Robin Hood and the Friar, in both versions, is in a genuinely popular strain, and was made to sing, not to print. Verbal agreements show that A and B have an earlier ballad as their common source; but of this, one or the other has retained but little. I cannot think that B 33, 34 are of the original matter. It is a derogation from Robin Hood’s prowess that he should have his mantle torn from his back, and we may ask why the dogs do not catch Little John’s arrows as well as others.
Fountains Abbey, near Ripon, in the West Riding of Yorkshire, was a Cistercian monastery, dating from the twelfth century. (It is loosely called a nunnery in A 4.) The friar is called “cutted” in A and “curtal” in B, and these words have been held to mean short-frocked, and therefore to make the friar a Franciscan. Staveley, The Romish Horseleech, speaking of the Franciscans, says at p. 214, Experience shews that in some countrys, where friers used to wear short habits, the order was presently contemned and derided, and men called them curtaild friers. Cited by Douce, Illustrations of Shakspere, I, 61. So, according to Douce, we may probably understand the curtal friar to be a curtailed friar, and in like manner of the curtal dogs. “Cutted” in A can signify nothing but short-frocked. In the title of that version, though not in the text, the friar is called Tuck, which means that he is “ytukked bye,” like Chaucer’s Friar John, but not that he wears a short frock. The friar in the play (see below) has a “long cote,” v. 46. But I apprehend that B has the older word in curtal, and that curtal is simply curtilarius, and applied to both friar and dogs because they had the care and keeping of the curtile, or vegetable garden, of the monastery.[[102]]
The title of A in the MS. is Robin Hood and Friar Tuck; from which it follows that the copyist, or some predecessor, considered the stalwart friar of Fountains Abbey to be one with the jocular friar of the May-games and the morris dance. But Friar Tuck, the wanton and the merry, like Maid Marian, owes his association with Robin Hood primarily to these popular sports, and not in the least to popular ballads. In the truly popular ballads Friar Tuck is never heard of, and in only two even of the broadsides, Robin Hood and Queen Katherine and Robin Hood’s Golden Prize, is he so much as named; in both no more than named, and in both in conjunction with Maid Marian.
‘The Play of Robin Hood,’ the first half of which is based on the present ballad, calls the friar Friar Tuck, and represents him accordingly. See the Appendix. He is also called Tuck in the play founded on Guy of Gisborne.
In Munday’s Downfall of Robert, Earl of Huntington, Friar Tuck is by implication identified with the friar who fell into the well, Dodsley’s Old Plays, ed. Hazlitt, VIII, 185; and Mr Chappell is consequently led to say, at p. 390 of his ‘Popular Music,’ that the ballad of the Friar in the Well was in all probability a tale of “Robin Hood’s fat friar.” Cavilling at this phrase of Shakspere’s only so far as to observe that the friar of the traditional Robin Hood ballad is as little fat as wanton, I need but say that the truth of the case had been already accurately expressed by Mr Chappell at p. 274 of his invaluable work: “the story is a very old one, and one of the many against monks and friars in which not only England, but all Europe, delighted.”
The boon to blow three blasts on his horn, B 25, is also asked by Robin of the Shepherd, No 134, st. 15. The reply made by the Shepherd, st. 16, is, If thou shouldst blow till tomorrow morn, I scorn one foot to flee. In R. H. Rescuing Three Squires, B 25, when Robin, disguised as a beggar, intimates to the sheriff that he may blow his horn, the answer is nearly the same as here: Blow till both thy eyes fall out. In No 127, st. 34 f, Robin asks a boon of the Tinker, without specifying what the boon is; the Tinker refuses; Robin blows his horn while the Tinker is not looking. In No 135, st. 16 f, Robin asks the three keepers to let him blow one blast on his horn, and they refuse. This boon of [three] blasts on a horn is not an important matter in these Robin Hood ballads, but it may be noticed as a feature of other popular ballads in which an actor is reduced to extremity: as in the Swedish ballad Stolts Signild, Arwidsson, II, 128, No 97, and the corresponding Signild og hendes Broder, Danske Viser, IV, 31, No 170, in both of which the answer to the request is, Blow as much as you will. So in a Russian bylina, when Solomon is to be hanged, he obtains permission three several times to blow his horn, and is told to blow as much as he will, and upon the third blast his army comes to the rescue: Rybnikof, II, No 52, Jagié, in Archiv für slavische Philologie, I, 104 ff; Miss Hapgood’s Epic Songs of Russia, p. 287 f; also F. Vogt, Salman und Morolf, p. 104, sts 494 ff.[[103]] Three cries take the place of three blasts, upon occasion: as in the case of the unhappy maid in the German forms of No 4, I, 32 ff, where also the maid is sometimes told to cry as much as she wants, and in Gesta Romanorum, Oesterley, cap. 108, p. 440.
B is translated by Anastasius Grün, p. 124.
A
Percy MS., p. 10; Hales and Furnivall, I, 26.
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