Robin Hood hated the sheriff of Nottingham and everything he stood for, but that doesn’t mean that he objected to the sheriff keeping law and order.
Steve Roud’s and David Atkinson’s new edited book shines a light on forgotten histories of the printed traditions of folksongs and street songs in the Victorian era.
Did film completely destroy the market for Robin Hood books? Perhaps not as quickly as we might think.
Pierce Egan’s “Robin Hood” was an early Victorian bestseller. In the first edition, Egan also appended a collection of Robin Hood ballads alongside his novel, for which he provided the illustrations.
The original Goldilocks was a haggard old woman and a criminal vagrant who gets sent to prison for being up to no good.
In 1824, the lawyer, Andrew Kapp, asked, “Do not these creatures, when they are bruised and wounded, shew an equal sense of pain with ourselves? Are not their shrieks and mournful cries, as so many, calls upon their tormentors for pity? And do not their dying pangs, and the painful convulsions of their tortured bodies, cause uneasiness in every human spectator?”
Joseph Ritson stated that the poem was “a dull performance and scarcely merits the care of a modern impression.”
Contrary to stories of Robin Hood, an outlaw’s life was not a merry one: in the 1820s, banditry in Italy was rife; at this time, a young travel writer named Charles Macfarlane was touring the country and managed to obtain a rare interview with one of these brigands.
The popular song “Mack the Knife” was based upon the story of an eighteenth-century highwayman named Captain Macheath. This post traces the literary life of this fictional character.
Katherine Royer’s new book, “The English Execution Narrative, 1200-1700” (2015) analyses the meanings behind the often gruesome executions carried out in the medieval and early modern period.