“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.
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
Twitter spats between celebrities might be a common occurrence these days (ahem, Katie Hopkins), but public disputes between celebrities is nothing new.
The Waverley Novels were a series of novels written by the great Sir Walter Scott (1771-1832). Amongst this series of novels were many which people today might recognise: Waverley (1814), The Antiquary (1816), Rob Roy (1817), Ivanhoe (1819), and Woodstock (1826) to name but a few.
By the 1830s, the figure of the highwayman had almost vanished from Britain’s roads, but in a series of novels during the 1830s they were romanticised, and some authors adapted their stories to critique early Victorian society.
The ‘long eighteenth century’ (c.1688-c.1837) is not a period that people usually associate with medievalism…but the subject of this post is the play “King Arthur, or the British Worthy” (1691) by John Dryden and Henry Purcell.
Prince John is now one of the stock villains of movie and television adaptations of the Robin Hood legend, but this wasn’t always the case…