The Robin Hood play: “Robyn Hod and the Shryff off Notyngham”
Isabelle Marianne
Robin Hood is one of the most well-known and widely loved and read stories of all time and this popular legend of the outlaw can be traced back to England. What started as a popular folklore has now widely spread across the globe and become a much loved hero and his name has come to represent any “outlaw” of a do-gooder who seeks justice for the poor and oppressed.
So, what is the origin of this legend who looted the rich and helped the poor? And what do we know of it? The earliest mention of Robin Hood can be traced back to William Langland’s Piers Plowman and later on it can be spotted various other sources like Friar Daw’s Reply, Dives and Pauper and even the famous Lollard tracts from the latter half of the 15th century. Out of these, Dives and Pauper, a 15th century religious commentary, probably exposes the popularity of Robin Hood as it complains how people are more willing to listen to tales of Robin Hood than to attend Mass. In regard to verse narratives, there are as many as thirty-nine ballads attributed to Robin Hood, many of which are compiled by the American folklorist in his anthology, “The English and Scottish Ballads” which is more popularly known as the “Child Ballads”. Of these thirty-nine ballads, only twelve are dated with certainty are believed to be written before the 17th century. The earlier narrative ballads belonging to the latter part of the 15th century and the first half of the 16th century are also important as they provide major information on the legend. Those narrative ballads mention the outlaw’s anticlerical attitude which contrasts with his devotion to Virgin Mary, his special regard for women and children, how he favoured the lower/poorer sections of the society, portrays the Sheriff as one of his major enemies and most importantly mentions some of the members of Hood’s band of Merry Men: Will Scarlet, Little John and Much the Miller’s son. The 16th century ballad, “A Gest of Robyn Hode” is one of the earliest texts of verse on Robin Hood.
Coming to the dramatic pieces on Robin Hood, there are three fragmentary plays on Robin Hood, of which only one is dated with certainty and it is an incomplete, anonymous work- a fragment of 21 lines: “Robyn Hod and the Shryff off Notyngham”. The studies on this fragment are done in comparison with other parallel sources and much of the information is often disputed, with opinions changing according to the scholar. This manuscript dates back to 1475 and this was determined as a fact as it was written on a paper which recorded the financial receipts for the year 1475-76.
The manuscript is unclear about stage directions and the speakers, the scenes change abruptly and therefore, the interpretation is quite complex. However, there is one popular identification which matches the fragment with the “Robin Hood and the Guy of Gisborne” story. The manuscript holds much importance as it reveals two important characters related to the legend- Maid Marian and Friar Tuck/ “ffere Tuke”. There is some contemplation that this is probably a part of a play performed in the household of Sir Paston and hence, can be linked to the famous Paston letters. Currently, the manuscript is kept at the library in Trinity College, Cambridge.
Regarding the plot-oriented details of the manuscript, the fragment begins with an agreement between the sheriff and a knight with the latter agreeing to capture Robin Hood in return of “gold and fee”. The knight competes with Robin Hood in various sports, including archery and it ends with the knight being defeated and he is later beheaded by Robin Hood after fighting him. There is a sudden scene change and we find two men who discuss about Robin Hood and set out to kill the Sheriff. Again, the scene changes and the audience are presented with Friar Tuck who is shown to be shooting with a bow (and the same two men are keenly watching him). Critics consider the anonymous two men to be Will Scathelock and Little John and these two along with Friar Tuck are forced to yield by the Sheriff (under the threat of being hanged) and consequently taken away wherein the fragment ends.
The manuscript remains relevant to this for the study of Robin Hood and keeping the legend alive. The most notable aspect is its violent portrayal of Robin Hood as opposed to the contemporary equivalent of a kind-hearted, merciful outlaw who engages in warfare but with minimum bloodshed. The legend of Robin Hood and its gradual growth over time has given way to several speculations- a symbol of rebellion, a symbol of hope and protest against the erstwhile feudal society and lastly, for all we know, “Robin Hood” could be an alias for any person who seeks justice. Much of the interpretations are assumed with varied opinions and inferences and there is always something new added to the core elements of the play. In contemporary society, the May Day celebrations (which finds its roots in Tudor times) consider Robin Hood and Maid Marian as the May King and Queen.
Regardless of scholarly studies and debates, the famous outlaw of Sherwood Forest with his gang of Merry Men who wore Lincoln green and helped the poor remains as a much loved figure who has captured hearts and minds alike. Among children, the tales of the charming, kind-hearted archer arouse much curiosity and excitement while on a larger angle, it is one of England’s finest legendary figures and a treasure belonging to its folklore. And to conclude, it is impossible to deny the value and importance of its early origins- be it ballads, plays or prose pieces- as it all contributes to keeping the beloved English hero’s legacy alive.
References used:
https://robinhoodlegend.com/the-dramatic-fragment/
https://en.wikipedia.org/wiki/Child_Ballads
https://en.wikipedia.org/wiki/A_Gest_of_Robyn_Hode
https://photos.com/featured/1-robin-hood-legendary-english-folk-hero-print-collector.html
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