 (United Kingdom) – See all my reviews Recently the BBC has been delivering some much improved family drama and Robin Hood promised to be the latest blockbusting instalment.

having missed the first series, I tuned in to see what all the hype was about but came away feeling very disappointed. I'm all for using a bit of artistic licence in the name of entertainment but some of the detail, acting and direction leaves much to be desired. For example, how can Robin shoot an arrow to free the ropes on a tied up maiden if her wrists are pointing away from him on the other side of a big wooden post? And how is it that none of the sheriff's guards managed to spot the ample bosom on Maid Marion when she was in disguise and insisted on referring to her as a man? Overall, the script was quite weak, much of the acting quite stiff, the costumes lacking and many of the key characters seemed to have been miscast. I just couldn't get on with the actress playing Maid Marion at all. I never thought I'd hear myself say this but even Kevin Costner's mediocre version of the myth of Robin Hood was more believable and much more enjoyable. For a better TV version, try out the 1980s Robin of Sherwood series instead. 28 of 40 people found this review helpful. Was this review helpful to you?

Yes Robin Hood (The Merry Men) @ benturner.com 6) other robin hood sites Robin Hood is accompanied by many people who not only make each tale more interesting, but also make the legend more complete and believable. According to Edward C. Meyers's theory off Usenet (soc.history or some such), "there was, in the 12th century, a Saxon farmer named Robert Hodde who was outlawed because he opposed the severe taxation imposed by the Normans (French/Scandinavians who ruled England for some time). Hodde and his wife, Miriam (note the resemblance to Marian), fled into the forest at the northern end of Sherwood, then a much larger tract of forest than now. About the same time a King's soldier, name of John Little, left London for Yorkshire planning on settling on a small farm, He also was last seen in Sherwood. During the same time frame a recent arrival from Italy, name of Guillarme Scarletti, was known to be roaming around Sherwood.

Add these names to the dozens of outlaws then making the various forests of northern England their homes along with travelling troubadors and itinerant monks, and you get the basis for the legend of Robin Hood. It is a possibility that Robert Hodde, Miriam, John Little and Will Scarlet, banded together with others, became the basis for the Robin Hood legend. It's a good theory. I like it. Comments, anyone?" Yes, I like it. ;) This is just one interpretation of how the Merry Men could have joined Robin. It also emphasizes how important it is to keep an open mind when studying Sherwood. LITTLE JOHN Little John is Robin Hood's right-hand-man, if you will, almost as great an archer as Robin Hood himself. He is extremely tall, making his name a misnomer. Little John is also amazingly strong, yet intelligent. Little John, like Robin, also seems to have many names, like John le Nailer and John Little. Little John is a later addition to the Sherwood legends, and is sometimes shown to be extremely skilled with the quarterstaff (a former shepherd?) or the bow.

This passage below describes Little John's skill with the bow (note how this version indicates that Little John is a better bowman than Robin himself). "Thre tymes Litell Johnn shet aboute, And alwey he slet the wande; The proude sherif of Notingham By the markes can stande. The sherif swore a full greate othe: 'By hym that dyede on a tre, This man is the best arschere That ever yet saw we.'" - A Gest of Robyn Hode Little John's name is a misnomer, for he is mammoth in size. However, he is a kind and gentle man, as this story , contributed by Deborah Purganon, shows. Little John's gravesite can be found in Hathersage, Derbyshire. Hathersage is about thirty miles northwest of Mansfield and approximately forty miles north-northwest of Nottingham. The gravestone's existence can be verified; it is clearly marked... Not surprisingly, Hathersage uses Little John's gravesite to attract tourism, I'm told. ;) Thanks, Mr. Heafield, for this information about John Little's burial place!

Brandon Goldsworthy wrote me, "A recent Discovery Channel episode of 'Would you Believe it?' claims that in the 16(17)00's (I can't remember which) Little John's supposed grave was dug up and a thigh bone, some 32 inches long was uncovered....which could have only belonged to a man over 7 feet tall." Excellent. Someone else wrote me: "I cannot cite it, but was looking for it on your website. I remember reading that Little John's cap was left hanging in a church on the end of a pole. It deteriorated over the years and finally the cloth separated and the cap fell to the ground. the article went on to state that the cap was kept in some sort of container - wood box, glass cabinet for visitors to view." Again, this is purely hearsay, and should be treated as such. MAID MARIAN Maid Marian, is, of course, Robin's sweetheart and love. Not surprisingly, the facts surrounding Marian are ambiguous as well. Some tales describe her as Robin's childhood love (she is usually of Saxon descent in this case), while others say Robin rescued her later in life (usually of Norman descent).

Some stories say Marian is an excellent swordswoman, while others tell the reader that she is just a weak maid, or even a pagan priestess. People these days are more inclined to believe the former, stuck in the modern mentality that women have always been as good as men in any skill. This is not true, however, as women were almost never allowed into the military, especially not in the Middle Ages. Their fighting roles came about only when the lack of men called for it, like when they had to defend the castles. In any case, the important thing is that Robin loves Marian dearly, and their affection is illustrated in The Once and Future King by T.H. White: "Robin Wood lay happily with his head in Marian's lap. She sat between the roots of the lime tree, clad in a one-piece smock of green girded with a quiver of arrows, and her feet and arms were bare. She had let down the brown shining waterfall of her hair, which was usually kept braided in pigtails for convenience in hunting and cookery, and with the falling waves of this she framed his head.

She was singing a duet with him softly, and tickling the end of his nose with the fine hairs..." Wayne Brailsford, who has many stories to tell about the town of Blidworth and its connection to the Robin Hood legend, says this about a tale he heard about Marian as a child: "I was told when I was younger that she is reputed to have been born in one of the oldest houses still standing in the village. Me and my brother had a look round the village to try and find this house but it was difficult to nail down." A possibility? Perhaps? No? Interesting, nonetheless! Mr. Allen Wright on Maid Marian: "In the 17th century ballad, Maid Marian disguises herself as a page and goes looking for Robin. She finds him in disguise as well. Not recognising her, Robin picks a fight. And Marian holds her own. As usual, Robin calls the whole thing off and that's when the lovers recognise each other. Marian is also a strong figure in the 1630's unfinished play, The Sad Shepherd. Sometimes Marian is not Robin's true lover. Instead Clorinda, Queen of the Shepherdesses plays that role.

Clorinda was a superb huntswoman too. She's faded into obscurity except for Roger Lancelyn Green's popular kids book from the 1950's. There, Clorinda is a disguise employed by Marian. "Ironically Marian is much tougher in the stories I mentioned than she is in many of books from the early part of this century. In one book from the 1920's she has the fight with Robin, but faints when she sees blood. In another, Robin is said to win the fight easily. Both in the older and more recent stories, Marian is a much stronger character." I've discussed this a lot with various people. Personally, I think Marian had to have some sort of hunting or fighting background, given the fact that she was an outlaw and had to provide for herself as well as the others in Robin's band. For someone whose main goal is to survive, the ability to protect oneself seems to be a necessity. If Robin and Marian ever were to fight, I think Robin's belief in not hitting a woman would have won out, and so in order for a woman to fight him, she would have to be disguised or Robin would back out.

OTHERS Will Stutely is also part of the merry men, but he is a minor character. Tricket shows up in a few of the tales as Robin's dog. Allan'a'Dale isn't written about often, but he is a fine lute player and bard. Richard the Lionheart isn't really mentioned in any stories I've read, as he is fighting in the Crusades during the Sheriff's brief reign. What's amusing is that Richard the Lionheart was one of the worst kings for Britain, yet has been portrayed as extremely courageous in every movie that involves him. He was also supposedly gay. You'll never see Sean Connery in "Robin Hood: Prince of Thieves" in the same light again, huh? The Sheriff of Nottingham is the central evil character, the man who attempts to get rid of Robin Hood so his treasury will no longer be looted from. Prince John is traditionally the man who the Sheriff serves under. Guy of Gisborne, sometimes the Sheriff's cousin, shows up as a hunter of Robin Hood in one weird tale with an abrupt and gruesome end. Robin Hood and Guy of Gisborne have an archery contest, and Robin of course wins.

Soon afterwards, the two fight and Robin wins again, killing Guy of Gisborne. Other times, Guy is a mere bounty hunter or even the main villain himself (instead of the sheriff). MUCH Much, in the story I read which talked about him, is one of Robin's closest friends. Robin and Much, according to the story, met while hiding from the Sheriff's men, an event which occurs just after Robin escapes from having his hand cut off for hunting the Sheriff's deer. Much has a limp, and he ends up going to Sherwood with Robin. I've been under the general impression that Much is a very kind soul, but there's always that one tale that always shocks me. Sir James Holt says there is an account of Much killing a squire just to make him be quiet. Strange, indeed! WILL SCARLET Will Scarlet, Will Scarlett, Will Scathelocke, or Will Shacklock is associated with daggers in some versions of the Sherwood stories (Robin Hood: Men in Tights, remember?). Here's one tale explaining how Will may have become one of Robin's Merry Men (contributed by Deborah Purganon): "Will Scarlett's true name was William Scathlocke.

Scathlocke was just another ordinary Englishman, a bit hot tempered but good-hearted. Actually, Will himself was very much aware of his faults and that was why he was very surprised when he found out that the woman he loved and considered to be the most beautiful woman in the village loved him as well. Things could not have been better for Will. He worked hard so as to give Meg (for that was her name) the best possible life. But one sad day when Will came home from the market he found his beloved wife dead, gang-raped and murdered by the Sheriff's soldiers who were barely better than any marauding band of cutthroats. Will's life and peace were shattered and in a rage he pursued and killed the ones responsible for this crime, but he was never to be the same. With nothing to live for but revenge and hate, he now lives only to kill anyone capable of committing crimes like that of his wife's as well as those who he feels are further accountable for her death. His old life dead, he is now named Scarlett for the blood he sheds in retribution." Mr. Allen Wright contributed a lot of information about Will Scarlet.

Rather than summarize it, I will quote what he wrote to me, in its completion. "In the ballad "Robin Hood Newly Revived", better known as Robin Hood and Will Scarlet, Robin meets a stranger dressed in a silk doublet and scarlet stockings. They get into a fight. As usual, Robin gets creamed. It turns out this stranger is Young Gamwell. He had come into the forest seeking Robin Hood, for the stranger is the son of Robin's sister. Robin's nephew joins the band, and is named Will Scarlet. "Will, under various names like Scarlock, Scadlock, Scarlet and Scatheloke had been in the legend since the earliest surviving ballads. This story was added in the 17th century, one of many "origin" stories. Most of them follow the same pattern. Both Little John and Maid Marian best Robin too, for example. "The name Gamwell is interesting. It's a homage to old outlaw legends, that of Gamelyn and the story of Robin and Gandelyn. In the ballad Robin Hood and the Bold Pedlar, the pedlar's name is Gamble Gold and he claims to be the son of Robin's mother's sister.

A character named Gamwell, sometimes the true name of Will Scarlet, is in many versions of the legend. For example, Will is called Will of Gamwell in the 1938 Errol Flynn picture. "Whether Robin was Will Scarlet's uncle or first cousin, they could properly be called cousins. In older days, cousin meant any close relative who wasn't a part of the immediate family." Sometimes, according to Susan Macdonald , stories say Will Stutely (see below) changed his name to Will Scarlet. Others say they're two separate characters altogether. The lesser-known characters are obviously hard to explain, even the most basic facts of their lives being ambiguous. Susan, in her e-mail to me, also verified another story I had heard, about Will Scarlet actually being Robin's first cousin, then called Will Gamewell. His last name Scarlet was given to him because he wore bright red in the forest, an obvious blunder.

Wayne Brailsford informed me of news referring to Will Scarlet's supposed gravesite in Blidworth, "about 12 miles north of Nottingham itself, 3 miles from Mansfield, and about 9 miles from Edwinstow where the Sherwood forest visitor's centre is." He says, "Well the only evidence of Will Scarlet being buried in our church yard (Blidworth) is a gravestone which is unnamed (it stands at the gate of the graveyard). A church has been on the site for many years now, unfortunately. I don't know the full details, but I believe it's been holy ground for over 800 years (give or take a few). The gravestone is very perculiar in shape. its about 3 feet high, symmetrical, and is made of what I believe is 3 different units of stone. It is hard to make a comparison to what it looks like, but it has a pointed top!" Brandon Goldsworthy points out a possible correction: Scarlet could not have been buried in the churchyard as he was a outlaw, and outlaws were not permitted to be buried in a cemetary.

FRIAR TUCK Friar Tuck is captured by Robin and his men and is eventually convinced to give sermons to the outlaws in the forest. I think Robin allows this stranger into his camp because of his religious loyalty. Robin may also have understood the power and importance of religion in those whose lives are hardly worth living, like the bandits'. Friar Tuck is generally known as being merry and fond of wine. Someone, supposedly a descendent of a Friar Tuck, sent to me information to me regarding our merry Friar Tuck . I recommend reading through it, for it provides some insight into the derivation of his name, and some possible meanings of it. The author of the comments in the above link says this information is public, and easy to be found if you know where to look. Regardless, I have not done research into this myself and cannot vouch for its authenticity. But it gives you some areas to look in for your own work. Please remember the uncertainty of this info in any quotes and such. Dr.

Frederick Walker has this to say about Friar Tuck, and I think it's an excellent analysis: "A highwayman named John Stafford, alias "Friar Tuck" was hanged in, I believe 1415. If he is the original, then he cannot have had anything to do with Robin Hood. It is also possible that he used the alias because it was already popular. The name Tuck, by the way, means "curtel", and so the traditional ballad of "Robin and the curtel friar" is more than likely the source for the legend that Robin's men included someone named "Friar Tuck." In any event, there were no friars in England before 1221, so no friar named Tuck could have fought for Good King Richard. Another possibility is that he was actually a French monk, who could have been named Frere Tuck. Since the 1220s are also the period in which the sheriff of York was demonstrably looking for a certain "Robert Hode, fugitive" I am inclined to place the historical Robin in this era. ... "I've done some more research on our favourite fat friar.

It turns out his first name was Robert, not John, and his crimes were in 1417, not 1415 as I previously believed. It now seems he wasn't caught, as he is still listed at large as late as 1429. Two more points of interest: he was a legitimate man of the cloth, having once served as chaplain of a place called Lindfield; and I wonder if the name "Robert" itself could have been an alias, taken in honour of Robert or Robin Hood?" Dr. Walker has contributed some very interesting ideas indeed! It turns out that perhaps Friar Tuck may not be as simple to pin down as the general public would seem to think! HOLLYWOOD'S ADDITIONS? Seeming to appear only in the Hollywood versions of Robin Hood are Azeem, Wolf, and Duncan. Azeem is a Moor who is helped by Robin to escape from an Arabian prison. His knowledge of science far surpasses Robin's (remember the scene in "Robin Hood: Prince of Thieves" with the telescope?) and he uses a scimitar.

Christine, a frequent poster on the "Robin of Sherwood" mailing list gave me a story of the origin of Azeem. Thanks! "The real scoop is that the producers of "Robin of Sherwood" were shopping a feature film script around Hollywood and the Hollywood folks said, 'what a great idea--we'll do our own schlocky version with Kevin Costner' and another group said 'great, we'll do our own schlocky version with Patrick Bergin.' Anyway, "Robin of Sherwood" introduces a new Merry Man to the legend called Nasir -- a Saracen who joins the Merry Men. The "Robin Hood: Prince of Thieves" first draft had a character called Nazeem! Guess where they got the idea! So, "Robin of Sherwood" started it with Nasir and then we got Azeem, then Atchoo in 'Robin Hood: Men in Tights'." Wolf is rescued from the Sheriff's men by Robin and is later found to be Little John's son. Duncan is the loyal servant to the Locksleys and has lost his vision (perhaps a twist on King Duncan from Macbeth , since there is some sight imagery in that play) by the Sheriff's own cruelty.

He helps Robin tremendously in telling Robin what happened while he was away, but also unintentionally leads the Sheriff's soldiers to the secret hideout. Robin Hood, Prince of Thieves Robin Hood, Prince of Thieves HAS GOD PAINTED YOUR FACE? The Movie The movie starts in Jerusalem, where Robin is held prisoner by the Turks. He escapes together with Azeem, which now owes him his life and is determined to stay with Robin until he has returned the favour. They leave for England, where they find Robin's father killed and his castle set to ruins. His lands are taken over by the Sheriff of Nottingham. He saves a young lad -who has killed a deer- from the Sherrif's men and next he goes to visit Marian. Later, in Sherwood Forest, he meets a band of outlaws who have been driven from their homes by the Sherrif's taxes. After a stick-to-stick fight with Little John, he becomes their leader with a strong vote of distrust from Will Scarlett, who is -as we found out later- his halfbrother. He manages to pull the 'merry men' together to strike back at the Sheriff.

A lot of adventures follow and in the end the Sheriff has his mind set to marrying Marian, which, of course, does not suite Robin. He succeeds in rescueing her together with Azeem, who saves his life during the battle: Azeem has paid his debt and is free to return home. Later, in Sherwood they have their own little wedding where, to their surprise, King Richard visits them and gives the bride away. Of course, he also pardons Robin. The Legend The Romantic Hero One of the romantic heroes of the Middle Ages was the outlaw Robin Hood of England. Whether he was a living man or only a legend is uncertain. Old ballads relate that Robin Hood and his followers roamed the green depths of Sherwood Forest, near Nottingham, in the center of England. There they lived a carefree life, passing the time with hunting the king's deer, and robbing the rich. They shared their spoils with the poor and never injured women or children. Robin Hood probably became an outlaw by killing a deer on a wager. Then he had slain one of the king's foresters who threatened his life. A price was set on Robin's head, and he went into hiding.

Soon there gathered about him other bold men who had been outlawed or deprived of their inheritances. One day, when Robin was about to cross a narrow bridge, a stranger seven feet tall blocked the way. The two men fought with quarterstaves (long, stout sticks), and Robin Hood was knocked into the stream. As soon as he could scramble out of the water and catch his breath, Robin Hood praised this stranger and asked him to join his band. Thus Little John, so called because of his great size, became Robin Hood's right-hand man. Will Scarlet also fought his way into the band. Others whose names often occur in the ballads are Will Stutely; Much, or Midge, a miller's son; and the romantic minstrel Alan-a-Dale. Robin Hood's chaplain and confessor was the fat and jovial Friar Tuck. In later ballads Robin's sweetheart, Maid Marian, was introduced. When Robin Hood was outlawed, she dressed as a page and went to seek him in Sherwood Forest. At last they met. Both were disguised, and neither recognized the other. They fought until Robin, admiring her skill, invited Marian to join his band. Then she recognized his voice.

The Sherrif of Nottingham Robin Hood's greatest enemy was the sheriff of Nottingham. The sheriff tried by force and trickery to bring the outlaw to justice. He was always outwitted. He even announced a shooting match, feeling sure that Robin Hood would appear to show his skill as an archer. The outlaw did appear, but in disguise. He won the prize, a golden arrow, which was handed to him by the sheriff himself. Not until Robin was once more safe in Sherwood Forest did the sheriff learn how he had been deceived. Although Robin Hood lived on the king's deer, the ballads say that the outlaw "loved no man in the world so much as his king." According to one tale King Richard the Lion-Hearted went in disguise to Sherwood Forest and, having tested Robin Hood's loyalty, granted him a royal pardon. Real person of myth The Robin Hood legends may have grown up about some actual victim of the harsh forest laws of old England. Robin Hood is said to have lived from 1160 to 1247. Some accounts state that he was created earl of Huntingdon by Richard the Lion-Hearted.

Most of the legends say that Robin Hood died at Kirklees Priory, in Yorkshire. Near the ruins of this priory is a grave supposed to be Robin's. The epitaph (with the spelling modernized) reads: Here underneath this little stone Lies Robert, Earl of Huntingdon. Ne'er archer was as he so good And people called him Robin Hood. Such outlaws as he and his men Will England never see again. So, this is a statement that Robin died in 1247. Some believe the inscription, which is in 18th-century lettering, is a copy from an earlier and genuine stone. Most scholars, however, doubt this. An argument against the hero's existence is the fact that he is mentioned by no historian of the time during which he is supposed to have lived. The events referred to in the stories could not all have occurred in his lifetime. Robin Hood probably was a mythical character, first introduced into England in connection with the May-Day celebrations. The earliest record of a "Robin" associated with such festivities is in the rustic plays given at Whitsuntide in France in the 13th century. The hero was called Robin des Bois (Robin of the Woods).

An old English spelling of "wood" was whode, which could easily have become hode, or hood. At any rate, in the 15th century and later the May-Day celebrations in England were called "Robin Hood's Festivals." Garlands of flowers, a Maypole, morris dances, archery contests, and bonfires were features of the celebrations. Robin Hood was king of May, and Maid Marian was his queen. Robin Hood Candidates We all know there is very little known about the 'real Robin Hood'. Did he ever exsist? Is he a compilation of several incidents and/or figures in medieval England? Are there a number of Robin Hood Candidates? Who's to tell? Alan W. Wright has a great homepage about Robin Hood, called: Robin Hood - Bold Outlaw of Barnsdale and Sherwood . I took some of his Robin Hood Candidates and pasted them here. You can read more about them at Alan's site. Here's a short version: One of the earliest surviving ballads is A Gest of Robyn Hode. In the Gest, a "comely" king named Edward is travelling around the country. He meets Robin Hood, pardons him, and Robin goes to work in his court.

15 months later, Robin goes broke, gets bored, and returns to his outlaw life. The most promising of the early real Robin Hoods was discovered by L.V.D. Owen in 1936. The Yorkshire assize roles for 1225-1226 mention that "Robert Hod, fugitive" had chattels worth 32s. 6d. (s is for shilling, d is for pence.) The same outlaw turns up in entries for later years, once under the nickname Hobbehod. An anonymous manuscript (called the Sloane manuscript) from 1600 says Robin Hood was born in Locksley. This was probably meant to be the real village of Loxley in Yorkshire, although many later writers have moved "Locksley" to Nottinghamshire where most modern Robin Hood stories are set. But in J. R. Planch�'s 1864 paper, "A Ramble with Robin Hood", the spotlight was turned on another Loxley, a village in Warwickshire (not far from Shakespeare's home of Stratford-upon-Avon). One of the fictional names for Robin Hood is Robert Fitzooth.

And in the reign of Henry II and Richard I, a knight named Robert Fitz Odo lived in Loxley, Warwickshire. In the earliest tellings of the Robin Hood legend, the outlaw hero is a yeoman (roughly speaking, a member of the middle class). But with time the Robin Hood of legend moved up in the world. By the mid-1500s, he was said to be an earl. And in 1599, Anthony Munday wrote two plays that made Robin Hood the outlawed Earl of Huntingdon (or Huntington as Munday spelled it). No one is quite sure why Munday picked the earldom of Huntingdon for Robin Hood. Perhaps he just thought the "Hunting" part of the name seemed appropriate. Maybe it was propaganda for an earl which had lived earlier in the 16th century.

Robin Hood: Development of a Popular Hero | Robbins Library Digital Projects Search Search this site: Robin Hood: Development of a Popular Hero Robin Hood: Development of a Popular Hero from: The Robin Hood Project 2006 These pages were originally prepared as guide to an exhibition (5 September 2006 - 19 January 2007) in the Rossell Hope Robbins Library at the University of Rochester. They present, in broad strokes, the development of Robin Hood from his origins in medieval literature through his modern depictions. The purpose of the exhibit, and the adaptation of this guide, is to give an overview of the character and a sense of his pervasiveness in modern culture, not to give a full history of Robin Hood (for which, see J. C. Holt, Robin Hood, or Stephen Knight, Robin Hood: A Complete Study of the English Outlaw, among others, in the Select Bibliography).

'I kan noght parfitly my Paternoster as þe preest it syngeþ, But I kan rymes of Robyn Hood and Randolf Erl of Chestre, Ac neiþer of Oure Lord ne of Oure Lady þe leeste þat euere was maked.' ['I don't know perfectly my Our Father as the priest sings it; I know rhymes of Robin Hood and Randolf Earl of Chester, But neither of Our Lord nor of Our Lady the least that ever was written.'] William Langland, Piers Plowman, B.V.395-97 (ed. A. V. C. Schmidt, p. 230; my translation) In this our spacious Isle, I thinke there is not one, But he hath heard some talke of him [Robin Hood] and little Iohn; And to the end of time, the Tales shall ne'r be done, Of Scarlock, George a Greene, and Much the Millers sonne Of Tuck, the merry Frier, which many a Sermon made, In praise of Robin Hood, his Out-lawes, and their Trade.

Michael Drayton, from Poly-Olbion [1622], song 26, lines 311-16 Preface: Was Robin Hood Real? Robin Hood is a part of our popular culture, and has been for over 600 years. This outlaw of medieval England has seemingly appeared everywhere. Medieval chroniclers like Andrew of Wyntoun (c. 1420) and Walter Bower (c. 1440) happily accepted Robin’s existence, and his wide appeal led to brief mentions in various texts. Scholars have long searched for the origin of Robin Hood, for an identifiable, historical outlaw in the Sherwood or Barnsdale area. The opening quote from Langland’s Piers Plowman (c. 1377) is Robin’s first appearance in a text, be it literary or historical, and it is not a shining reference. Sloth suggests songs of Robin Hood are widely known in taverns, implying he is a popular figure without a literary pedigree. Clearly, Robin Hood is of no importance to the aristocracy, but he holds some currency in popular circles.

Sloth’s familiarity with drinking songs about Robin Hood, but utter lack of knowledge of things spiritual, also reflects the concern of the Church for the souls of people who likely attended mass grudgingly, but could readily recite popular songs. Later texts similarly present Robin as a popular figure, and few strictly medieval documents featuring Robin survive. Robin and his fellows were a popular subject in early printed texts, with their low price and wide appeal, and it is in the early days of printing that he finally comes into his own as a literary figure. In the eighteenth and nineteenth centuries, antiquarians were especially invested in finding the sources of their national culture and heroes, and Robin proved to be of special interest to the English. They not only reviewed these early plays and poems for clues to the historical identity of the figure, but also scoured historical and legal records to find any information that may have led to a proof for his identity. Despite the efforts of authors like P. Valentine Harris (see case 5), no verifiable Robin Hood emerged from the historical record. Today, most scholars accept Robin as a literary invention, based in part on other figures like Gamelyn and Fouke fitz Waryn, as well as real-life outlaws.

Any search for the ideal Robin Hood, a dispossessed noble who robs from the rich to give to the poor, is doomed to failure. That Robin is a modern figure whose individual characteristics were added in different stages, which are roughly represented in this exhibit. Introductions to Robin Hood It seems as though every schoolchild knows who Robin Hood is: a noble outlaw in Sherwood Forest who fights the oppressive evil of Prince (or King) John by robbing from the rich and giving to the poor. The earliest appearances of Robin are at odds with this romantic notion, as Robin is a violent yeoman who steals from the dishonest and helps those whom he pleases. Perhaps the one constant feature of the legend is his placement in the center of England, in the Sherwood and Barnsdale area. This first case presents some of the venues in which Robin Hood appears. The earliest tales of Robin Hood largely focus on Robin encountering someone in the forest, and either fighting with them or inviting them to dine, after which they would be asked to pay for their dinner. These tales were often collected in books called “garlands” (see the first text in this case).

During the Tudor period, Robin was gentrified by Anthony Munday, in his two plays The Downfall of Robert, Earle of Huntington and The Death of Robert, Earle of Huntington (both 1601). Today, most people first encounter Robin through films or children’s books, like Howard Pyle’s work. Map from Dobson & Taylor, Rymes of Robyn Hood: An Introduction to the English Outlaw (Pittsburgh: University of Pittsburgh Press, 1976), p. 69. [This map shows some locations associated with Robin Hood, both settings for the tales (e.g., Sherwood, Kirklees, and Barnsdale) and as a place name (e.g. “Robin Hood’s Well”).] Robin Hood’s Garland: being a complete history of all the notable and merry exploits perform’d by him and his men on divers occasions: to which is added a preface, giving a more full and particular account of his birth, &c. then any hitherto published. London: R. Marshall, [1770?]. [A garland is a collection of short literary pieces.

This volume is open to “Robin Hood and the Tanner,” whose subtitle, “Robin Hood met with his match,” recalls a common theme of the ballads, wherein Robin meets a stranger, they fight, Robin loses (or they agree to a draw), and Robin invites the newcomer to join his band. The work also identifies the tune “Robin Hood and the Stranger,” again recalling the theme and identifying a popular tune as an accompaniment. Were the tune not well-known, it would have been included or not mentioned at all.] Pyle, Howard. The Merry Adventures of Robin Hood of great renown in Nottinghamshire. 1883. Rpt. New York: Macmillan, 1988. [A groundbreaking work, The Merry Adventures of Robin Hood (1883) introduced new standards in publishing images. Pyle’s highly detailed, historical drawings accompanied a retelling of the story that appealed especially to children. Pyle also set the standard for later illustrators, as can be seen in other items in this display (see, especially, Gilbert in case 5).

Pyle’s work has been reprinted many times in various configurations: as here, the original text and illustrations together; as a text without illustrations; Pyle’s text with illustrations by another artist; and sometimes his illustrations accompanying another text altogether.] A Popular Hero: The Nineteenth Century Although various texts and performances appeared in the early modern period, the nineteenth century featured an explosion in the popularity of Robin Hood. Authors like Joseph Ritson (1795), Sir Walter Scott and Thomas Love Peacock (both 1820), and Pierce Egan (1838) all featured Robin Hood in their works, either momentarily (as in Scott), or as a featured character, and the period ends with Pyle (1883) starting a new trend in Robin Hood stories. Robin’s appeal was not limited to novels, though, and this century saw a number of plays, operas, and songs featuring the outlaw. Ritson published Robin Hood: A Collection of all the Ancient Poems, Songs and Ballads, now extant, relative to that celebrated Outlaw in 1795. This collection of tales showed more sensitivity to the original works and used more scholarly notes than versions of the Robin Hood tales previously published.

It was a big hit and kindled a new interest in Robin Hood. The next watershed moment in Robin Hood studies came in 1920, with the publication of Scott’s Ivanhoe, which features Robin briefly but makes the conflict between Norman and Saxon a central point, and Peacock’s Maid Marion, published after Scott, but relying on many similar themes and characteristics. Robin’s popularity remained high, and in 1838, Egan serialized a tale of Robin Hood which was published in 1840 as Robin Hood and Little John: or, the Merry Men of Sherwood Forest. Egan’s text was wildly successful, and opened the doors to later versions, including those presented here. Stocqueler, J. H. Maid Marian, the Forest Queen; being a companion to "Robin Hood." London: G. Peirce, [1849]. [Interest in Robin Hood had been reignited by Scott and Egan, especially, at this time. Many novels and performances featured Robin in a leading or supporting role. Stocqueler’s novel is a companion to his Robin Hood comic opera.

Originally a serial publication, this collected edition presents some Robin Hood ballads as an appendix to the text.] The Life and Death of Robin Hood, the renowned out-law: who lived and died A.D. 1198; being the ninth year of the reign of King Richard I, commonly called Coeur de Lion. Falkirk: Printed for the booksellers, [1840–1860]. [This chapbook from the mid-nineteenth century shows the continued interest in Robin as a popular figure. Printed like broadsheets, this text would likely be bound by the purchaser, sometimes with other short texts. Since it has no cover, and indeed fits entirely on one sheet of paper, the publication costs are low, and this text was likely more affordable by a popular audience.] DeKoven, Reginald. Robin Hood, or, Maid Marion: A Comic Opera in Three Acts. London: Hapwood & Crew, [1890]. [Composer Reginald DeKoven seems to have been quite interested in historical fiction and outlaws. In addition to this opera on Robin Hood, he wrote music for operas based on The Canterbury Tales, Don Quixote, and Rob Roy.

While this very popular opera dominated the American stage, with regular performances through 1944, it was not successful in Britain. The success of the opera in the US led DeKoven to again team up with librettist Harry B. Smith for a sequel titled Maid Marian (1902).] In Pyle's Wake: The Twentieth Century After the great success of Howard Pyle’s work, and continuing the trends of the last century, the early twentieth century saw further expansion of Robin Hood’s appearances. He remained a staple of the performing arts, with new plays, operas, and songs created about him, but he was perhaps most readily adopted by the new medium of film. The tale of Robin Hood is extremely suitable to young audiences. By this time, Robin’s motives have been made truly heroic: his villains are truly villainous, and Robin is portrayed as a moral figure who fights injustice. Most authors identify Robin as the dispossessed noble of the Tudor period, and this adds purpose to his rebellion. There are no inherent sexual connotations in the tale (such as lust, adultery, and revenge in Arthurian literature), and the tale itself generally ends with the overthrow of oppression and the redemption of the heroes.

The familiarity of Robin’s story lent itself easily to serial publications as well as opening the legend up to reinterpretations. This case shows some early publications, targeted for children, but popular among adults; short, action-driven texts were easily read by a wide audience. Soldiers especially liked the comic format, as it weighed little and was easily circulated in the field. Some authors, such as Geoffrey Trease, used Robin to make political statements for an adult audience, while other authors, such as Louis Rhead, followed Pyle’s lead, creating illustrated children’s texts. Bradley, A. W. “To the King’s Rescue.” Aldine Robin Hood Library 43. London: Aldine Publishing Co., n.d. [The Aldine Robin Hood Library, published twice a month, presented eighty-eight stories of Robin Hood from 1902–1905. These text-based narratives resemble comic books, and were targeted at a young audience, featuring simple, action-oriented prose and low price. Following the success of the Fairbanks Robin Hood film (1922), they were reissued from 1924–1927 at 2d. with different covers.

Both covers are presented in this display.] “Robin Hood’s Peril.” Thriller Comics 27. London: The Amalgamated Press Ltd., n.d. [early 1950's] [This series was published weekly for most of its run, 1951 through March 1963, ultimately producing 450 issues. The tales are of varied subjects, drawing on many different genres; all of them were of interest to young boys, with some issues adapting classic stories, some presenting established characters (like Robin Hood) in new situations, and others presenting entirely original material.] "Robin Hood." Classics Illustrated 7. New York: Gilberton Company, [1942; rpt. 1955]. [Unlike most other Classics Illustrated volumes, which adapt a single work by a recognized author, this Robin Hood comic draws upon many different popular strands, especially reflecting the story as told in Pyle (1883; case 1) and The Adventures of Robin Hood (1938; case 4).

Originally published in 1942, this adaptation of Robin Hood was reprinted with new cover art in 1955 (represented here) and new interior art in 1957. Both reprints are probably in response to the new popularity of Robin Hood spurred by the Richard Greene television show (see case 4) and any of the four contemporary films.] Trease, Geoffrey. Bows Against the Barons. Moscow: Co-operative Publishing Society of Foreign Workers in the U.S.S.R., 1934. [Continuing the fight against tyranny, this text reinterpreted Robin Hood as a communist figure, as this striking image shows. Later editions of this work would remove such overtones and insert different images. The style recalls Pyle’s detailed line drawings with a historical basis, although the image itself is original.] Rhead, Louis. Robin Hood. Illus. Frank Godwin, Louis Rhead, and Walter Crane. New York: Children’s Classics, 1988. [Originally published as Bold Robin Hood and his Outlaw Band (1908), Rhead followed Pyle’s lead in writing and illustrating the text.

Like Pyle’s Merry Adventures, this book has often been reprinted, in whole or in part; this volume from 1988 features new color images by Frank Godwin and black and white images by Louis Rhead and Walter Crane; this book is intended for children. Pyle’s influence on Rhead’s illustrations is unmistakable.] Robin Hood in the Media Robin Hood has been a consistent presence in the history of film. Although he is not as popular a figure as some others, every generation has had a Robin Hood film, and nearly every film has been popular and profitable. He also quickly moved to television. Robin’s popularity in these visual media is easily explained. The simplicity of Robin’s motives appeals to a wide audience, and the action-orientation of the story allows for great visual spectacle. It is also very adaptable; it is easy to present on the stage and screen, as there are no transformations, no special effects, no expensive costumes or sets necessary to tell the story of the outlaw hero. The basic plot itself is well-known, and the adaptability of the story lends itself well to different audiences. As audiences have changed, Robin has been able to reflect those changes without losing his essential characteristics. The Adventures of Robin Hood. Vol.

1, No. 8. New York: Sussex Publishing Company, Inc., 1957. [This comic features Richard Greene on the cover, and is a tie-in to the popular “Adventures of Robin Hood” television show, which ran from 1955–58. The story itself is not otherwise connected with the television series.] Adventures of Robin Hood. Dir. Michael Curtiz and William Keighley. With Errol Flynn, Basil Rathbone, Claude Rains, Olivia De Havilland, and Alan Hale. Warner Brothers, 1938. [Errol Flynn’s turn as Robin Hood, while not the first, is perhaps the most recognized (see, especially, case 6). An action-oriented telling of the legend, it draws upon the earlier Fairbanks film, Robin Hood (1922), for some of its sequences, but ultimately outshines the silent feature in brilliant technicolor.] Robin Hood: Prince of Thieves. Dir. Kevin Reynolds. With Kevin Costner, Morgan Freeman, Alan Rickman, and Mary-Elizabeth Mastrantonio. Morgan Creek Productions, 1991.

[A big-budget film that did very well at the box office, “Prince of Thieves” is not a favorite with Robin Hood scholars and fans. This film abandoned the high action and technicolor swashbuckling of 1938’s Adventures for a more “realistic” (that is, dark and dirty) portrayal of the period. Despite its problems, it served to introduce a new generation to the Robin Hood legend, and it highlights certain trends in medievalism. As the DVD case shows, many Robin Hood films are gaining new life when released on DVD, with extra features, including cut or extended scenes, interviews, trailers, short featurettes, and other information.] “Robin Hood Daffy." Dir. Chuck Jones. With Mel Blanc. Warner Brothers, 1956. [A short Warner Brothers cartoon in which Daffy Duck tries to prove to Friar Tuck (Porky Pig) that he is the notorious outlaw Robin Hood.] The Legend of Robin Hood. Famous Classic Tales, 1971. [A low-budget Australian production, by the time of this short (47 minute) feature, Robin was recognized as a bankable commodity.

Clearly intended for a young audience, this cartoon is unremarkable except as an example of the commercial possibilities of this widely-known figure.] Robin Hood. Dir. Wolfgang Reitherman. With Brian Bedford, Monica Evans, Peter Ustinov, and Roger Miller. Walt Disney Productions, 1973. [Walt Disney’s second attempt at presenting the Robin Hood myth, this animated feature was more successful than their 1952 live-action The Story of Robin Hood and His Merrie Men. By presenting the characters as animals, the movie delights children and establishes characteristics at a glance. Although not one of Disney’s finest animated works, the marketing of the film is incredible (see the book and pin in case 6), and continues today; the songs sung by Roger Miller have proven to be perhaps the most durable aspect of the film.] Robin Hood. Dir. John Irvin. With Patrick Bergin and Uma Thurman. 20th Century-Fox, 1991. [This film was originally slated for release at the same time as Robin Hood: Prince of Thieves, but Fox recognized the power of its competition and decided to release this film directly to television and video.

Most Robin Hood scholars and fans feel this is the better film. The story is much better (and more in keeping with the traditional legend), John Irvin’s direction is stronger, and Patrick Bergin’s Robin recalls the capricious and dangerous figure of the early ballads. The medieval character of the film is more historically accurate because J.C. Holt, a noted Robin Hood scholar, served as a consultant.] Two Roads: Scholars & Popular Authors In the twentieth century, scholars started to pay more attention to popular culture, regarding it as a proper venue for academic study. Perhaps the two most important figures for Robin Hood’s place in academic study are J. C. Holt and Stephen Knight. Both have written many articles and books discussing the importance of the figure from historical and literary standpoints. Many others have written about Robin Hood in some way or another, and every facet of the legendary hero is recognized as having some intellectual value. Despite Robin’s lack of a literary pedigree, he is now recognized as a worthwhile object of serious study. At the same time, Robin again gained prominence in popular fiction.

Authors like Frasier, Roberson, and McKinley reclaimed Robin as a hero for adult fiction, and the legend provides a source for various genre pieces, such as Carey’s romance featuring Will Scarlet. Many of these novels have done well, and Robin Hood continues to be a popular figure in literature for any age. His continued presence on the stage, as well as the screen, is assured. Knight, Stephen, and Thomas Ohlgren, eds. Robin Hood and Other Outlaw Tales. Kalamazoo, MI: Medieval Institute Publications, 1997. [The TEAMS Middle English Texts Series offers good, affordable student editions of difficult-to-find texts. This compilation brings together verse and prose texts from Robin Hood’s earliest appearances through the early seventeenth century. I have copied an excerpt from “Robin Hood and Guy of Gisborne” (lines 21ff) for comparison to Thomas Percy’s 1864 edition, below. A good, modern edition intended for a wide range of audiences, this is one of the most popular METS volumes.] Percy, Thomas, ed.

Reliques of Ancient English Poetry: consisting of old heroic ballads, songs, and other pieces, of our earlier poets, together with some few of later date. London: Bohn, 1864. [An important early edition, Thomas Percy’s Reliques is a three-volume collection of historical and lyrical ballads that reflects the antiquarian interest of the time. The Reliques were intended to be an important early history of English literature. It also reflects the anxiety early editors felt about their presence in the text, as these ballads were seen as records of an earlier, oral tradition. Percy’s creative license with the text is especially clear when compared to the Knight and Ohlgren edition. See pp. 22–23.] Harris, P. Valentine. The Truth About Robin Hood: A Refutation of the Mythologists’ Theories, with New Evidence of the Hero’s Actual Existence. London: P. V. Harris, 1951. [Harris tried to prove Robin Hood was actually a living person in Edward II’s reign (1307–27).

Unfortunately, his enthusiasm for Robin Hood surpasses his scholarship; he finds evidence where there is none, or sees it because he wants to prove Robin’s existence.] Keen, Maurice. The Outlaws of Medieval Legend. 1961. Rpt. London: Routledge and Kegan Paul, 1977. Third edition 2000. [In the early 1960’s, Maurice Keen and J. C. Holt invigorated Robin Hood studies by debating positions on the Robin Hood legend in a series of articles published in Past and Present. This book is, in part, the result of Keen’s research. The Outlaws of Medieval Legend includes four chapters specifically on Robin Hood, including “The Historical Background of the Robin Hood Legends,” where Keen discusses the historical events that might have led to the creation of the outlaw, and “The Historicity of Robin Hood,” where he suggests that any historical figure that may have inspired Robin Hood is too distant from the sources we now have to be of any real use in illuminating the tales.] Pollard, A. J. Imagining Robin Hood. London: Routledge, 2004.

[A historical look at Robin Hood, Pollard is not interested, as P. Valentine Harris, in identifying Robin as a historical individual, but instead discusses the society from which Robin arose. His chapters discuss yeomanry, the greenwood, crime, and religion in mid- to late-medieval culture in an attempt to identify the period of the early ballads and tales, and illuminate the tales themselves.] Knight, Stephen. Robin Hood: A Mythic Biography. Ithaca: Cornell University Press, 2003. [A brief history of Robin as a character, Knight has published extensively on Robin Hood, including the TEAMS edition and a number of other books and articles. This book looks at the development of Robin in four general stages: “Bold Robin Hood,” which focuses on the Medieval tradition; “Robert, Earl of Huntington,” about early Modern tales; “Robin Hood, Esquire,” which discusses the nineteenth century tradition; and “Robin Hood of Hollywood,” which treats the twentieth century.] Ohlgren, Thomas H., ed. Medieval Outlaws: Ten Tales in Modern English. Phoenix Mill: Sutton, 1998. [Includes a translation of “The Gest of Robin Hood” by Ohlgren.

This text presents Robin in the context of other Medieval outlaws, such as Fulk fitz Waryn, Hereward the Wake, and William Wallace.] Gilbert, Henry. Robin Hood and the Men of the Greenwood. Illus. H. M. Brock and Walter Crane. New York: T. Nelson and Sons, 1912. [An early twentieth-century retelling of Robin Hood for children, the debt owed to Pyle (see case 2) is unmistakable. Especially compare the two images here, from Gilbert and Pyle; the style, design, and content of the Crane image are all taken from Pyle’s original. The idea of Robin Hood as an appropriate subject for children was reinforced by these and similar works.] Blamire, Larry. Robin Hood. Boston: Baker’s Plays, 1991. Dobson, Mary Lynn. The Somewhat True Tale of Robin Hood. Woodstock, IL: Dramatic Publishing, 2000. [These short, two-act plays continue a long tradition of Robin on stage, including DeKoven's opera, Munday's plays (1605), and the popular May games of the late medieval and early modern periods.

Both plays offer humor and action, set in "The Middle Ages." Anachronism abounds, but it is usually recognized and consciously used to humorous effect.] Fraser, Antonia. Robin Hood. Illus. Rebecca Fraser. St. Alban’s: Dragon Books, 1973. [Originally published in 1955 under her maiden name, Fraser’s Robin Hood has had at least three illustrators: 1, Geoffrey Whittam, 1955; 2, Rebecca Fraser (Antonia’s daughter), 1971; and 3, Victor Ambrus, 1977. Like so many modern novels, this tale is set during Richard I’s reign, and highlights the tension between Saxon and Norman. Richard returns and sets everything right, and Robin and Marian live a long, happy life. Unlike many other modern tales, Fraser recalls an earlier tradition and presents Robin’s death in her final chapter. After suddenly becoming sick with a fever, Robin stops at a nunnery for help. While there, Black Barbara, a villain who had troubled him earlier, bleeds Robin to death.] Roberson, Jennifer. The Lady of the Forest: A Novel of Sherwood.

New York: Kensington Publishing Corp., 1992. [Roberson’s novel focuses on Marian. “Lady Marian of Ravenskeep” flees her “sheltered life ... to join a shadowy band of outlaws” (back cover). Roberson writes historical fiction, and offers a plausible explanation for Robin and Marian’s love (and the Robin Hood myth in general).] Lawhead, Stephen. Hood. Advance Reader’s Copy. Nashville, TN: West Bow Press, 2006. [The first book of a trilogy, Lawhead attempts to historicize the tale and adds a spiritual element to Robin Hood by placing his novel in Wales during the reign of William II (Rufus, 1087–1100). He spent much of his reign extorting money from his subjects and the church in an effort to wrest Normandy from his elder brother; this situation resonates with the modern idea of (Prince) John raising taxes to ransom Richard I (1189–99) or simply for his own purposes when king (1099–1216).

An unpopular king, William also continued his father’s attempts to take Wales by granting its land to his barons. In Lawhead’s book, Robin is one of the dispossessed Welsh nobles who fights back.] McKinley, Robin. The Outlaws of Sherwood. New York: Ace Books, 1989. [McKinley attempts to be “persuasive and genial” (Afterword, p. 278) in this novel, not historically accurate or even encompassing. McKinley acknowledges her debt to Howard Pyle, whose work she read as a child.] Carey, Diane. Under the Wild Moon. New York: New American Library, 1986. [Classified by the publisher as “historical romance,” this novel focuses on Will Scarlet and his love Katie. Carey acknowledges Errol Flynn and Patric Knowles (from the 1938 film). The novel itself is set in 1192, while Richard I is a hostage of the duke of Austria. It also portrays a truly villainous John, raising taxes for his own profit.] Robin Hood Everywhere Over his long career, Robin Hood has been adopted — and adapted — into nearly every aspect of popular culture.

This final exhibit case features some of the many different appearances he has made, in name or intent, through the last fifty years. Robin has truly become an icon of popular culture, appearing in toys, comics, jewelry, and ephemera. The foreign language books presented here further illustrate the spread of Robin, a distinctly English hero, into other cultures. Despite his connection to a specific period in English history, Robin’s appeal goes far beyond the limitations, and his continued life as a popular, legendary hero is assured. “Camouflaged Outpost.” Lego set, 1987. [One of the earliest themes of the Legoland building system was the “Knights Adventure,” a roughly medieval/fantasy realm. The Foresters was the first expansion beyond simple knights and castles. The Robin Hood theme is unmistakable, as these archers clad in green hide in a forest outpost.] Abbott, Frank. The Tales of Robin Hood. N.p.: Arrowdam, 1991. [Cassette] [This recording features a story by Abbott as read by Roy Harris.

It also includes musical backgrounds and interludes.] “Robin Hood: He Bore A Harp In His Hand.” Greg Hildebrandt collectable card, 1993. McSpadden, J. Walker. Robin Hood. Illus. Greg Hildebrandt. Morris Plains, NJ: Unicorn Publishing House, 1989. [Updating old stories with new art has been a regular feature of Robin Hood revisions since the early days of printing. Pyle has often been recycled, and the Gilbert volume (case 5) has received the same attention. Noted fantasy artist Greg Hidlebrandt has created new color illustrations for McSpadden’s 1904 publication, thus modernizing the look of Robin Hood. Interestingly, the artist is considered more significant than the author, as Hildebrandt’s name is more prominently displayed on the cover and title page. Hildebrandt later produced a series of trading cards based on his art, and his Robin Hood illustrations were no exception.

On the back of the card, the artist is credited with researching his subject to present “proper period costume.”] “Bertrand the Brigand, Hugo le Petit, and Gui le Gros.” Miniatures, Games Workshop, ca. 1996. [Although the characters are not identified as Robin Hood, Little John, and Friar Tuck, the likenesses are clear. The figures are used in tabletop war-gaming, and lead a unit of archers called “The Bowmen of Bergerac.”] Refrigerator magnet, ca. 2004. [This magnet features a very active scene from the 1938 Adventures of Robin Hood starring Errol Flynn. Here, Robin and Guy of Gisborne (Basil Rathbone) duel in the climactic scene. It is interesting to note that the magnet is a black and white reproduction of a color film. The original image may have been a promotional photo.] Mardi Gras coin, 1975. “Oo-De-Lally.” Disney collectable pin, ca. 2001. [Another tie-in to the 1973 Disney animated film, these pins are extremely collectible, and are generally only available at the Disney theme parks.

The song alluded to here is the opening number from the film, sung by Roger Miller.] Philip, Neil. Robin Hood: Der legendare Held der Unterdruckten, seine Geschichte und seine Zeit. Illus. Nick Harris. Hildesheim: Dorking-Kindersley, 1997. [Robin Hood: The legendary Hero of the Oppressed, his Story and his Age.] [The Dorling Kinder series of eyewitness books is targeted at a young audience. They usually focus on a historical figure, period, or event, presenting information about the chosen subject. Robin Hood is one of very few literary figures in the series, and the book uses him to illustrate medieval civilization through a telling of his story. It ends with a collage of images of Robin Hood from the early prints through Costner’s appearance in Robin Hood: Prince of Thieves (1991).] Robin Hood. Moscow: Egmont Rossiia, [c. 2001]. [A Russian translation of a book based on Disney’s 1973 film.] Adventures from England: Adventures of Robin Hood. Printed with Zinaida Shishova’s Jack Straw. Minsk: n.p., 1993.

[“Based on old legends of England,” this high school-level text juxtaposes two English heroes who fought tyranny: Robin Hood and Jack Straw, a leader of the revolt of 1381. The volume also includes a brief critical article on Jack Straw, by a noted literary critic. This book was published shortly after the dissolution of the USSR, and the heroes would have resonated with the new freedom encountered in Belarus.] Dumas, Alexandre. Robin des Bois: le prince des voleurs. Paris: Éditions J’ai lu, 1996. [Robin Hood (lit., Robin of the Woods): Prince of Thieves] [Dumas’ book, first published in 1872, is largely based on Pierce Egan’s 1838 Robin Hood and Little John: or, The Merry Men of Sherwood Forest. It is telling that Flynn’s Robin Hood has such a strong place in the public imagination still that he is used for the cover, some 58 years after his appearance in the role.] Patience, John. Les enfants de Sherwood: Robin des Bois n’est pas invite! Paris: Peter Haddock Limited, 1996.

[The Children of Sherwood: Robin Hood (lit., Robin of the Woods) was not invited!] [Robin is a children’s hero in other countries, as shown by Patience’s series of children’s books. Robin’s rebellious nature is emphasized in this picture book for early readers.] Robin Hood Flour, 2006. [The Robin Hood Flour Company was founded in western Canada in 1909. “Its green-and-red archer emblem has become a familiar and highly regarded symbol of quality and good value from coast to coast” (from the Robin Hood Flour Company website, Various authors. Jack Kirby’s Green Arrow. Illus. Jack Kirby. New York: DC Comics, 2001. [A character created in 1941, during the golden age of superheroes, Green Arrow’s costume and theme are clearly based on Robin Hood, especially the 1938 film The Adventures of Robin Hood. The stories herein were originally published from 1958–59.] Wolfman, Marv. “… and with the word there shall come death!” Tomb of Dracula 49. Illus. Gene Colan and Tom Palmer.

New York: Marvel Comics Group, 1976. [Wolfman accords Robin Hood literary status equal to Dracula, Frankenstein, Tom Sawyer, and D’Artagnan (from Alexandre Dumas’ The Three Musketeers), all of whom are featured on the cover and in the story. Dracula is transported from the real world into a library. When he shows he is not the same person as the literary character in Bram Stoker’s novel, Robin Hood and the other characters try to protect the librarian who summoned him; ultimately, the librarian exiles Dracula from her library and is comforted by Robin and D’Artagnan.] Storrie, Paul. Robyn of Sherwood. Illus. Michael Larson. Plymouth, MI: Caliber Comics, 1998. [This is the first issue of a short-lived series that takes place after Robin’s death. His daughter picks up his mantle to fight the king’s injustice.

Despite the especially flashy cover art, the interior art consists of understated black-and-white drawings.] "Robin Hood and Guy of Gisborne" excerpts Opening Lines from "Robin Hood and Guy of Gisborne" Maid Marian - definition of Maid Marian by The Free Dictionary Maid Marian - definition of Maid Marian by The Free Dictionary In English legend, the sweetheart of Robin Hood. Maid Marian n 1. (European Myth & Legend) a character in morris dancing, played by a man dressed as a woman 2. (European Myth & Legend) legend the sweetheart of Robin Hood Maid′ Mar′ian n. Robin Hood's sweetheart. Want to thank TFD for its existence? Tell a friend about us , add a link to this page, or visit the webmaster's page for free fun content . Link to this page: Write what you mean clearly and correctly. References in classic literature ? Robin Hood has left Maid Marian, Friar Tuck, Little John, and all his merry men to hunt the deer and make ready the feast. So some make ready the bower, the tables and the seats, while Maid Marian, Little John and others set out to hunt.

But Maid Marian only scolds the more, and at last goes away leaving the others in sad bewilderment. Meanwhile the real Maid Marian discovers that the venison has been sent away to Mother Maudlin's. When Mother Maudlin comes to thank Maid Marian for her present, she is told that no such present was ever intended, and so she in anger curses the cook, casting spells upon him: Robin soon meets Mother Maudlin who has again taken the form of Maid Marian.

Question: According to legend, who was the sweetheart of Robin Hood?
Answer: Maid Marian