A Gest of Robyn Hode

From Wikipedia, the free encyclopedia
Illustrated first page from ca 16th-century print edition. Now housed at the Library of Scotland.

A Gest of Robyn Hode (also known as A Lyttell Geste of Robyn Hode, and hereafter referred to as Gest) is one of the earliest surviving texts of the Robin Hood ballads. Copies of the rhyme are recorded in printed editions from the early 16th century - about 30 years after the first printing press was brought to England. Its popularity can be estimated from the fact that portions of twelve 16th and 17th century printed editions have been preserved.[citation needed] Gest is a compilation of various Robin Hood stories, arranged by the poet as a sequence of adventures involving the yeoman outlaws Robin Hood and Little John, the poor knight Sir Richard at the Lee, the greedy abbot of St Mary's Abbey, the villainous Sheriff of Nottingham, and King Edward of England. Written in late Middle English poetic verse, Gest (which meant tale or adventure) is an early example of an English language ballad, in which the verses are grouped in quatrains with an ABCB rhyme scheme.

With the rise of English Romanticism in the late 18th century came a resurgence in the popularity of the Robin Hood ballads. Gest was reprinted several times as part of various anthologies between 1765 and 1847. The most notable was Robin Hood: A collection of all the Ancient Poems Songs and Ballads now extant, relative to that celebrated Outlaw, edited by Joseph Ritson in 1795 (with two more editions in 1832 & 1885). Walter Scott, a Scottish poet who was a friend to Joseph Ritson, used Ritson's anthology to construct the character Robin of Locksley in his historical romance Ivanhoe (published in 1819).

In 1859, the American folklorist Francis James Child devoted volume V of his 8-volume English and Scottish Ballads[1] to the Robin Hood ballads. Child's 2nd edition, The English and Scottish Popular Ballads, volume 3,[2] published in 1888, assigned the number 117 to Gest, a designation the ballad retains today among folklorists.

Child's work on ballads was concurrent with, and partially reliant upon, major technical advances being made in the study of linguistics during the second half of the 19th century. One of these advances enabled linguists to trace the changing meanings of English words over time, and the other enabled linguists and historians to better understand the sentence structure (i.e., syntax and grammar) of Middle English. Both advances would be crucial to a better understanding of Gest and other Middle English ballads. Linguistic research began in 1857 on a historical dictionary of the English language which would become the Oxford English Dictionary. A historical dictionary requires dated quotations which illustrate the various meanings of words. To provide these quotations, the dictionary's first editor, Frederick Furnivall, established the Early English Text Society (EETS) in 1864. The EETS printed unpublished Old English and Middle English literature for use by students and language scholars. One of EETS founding members was Walter Skeat, the pre-eminent British linguist. (Child acknowledged Skeat's efforts in collecting and collating the printed sheets of the Gest, as well as collating all the Robin Hood manuscript pages and broadsides in the Pepys collection.[2]: xiii ) Skeat became the editor of An Etymological Dictionary of the English Language[3] (first edition published in 4 parts between 1879-82; followed by a second edition in 1888). Also in 1888, he and A L Mayhew edited A Concise Dictionary of Middle English.[4] With the combination of more accurate word definitions and better understanding of the syntax and grammar, scholars were now fluent in Middle English. Literary analysis of Gest could begin in earnest.

In 1968, D C Fowler published A Literary History of the Popular Ballad[5]. A modern update to Child's Ballads, Fowler was one of the first scholars to trace the evolution of English ballads as part of the history of medieval and early modern English literature. A medievalist by training, Fowler also examined how the Gest poet wove together the various Robin Hood rhymes into a narrative. Actual historical analysis of the poem's internal historical evidence began with [1971_Parker] and [1984_Gray]. [1989_Dobson & Taylor] wrote ("Rymes of Robyn Hood") as a source book and complete introduction to the subject. [1995_Ikegami] provided linguistic evidence that 'Gest' was written in a Northern or east Midlands dialect.

In 1997, Stephen Knight and Thomas H Olgren published Robin Hood and Other Outlaw Tales,[6] a collection of all the pre-17th century tales of Robin Hood, arranged in chronological order. Their book now forms the core of the Robin Hood Project of the University of Rochester's Middle English Texts website.[7]

Background[]

A Gest of Robyn Hode is a premier example of romanticizing the outlaw using courtly romance, in order to illustrate the conflict between early medieval peasants and the Crown over forest rights. According to John Taylor, “The targets of Robin Hood’s criticism are the justices of the forest and the common law, against whom grievances could have been felt by more than one section of the medieval community.”[8] There are disagreements to whether Robyn Hode was a yeoman or a man from the lower gentry class. More recent scholarship has noted the ballad depicts a conflict between the yeoman and gentry classes against landlords, not only the princes and sheriffs, but also the clergy and abbots.[9] However, some scholars point out that the conflict over forest rights would not have been of primary importance to the 15th century audience.[10]

It is believed the ballad was performed by minstrels, since it contains a narrative voice addressing the audience on several occasions. The audience is believed to have been from the second Class, who would have jobs as yeomen, apprentices, merchants, journeymen, laborers, and small proprietors.

One view is that the Gest contains details of corrupt practices that had become more more common by the 14th century, placing the setting of the tale in the early part of the reign of King Edward III.[11] The poem makes reference to an abbot retaining a justice by "cloth and fee", a usurpation of monarchic privilege known from the 1230s that had become more common by Edward III's reign.[12][13]

The text is unique, in that it provides details relating to the 13th century, such as legal, social, and military structures, but it also includes allusions to medieval geography and locations known during the fifteenth century.

Likewise, there was an outlaw from Berkshire, in 1262, which had the alias, “Robehod.” There was also a ship in Aberdeen in 1438, which was called “Robene Hude.”[14] The first mention of the poem of Robyn Hode is seen in William Langland's Piers Plowman written in 1377.[15]

Synopsis[]

Gest contains several tales; some of which interleave. Additionally, the poem is divided into 8 fyttes (sections), which are not always aligned with the beginning and/or end of a tale. For a modern reader, this makes Gest difficult to follow. This synopsis follows the order of the fyttes. For clarity, an arbitrary name is given to the tale(s) contained within the fytte.

The Sorrowful Knight[]

First Fytte (lines 1-324)[16][]

Robin Hood, a good yeoman and courteous outlaw, has heard 3 masses this morning: one to honor God the Father; one to honor the Holy Ghost; and one to honor the Virgin Mary, for whom he has a deep devotion. He has fasted since midnight, and Little John, another good yeoman, suggests he should eat soon. But Robin declines to dine w/o an "uncouth guest"[16]: line 24  to pay for the feast. Someone such as a baron, knight or squire - but only if they not are "good fellows"[16]: line 56 . Neither are farmers or other yeomen to be accosted. However, bishops and archbishops are to tied up, beaten, & robbed. The High Sheriff of Nottingham is a special target. Little John, Much the Miller's son and a good man, and good William Scarlock leave to search for a guest. They see a knight on horseback in a back street in Barnesdale. He looks forlorn, slouched over in his saddle, his face careworn and streaked with tears. Little John approaches the Sorrowful Knight, genuflects, and welcomes him to the forest, saying his Master Robin is waiting dinner for him. The Knight remarks "He is good yeoman ... /Of him I have heard much good."[16]: lines 103-104  The Knight leaves with the outlaws.

When Robin Hood sees the Sorrowful Knight, he pushes his hood back, and genuflects to him. They all wash up, and sit down to a fine feast. The Knight remarks that he had not had such a dinner for weeks, and should he pass through this way again, he would return the favor. Robin retorts that the Knight should pay before he leaves, as it is not proper for a yeoman to pay for a knight's feast. The Sorrowful Knight says he has only 10 shillings, and is embarrassed to offer such a small amount.


Second Fytte (lines 325-572)[]

The knight pretends that he still has not acquired the gold and pleads with the abbot for mercy. The abbot insists on payment, and the knight reveals his deception and pays him, telling him that had the abbot shown leniency, the knight would have rewarded him. Afterward, the knight saves money to repay Robin, and also obtains a hundred bows, with arrows fletched with peacock feathers. As he is travelling back to Robin's base in order to repay him, he rides past a wrestling match, where he sees a yeoman who has won the fight but, because he is a stranger, is likely to be killed by the angry crowd, and so the knight saves him.

Little John[]

Third Fytte (lines 573-816)[]

Whilst still in the service of the knight, Little John goes to an archery contest and wins. The sheriff takes him into his service, after Little John is given leave by the knight. One day, Little John wakes late and wants to eat. The steward ("stuarde"), who is the butler ("bottler"), and the cook try to stop him because it is not mealtime. The cook puts up a good fight and Little John proposes that he should come to the forest and join the band of outlaws. He agrees and feeds Little John. They plunder the house and go to Robin. There, Little John tricks the sheriff into coming to Robin. Robin only permits the sheriff to leave when he has sworn to do them no harm.

Monk of St Mary's[]

Fourth Fytte (lines 817-1040)[]

Robin again refuses to eat unless he has a guest. The men catch a monk from St. Mary's Abbey who after the feast claims to have only twenty marks, while he is actually carrying eight hundred pounds; Robin claims it for his own, stating that St. Mary has sent it to him — as he is still owed the money he has lent to the knight — and has graciously doubled the amount.

The Sorrowful Knight (continued)[]

Fourth Fytte (lines 1041-1120)[]

Later on, the knight arrives. He explains that he is late because he has saved the yeoman at the wrestling competition; Robin tells him that whoever helps a yeoman is his friend, and refuses to accept the knight's repayment. When the knight gives him the bows, Robin pays him half the eight hundred pounds.

The Archery Contest[]

Fifth Fytte (lines 1121-1264)[]

The sheriff holds an archery contest, in which Robin and his men take part. All the band acquit themselves well, but Robin wins. The sheriff tries to seize him, but they escape to the castle of Sir Richard at the Lee, the knight who was helped by Robin (and who is first named at this point), and the sheriff cannot break in.

Death of Sheriff of Nottingham[]

Sixth Fytte (lines 1265-1412)[]

He brings the matter before the king, who insists that both the knight and Robin must be brought to justice. The sheriff takes Sir Richard prisoner whilst the latter is hunting, and Sir Richard's wife goes to Robin for help. They stage a rescue, in the process of which Robin shoots and kills the sheriff.

King Edward[]

Seventh Fytte (lines 1413-1668)[]

The king comes to take Robin and is outraged by the damage to his deer. He promises Sir Richard's land to whoever kills the knight, and is told that no one could hold the land while Robin Hood is at large. After months, he is persuaded to disguise himself and some men as monks, and thus get Robin to capture them, which Robin does, taking half of their forty pounds. The "abbot" hands him an invitation from the king to dine at Nottingham. For that, Robin says he would dine with them. After the meal, they set up an archery contest, and whoever fails to hit the target has to suffer a blow. Robin misses and has the "abbot" deliver the blow. The king knocks him down and reveals himself. Robin, his men, and Sir Richard all kneel in homage.

Robin's Return[]

Eighth Fytte (lines 1669-1800)[]

The king takes Robin with him to lead a life at court. However, after a short while, Robin longs for the forest and returns home, defying the king (who has only given him leave for a week). Robin regathers his band of outlaws, and they live in the forest for twenty-two years.

Death of Robin[]

Eighth Fytte (lines 1801-24)[]

A prioress finally kills Robin, at the instigation of her lover Roger, by treacherously bleeding him excessively. The tale ends with praise for Robin, who "dyde pore men moch god." ("Did poor men much good.")[17][18]

Importance as an English ballad[]

Gest is listed as Child Ballad 117[18] and number 70 in the Roud Folk Song Index.

Gest (which meant tale or adventure) is an early example of an English language ballad, in which the verses are grouped in quatrains with an ABCB rhyme scheme.

It is an example of “The Good Outlaw” tale[citation needed], in which the hero of the story is an outlaw who commits actual crimes, but the outlaw is still supported by the people. The hero in the tale has to challenge a corrupt system, which has committed wrongs against the hero, his family, and his friends. As the outlaw, the individual has to depict certain characteristics, such as loyalty, courage, and cleverness, as well as be a victim of a corrupt legal or political system. However, the outlaw committing the crimes shows he can outwit his opponent and show his moral integrity, but he cannot commit crimes for the sake of committing crimes.[19]

Adaptations[]

Many portions of this tale have reappeared in later versions. Some appeared in other ballads: the king's insistence on the capture and the archery contest to catch Robin in Robin Hood and the Golden Arrow (though in the opposite order), the rescue in Robin Hood Rescuing Will Stutly and Robin Hood Rescuing Three Squires, the king's intervention in The King's Disguise, and Friendship with Robin Hood, and the final murder in Robin Hood's Death. Variations of the theme of robbing the monk were the basis for two later related ballads, "Robin Hood and the Bishop" and "Robin Hood and the Bishop of Hereford".[18]

Howard Pyle and other retellers of the Robin Hood stories have included many of them. The king's visit is, in fact, in virtually every version that purports to tell the entire story.[20]

The archery contest is a standard in filmed adaptions of the legends. The Sheriff usually sees through Robin's disguise, leading to a fight scene between his men and the outlaws (who are hidden in the crowd). Examples include:

  • The Adventures of Robin Hood, where Prince John sets the tournament as a trap, and Robin is captured, to be rescued in another fight when he is to hang.
  • Walt Disney's animated Robin Hood, in which Robin (a fox) disguises himself as a stork.
  • The pilot episode of Robin of Sherwood (Robin Hood and the Sorcerer), in which the prize is a magical silver arrow, sacred to Herne the Hunter.
  • Episode two of the children's comedy Maid Marian and Her Merry Men is a parody of this story. Robin of Kensington disguises himself in a chicken outfit, and enters the contest as "Robert the Incredible Chicken". However, because Marian is a better archer, the Sheriff concludes she must be Robin in disguise.
  • In episode five of the 2006 Robin Hood TV series, Robin decides not to enter the archery contest, recognising that it is a trap. He is subsequently persuaded by Marian to disguise himself as one of the legitimate entrants to ensure Guy of Gisbourne's man does not win the prize.

In later versions of the story, Robin sometimes wins by splitting an opponent's arrow down the middle. Other versions of the archery contests do not include the fight; often, as in Robin Hood and the Golden Arrow, the disguises succeed in fooling the sheriff. Still further divergences have appeared. In Walt Disney's live-action film The Story of Robin Hood and His Merrie Men, Robin and his father win such a contest, but as Prince John staged it to find archers for his service and both of them refuse, Prince John tries to have them killed; his father dies, and Robin is outlawed for defending himself. In Robin Hood's Progress to Nottingham, Robin is going to a shooting contest when he has the conflict that leads to his being outlawed.

Elements of the Gest appear in many episodes of the 1955 The Adventures of Robin Hood TV series. Most notable are "The Knight Who Came to Dinner" (featuring Sir Richard's debt to an abbot) and "The Challenge" (with features not only the archery contest but the outlaws taking refuge in Sir Richard's castle).

"Herne's Son", an episode of the Robin of Sherwood TV series, also has Sir Richard in debt to the Abbot of St. Mary's.

Many elements of the Gest, including the knight's debt, form a major part of the Robin McKinley novel, The Outlaws of Sherwood.

Bob Frank has recorded the entire Gest on a CD, in a modern English version entitled "A Little Gest of Robin Hood" (Bowstring Records, 2002). He performs it with a guitar, in a "talking blues" style.

Excerpts[]

Stanza 1:

Lythe and listin gentilmen
That be of frebore blode
I shall you tel of a gode yeman
His name was Robyn Hode

Stanza 144:

Lyth and lystyn gentilmen
All that nowe be here
Of Litell Johnn that was the knightes man
Goode myrth ye shall here

References[]

  1. ^ Child, Francis James, ed. (1859). "Book VI No 4". English and Scottish ballads. vol V (1st ed.). Boston: Little, Brown & company. p. 42. Archived from the original on 22 July 2009. Retrieved 27 December 2021. |volume= has extra text (help)
  2. ^ a b Child, Francis James, ed. (1888). "117 A GEST OF ROBYN HODE". The English and Scottish popular ballads. vol 3, part V (2nd ed.). Boston, MA: Houghton, Mifflin. p. 39. Archived from the original on 29 September 2006. Retrieved 27 December 2021. |volume= has extra text (help)
  3. ^ Skeat, Walter William, ed. (1888). An etymological dictionary of the English language (2 ed.). Oxford, England: Clarendon Press. Archived from the original on 13 December 2006. Retrieved 27 December 2021.
  4. ^ Skeat, Walter William; Mayhew, Anthony Lawson, eds. (1888). A Concise Dictionary of Middle English from A.D. 1150 to 1580 (1 ed.). Oxford, England: Clarendon Press. Archived from the original on 17 February 2008. Retrieved 27 December 2021.
  5. ^ Fowler, D C, ed. (1968). A Literary History of the Popular Ballad (1 ed.). Durham, NC: Duke University Press. Archived from the original on 30 November 2011. Retrieved 27 December 2021.
  6. ^ Ohlgren, Thomas H; Knight, Stephen Thomas, eds. (1997). Robin Hood and Other Outlaw Tales. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University. ISBN 9781879288928.
  7. ^ "The Robin Hood Project". The Robin Hood Project. University of Rochester. 2021. Archived from the original on 14 Nov 2020. Retrieved 27 December 2021.
  8. ^ Taylor, John. “Robin Hood.” Dictionary of the Middle Ages. New York: Charles Scribner’s Sons, 1988
  9. ^ Wollock, J. G. (2011). Rethinking Chivalry and Courtly Love. United States: ABC-CLIO.
  10. ^ Outlaws in Medieval and Early Modern England: Crime, Government and Society, C.1066–c.1600. (2016). United Kingdom: Taylor & Francis.
  11. ^ Ohlgen, Thomas H., ed. “The Gest of Robyn Hode.” Medieval Outlaw: The Tales in Modern English. Gloucestershire, England: Sutton Publishing, 1998. p. 216-238.
  12. ^ Robin Hood: An Anthology of Scholarship and Criticism. (1999). United Kingdom: D.S. Brewer.
  13. ^ The Letter of the Law: Legal Practice and Literary Production in Medieval England. (2002). United Kingdom: Cornell University Press.
  14. ^ Taylor, John. “Robin Hood.” New York: Charles Scribner’s Sons, 1988.
  15. ^ Barrie Dobson. "Robin Hood" Encyclopedia of the Middle Ages. Ed. André Vauchez. © 2001 by James Clarke & Co. Encyclopedia of the Middle Ages (e-reference edition). Distributed by Oxford University Press. John Carroll University. 10 March 2008. http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t179.e2457.
  16. ^ a b c d "A Gest of Robyn Hode". The Robin Hood Project. University of Rochester. 2021. Archived from the original on 14 Nov 2020. Retrieved 29 December 2021.
  17. ^ Gest, line 1824.
  18. ^ a b c Child, Francis James, ed. (1890). A Gest of Robyn Hode. English and Scottish Popular Ballads. Part V. Boston: Houghton Mifflin and Company. pp. 39–89. Retrieved 2017-11-21.
  19. ^ Ohlgen, Thomas H., ed. “The Gest of Robyn Hode.” Medieval Outlaw: The Tales in Modern English. Gloucestershire, England: Sutton Publishing, 1998. p. 216-238.
  20. ^ Allen W. Wright, A Gest of Robyn Hode: Spotlight Review


External links[]

Retrieved from ""