His antics are morally wrong but his intentions are very good. Also, in his stories the men he steals from are very arrogant and greedy, thus rightfully deserving of being robbed. While the exploits of Robin Hood seem villainous on the surface robbery is typically a crime!! Almost anyone would indeed answer that he is a hero. This just further illustrates the concept that people are attracted to rebellious characters who defy authority to do what they think is right, even if it is technically not right.
In the mean time, please accept our apologies. 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.
The song alluded to here is the opening number from the film, sung by Roger Miller. Philip, Neil. Nick Harris. Hildesheim: Dorking-Kindersley, 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.
Adventures from England: Adventures of Robin Hood. Minsk: n. 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. Patience, John. Paris: Peter Haddock Limited, Various authors. Jack Kirby. New York: DC Comics, The stories herein were originally published from — Wolfman, Marv. Gene Colan and Tom Palmer. New York: Marvel Comics Group, Dracula is transported from the real world into a library. Storrie, Paul. Robyn of Sherwood. Michael Larson.
Plymouth, MI: Caliber Comics, Despite the especially flashy cover art, the interior art consists of understated black-and-white drawings. Allan Dwan. United Artists, Robin and Marian. Richard Lester.
With Sean Connery and Audrey Hepburn. Columbia, Carpenter, Kevin, ed. Dobson, R. London: Heinemann, Drayton, Michael. The Poly-Olbion: a chorographicall description of Great Britain. New York: B. Franklin, Evans, Thomas, and R. Evans, Bibliography of Robin Hood. Lincoln, NE: University of Nebraska, Groom, Nick.
The Making of Percy's Reliques. Oxford: Clarendon Press, Hahn, Thomas, ed. Cambridge: D. Brewer, Holt, J. London: Thames and Hudson, Outlaws of Medieval Legend. Oxford: Blackwell, Knight, Stephen, ed. Cambridge: Brewer, Langland, William. London: Longman, Munday, Anthony. The Death of Robert, Earl of Huntington.
Oxford: Oxford University Press, The Downfall of Robert Earl of Huntingdon. Oxford: Malone Society Reprints, Percy, Thomas. Together with some few of later Date. John W. Hales and Frederick J. London: N. Trubner, Phillips, Graham, and Martin Keatman.
London: Michael O'Mara Books, Phillips, Helen, ed. Dublin: Four Courts Press, Pollard, A. London: Routledge, Potter, Lois, ed. New York: Scribner's, Chandler Author.
These pages were originally prepared as guide to an exhibition 5 September - 19 January 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. Preface: Was Robin Hood Real? Schmidt, p. These are the definitions of prowess for the yeoman and lower orders. Jousting and the like were reserved exclusively for noble knights to show off their shiny equipment and to show the men from other kingdoms they were a force to be reckoned with.
Also what is interesting is why Robin and the Sherriff of Nottingham hate each other so; the stories are set in Barnsdale, Yorkshire. At this time, the boundary of Sherwood Forrest stands 30 miles south of Barnsdale. What the authorities really have a gripe with is that Robin and his gang poach deer.
Yet Robin and clearly the storytellers themselves perceive this to be their right as a free man, to hunt and provide for their families. Again this would have had a profound effect on audiences. Robin and his men live a utopian, idealistic and free lifestyle. They are not restrained with law and boundaries; they answer to nobody but the king and God, they are truly free. They drink until in a stupor, whenever they feel like it they poach deer and feast and sing the night away.
To awake the next day under the sun to have adventures and generally piss off people they deem to be corrupt. There are many ballads of Roman Hood, but there are the fixed elements within the earliest ones that can tell us about the storytellers. On the subject of Little John, in the early stories, it is hard to actually establish who the de facto leader of the gang is. One truly gets the sense the ballads are more fun rather than propaganda for the downtrodden or as a moral story. This can be seen with the use.
They paint the Sherriff and numerous abbots as stupid, idiotic fat cats with nothing to do but chase their tales and count their florins. One can almost imagine the roars of laughter and cheering when the teller would relate these parts of the stories. Much like today, we love to see villainous beings get their just desserts. The real Robin Hood and the many men who also influenced the legend and indeed, the man from the earliest ballads is no clear cut hero. In fact, to call him an actual hero at all would be a stretch.
He robbed from the rich yes, but there is no evidence that he actually gave his proceeds to people of the poor. His famous skills in the arts of being a warrior have left him wanting in almost all of the early ballads, being bested by better men, when Robin loses or looks like he will lose a fight; he immediately blows on his horn and calls his men to his aid who always are around somewhere , and then immediately asks the victor to join his band, almost under duress.
This hardly sounds like a man who can be considered a chivalric hero…. Robin is of course most famous for his almost supernatural skill with the most famous of weapons, the yew longbow. His magical prowess with this weapon is the thing most people affiliate with him. However, in some of the ballads Robin is far from a great archer. Little John and others beat him on more than one occasion, and Robin does not take this graciously at all, he gets almost petulant and receives defeat with bad grace.
Again not exactly symbols of a hero. But still Robin, when needed, will make a damn fine shot. For example in an archery contest, his opponent fires an arrow squarely in the bulls eye, but when Robin takes his shot he hits the arrow fired previously square in the middle, and splits it in twain! The potent use of the longbow in the stories can be explained.
Although archery had been around for a long time before the longbow became truly famous, the longbow and the bows that preceded it has become synonymous not just with England, but more importantly with the men who used them to such deadly effect. However, the common man with a longbow was just as effective as a knight in shining armour. The longbow truly came into prominence first against the Scots in at the battle of Dubblin Moor.
With the really famous longbow victories occurring in the Hundred Years War in the battles of Agincourt and Crecy With the ordinary yeoman and his simple bow bringing down men regarded as better men with expensive armour and the ultimate luxury, the war horse.
Crediting Robin with pure and honest skill in this weapon can say an awful lot; it is again triumph over nobility for the lesser man. To fire a longbow effectively took great skill and strength. The longbow in the hands of a skilled archer could be fired over a distance of yards 6 and could pierce armour at this range too. It is again a symbol of strength, skill and above all, it is a two fingered salute to the nobility. So how do these stories reflect who Robin was?
They paint Robin as a human being, much like the people who tell them. More importantly, the stories are not fantastical, Robin is no super hero. He is a man, he gets angry and moody when he is unhappy, he laughs, gets drunk and just seems to enjoy the company of his friends.
He was a simple bandit, albeit with peculiar methods that must have attracted people to his story. His specific targets were wealthy travellers and in particular, men of the Church. He is polite, courteous yet he is underlined with menace. He can certainly be compared to the Highwaymen who became so prominent in the 18th century, they too were also idolised by the lower and upper classes of their time. He was a product of the world he lived in, a product of his yeoman status, bogged down with typical vices.
Yet hardly a simple peasant either. They embody the perceived God given rights of every man woman and child, to be free and to live, not just exist as tools for others. He truly is an unlikely hero in his deeds, but his character can be heroic. He also has an actual respect for the established order. Robin was not a man that wanted to bring down the establishment, rather to extract like a rotten tooth some of the foul and corrupt elements and people it had given rise to.
He was a devout follower of the Virgin Mary, yet he completely abhorred the established monarchical system the Church had become, and the majority of the stories have a tale of him outsmarting an abbot, or rescuing a poor knight from Church enforced abject poverty. He was both your best friend and your worst enemy. These are all significant points about the writers and tellers of the stories. It would seem he was a man of charisma, who drew men to him through strength of character, rather than ability.
The central crux for the people who told them appears to be who Robin was as more prominently than what he does. He was a product of his time, and it is clear that in this period of strife and social upheaval a hero was needed to lighten the load placed on the people.
These ordinary people may not have been deemed worthy to be written about, but the affairs of kings affects profoundly the souls of the kingdom. Robin Hood was the simple man who had been deemed worthy of an immortalisation; the very embodiment of ideals.
He is a man of the people, rather than a man for the people. The character Robin Hood is not perfect, and the people of the 13th Century love him for it. Robin and his men also reflect the general consensus towards the king himself, the ordinary person would never hope to meet the king, so there would be that distance where he can be admired. The people rarely blamed the king for the troubles of the realm; they saw it as the problems of bad advice.
This respect and general admiration for the king is reflected in Robin and his meeting with the king too. The king is presented as a noble soul who has good in his heart. Who does the best job he can for his kingdom, yet he is let down by the people who surround him. After all, he is chosen by God, even if he spat flames and slept with goats, the common people would still at the very least accept his royal authority.
The real Robin Hood, and indeed Hoods may not be deserving of the true hero status, he is no chivalric perfect being, and nor is he a saint of the greenwood.
His somewhat cowardly nature and lacklustre fighting ability speak volumes. All of the characters in the legends are significant and diverse in their personalities. But all are drawn together by the spirit which was prevalent in the British Isles at this time, fighting, boozing and the camaraderie which bound them. The stories of Robin Hood indeed defined the nation, and it has gone very far in the defining of many parts of the world too.
He is a universal ideal. We have a history of rebelling against the established order, and Robin Hood is the medieval rocker. He fights for all of us; he is the voice we give to everything we hold dear. We keep him alive with every re-telling, and we breathe his greenwood magic into every word we write and say, and in this the legends are much the same to us as they were to the nameless faces of yesteryear.
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