English and Scottish Ballads, Volume V

by Unknown

9th Ed. II. Robert Hood is a citizen of Wakefield, Yorkshire, whom Mr. Hunter (p. 47) "may be justly charged with carrying supposition too far" by striving to identify with Robin the porter.

10th Ed. III. A Robert Hood, of Howden, York, is mentioned in the Calendarium Rot. Patent.

Adding the Robin Hood of the 17th Ed. II. we have six persons of that name mentioned within a period of less than forty years, and this circumstance does not dispose us to receive with great favor any argument that may be founded upon one individual case of its occurrence. But there is no end to the absurdities which flow from this supposition. We are to believe that the weak and timid prince that had severely punished his kinsman and his nobles, freely pardoned a yeoman, who, after serving with the rebels, had for twenty months made free with the king's deer and robbed on the highway, and not only pardoned him, but received him into service near his person. We are further to believe that the man who had led so daring and jovial a life, and had so generously dispensed the pillage of opulent monks, willingly entered into this service, doffed his Lincoln green for the Plantagenet plush, and consented to be enrolled among royal flunkies for three pence a day. And again, admitting all this, we are finally obliged by Mr. Hunter's document to concede that the stalwart archer (who, according to the ballad, maintained himself two and twenty years in the wood) was worn out by his duties as "proud portèr" in less than two years, and was discharged a superannuated lackey, with five shillings in his pocket, "poar cas qil ne poait pluis travailler."

To those who are well acquainted with ancient popular poetry, the adventure of King Edward and Robin Hood, will seem the least eligible portion of this circle of story for the foundation of an historical theory. The ballad of King Edward and Robin Hood is but one version of an extremely multiform legend, of which the tales of King Edward and the Shepherd and King Edward and the Hermit are other specimens; and any one who will take the trouble to examine will be convinced that all these stories are one and the same thing, the personages being varied for the sake of novelty, and the name of a recent or of the reigning monarch substituted in successive ages for that of a predecessor. (See King Edward the Fourth and the Tanner of Tamworth.)

Rejecting, then, as nugatory every attempt to assign Robin Hood a definite position in history, what view shall we adopt? Are all these traditions absolute fictions, and is he himself a pure creation of the imagination? Might not the ballads under consideration have a basis in the exploits of a real person, living in the forests, somewhere and at some time? Or, denying individual existence to Robin Hood, and particular truth to the adventures ascribed to him, may we not regard him as the ideal of the outlaw class, a class so numerous in all the countries of Europe in the middle ages? We are perfectly contented to form no opinion upon the subject; but if compelled to express one, we should say that this last supposition (which is no novelty) possessed decidedly more likelihood than any other. Its plausibility will be confirmed by attending to the apparent signification of the name Robin Hood. The natural refuge and stronghold of the outlaw was the woods. Hence he is termed by Latin writers silvaticus, by the Normans forestier. The Anglo-Saxon robber or highwayman is called a wood-rover, wealdgenga, and the Norse word for outlaw is exactly equivalent.[17] It has been often suggested that Robin Hood is a corruption, or dialectic form, of Robin of the Wood, and when we remember that wood is pronounced hood in some parts of England,[18] (as whoop is pronounced hoop everywhere,) and that the outlaw bears in so many languages a name descriptive of his habitation, this notion will not seem an idle fancy.

Various circumstances, however, have disposed writers of learning to look further for a solution of the question before us. Mr. Wright propounds an hypothesis that Robin Hood was "one among the personages of the early mythology of the Teutonic peoples;" and a German scholar,[19] in an exceedingly interesting article which throws much light on the history of English sports, has endeavored to show specifically that he is in name and substance one with the god Woden. The arguments by which these views are supported, though in their present shape very far from convincing, are entitled to a respectful consideration.

The most important of these arguments are those which are based on the peculiar connection between Robin Hood and the month of May. Mr. Wright has justly remarked, that either an express mention of this month, or a vivid description of the season, in the older ballads, shows that the feats of the hero were generally performed during this part of the year. Thus, the adventure of Robin Hood and the Monk befell on "a morning of May." Robin Hood and the Potter, and Robin Hood and Guy of Gisborne begin, like Robin Hood and the Monk, with a description of the season when leaves are long, blossoms are shooting, and the small birds are singing, and this season, though called summer, is at the same time spoken of as May in Robin Hood and the Monk, which, from the description there given, it needs must be. The liberation of Cloudesly by Adam Bel and Clym of the Clough is also achieved "on a merry morning of May."

Robin Hood is moreover intimately associated with the month of May through the games which were celebrated at that time of the year. The history of these games is unfortunately very defective, and hardly extends beyond the beginning of the 16th century. By that time their primitive character seems to have been corrupted, or at least their significance was so far forgotten, that distinct pastimes and ceremonials were capriciously intermixed. At the beginning of the 16th century the May sports in vogue were, besides a contest of archery, four pageants,—the Kingham, or election of a Lord and Lady of the May, otherwise called Summer King and Queen, the Morris Dance, the Hobby Horse, and the "Robin Hood." Though these pageants were diverse in their origin, they had, at the epoch of which we write, begun to be confounded; and the Morris exhibited a tendency to absorb and blend them all, as, from its character, being a procession interspersed with dancing, it easily might do. We shall hardly find the Morris pure and simple in the English May-game; but from a comparison of the two earliest representations which we have of this sport, the Flemish print given by Douce in his Illustrations of Shakespeare, and Tollett's celebrated painted window, (described in Johnson and Steevens's Shakespeare,) we may form an idea of what was essential and what adventitious in the English spectacle. The Lady is evidently the central personage in both. She is, we presume, the same as the Queen of May, who is the oldest of all the characters in the May games, and the apparent successor to the Goddess of Spring in the Roman Floralia. In the English Morris she is called simply The Lady, or more frequently Maid Marian, a name which, to our apprehension, means Lady of the May, and nothing more. A fool and a taborer seem also to have been indispensable; but the other dancers had neither names nor peculiar offices, and were unlimited in number. The Morris then, though it lost in allegorical significance, would gain considerably in spirit and variety by combining with the other shows. Was it not natural, therefore, and in fact inevitable, that the old favorites of the populace, Robin Hood, Friar Tuck, and Little John, should in the course of time displace three of the anonymous performers in the show? This they had pretty effectually done at the beginning of the 16th century, and the Lady, who had accepted the more precise designation of Maid Marian, was after that generally regarded as the consort of Robin Hood, though she sometimes appeared in the Morris without him. In like manner, the Hobby Horse was quite early adopted into the Morris, of which it formed no original part, and at last even a Dragon was annexed to the company. Under these circumstances we cannot be surprised to find the principal performers in the May pageants passing the one into the other; to find the May King, whose occupation was gone when the fascinating outlaw had supplanted him in the favor of the Lady, assuming the part of the Hobby Horse,[20] Robin Hood usurping the title of King of the May,[21] and the Hobby Horse entering into a contest with the Dragon, as St. George.

We feel obliged to regard this interchange of functions among the characters in the English May pageants as fortuitous, notwithstanding the coincidence of the May King sometimes appearing on horseback in Germany, and notwithstanding our conviction that Kuhn is right in maintaining that the May King, the Hobby Horse, and the Dragon-slayer, are symbols of one mythical idea. This idea we are compelled by want of space barely to state, with the certainty of doing injustice to the learning and ingenuity with which the author has supported his views. Kuhn has shown it to be extremely probable, first, that the Christmas games, which both in Germany and England have a close resemblance to those of Spring, are to be considered as a prelude to the May sports, and that they both originally symbolized the victory of Summer over Winter,[22] which, beginning at the winter solstice, is completed in the second month of Spring; secondly, that the conquering Summer is represented by the May King, or by the Hobby Horse (as also by the Dragon-slayer, whether St. George, Siegfried, Apollo, or the Sanskrit Indras); and thirdly, that the Hobby Horse in particular represents the god Woden, who, as well as Mars[23] among the Romans, is the god at once of Spring and of Victory.

The essential point, all this being admitted, is now to establish the identity of Robin Hood and the Hobby Horse. This we think we have shown cannot be done by reasoning founded on the early history of the games under consideration. Kuhn relies principally upon two modern accounts of Christmas pageants. In one of these pageants there is introduced a man on horseback, who carries in his hands a bow and arrows. The other furnishes nothing peculiar except a name: the ceremony is called a hoodening, and the hobby horse a hooden. In the rider with bow and arrows, Kuhn sees Robin Hood and the Hobby Horse, and in the name hooden (which is explained by the authority he quotes to mean wooden) he discovers a provincial form of wooden which connects the outlaw and the divinity.[24] It will be generally agreed that these slender premises are totally inadequate to support the weighty conclusion that is rested upon them.