“A Lytell Geste of Robyn Hode” (c.1450) is one of the earliest Robin Hood texts, and one of the most interesting.
In 1637 Ben Jonson began work on a Robin Hood play, “The Sad Shepherd; or, a Tale of Robin Hood,” and presented an idealised, pastoral outlaw world.
The Downfall of Robert, Earle of Huntington (1598) & The Death of Robert, Earle of Huntingdon (1601) by Anthony Munday and Henry Chettle.
Robin Hood first became an Earl in the 16th century; two relatively unknown plays had a dramatic effect upon later interpretations of the legend.
Pierce Egan the Younger (1814-1880) was like the George R. R. Martin of his day. He loved the medieval period,
The 19th-century criminal was an altogether different species of villain compared to the romantic highwayman a century previously.
Exorbitancy and Necessity frequently compelled him to perpetrate Villainy; And no wonder, since he lived in the most infectious Air of the worst of most Licentious Times.
Eugene Sue’s “The Mysteries of Paris” marked the emergence of a new genre: the urban gothic.
The legend of Robin Hood has spawned many imitators. In this post I apply Eric Hobsbawm’s social banditry thesis to the actions of the onscreen comic book hero, Arrow.
The novel emerged as the dominant literary form in the 1700s, but one of its influences was the contemporary genre of criminal biography.
In 1977, the horror movie The Hills Have Eyes was released, but it was based upon a 17th-century Scottish folk tale and was then immortalised in 18th-century criminal biography