(ii.) ‘Here begynneth a lytell geste of Robyn hode’—so runs the title-page; at the head of the poem are added the words—‘and his meyne [= meinie, company], And of the proude Sheryfe of Notyngham.’ The colophon runs ‘Explycit. kynge Edwarde and Robyn hode and Lytell Johan Enprented at London in fletestrete at the sygne of the sone By Wynken de Worde.’ This also is undated, and Child says it ‘may be anywhere from 1492 to 1534.’ Recent bibliographical research shows that Wynkyn de Worde moved to Fleet Street at the end of the year 1500, which gives the downward limit; and as the printer died in 1584, the Lytell Geste must be placed between those dates.[1] The text is complete save for two lines (7.1 and 339.1), which have also dropped from the other early texts. The only known copy is in the Cambridge University Library.
(iii., iv. and v.) Three mutilated printed fragments, containing about thirty-five, seventy, and fifteen stanzas respectively, preserved amongst the Douce fragments in the Bodleian (the last presented by J. O. Halliwell-Phillipps). The first was lent to Ritson in or before 1790 by Farmer, who thought it to be Rastell’s printing; in Ritson’s second edition (1836) he says he gave it to Douce, and states without reason that it is of de Worde’s printing ‘probably in 1489.’
(vi.) A mery geste of Robyn Hoode, etc., a quarto preserved in the British Museum, not dated, but printed ‘at London vpon the thre Crane wharfe by wyllyam Copland,’ who printed there about 1560. This edition also contains ‘a newe playe for to be played in Maye games, very plesaunte and full of pastyme.’
(vii.) A Merry Iest of Robin Hood, etc., printed at London for Edward White; no date, but perhaps the ‘pastorall plesant commedie’ entered to White in the Stationers’ Registers, May 14, 1594. There is a copy of this in the Bodleian, and another was in the Huth Library.
The Text here given is mainly the Wynkyn de Worde text, except where the earlier Edinburgh fragment is available; the stanzas which the latter preserves are here numbered 1.-83.3, 113.4-124.1, 127.4-133.2, 136.4-208.3, and 314.2-349.3, omitting 2.2,3 and 7.1. A few variations are recorded in the footnotes, it being unnecessary in the present edition to do more than refer to Child’s laborious collation of all the above texts.
The spelling of the old texts is retained with very few exceptions. The reason for this is that although the original texts were printed in the sixteenth century, the language is of the fifteenth, and a number of Middle English forms remain; these are pointed out by Child, iii. 40, and elaborately classified by W. H. Clawson, The Gest of Robin Hood, 4-5. A possible alternative was to treat the Gest on the plan adopted for fifteenth-century texts by E. K. Chambers and the present editor in Early English Lyrics (1907); but in that book the editors were mostly concerned with texts printed from manuscript, whereas here there is good reason to suspect the existence of a text or texts previous to those now available. For the sounded e (ë) I have mostly followed Child.
The Gest is not a single ballad, but a conglomeration of several, forming a short epic. Ballads representing its component parts are not now extant; although on the other hand there are later ballads founded on certain episodes in the Gest. The compiler availed himself of incidents from other traditional sources, but he produced a singularly original tale.
The word gest, now almost obsolete, is derived through Old French from the Latin gesta, ‘deeds’ or ‘exploits.’ But as the word was particularly applied to ‘exploits as narrated or recited,’ there came into use a secondary meaning—that of ‘a story or romantic tale in verse,’ or ‘a metrical chronicle.’ The latter meaning is doubtless intended in the title of the Gest of Robyn Hode. A further corruption may be noticed even in the titles of the later texts as given above; Copland adds the word ‘mery,’ which thirty years later causes White to print a ‘Merry Jest.’
I have kept the original divisions of the story into eight ‘fyttes,’ but it falls more naturally into three main sections, in each of which a complete story is narrated. These may he distinguished thus:—
1. Robin Hood and the Knight.
(Fyttes First, Second, and Fourth.)