The eighteenth century was the period in which criminal biography flourished, when men such as Charles Johnson were publishing books such as Lives of the Highwaymen (1734) alongside serialised publications such as The Newgate Calendarand The Proceedings of the Old Bailey.
The genre did not die at the end of the eighteenth century, however, for during the nineteenth century two lawyers, Andrew Knapp and William Baldwin, published a new five volume edition of The Newgate Calendar in 1824 and a revised version 1826. A cheaper penny dreadful version entitled The New Newgate Calendar was published in 1863. Charles Macfarlane also authored The Lives and Exploits of Banditti and Robbers in All Parts of the World (1833) while in the following year Charles Whitehead published Lives and exploits of English Highwaymen, Pirates, and Robbers (1834).
Crime was perceived as a problem during the eighteenth century, but it is only in the nineteenth century that the government actually decided to do anything about it. The creation of a professionalised police force in 1829 replaced the haphazard system of law enforcement involving thief takers and part time constables that had existed until that point. Gaols, which had previously been nothing more than holding centres until an offender’s trial, became large institutions where people stayed for a long time. The persistence of criminal biography as a genre is therefore a reflection of the ongoing public debate that was occurring in parliament and the popular press over reforms to the criminal justice system.
Most of these collections detailing the lives of criminals were very London-centric, with little attention paid to criminals from outside the capital. In light of this, William Knipe authored Criminal Chronology of York Castle (1867). Knipes work gave a brief biography of almost every criminal executed at York between the fourteenth century and the mid-nineteenth century.
Like Johnson before him, Knipe intended his work to be read as a piece of moralist literature:
The numerous and melancholy examples which our pages record of persons hurrying on from one crime to another, till the awful hand of justice has required their lives, will, we trust, alarm and deter the young and inexperienced from an indulgence in those pursuits or company which tend to weaken their ideas of justice and morality, the sure and certain prognostic of future ruin.
Despite the moral purpose behind his work, Knipe avoids the sensational style of writing that was characteristic of the work of Johnson. Knipe was an antiquary and wanted his discussion to appear more sober and detailed. While Johnson often just made things up (Johnson even gives us an account of the life of that notorious robber, Sir John Falstaff), Knipe’s work was ‘carefully compiled from prison documents, ancient papers, and other authentic sources’ according to the title page.
The gallows in York was first erected on 1 March 1379 in order to execute all those who had been capitally convicted in the County of Yorkshire, and the first criminal to have the ‘honour’ of being executed at the ‘York Tyburn’ (so called after the more famous London Tyburn) was a man called Edward Hewison:
At the Spring Assizes of 1379, Edward Hewison, aged 20, a native of Stockton, near York, and a private soldier in the Earl of Northumberland’s Light Horse, was tried and capitally convicted for committing a rape upon Louisa Bentley, 22 years of age […] when Hewison saw her alone in the field on the footpath, he got off his horse and tied it to a tree. He then went into the field, threw the young woman down, and ravished her.
While Knipe’s work is primarily a compendium of the lives of criminals, one thing which distinguishes his work from earlier works by Johnson et al is the fact that he includes political rebels. The three leaders of the ‘Pilgrimage of Grace’ during the reign of Henry VIII: Sir Robert Aske, Lord Hussey, and William Wode are all presented in his work. Aske got off lightly compared to the latter two, for he was merely ‘hanged in chains’ and his body left to hang in a gibbet. Hussey and Wode, however, were hanged, drawn and quartered, and:
[Their] mutilated remains put into a coffin and given to their friends for internment.
Whereas Johnson’s accounts of each individual criminal are quite lengthy, most of Knipe’s accounts of criminals who existed before the Victorian era are relatively short. This is all he says, for example, of two criminals from Leeds named John de Viner and Harris Rosenberg who were executed at the York gallows in 1603:
Saturday, March 30th, A.D. 1603. – Harris Roseberg, aged 56, a native of Florence; and John de Viner, aged 32, servant to the above, a native of Paris, were executed at the Tyburn without Micklegate Bar, for the atrocious murder of Mr. Millington, an innkeeper at Leeds, on the night of the 8th day of November last. These unfortunate men suffered death in the presence of a large concourse of spectators. Their bodies on being taken down from the scaffold were given to the surgeons for dissection, in accordance with the sentence passed upon them.
The criminal who receives the lengthiest account in Knipe’s work is the famous highwayman Dick Turpin (1705-1739). For his account of Turpin, Knipe appears to have abridged an earlier account of Turpin’s life entitled The Genuine History of the Life of Richard Turpin (1739).
For criminals who existed prior to his own day Knipe avoids making any moral judgements upon their course of life. As he moves into his own era, the Victorian era, however, he begins to moralise more and more. While criminality in earlier periods can be explained by the fact that Englishmen’s manners and morals were not as refined as they were in his own day, the fact that criminals existed and were still being hanged in the Victorian period baffles Knipe. Take his account of a murder committed in Hunslet, Leeds in 1849:
Thomas Malkin. Saturday, January 6th, A.D. 1849. – Thomas Malkin was hanged on the new drop, in front of St. George’s Field, for the murder of Esther Inman, near Leeds. It is again our painful duty to record one of those brutalizing spectacles, of which England, that land of Bibles and privileges, can boast so many, viz., the public strangling of a fellow creature.
This is a double-edged critique of Knipe’s own society – with Bibles and ‘privileges’ being plentiful in the Victorian era (Knipe does not say what these ‘privileges’ are), in theory there should be no criminals and no hangings.
Knipe’s accounts of criminals from before the Victorian era rarely carry any information about their trial. Likely this was down to lack of primary sources, but accounts of Victorian criminals are conspicuous in Knipe’s work with the inclusion of trial proceedings.
Knipe gives a lengthy account of the trial of Alfred Waddington from Sheffield who was executed on 15 January 1853 for the murder of his illegitimate child. While most of Knipe’s accounts of pre-Victorian criminals concentrate upon the birth and upbringing of the offender, in the accounts of criminals from the mid-Victorian period sometimes all that Knipe gives the reader is details of the trial. This is the case in Knipe’s account of William Dove from Leeds, who was executed for murdering his wife Harriet on 9 August 1856.
[When] publicity has shifted to the trial, and to the sentence, the execution itself is like an additional shame that justice is ashamed to impose on the condemned man.
The criminal had failed society, and their guilt had been determined through being found guilty by a jury of their peers. They had been justly punished.
Knipe’s work does not appear to have been extremely popular, and only went through one edition. In contrast, Johnson’s Lives of the Highwaymen and The Newgate Calendar went through several editions during the Victorian era and are still being reprinted even today (the most recent edition of The Newgate Calendar was published by The Folio Society in 1993). The reason why Knipe’s work was not as successful, it might be speculated, is probably because it was too serious. It lacked Johnson’s acerbic wit and humour. Nevertheless, Knipe’s work is probably one of the most comprehensive accounts of crime in Yorkshire that has ever been published.
 William Knipe, Criminal Chronology of York Castle; with a Register of the Criminals Capitally Convicted and Executed at the County Assizes, Commencing March 1st 1379, to the Present Time (York: C. L. Burdekin, 1867), p.vii.
 Knipe, Criminal Chronology, p.i.
 Knipe, Criminal Chronology, p.1.
 Knipe, Criminal Chronology, pp.1-2.
 Knipe, Criminal Chronology, p.4.
 Knipe, Criminal Chronology, pp.4-5.
 Knipe Criminal Chronology, p.15.
 Knipe, Criminal Chronology, p.230.
 Knipe, Criminal Chronology, pp.240-244.
 Knipe, Criminal Chronology, pp.248-253.
 Michel Foucault, Discipline and Punish: The Birth of the Prison System (London: Penguin, 1975), p.9
UNLESS OTHERWISE STATED, ALL ILLUSTRATIONS ARE SCANNED IMAGES TAKEN FROM COPIES OF BOOKS IN MY OWN COLLECTION.
Paper Read at Plymouth University Nineteenth-Century Studies Conference 23-24 June 2016.
Abstract. Robin Hood needs no introduction. He is the noble outlaw who steals from the rich to give to the poor, living a merry life in Sherwood Forest. Yet people often forget that Robin Hood was a criminal. Indeed, Robin Hood Studies are often seen as a class apart from traditional legal and criminal histories, perhaps because of their ‘popular’ nature. Undoubtedly, by the nineteenth century, Robin Hood emerged as a national hero, partly due to his glorification by Romantic-era writers such as Sir Walter Scott. Yet as my paper will show, there was always uneasiness in some Robin Hood texts between judging Robin’s good deeds on the one hand, and his criminality on the other. Writers explained this in various ways. Sir Walter Scott in Ivanhoe (1819) disapproved overall of Robin’s outlawry, but concluded that his actions were necessary for the safeguarding of the nation. Thomas Love Peacock in Maid Marian (1822) gave Robin an a detailed backstory, explaining that he was outlawed only because he was guilty of resisting oppressive Forest Laws, and hence there was justification for his criminal career. Pierce Egan, in Robin Hood and Little John (1840), chose not to portray Robin as an outlaw at all, but as a radical political fighter. Yet in these texts also, other outlaws who are not part of Robin’s band are depicted as murderous brutes. My paper thus argues that these moral judgments (and sometimes the absence of any type of judgment) upon Robin Hood’s outlawry were a way of separating one of England’s foremost national heroes, who was ultimately a criminal, from the ‘criminal class,’ a notion which gained currency during the nineteenth century and held that there was a certain underclass in society which was responsible for the majority of crime.
In the recent television series Arrow(which tells the tale of a superhero who is a skilled archer, dresses in green, wears a hood, and in some instances steals from the rich and gives to the poor) it is said that: ‘People forget that Robin Hood was a criminal’.  It was no different during the nineteenth century. Whilst there was a general understanding that Robin was an outlaw, he is usually represented in nineteenth-century literature, not as a common cut-throat but as a patriotic social bandit. He is loyal to the King, opposes the schemes of ‘bad’ Prince John who plots to take the English throne from Richard the Lion-heart, thereby upholding the true order.
If one studies representations of Robin Hood solely in canonical nineteenth-century texts such as Walter Scott’s Ivanhoe (1819), Thomas Love Peacock’s Maid Marian (1822), and Pierce Egan the Younger’s Robin Hood and Little John (1840), as this paper argues, Robin’s status as an outlaw was often downplayed. This was to distinguish him – England’s great national hero – from the regular criminals. This discussion is needed because, despite the fact that nineteenth-century novelists depicted Robin favourably, less-canonical texts were still ambivalent towards the legendary outlaw.
Many people will be familiar with the Scott’s Ivanhoe and Peacock’s Maid Marian, but just a few months prior to Ivanhoe an anonymous author published Robin Hood: A Tale of the Olden Time (1819).  Robin is no ordinary bandit in this novel, and in the lengthy introduction there is a deliberate effort to ensure that readers think Robin is better than ordinary highwaymen and banditti, declaring that he was ‘an innocent and harmless freebooter’.  The plot sees Robin cheated out of his Huntingdon estate by his villainous cousin, and left homeless. He subsequently becomes the leader of a band of men living in the forest. The circumstances of his outlawing are out of keeping with both the ballad tradition and novels that would come afterwards: he is outlawed because he interrupts a wedding and stops a bride marrying somebody she does not want to. For this deed Robin is seized by soldiers and reluctantly outlawed by his friend, the Sheriff of Nottingham. In another part of the novel, after he has been outlawed, Robin declares that the word ‘robber’ had ‘become hateful to his thoughts’. 
In Walter Scott’s Ivanhoe, the outlaw Robin of Locksley appears in only ten out of forty-four chapters in the novel, although he is to all intents and purposes its hero. In the preface to the novel, Scott declares that England should be as proud of its historic outlaw as Scotland was of Rob Roy:
The name of Robin Hood, if duly conjured with, should raise a spirit as soon as that of Rob Roy; and the patriots of England deserve no less their renown than the Bruces and Wallaces of Caledonia. 
It is as a patriot that Scott wished Locksley to be seen, rather than an outlaw. Scott links Robin to a conservative agenda. He is now a man who is loyal to the King, and he is never depicted committing any criminal act. Indeed, Locksley is rarely called an outlaw in the text. He is called ‘a stout well-set yeoman, arrayed in Lincoln green’,  or simply as a ‘yeoman’,  ‘Locksley the yeoman’,  or ‘captain’. 
Scott is hesitant to name Robin as an outlaw, and there are only two scenes where Locksley is addressed as such. The first is when he is negotiating a ransom for Isaac’s daughter, Rebecca,  and towards the end of the novel. Even in these scenes, however, he is not robbing anybody. This may explain why Scott chose to call his character Robin of Locksley: throughout the novel, the reader is never told that Robin of Locksley is the same outlaw as Robin Hood. Readers may have suspected it, but it is not confirmed until the end of the novel, when Richard (who has been disguised as the Black Knight for the majority of the novel) and Locksley reveal their true identities to each other:
“Call me no longer Locksley, my Liege, but know me under the name, which, I fear, fame hath blown too widely not to have reached even your royal ears – I am Robin Hood of Sherwood Forest.”
“King of Outlaws, and Prince of good fellows!” said the King, “who hath not heard a name that has been borne as far as Palestine? But be assured, brave Outlaw, that no deed done in our absence, and in the turbulent times to which it hath given rise, shall be remembered to thy disadvantage.” 
Even after Locksley has revealed to the King that he is the famous outlaw, Robin Sherwood, Scott allows Richard to effectively nullify his entire criminal career by pardoning his former misdeeds.
Despite Robin’s reconfiguration as a patriot in Ivanhoe, Scott did try to provide some balance. Whilst Richard I displays nothing but unqualified admiration for the outlaws, the jester Wamba gives a more nuanced assessment of the outlaws’ morality: he says that, however much good the outlaws may have done for Richard, ‘those honest fellows balance a good deed with one not quite so laudable’. Richard asks Wamba to elaborate upon what he has said:
The merry men of the forest set off the building of a cottage with the burning of a castle – the thatching of a choir against the robbing of a church – the setting free a poor prisoner against the murder of a proud sheriff; or, to come nearer to our point, the deliverance of a Saxon Franklin against the burning alive of a Norman baron. Gentle thieves they are, in short, and courteous robbers; but it is ever the luckiest to meet with them when they are at their worst. 
It is as though Scott is partially continuing the conventions of eighteenth-century criminal biography by allowing Locksley to be portrayed as a hero, yet simultaneously critiquing his actions. Scott highlights the outlaws’ heroism on the one hand, and their negative traits on the other. In Charles Johnson’s eighteenth-century account of Robin Hood’s life, for example, Robin is a ‘a very bold man, of a charitable disposition, generous and open to the last degree’, at the same time as being described as having lived ‘a mispent [sic] life’ and engaging in ‘unlawful practices’.  It is known that Scott owned and read Charles Johnson’s The History of the Lives and Actions of the Most Noted Highwaymen (1734) and owned several other criminal biographies which must have undoubtedly influenced his tale. 
Despite his attempt to provide some nuance, some reviewers were less than impressed with his portrayal of Robin Hood. A reviewer in The Monthly Review said that the Robin Hood of Ivanhoe comes across as nothing more than one of ‘the lower orders’ who has taken to the road because he ‘disdained the regular pursuits of industry’.  Similarly, in 1820 Henry Crabb Robinson wrote that Scott:
Has failed, however, in rendering Robin Hood acceptable – the delightful hero of the old popular ballad is degraded in the modern romance into a sturdy vagrant’.
Nevertheless, despite Scott’s skilled and complex portrayal of Robin Hood, it is the vision of a patriotic English freedom fighter that has succeeded through to twenty-first century portrayals, and any nuances in Robin’s morality have been jettisoned.
Thomas Love Peacock’s Maid Marian (1822) followed after Ivanhoe, and is a lighter work than Scott’s. The novel begins very dramatically with soldiers interrupting the Robert of Huntingdon’s and Marian’s wedding, declaring him an outlaw, a swordfight then ensues, and Robin and his men escape to the woods. Robin is not outlawed due to having committed any heinous crime – he is simply outlawed because he had fallen into debt. He gathers around him a band of men who are described, not as cut-throats, but:
A band of disinherited prodigals, outlawed debtors, excommunicated heretics, elder sons that have spent all they had, and younger sons that never had anything to spend; and with these he kills the king’s deer, and plunders wealthy travellers of five-sixths of their money; but if they be abbots or bishops, them he despoils utterly. 
Whilst there are elements of social banditry in Locksley’s character in Ivanhoe, it is in Maid Marian that Robin fully emerges as one. Peacock develops the themes of the outlaw code found in the A Gest of Robyn Hode (c.1450).  Robin’s merry men live according to noble principles, displaying ‘Legitimacy, equity, hospitality, chivalry, chastity, and courtesy’ in everything that they do.  Robin’s band is also commanded that:
All usurers, monks, courtiers, and other drones of the great hive of society, who shall be found laden with any portion of the honey whereof they have wrongfully despoiled the industrious bee, shall be rightly despoiled thereof in turn; and all bishops and abbots shall be bound and beaten, especially the abbot of Doncaster; as shall also all sheriffs, especially the sheriff of Nottingham’. 
Just as a true social bandit does, Robin steals from the rich and gives to the poor.  Despite the worthy maxims of social banditry contained in Maid Marian, as with so many texts in which Robin and Marian are portrayed as Lord and Lady, the reader is never allowed to forget that these two are merely playing at being outlaws.  Marian expresses boredom in the domestic sphere, and longs to be liberated from ‘tapestried chambers and dreary galleries’.  When she joins Robin Hood and commences living in the forest with him, all that she is doing is swapping one bourgeois world for another. Tuck, Little John, and Will Scarlet, for instance, are all described as ‘peers of the forest’.  The main characters in Peacock’s novel, then, were people who essentially from the same world as the novel’s middle-class readers – a world of tapestried chambers and galleries, and ‘green tea and muffins at noon’.  Robin and Marian’s exploits in the novel are presented as an aristocratic frolic for Lord and Lady Huntingdon.
Thomas Miller’s Royston Gower, or The Days of King John (1838) and Pierce Egan the Younger’s novel appropriate the outlaw to serve a radical message. Miller imitates Scott, making Robin a supporting characters who allies with the protagonist Royston Gower – a Saxon – who experiences ‘a radical awakening’ after his Norman master asks him to kill a Saxon woman in cold blood, which he refuses to do. Gower, Robin Hood, and the other Saxon characters subsequently fight on behalf of the oppressed who suffer under ‘the tyranny of the Norman forest laws’.  Pierce Egan the Younger’s Robin Hood is no robber either, and instead is portrayed as a man who fights for the political rights of the Anglo-Saxon serfs.  Egan places Robin in a class apart from the other outlaws that existed during the period, and he acknowledges that both past and present criminals, for the most part, are indiscriminate in whom they rob.  A Review of Egan’s novel in The Westminster Review, in an article entitled ‘Modern Perversions’, says that
“Robin Hood and Little John” by Pierce Egan the Younger! Truly this is too bad’.
The reviewer goes on to state that England’s national hero has become nothing more than:
A thorough-bred cockney of the year of grace 1839 […] in the region of undying glory occupied by Tom and Jerry, Black Sall, and Dusty Bob’. 
‘Tom and Jerry’ is a reference to Egan the Elder’s Life in London (1823), while Dusty Bob was a colloquial term for a parish dustman.  The same reviewer, however, still gives Egan credit for making Robin Hood ‘far above Jack Sheppard’,  which, given the contemporary furore surrounding William Harrison Ainsworth’s eponymous novel published in 1839,  was at least a grudging compliment. Thus it is clear that nineteenth-century authors downplayed Robin’s criminality, but when certain authors attempted to critique his actions, reviewers were ever ready to criticise a writer who might present Robin Hood as anything less than an English patriot.
Thus far the view of Robin that has been given is the canonical view of Robin Hood, who was appropriated to serve nationalist, patriotic, and even radical ends. Books written for children insisted that:
Though Robin Hood was a robber, which, to be sure, is a bad thing, he behaved himself in such a manner as to have the good word and good wishes of all the neighbourhood. He never loved to rob anyone except people who were very rich, and who had not lived to make good use of their riches. 
But not everybody believed that Robin was a class apart from most criminals. Henry Walter in A History of England (1828) said that Robin was
Neither more nor less than a highway robber of notoriety’ in his lifetime, being ‘the hero in many an idle song, in the mouths of the dissolute. 
Charles Macfarlane in The Lives and Exploits of the Banditti and Robbers of all Nations (1833) says that Robin’s life was a series of ‘predatory exertions of power’.  An anonymous correspondent in The Times made no distinction between Robin Hood and Little John ‘and their dingy imitators in this metropolis described by Dickens and Ainsworth’.  This article from the 1850s is especially interesting: nothing distinguishes the greenwood outlaws of old from the Fagins of the nineteenth century because
The same man passes from one form into another – developing, according to the changes in society, from a forester to a mountaineer, thence to a highwayman, thence to an instructor of pickpockets and the receiver of their day’s work in St. Giles. 
By the time that Robin Hood: A Tale of the Olden Time was published, he was no ordinary robber. Instead he was portrayed in various manners such as a freedom fighter or dispossessed aristocrat. If authors attempted, like Scott, to portray Robin as a complex character, they were criticised by reviewers. People wanted to believe that Robin was not a regular criminal. Yet despite the image that the canonical texts put forth, there is a certain school of thought in non-canonical texts which saw no issue in placing Robin alongside other less respectable thieves such as Ainsworth’s Jack Sheppard, the highwaymen of the eighteenth century, or the Fagins described by Dickens in Oliver Twist. Thus there is a dichotomy between the representation of Robin Hood in novels, and his reception amongst lesser-known writers.
 Arrow S1E09 ‘Year’s End’, dir. John Dahl (The CW Television Network, 2012) [DVD].
 See Eric Hobsbawm, Bandits 2nd Edn. (London: Penguin, 1972).
 See Stephen Basdeo, ‘Robin Hood: A Tale of the Olden Time’ in The Cambridge Guide to the Eighteenth-Century Novel Ed. April London (Cambridge: Cambridge University Press, 2017) [Forthcoming]. See also Knight, Reading Robin Hood, 147-150.
 Anon. Robin Hood: A Tale of the Olden Time 2 Vols. (Edinburgh: Oliver & Boyd, 1819), 1: 54.
 Anon. Robin Hood: A Tale of the Olden Time, 2: 103-4.
 Walter Scott, Ivanhoe (1819 repr. Edinburgh: Adam & Charles Black, 1871), 12.
 Scott, Ivanhoe, 84.
 Scott, Ivanhoe, 89, 110, 144, 145,148, 194.
 Scott, Ivanhoe, 193.
 Scott, Ivanhoe, 125-126.
 Scott, Ivanhoe, 338-339.
 Scott, Ivanhoe, 419-420.
 Scott, Ivanhoe, 414.
 Anon. The History and Real Adventures of Robin Hood, and His Merry Companions. Written by Capt. C. Johnson. To Which are Added, Some of the Most Favourite Ballads from an Old Book, Entitled Robin Hood’s Garland (London: J. Bonsor, 1800), 20.
 In Scott’s last written work Reliquiae Trotcosienses or, The Gabions of the Late Jonathan Oldbuck Esq. of Monkbarns (1832), which is a guide to Abbotsford and its collections, Scott picks out Charles Johnson’s The History of the Most Noted Highwaymen (1734) as being of especial interest, and indeed it seems he was familiar with several of the anonymous criminal biographies from the early eighteenth century such as The History and Lives of the Most Notorious Pirates and their Crews which is probably just a reprint of Johnson’s A General History of the Robberies and Murders of the Most Notorious Pyrates (1724). See Walter Scott, The Pirate Eds. Mark Weinstein & Alison Lumsden (Edinburgh: Constable et al, 1832 repr. Edinburgh: Edinburgh University Press, 2001), 490n.
 Anon. The Monthly Review Jan 1820, 71-89 (82)
 Henry Crabb Robinson, ’Diary Entry by Henry Crabb Robinson, 21 Jan. 1820’ in Henry Crabb Robinson on Books and their Writers Ed. E. J. Morley, 3 Vols. (London: Dent, 1938), 1: 238.
 Peacock, Maid Marian, 46.
 Stephen Knight, Reading Robin Hood: Content, Form and Reception in the Outlaw Myth (Manchester: Manchester University Press, 2015), 129.
 Peacock, Maid Marian, 88.
 Peacock, Maid Marian, 89.
 Peacock, Maid Marian, 126.
 This is the point made by Liz Oakley-Brown in regards to Anthony Munday’s two plays The Downfall of Robert, Earl of Huntington, and The Death of Robert, Earl of Huntingdon. See Liz Oakley-Brown, ‘Framing Robin Hood: Temporality and Textuality in Munday’s Huntington Plays’ in Robin Hood: Medieval and Post-Medieval Ed. Helen Philips (Dublin: Four Courts Press, 2005), 113-128 (115).
 Peacock, Maid Marian, 84.
 Peacock, Maid Marian, 82.
 Peacock, Maid Marian, 5.
 Thomas Miller, Royston Gower, or, The Days of King John (1838 repr. London: W. Nicholson [n.d.] c.1890?), 5.
 Stephen Basdeo, ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’ in Leeds Working Papers in Victorian Studies, Volume 15: Imagining the Victorians Eds. Stephen Basdeo & Lauren Padgett (Leeds: LCVS, 2016), 48-65.
 Pierce Egan, Robin Hood and Little John, or, The Merry Men of Sherwood Forest (1840 repr. London: W. S. Johnson, 1850), 12.
 Anon. ‘Modern Perversions’ The Westminster Review Vol. XXXIII (London: Henry Hooper, 1840), 425.
 See Brian Maidment, Dusty Bob: A Cultural History of Dustmen, 1780-1870 (Manchester: Manchester University Press, 2007).
 Anon, ‘Modern Perversions’, p.425.
 See Lauren Gillingham, ‘Ainsworth’s “Jack Sheppard” and the Crimes of History’ SEL Studies in English Literature, 1500-1900 49: 4 (2009), pp.879-906.
 Anon. Tabart’s Collection of Popular Stories for the Nursery: Newly Translated and Revised from the French, Italian, and Old English Writers (London: Tabart & Co., 1809), 151.
 Charles Macfarlane, The Lives and Exploits of the Banditti and Robbers of all Nations 2 Vols. (Philadelphia: R. W. Pomeroy, 1833), 2: 75.
 Anon. ‘Editorial: Talk of Robin Hood and Little John’ The Times 22 June 1855, 6.
The Renaissance poet Michael Drayton authored a monumental work entitled Poly-Olbion which was published in 1612. It is often described as a ‘topographical poem’ and deals with the history of England and Wales. In one part of this poem he wrote the following lines:
In this our spacious isle I think there is not one,
But he of ROBIN HOOD hath heard, and Little John;
And to the end of time the tales shall ne’er be done
Of Scarlock, George-a-Green, and Much the Miller’s son,
Of Tuck, the merry friar, which many a sermon made
In praise of ROBIN HOOD, his out-laws, and their trade.
I would like to echo Drayton’s words and say that surely everybody here ‘in this our spacious isle’ no doubt has heard of Robin Hood. He is the quintessential noble robber who steals from the rich and gives to the poor. His true love is a woman named Marian. His fellow outlaws include Little John, Will Scarlet, Allen-a-Dale, and Friar Tuck. Their stories have been immortalised in books, films, and television series, and with three movies forthcoming, it seems that Drayton’s prophecy that ‘until the end of time the tales shall ne’er be done’ will continue to ring true. I want to talk to you today about the legend of Robin Hood as a whole. I will briefly discuss some of the historical outlaws whom researchers have identified as being possible candidates for the ‘real’ Robin Hood. I then want to move on to discussing how the legend has been continually reshaped over time, and how Robin Hood has been appropriated by different authors for various purposes. My talk, therefore, will take you on a journey through social, cultural, and literary history from the middle ages until the twentieth century.
A Real Robin Hood?
When I have given public talks before on the legend of Robin Hood, the one question that continually arises is: was Robin Hood a real person, and if so, who was he? It is a question to which there will never be a definitive answer simply due to the paucity of evidence surrounding his life. That being said, this has not stopped people attempting to identify an historic outlaw. I am going to pre-empt your questions by dwelling upon the most likely candidates we have who may be the real Robin Hood.
The late Professor James C. Holt in his work Robin Hood (1982), believed that a man listed in the Yorkshire Assize Rolls between 1225 and 1226 as ‘Robert Hod, fugitive’ was the most likely candidate for the real Robin Hood. And in the image above you can see the entry for this man in the court rolls. The same outlaw turns up years later under the sobriquet of ‘Hobbehod’. Allen Wright, an independent Robin Hood scholar based in Canada, lists in one of his articles several of the other candidates that have at one time or another been identified as the real Robin Hood. Among them is one Robert of Wetherby who is listed in the Court Rolls as ‘outlaw and evildoer of our land’. Other potential candidates include a Robert Hood from Cirencester who, sometime between 1215 and 1216 murdered a man named Ralph in the local Abbott’s garden. And in 1354 there was a Robin Hood who was incarcerated in Rockingham gaol for forest offences.
Most pertinently for audiences here today, perhaps, there is also the case of the supposed Robin Hood of Wakefield. The Robin Hood of Wakefield was identified by a nineteenth-century antiquary named Joseph Hunter (1783-1861). Hunter was appointed as the Assistant Keeper of the Public Record Office, or National Archives as we know it today. In a tract entitled The Great Hero of the Ancient Minstrelsy of England, Robin Hood, published in 1852, he argued that Robin Hood was from Wakefield. Hunter aimed to fit known facts to the early tales of Robin Hood. Hunter first identified a Robert Hood who with his wife Matilda appears in the Court Rolls of the manor of Wakefield in 1316 and 1317. Without any evidence, he argued that this Robert Hood became an outlaw between this time and 1324, when Hunter discovered that there was a valet de chambre to Edward II named Robyn Hode. For Hunter, this seemed to confirm that that this man was the same Robin who enters into the King’s service at the end of the fifteenth-century poem A Gest of Robyn Hode, when the King travels into the forest and meets Robin, and asks him to join his service. The problem with this approach is:
1) There is no indication that this Robyn Hode from 1324 was ever an outlaw.
2) The idea of a monarch going into the woods, as the king does at the end of the Gest, was a common trope in medieval ballads, and it is highly unlikely that the King ever went incognito among the populace.
This has not stopped local historians from sticking to Hunter’s assertions that Robin Hood was a man from Wakefield. To say that the real Robin Hood was from Wakefield, however, is to mix shaky historical methodology with wishful thinking. The fact of the matter is this: yes there was a man named Robin Hood who lived in Wakefield, but we do not know if he was an outlaw.
Indeed, what if Robin Hood was simply an alias? The name ‘Robin Hood’ was often used as an alias by criminals in the medieval period: ‘In 1498, Roger Marshall had to defend himself in court for leading an uprising of 100 people. He had used the alias Robin Hood, and defended himself by claiming his actions were typical Robin Hood practice.’ Furthermore, ‘in 1441 a disgruntled mob in Norfolk blocked the road threatening to murder someone. They sang “We are Robynhodesmen — war, war, war”.’ And finally ‘in 1469, two people led separate uprisings against the Yorkist government. They used the aliases Robin of Holderness and Robin of Redesdale. Clearly Robin was a name associated with rebellion’. The nineteenth-century antiquary John Timbs in his work Abbeys, Castles, and Ancient Halls of England and Wales (1870) said that there was a term in use from the time of Edward III, ‘Roberdsmen’ which denoted any type of thief or robber.
Thus I hope I have shown you how difficult it is for anybody to identify an historical outlaw whose life and deeds match those of the legendary Robin Hood. We really are dealing with scraps of information: little notes in court rolls; men who used the name of Robin Hood as an alias. But I think it is the very paucity of evidence regarding a real Robin Hood which has allowed the legend to grow over time, and be adapted continually by different people in different ages. Thankfully academic scholarship has now moved beyond trying to identify a historic outlaw who could have been the ‘real’ Robin Hood. And I think this is a move in the right direction: the tale of Robin Hood has been appropriated and adapted many times, and we will never identify a historic outlaw simply due to the lack of evidence. In the words of Professor Alexander Kaufman, ‘the origins of Robin Hood the person and his original context are perhaps best left to those individuals who wish to search for that which is forever to be a quest’.
A Popular Hero: The Medieval Period
While there is little evidence that enables us to definitively identify a single outlaw whose life and deeds gave rise to the legend of Robin Hood, stories about Robin Hood circulated at an early period of English history. In a thirteenth-century poem by William Langland entitled The Vision of Piers the Plowman (c.1370), we meet a lazy Priest named Sloth. Poor Sloth is not a very good cleric. He cannot read or write, and he does not even know his Paternoster by heart. However, the one thing he can recite from memory is ‘rymes of Robyn Hode’. He tells us in the poem that:
I can noughte parfitly my Paternoster as the prest it syngeth,
But I can rymes of Robyn Hode, and Randalf Erle of Chestre.
These words from c.1370 are the first literary reference to Robin Hood. They make clear that during this period ‘rymes of Robyn Hode’, or ballads were circulating orally. Transmission of these tales was often by word of mouth, for England was not a predominantly literate society in the fourteenth century. In fact, the skill of reading and writing was mainly confined to members of the Church and the upper classes.
In time, however, the ‘rymes of Robyn Hode’ were written down. We have five surviving examples of these early rhymes, or ballads, of Robin Hood, and these are: Robin Hood and the Monk which survives in manuscript form and is dated c.1450;  Robin Hood and the Potter, which survives in a single manuscript of popular and moral poems that can be dated to c.1500;  Robin Hood and Guy of Gisborne which is dated to the mid-fifteenth century;  and A Gest of Robyn Hode, the content of which is dated to c.1450, but only survives in printed copies from the sixteenth century.
The Robin Hood of these early ballads is very different to the outlaw that we would recognise today. While modern audiences are used to seeing Robin Hood portrayed as the dispossessed Earl of Huntingdon, Robin is not a nobleman in these early texts but is described as a ‘yeoman’. Broadly speaking, a yeoman was a member of the medieval middle classes, for want of a better term, occupying a social position between the aristocracy and the peasantry. This is clear from the outset of the Gest which opens with the following lines:
Lythe and listin, gentilmen,
That be of frebore blode;
I shall you tel of a gode yeman,
His name was Robyn Hode. 
All of Robin’s fellow outlaws such as Little John and Much the Miller’s son hail from the same social class of yeomanry. And Robin and his men are quite violent characters. In Robin Hood and Guy of Gisborne he cuts off Guy’s head, mutilates his face with a knife, and sticks his head upon the end of his bow:
Robin thought on Our Ladye deere,
And soone leapt up againe,
And thus he came with an awkwarde stroke,
Good Sir Guy hee has slayne.
He tooke Sir Guy’s head by the hayre,
And stickt itt upon his bowes end:
“Thou has beene a traytor all thy liffe,
Which thing must have an ende.”
Robin pulled forth an Irish kniffe,
And nicked Sir Guy in the face,
That hee was never on a woman borne,
Could tell who Sir Guye was.
In Robin Hood and the Monk, one of Robin’s men, Much the Miller’s son and Little John kill a travelling monk and his young page:
John smote of the munkis hed,
No longer wolde he dwell;
So did Moch the litull page,
For ferd lest he wolde tell.
There are also characters whom we would count as staples of the Robin Hood legend today that actually appear nowhere in these early texts. Maid Marian is notable absent from these texts. In fact, Robin has no love interest at all. Marian entered the legend via a different route to the ballads. The first time that two people named Robin and Marian were associated together was in a French pastoral play entitled Jeu de Robin et Marion, dating from c.1282. It is unclear, however, whether the Robin and Marian of this play were understood to be outlaws. There is certainly no proven link between the play and the Robin Hood tradition. We do know, however, that Marian appears alongside the ‘proper’ Robin Hood in sixteenth-century Tudor May Day celebrations. It seems from thence she made her way into Anthony Munday’s two plays The Downfall of Robert, Earle of Huntington and The Death of Robert, Earle of Huntingdon written between 1597 and 1598. Despite these two plays, however, Maid Marian would not get her “big break” until the nineteenth century with a short novella by Thomas Love Peacock entitled Maid Marianpublished in 1822, although of this novel I shall speak later.
The poem A Gest of Robyn Hode (c.1450) is the most significant of all the medieval texts. While Robin was an outlaw in Robin Hood and the Monk and Robin Hood and Guy of Gisborne, he did not really have a social mission as such. It is with the Gest that this changes. It is a long poem, 1.824 lines in total, and appears to have been constructed from a variety of existing tales which somebody, at some point, endeavoured to give unity to. It is a type of the ‘good outlaw’ tale. Robin will help poor, honest people whom he meets: the first ‘fytte’ of the poem sees him lending money to an impoverished knight named Sir Richard of the Lee, whose lands have been mortgaged to pay a debt to the Abbot of St. Mary’s in York. And in this poem many familiar scenes occur, such as the archery contest, or his meeting with the King and subsequent pardon. At the end of the poem, Robin falls ill and goes to Kirklees Priory to be bled. The prioress, in league with Sir Roger of Doncaster, bleeds him to death. The poem then ends with a benediction:
Cryst have mercy on his soule
That dyed upon the rod.
For was a good outlawe,
And dyde pore men moch gode.
Although the idea that Robin steals from the rich and gives to the poor is not fully articulated in the poem (it was not until John Stowe’s Annales of England in 1592 that this idea would become current), it is in the Gest that we first get the idea that Robin is kind to the poor and ‘dyde pore men moch gode’.
The Seventeenth Century
Robin moved up in the world during the seventeenth century. In the afore-mentioned plays by Anthony Munday, The Downfall of Robert, Earle of Huntington and The Death of Robert, Earle of Huntingdon, Robin was cast for the first time as an Earl. There was no precedent in the ballad tradition for Robin being an Earl. Munday did this because he was catering to a primarily aristocratic audience. Although largely forgotten about today outside of academic circles, these plays established a new narrative in the Robin Hood legend: Robin is depicted as an aristocrat; he is outlawed because of a plot against him by rival courtiers; and instead of a bold yeoman outlaw/rebel, the reason that Robin is outlawed is because he has stayed loyal to King Richard. Hence any subversive political traits are extracted from his character. Thus instead of challenging the establishment, in these plays Robin becomes an upholder of the established order.
In fact, in the area of high culture, Robin becomes a very non-threatening and gentle figure. This is the case in a play written by Ben Jonson entitled The Sad Shepherd, or, A Tale of Robin Hood (1641). Firstly, it’s unclear whether Robin is actually an outlaw at all: he is described as ‘Chief Woodsman, and Master of the Feast’. His men refer to him as ‘gentle master’. Furthermore, in the play, Robin never actually steals from anybody. Instead the story is what we call a ‘pastoral’, which is defined as:
A literary work (as a poem or play) dealing with shepherds or rural life in a usually artificial manner, and typically drawing a contrast between the innocence and serenity of the simple life and the misery and corruption of city and especially court life.
In the play, Robin Hood has invited all the shepherds and shepherdesses of the Vale of Bevoir to a feast in the forest of Sherwood, and then he learns that the shepherd, Aeglamour, fears his true love has drowned in the river – hence The Sad Shepherd. In the meantime, Marian appears to have been possessed by an evil witch, named Maudlin, whom, it is speculated, is also responsible for the disappearance of the Shepherd’s beloved. Jonson never finished the play – that was a task left to subsequent writers. However, as among the cast is one ‘Reuben, the Reconciler’, one academic named Ann Barton suggests that Jonson would probably have had the witch and her children forgiven and present at the final delayed banquet of venison. However Jonson might have ended, as you can see, it’s a very different tale of Robin Hood than the one that we are used to seeing.
At the same time as Jonson was writing, more exciting tales of Robin Hood were appearing in broadside ballads. Broadsides were large folio size sheets of paper with the lyrics of a song printed on one side. They were sold usually for a penny by itinerant hawkers. The ballads which appear in the seventeenth century are not the long type of medieval narrative poem, but rather are shorter stories, supposed to be sung, and they depict Robin as something of a buffoon. Ballads such as Robin Hood and the Tanner, which dates from the seventeenth century, for instance, see Robin meeting a stranger in the forest. Robin bids him to stand, and the traveller takes offence. The traveller challenges Robin to a battle with quarterstaffs. The stranger wins the fight, and afterwards the two fellows make friends, and the stranger usually joins Robin’s band. Now although this is not quite the ‘heroic’ Robin Hood we expect, you may already realise that even these relatively unimportant later texts have left their mark upon modern-day portrayals: anybody who has seen a Robin Hood film or television show will no doubt recall that, in most instance, when Robin meets Little John for the first time, the two men fight and then become friends.
The Eighteenth Century
The eighteenth century is a very interesting century for the Robin Hood legend. On the one hand, he’s depicted as a cold-blooded killer. On the other hand he is celebrated. But let us begin at the beginning of the eighteenth century. Between 1714 and 1737, Robin Hood’s reputation took a beating. In criminal biography, the most popular genre of literature, Robin was portrayed as a cold-hearted killer. It is best to briefly digress, however, to explain why criminal biography emerged when it did.
In the 18th century crime was the subject on everybody’s lips, and people believed that they were in the midst of a crime wave. The situation apparently became so bad by mid-century that Henry Fielding gloomily prophesied ‘I make no doubt, but that the streets of [London], and the roads leading to it, will shortly be impassable without the utmost hazard’. The legal response to this crime wave was the introduction of a bloody law code, when 200 offences became capital felonies. This resulted in the proliferation of cheap criminal biographies. Major novelists of the period also capitalised on this market for criminal biographies, and Daniel Defoe’s novel Moll Flanders (1722) is often seen as a more sophisticated example of the genre. The first appearance of Robin Hood in criminal biography comes in Captain Smith’s A History of the Lives and Robberies of the Most Noted Highwaymen (1719), where he is listed as ‘Robin Hood: A Highwayman and Murderer.’ Robin also makes an appearance in Captain Johnson’s Lives and Actions of the Most Noted Highwaymen (1734), as well as the anonymous The Whole Life and Merry Exploits of Bold Robin Hood (1737). The content of Smith’s Highwaymen was heavily plagiarised for subsequent accounts of Robin’s life, and it is Smith’s text which is focused upon here.
Today Robin Hood is usually portrayed as the noble Earl of Huntingdon, which is a legacy of Munday’s plays, but Smith was not convinced:
This bold robber, Robin Hood, was, some write, descended of the noble family of the earls of Huntingdon; but that is only fiction, for his birth was but very obscure, his pedigree ab origine being no higher than poor shepherds, who for some time lived in Nottinghamshire, in which county, at a little village adjacent to the Forest of Sherwood, he was born in the reign of King Henry the Second.
Robin Hood’s social status, however, is fairly immaterial to the reader of criminal biography in the 18th century: all men were capable of committing a crime because all men were sinners – there was no concept of a ‘criminal class’. You became a criminal if, like Robin, you allowed yourself to succumb to your own sinful inclinations.
Smith tells how Robin Hood was ‘bred up a butcher, but being of a very licentious, wicked inclination, he followed not his trade, but in the reign of King Henry the Second, associated himself with several robbers and outlaws’. We are told that Robin Hood steals from the rich and gives to the poor, but in the 18th century people often rolled their eyes when they heard of thieves doing this. When one highwayman in 1763, Paul Lewis, told an official that he stole from the rich and gave to the poor, the sarcastic response was that this was ‘a common excuse for all thieves and robbers’. Even Robin’s meeting with the king is played out differently to how it is portrayed in movies today, for in Smith’s work, instead of the meeting ending amicably, Robin simply robs him:
The King, seeing it was in vain to resist Robin Hood’s power, he [sic] gave him a purse in which was about 100 pieces of gold; but swore when he was got out of his clutches that he would certainly hang him whenever he was taken.
Evidently, the 18th-century Robin Hood is loyal to no man, not even the King. Finally, Smith portrays Robin Hood as a man who is wicked until the day he dies, for he records that:
Robin Hood had continued in his licentious course of life for 20 years, when being very sick, and then struck with some remorse of conscience, he privately withdrew himself to a monastery in Yorkshire, where being let blood by a nun, he bled to death, aged 43 years, and was buried in Kinslay.
Criminal biographies were intended to serve as pieces of moralist literature. Readers were supposed to heed the warnings of the life of the criminal to avoid making the same sinful mistakes that had led felons to the gallows. Eighteenth-century authors had a more nuanced and, dare it be said, ‘realistic’ impression of the type of man that Robin may have been like, if he existed at all. If you lived in the eighteenth century, it was this version of Robin’s life which you were most likely familiar with: criminal biographies such as Smith’s Highwaymen and The Newgate Calendar were the third most common book to be found in the middle-class home, after the Bible and The Pilgrims Progress.
It was only in the latter part of the century when Robin became reimagined as a hero in the conventional sense of the word, with the publication of Joseph Ritson’s two-volume work Robin Hood: A Collection of All the Ancient Poems, Songs, and Ballads (1795). Joseph Ritson was born in Stockton-on-Tees and was a conveyancer by trade. In his spare time, however, he was an antiquary. He was interested, not in the ‘high’ culture of people in times past, but in the culture of the common man. He published many collections of ancient ballads and songs such as A Select Collection of English Songs (1783) and Pieces of Ancient Popular Poetry (1791). Ritson quickly established himself as an authority on many historical subjects owing to his willingness to seek out obscure primary sources from archives and libraries across the country. He was also cantankerous, and fiercely critical of his rivals such as Thomas Percy who took it upon himself to edit and ‘refine’ Old and Middle English texts.
Ritson’s work is significant in the overall construction of the legend because, as his title suggests, he collected together and made accessible in printed form every Robin Hood text he could find ranging from the Middle Ages to the nineteenth century. The Middle English ballad A Gest of Robyn Hode, for instance, was first printed for a mass market readership in Ritson’s publication. Some of the other ballads which he included in his collection had been printed before, of course, by antiquaries such as Percy in his Reliques of Ancient English Poetry (1765), and Thomas Evans’ Old Ballads, Historical & Narrative (1784), and in the often reprinted Robin Hood’s Garland chapbooks (‘garlands’ were cheaply printed collections of popular songs). But Ritson’s Robin Hood was the first book to include all of these ancient and modern Robin Hood texts in one place.
The most important part of Ritson’s work, however, was the section entitled ‘The Life of Robin Hood’ which he prefixed to the collection of ballads. In this Ritson laid down the “facts” of the legend, saying:
Robin Hood was born at Locksley, in the County of Nottingham, in the reign of king Henry the Second, and about the year of Christ 1160. His extraction was noble. […] he is frequently styled, and commonly reputed to have been Earl of Huntingdon.
Ritson, furthermore, decides to lay down the ‘facts’ about his character:
With respect to [Robin Hood’s] personal character: it is sufficiently evident that he was active, brave, prudent; possessed of uncommon bodyly [sic] strength, and considerable military skill; just, generous, benevolent, faithful, and beloved or revered by his followers and adherents for his excellent and amiable qualities.
Another thing about Ritson is that he is a bit of an armchair republican/revolutionary. His letters from the 1790s are full of praise for the French Revolution. And so Ritson fashions Robin Hood into an almost quasi-revolutionary leader:
In these forests, and with [his] company, he for many years reigned like an independent sovereign; at perpetual war, indeed, with the king of England, and all his subjects, with an exception, however, of the poor and needy, and such as were ‘desolate and oppressed,’ or stood in need of his protection.
And finally, Ritson tells us that Robin steals from the rich and gives to the poor:
That our hero and his companions, while they lived in the woods, had recourse to robbery for their better support, is neither to be concealed nor to be denyed. Testimonies to this purpose, indeed, would be equally endless and unnecessary […] But it is to be remembered […] that, in these exertions, he took away the goods of rich men only; never killing any person, unless he was attacked or resisted: that he would never suffer a woman to be maltreated; nor ever took anything from the poor, but charitably fed them with the wealth he drew from the abbots.
As you can see, the story of Robin Hood, due in large part to Joseph Ritson, is beginning to look familiar to the story which we see depicted on film and television today. Ritson died shortly after the publication of Robin Hood, but we know from his letters that he was in contact with a young Scotsman, Walter Scott. It is Scott, as we shall see in a few moments, who carried Ritson’s portrayal of Robin Hood even further in his novel Ivanhoe (1819).
The Nineteenth Century
It is indeed during the nineteenth century when the Robin Hood legend assumes the form that we are familiar with today. This was primarily due to three literary works: Scott’s Ivanhoe, Thomas Love Peacock’s Maid Marian (1822), and Pierce Egan the Younger’s Robin Hood and Little John (1840). Scott is perhaps the most famous of all Scottish novelists. Born in Edinburgh in 1771, after completing his studies he was articled to the legal profession through a friend of his father’s. Throughout his life, however, in his leisure time he devoted himself to antiquarian pursuits, avidly reading scholarly works such as Percy’s Reliques. Inspired by Percy, whose three volume work was a collection of Old and Middle English poetry, Scott went on to produce the three volume work, Minstrelsy of the Scottish Border (1802-1803). Scott did not merely produce scholarly editions of old texts, however; he was also a poet, authoring several lengthy narrative poems: The Lay of the Last Minstrel, Marmion, The Lady of the Lake, Rokeby, and Lord of the Isles, to name but a few. His poetry nowadays has been all but forgotten except by scholars, and it is his novels for which he is chiefly remembered. He authored over 25 novels, most of which are now known as the Waverley Novels. Among these novels, it is Waverley (1814) and Ivanhoe which are regarded by scholars as his two ‘key texts’.
Most of Scott’s novels dealt with the fairly recent Scottish eighteenth-century history. Waverley – regarded as the first historical novel in Western fiction – dealt with the Jacobite Rebellion of 1745. His second novel Guy Mannering (1815) is a tale set in Scotland during the 1760s, while his third novel The Antiquary (1816) is set in Scotland during the 1790s. With Ivanhoe, Scott made a departure from Scottish history by writing a novel set in England during the medieval period, and it is with Ivanhoe that Scott is said to have, in the words of John Henry Newman, initiated the Medieval Revival of the early nineteenth century.
Although we class Scott primarily as Romantic novelist today, he would have seen himself as one of the gentlemen antiquaries of the eighteenth century, such as Percy or Ritson. Reflecting his love of antiquarian pursuits, the preface purports to be a letter sent from one (fictional) antiquary, Laurence Templeton, to the (also fictional) Rev. Dr. Dryasdust. The story of Ivanhoe, we are told, is taken from an ancient manuscript in the possession of Sir Arthur Wardour. Readers of Scott novels will quickly realise that this is another fictional character, taken from The Antiquary. The purpose of the novel, Templeton writes, is to celebrate English national history, especially when no one until that date had attempted to:
I cannot but think it strange that no attempt has been made to excite an interest for the traditions and manners of Old England, similar to that which has been obtained in behalf of those of our poorer and less celebrated neighbours [he is referring here to his own Scottish novels].
England is in need of national heroes to celebrate, just as Scotland, through Scott’s novels, had them. Scott says that:
The name of Robin Hood, if duly conjured with, should raise a spirit as soon as that of Rob Roy; and the patriots of England deserve no less their renown in our modern circles, than the Bruces and Wallaces of Caledonia.
The actual novel is set during the 1190s, and England is in a parlous state, divided between the Normans and the Anglo-Saxons:
A circumstance which tended greatly to enhance the tyranny of the nobility, and the sufferings of the inferior classes, arose from the consequences of the Conquest by William Duke of Normandy. Four generations had not sufficed to blend the hostile blood of the Normans and Anglo-Saxons, or to unite, by common language and mutual interests, two hostile races, one of which still felt the elation of triumph, while the other groaned under all the consequences of defeat.
The divisions between the Anglo-Saxons and the Normans come to a head while Richard I is captured by Leopold of Austria, and his brother John rules as Regent. John taxes the people heavily to pay King Richard’s ransom. In reality, John is hoarding the money for himself, hoping to raise an army to overthrow the few remaining barons who support Richard, while buying the others off.
Unbeknownst to John and his Templar henchmen, Richard has also returned to England in disguise. Richard finds his his land in chaos: outlaws roam in the forest; the Normans oppress the good Saxons; and Ivanhoe’s father, Cedric, plans on using his brother Athelstane as a rallying point through whom the oppressed Saxons can rise up and overthrow their Norman conquerors. Recognising the parlous state of the country, the outlaw known as Robin of Locksley teams up with both Ivanhoe and King Richard and so that Richard can regain control of his kingdom and thereby unite the nation. Added into this plot are vividly exciting scenes; jousting tournaments, archery tournaments, damsels in distress, and epic sieges and battles. It is a piece of pure medieval spectacle.
Scott completely invented the idea that the Anglo-Saxons and the Normans were at odds with each other in the 1190s. He did this because he had a message for nineteenth-century readers: society does not have to be divided the way that it was in the 1190s. Scott argues that if all classes of society work together, they can overcome their differences. This is symbolised in the alliance between the yeoman Robin of Locksley (the working classes), Ivanhoe (the middle class), and Richard (royalty/aristocracy). Each class has responsibilities towards and should show loyalty to one another: ‘the serf [should be] willing to die for his master, the master willing to die for the man he considered his sovereign’. Medieval feudalism, where each class owed loyalty to the other, could, Scott argued, be adapted for the nineteenth century. England in 1819 was in fact a very divided society. The end of the French Revolutionary and Napoleonic Wars brought in its wake a trade and financial depression along with mass unemployment. In addition, the working classes and the middle classes were agitating for political reform. Issues came to a head in 1819, while Scott was working on Ivanhoe, in Manchester. Peaceful protesters had gathered in Peter’s Fields calling for political enfranchisement. However, the local magistrate ordered the militia to charge at the protesters. Fifteen people died and over 700 people were injured. Scott himself was horrified by this event, and the general state of the nation. Hence the reason that he wrote Ivanhoe was to create a shared sense of history around which all people could rally. This is why we see all classes of people working together. Through Robin Hood, for example, Scott intended to show that:
From the beginning of national history, ordinary men had an important role to play in the shaping of the nation […] his novel dramatizes the idea of history in which the lowest in the social order are as important as the highest.
Robin Hood is the saviour of the nation in Ivanhoe – the upper classes need the working classes as much as the working classes rely on their ‘betters’.
Walter Simeone, an early twentieth-century academic, argued that the modern idea of Robin Hood was practically ‘invented’ by Scott. Robin of Locksley in Ivanhoe is a freedom fighter first, and an outlaw second. And when you think of it, almost every modern portrayal sees Robin as a political fighter first, and a thief second. In fact, as in Ivanhoe, in film and television portrayals we rarely see Robin Hood robbing anybody. Indeed, Robin is only an outlaw in Scott’s novel because he and his fellow Anglo-Saxon outlaws have been deprived of their rights. Out of all the heroes in Scott’s novel, it is only Robin Hood who people remember.
The early nineteenth century was a good time for Robin Hood literature. The year 1818 saw John Keats and John Hamilton Reynolds write two Robin Hood poems each. In 1819 two novels featuring the outlaw hero came out: the anonymously authored Robin Hood: A Tale of the Olden Time (1819) and Ivanhoe. Neither of those novels, however, featured Robin’s love interest, Maid Marian. Marian’s ‘big break’ came in 1822 with the publication of Thomas Love Peacock’s novella Maid Marian. Peacock was a friend of Romantic writers such as Lord Byron and Mary Shelley. Indeed, it has been theorised by Stephen Knight that Robin and Marian in this novel are based upon Byron and Shelley. Although the publication date of the novella is 1822, all first editions carry a note to the effect that the majority of the work was written in 1818. This is perhaps Peacock trying to distance himself and his work from Scott’s Ivanhoe, and to claim originality for it. As the Robin Hood critic Stephen Knight notes, however, the siege of Arlingford in Peacock’s novel seems to be a little too similar to Scott’s siege of Torquilstone in Ivanhoe, and thus it is unlikely that Peacock was not at least partially influenced by Scott.
The novel was originally intended as a satire on continental conservatism and its enthusiasm for all things feudal and medieval. After the French Revolutionary and Napoleonic Wars (1793-1815), many of the pre-Napoleonic governments were restored to power on the continent. But these governments’ power rested on flimsy bases, and some governments, such as that of Spain, attempted to re-impose a new type of feudalism. While the press in some continental countries was hailing the return of established monarchies and ‘the old order’, Peacock was more critical. In particular, he targeted what he called the ‘mystique’ of monarchy and the cult of legitimacy that had grown up around monarchies in the aftermath of Napoleon’s conquests. Through his novella he showed how man’s feudal overlords have always been the same: greedy, violent, cynical, and self-interested, which is the reason why the aristocracy have such a bad reputation in his novel.
Peacock’s novel begins with the nuptials of Robert, Earl of Huntingdon and his lady Matilda. The wedding is interrupted by the Sheriff’s men who seek to arrest him for ‘forest treason’. Robin fights of the Sheriff’s men and then takes to the woods, despoiling the Sheriff and his men of all their goods whenever they can. After resisting the advances of Prince John, Matilda joins Robin in Sherwood Forest and assumes the name of Maid Marian. Together, Robin and Marian effectively rule as King and Queen in the forest:
Administering natural justice according to Robin’s ideas of rectifying the inequalities of the human condition: raising genial dews from the bags of the rich and idle, and returning them in fertilising showers on the poor and industrious; an operation which more enlightened statesmen have happily reversed. 
As Peacock’s title suggests, Robin is the secondary character in the novel, with Marian being the main protagonist. However, she is no delicate little lady. Instead she takes an active role in defending Sherwood – Robin’s forest kingdom – from the depredations of the Sheriff. She takes an active role in defending her home from Prince John’s soldiers, and even fights Richard I in disguise. Marian is unsuited to the domestic sphere of life, and longs to be out in the world, as she says herself:
Thick walls, dreary galleries, and tapestried chambers, were indifferent to me while I could leave them at pleasure, but have ever been hateful to me since they held me by force’.
In effect, Peacock, in crafting an image of Marian that was active, strong, and brave, he was rejecting nineteenth-century gender conventions, in which the woman of a relationship was supposed to confine herself to the domestic sphere. Marian in Peacock’s novel is essentially a proto-feminist.
The novel is also significant because it is the first time that the legend of Robin Hood is coherently articulated in the novel form. Early ballads such as the Gest were compiled from a number of different tales, and are not classed as ‘sophisticated’ Middle English literature such as that of Chaucer’s poetry or Langland’s Piers Plowman. Other prose accounts of Robin Hood marginalise the hero to an extent: in Scott’s Ivanhoe, for instance, Robin only appears in ten out of forty-four chapters, and he is just one among many medieval heroes to appear in the novel. And neither does Robin have a backstory before Peacock’s novel.
Peacock set the tone for future interpretations of Maid Marian as an active, brave, and charming heroine. In Joaquim Stocqueler’s Maid Marian, the Forest Queen; A Companion to Robin Hood (1849), Marian is presented again as a fighting woman. The paradox is that, despite this ‘muscular’ portrayal of active femininity, Marian as a character has never been adapted by female writers. Nevertheless, the representation of Marian as an action woman is an interpretation that has lasted until the age of Hollywood; Robin Hood: Prince of Thieves (1991), the BBC Robin Hood series (2006), and the Russell Crowe Robin Hood (2010) all show Marian as an active and independent woman.
The man who really brings together the ideas of both Scott and Peacock is an author who is relatively unknown today: Pierce Egan the Younger (1814-1880). Egan was a prolific author who penned a number of medievalist novels, most of which were sold in weekly penny instalments. His quite radical work Robin Hood and Little John (1840) told the story of the hero from birth to death. Robin is portrayed as a freedom fighter, but also at the same time a chivalric, almost “Victorian” gentleman. And neither did Egan flinch from making his novels violent. Illustrating many of the scenes in his novel himself, the pages are full of arrows in people’s eyes, and in the text limbs are cut off and there’s a high body count. It is the perfect novel for a young male readership, even if Egan himself intended his novel to be read by adults as well. Egan’s novel was highly successful, went through six editions, and was even translated into French by the famous author Alexandre Dumas as Le Prince des Voleurs and Robin le Proscrit (1863) which was then retranslated back into English as two novels entitled Robin Hood the Outlawand The Prince of Thieves (1904).
After Egan, the quality of Robin Hood novels declines somewhat. And there are some terrible, highly moralistic novels. Some of them were written by Churchmen, and they are all overtly patriotic, stressing the duties of loyalty and service to the crown. Whereas the Robin Hood of earlier novels had always represented something of a challenge to the establishment, in this any subversive traits Robin has are totally neutered. He is now a thoroughly Victorian “drawing room hero” – a gentleman, a worthy subject, and in some novels it is unclear whether he is an outlaw or not. The one exception to these late nineteenth-century novels is perhaps Howard Pyle’s The Merry Adventures of Robin Hood (1883). Until Pyle, most Robin Hood novels had followed Scott in portraying him as an Anglo-Saxon freedom fighter. But Pyle returned to the earlier ballads, and from them constructed quite a lengthy narrative, telling the story of Robin’s life from birth to death. This was one of the more successful novels, and if you pick up a Penguin Classics edition of the story of Robin Hood today, it will most likely be Pyle’s novel.
The Twentieth Century
At the turn of the twentieth century, however, it is clear that the medium for telling tales of Robin Hood was shifting from the book to the screen. And no twentieth-century Robin Hood novel has ever really had the power to truly have a lasting impact upon the tradition as Scott, Peacock, and Egan did. Robin Hood movies were released in 1912 and 1913, but the first major Robin Hood movie was released in 1922 and starred Douglas Fairbanks in the title role. The idea of Robin wearing tights was something which Victorian actresses adopted so that they could, with propriety, show their legs on stage, but in the 1922 movie the semi-acrobatic costume allowed Fairbanks to make darting leaps from castle edges, and Robin becomes a true swashbuckling hero.
The next major Robin Hood movie was Errol Flynn’s The Adventures of Robin Hood (1938). Flynn’s portrayal of Robin Hood is very much influenced by Fairbanks’ movie and Walter Scott’s novel. Robin Hood is an Anglo-Saxon freedom fighter, but he is more of an American hero than an English hero in this movie. And the movie endorses Franklin D. Roosevelt’s New Deal, which can be seen in the oath that Robin makes the outlaws swear to:
You the freemen of this forest swear to despoil the rich only to give to the poor, to shelter the old and the helpless, to protect all women rich and poor, Norman or Saxon, and swear to fight for a free England, to protect her loyally until the return of our king and sovereign Richard the Lionheart, and swear to fight to the death against all oppression.
It is this American, populist vision of Robin Hood that has persisted in cinematic portrayals. Hollywood has always far outstripped the British Film industry in terms of quantity of output, if not in terms of quality. Robin Hood is perhaps the perfect hero to be “Americanised”: he is the man who stands up for the common man against the strong and powerful, much like an American superhero. There is the idea that Robin is a Lord, but on the whole cinematic portrayals of the outlaw myth are relatively classless, just as American society is supposed to be. Perhaps the most memorable American portrayal of the outlaw legend, for many here today at least, is the Kevin Costner movie Robin Hood: Prince of Thieves (1991). So Americanised it was, that the filmmakers seemingly never even made the effort to have key members of the cast speak with an English accent. Costner’s Robin Hood is a relatively two-dimensional character, and the movie is full of big Hollywood action sequences – Robin catapulting into Nottingham castle to rescue Marian, for instance, is definitely an “American” addition to the legend.
The Costner movie was a piece of pure Hollywood fancy, a product of a time when cinema audiences evidently required little historical realism when watching a period film. The most recent movie Robin Hood (2010) starring Russell Crowe, although criticised by some reviewers, was an attempt at least to ground the story of Robin Hood in historical “fact”, with the signing of Magna Carta in 1215. It is essentially what, if it was a superhero movie, might be termed an ‘origins’ story. It is not a tale of merry men in Lincoln-Green costumes r big Hollywood set pieces, but a thoughtful and well-executed portrayal of a man who leads his people in an attempt to secure political rights from the monarch.
This is not to say that the British have not produced some good adaptations of the legend, but the most successful British portrayals have tended to be television affairs. There was the weekly TV series The Adventures of Robin Hood, starring the gentlemanly, and quite bland, Richard Green, which was broadcast between 1955 and 1959. In this series, following Scott, Robin is a Saxon nobleman who has returned from the Crusades and becomes an outlaw. But although the TV series may appear to be a thoroughly English affair, the hidden hand of the Americans was not far away: many of the series’ writers were Americans who held communist sympathies and who had fled the States after being accused of ‘Un-American Activities’ by the McCarthy government. So in effect we have America giving us a quintessentially English Robin Hood. The television series Robin of Sherwood which aired in the 1980s is certainly my personal favourite. For me this series represents a return to the bold outlaw of A Gest of Robyn Hode. Robin is no lord in this series, and he does not declare his loyalty to the King at the end of the series. To me, he appears to be closest to how the medieval ballad writers imagined Robin Hood: an outlaw who owed allegiance to nobody.
I just want to finish off by saying that hopefully what you’ve learned today is this: that the legend of Robin Hood has always been varied and adaptable. There may or may not have been a man whose life and deeds gave rise to the legend that was to become Robin Hood. We shall never know, mainly due to the lack of evidence surrounding his life. From early poems and rhymes, the legend rolled on, and acquired new features: in the fifteenth century Robin Hood was a bold yeoman forester; in the sixteenth century he became a member of the aristocracy; in the eighteenth century he was portrayed as both a wicked criminal and simultaneously praised as ‘the celebrated English outlaw’; in the nineteenth century in Ivanhoe, he became an Anglo-Saxon freedom fighter; and in the twentieth century he is now more or less an American hero. It is difficult to know what further turns the legend of the outlaw of Sherwood will take. One thing is certain, however, and that is that, as Drayton prophesied in 1612 that ‘to the end of time the tales shall ne’er be done’.
 Michael Drayton, Poly-Olbion cited in Joseph Ritson, Robin Hood: A Collection of all the Ancient Poems, Songs, and Ballads, Now Extant, Relative to that Celebrated English Outlaw 2 Vols. (London: T. Egerton, 1795), 1: i.
 James C. Holt, ‘Hood, Robin (sup. fl. late 12th-13th cent.), legendary outlaw hero’ in The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004) [Internet <http://www.oxforddnb.com/view/article/24741> Accessed 11 April 2016].
 Allen Wright, ‘The Search for a Real Robin Hood’ Bold Outlaw [Internet <<www.boldoutlaw.com/realrob/realrob2.com>> Accessed 11 April 2016].
 James C. Holt, Robin Hood 2nd Edn. (London: Thames and Hudson, 1989), p.45.
 See Mark Truesdale and Stephen Basdeo ‘Medieval Continuities: Nineteenth-Century King and Commoner Ballads’ in Leeds Working Papers in Victorian Studies, Volume 15: Imagining the Victorians Eds. Stephen Basdeo and Lauren Padgett (Leeds: LCVS, 2016) [Forthcoming].
 John Timbs, Abbeys, Castles, and Ancient Halls of England and Wales (London: F. Warne & Co. 1870), 356.
 Alexander Kaufman, ‘Histories of Contexts: Form, Argument, and Ideology in A Gest of Robyn Hode’ in British Outlaws of Literature and History: Essays on Medieval and Early Modern Figures from Robin Hood to Twm Shon Catty Ed. Alexander Kaufman (Jefferson, NC: MacFarland, 2011), 146-164 (146).
 William Langland, The Vision of Piers the Plowman Eds. Elizabeth Robertson & Stephen H. A. Shepherd (New York: Norton, 2006), 82.
 Anon. ‘Robin Hood and the Monk’ in Robin Hood and Other Outlaw Tales Eds. Thomas Ohlgren and Stephen Knight (Kalamazoo, MI: Middle English Text Series, 2000), 31-56.
 Anon. ‘Robin Hood and the Potter’ in Robin Hood and Other Outlaw Tales Eds. Thomas Ohlgren and Stephen Knight (Kalamazoo, MI: Middle English Text Series, 2000), 57-79.
 Anon. ‘Robin Hood and Guy of Gisborne’ in Robin Hood and Other Outlaw Tales Eds. Thomas Ohlgren and Stephen Knight (Kalamazoo, MI: Middle English Text Series, 2000), 169-183.
 Anon. ‘A Gest of Robyn Hode’ in Robin Hood and Other Outlaw Tales Eds. Thomas Ohlgren and Stephen Knight (Kalamazoo, MI: Middle English Text Series, 2000), 80-168.
 See R. Almond and A. J. Pollard, ‘The Yeomanry of Robin Hood and Social Terminology in Fifteenth-Century England’, Past & Present 170: 1 (2001), 52-77.
 Anon. ‘A Gest of Robyn Hode’, 90.
 Anon. ‘Robin Hood and Guy of Gisborne’, 178.
 Anon. ‘Robin Hood and the Monk’, 43.
 Stephen Knight, Robin Hood: A Mythic Biography (Ithaca: Cornell UP, 2003), 58.
 Knight, Robin Hood: A Mythic Biography, 43.
 Ben Jonson, The Sad Shepherd, or, A Tale of Robin Hood Ed. Frances Waldron (London: J. Nichols, 1784), 6.
 Jonson, The Sad Shepherd, 12.
‘Pastoral’ in Merriam-Webster Dictionary [Internet <http://www.merriam-webster.com/dictionary/pastoral> Accessed 21 April 2014].
 Roy Booth, ‘Ben Jonson, The Sad Shepherd’ [Internet << http://personal.rhul.ac.uk/uhle/001/Jonsonsadshepherd.htm>> Accessed 18 April 2016].
 A version of this section originally appeared in History Today, October 2015.
 Henry Fielding, An Enquiry into the Causes of the Late Increase of Robbers (Dublin: G. Faulkner, 1751), 1.
 Alexander Smith, A Complete History of the Lives and Robberies of the Most Notorious Highwaymen Ed. Arthur Heyward (London: Routledge, 1933), 408.
 Lincoln B. Faller, Turned to Account: The Forms and Functions of Criminal Biography in Late Seventeenth- and Early Eighteenth-Century England (Cambridge, 1987), 60.
 Smith, Highwaymen, 411.
 Smith, Highwaymen, 412.
 A version of this section originally appeared in History Vault, October 2015.
 Joseph Ritson (ed.), Robin Hood: A Collection of all the Ancient Poems, Songs, and Ballads 2 Vols. (London: T. Egerton, 1795), 1: iv.
 Ritson, Robin Hood, 1: xii.
 Ritson, Robin Hood, 1: v
 Ritson, Robin Hood, 1: ix.
 David Hewitt, ‘Scott, Sir Walter (1771–1832)’ in The Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004).
 John Henry Newman cited in Alice Chandler, ‘Sir Walter Scott and the Medieval Revival’ Nineteenth-Century Fiction 19: 4 (1965), 315-332.
 Walter Scott, Ivanhoe: A Romance Ed. Andrew Lang (London: MacMillan, 1910), xliii.
 Scott, Ivanhoe, 3.
 Chandler, ‘Sir Walter Scott and the Medieval Revival’, 324.
 W. E. Simeone, ‘The Robin Hood of Ivanhoe’, The Journal of American Folklore 74: 293 (1961), 230-234 (231).
 Simeone, ‘The Robin Hood of Ivanhoe’, 230.
 Stephen Knight, Reading Robin Hood: Content, Form and Reception in Outlaw Myth (Manchester: Manchester University Press, 2015), 127.
 Stephen Knight, Reading Robin Hood, 125.
 Marilyn Butler, ‘The Good Old Times: Maid Marian’ in Robin Hood: An Anthology of Scholarship and Criticism Ed. Stephen Knight (Cambridge: D. S. Brewer, 1999), 141.
 Knight, Reading Robin Hood, 127.
 Butler, ‘The Good Old Times’, 141.
 Butler, ‘The Good Old Times’, 143.
 Thomas Love Peacock, Maid Marian and Crochet Castle Ed. G. Saintsbury (London: MacMillan, 1895), 126.
 Peacock, Maid Marian, 84.
 Butler, ‘The Good Old Times’, 150.
 Knight, Reading Robin Hood, 126.
 See Stephen Basdeo, ‘Radical Medievalism: Pierce Egan the Younger’s Robin Hood, Wat Tyler, and Adam Bell’ in Leeds Working Papers in Victorian Studies, Volume 15: Imagining the Victorians Eds. Stephen Basdeo and Lauren Padgett (Leeds: LCVS, 2016) [FORTHCOMING].
 Knight, Robin Hood: A Mythic Biography, 153.
 Knight, Robin Hood: A Mythic Biography, 152.
 The Adventures of Robin Hood, dirs. Michael Curtiz & William Keighley (1938) [DVD]
 Knight, Robin Hood: A Mythic Biography, 161.
 Drayton, op cit.
People in the eighteenth century believed that they were living in a crime-ridden society. In addition to Capt. Alexander Smith’s and Capt. Charles Johnson’s criminal biographies, the Proceedings of the Old Bailey, and The Ordinary of Newgate’s Account, a series of books were printed in London entitled The Newgate Calendar.
There is no single authoritative text of The Newgate Calendar as there have been many versions of works bearing the name since the eighteenth century, so a brief history is offered here. Newgate Calendars were named after the infamous London gaol, Newgate, which was first built in 1188, and subjected to numerous renovations and rebuilds in its history until its demolition in 1904.
There were various criminal ‘calendars’ compiled from the beginning of the eighteenth century, such as The Tyburn Calendar, or the Malefactors’ Bloody Register (1705), and The Chronicle of Tyburn; or, Villainy Displayed in all its Branches (1720).
The first publication that bore the name of The Newgate Calendar appeared in 1774, entitled The Newgate Calendar, or the Malefactors’ Bloody Register, and published in five volumes. Five years later, there was The Malefactors’ Register; or, The Newgate and Tyburn Calendar, dedicated to the magistrate, Sir John Fielding (1721-1780), the co-founder of the Bow Street Runners, London’s first dedicated law enforcement agency.
Another publication, The New and Complete Newgate Calendar appeared in 1795, whilst William Jackson’s The New and Complete Newgate Calendar; or, the Malefactor’s Universal Register, appeared in 1818.
Like Johnson’s Lives of the Highwaymen (1734), the eighteenth-century version of The Newgate Calendar contains biographies of the most notorious criminals. For its sources, the various versions often directly plagiarised contemporary criminal narratives, in particular the ‘Last Dying Speech’ broadsides which contained news of convicted felons. In the words of the 1784 edition, The Newgate Calendar comprises:
All the most material passages in the SESSIONS PAPERS, for a long series of years; together with the Ordinary of Newgate’s Account of the Capital Convicts, and complete narratives of all the most remarkable trials. 
And some familiar faces appear in the pages of The Newgate Calendar such as Jack Sheppard (1702-1734), Jonathan Wild (1682-1725), and Dick Turpin (1705-1739). The claim to provide ‘complete’ and ‘true’ accounts of all the trials of these offenders, however, is a little suspect. Despite the claims of the Proceedings (upon which, as we have seen, The Newgate Calendar was based), for instance, to provide a ‘fair, true and perfect narrative’ the publishers of these works had the final say in their content, and they had to be entertaining so they could be profitable. Hence ‘greater attention [was] paid to murders, robberies, and thefts from the person (involving titillating details of prostitutes’ interactions with their clients)’ in order to ‘make the Proceedings appeal to a wide audience,’ and thereby proving profitable.
The accounts of each offender, like the broadsides and criminal biographies that they were taken from, were very formulaic in style. They begin with an account of the offender’s birth and parentage, and then describe his/her descent into a life of sin and depravity. Crime, if you have read some of the other posts on this site, in the eighteenth century was viewed as a sin. Criminals were not necessarily inherently wicked: they were people with a tragic fatal flaw in their character, which is why a lot of criminals are portrayed sympathetically in the accounts (murderers apart).  Hence in the case of the burglar Luke Cannon, it was ‘an early attachment to bad company, an early introduction to the paths of vice, [that] led with rapid success to his ruin’. 
At the close of the narrative they are hanged for their crimes.  In a world that lacked a professional police force, one of the aims of the eighteenth-century version of The Newgate Calendar was (as well as providing sensational entertainment), to function as moralist texts. Readers were supposed to shun the examples of sin and vice and avoid making the same unhappy mistakes that had led the criminals to the gallows.
In fact, the title page of the 1795 edition contains a short piece of verse which is illustrative of its aims:
The crimes related here art great and true,
The subjects vary, and the work is new,
By reading, learn the ways of sin to shun,
Be timely taught, and you’ll not be undone. 
It might be supposed that The Newgate Calendar was cheap entertainment for eighteenth-century readers. However, this is not the case: firstly, all editions of The Newgate Calendar were multivolume sets, and accompanied with fine engravings. Although we do not know the prices for the individual editions of The Newgate Calendar, comparisons can be made with the prices of other works. Volume three of Alexander Smith’s Lives of the Highwaymen (1719) cost half a crown, an expensive amount in the 1700s. Similarly, Charles Johnson’s Highwaymen addressed ‘gentlemen’. We are talking about a literate and sophisticated audience who read these books.
There were further publications bearing the name of The Newgate Calendar during the nineteenth and twentieth centuries. A major early nineteenth-century version was edited by two layers, Andrew Knapp and William Baldwin, in 1824, and given the name The Newgate Calendar; Comprising Interesting Memoirs of the Most Notorious Characters Who Have Been Convicted of Outrages upon the Laws of England since the Eighteenth Century, with a revised edition appearing in 1826.
After Knapp and Baldwin’s editions followed G. Thompson’s Newgate Calendar of 1840, which at first glance appears to be a virtual plagiarism of Knapp and Baldwin’s version. The penny dreadful version, The New Newgate Calendar, was then published weekly between 1863 and 1865, and then Camden Pelham published, in two volumes The Chronicles of Crime; or, the New Newgate Calendar in 1887.
The last large-scale five volume compilation of The Newgate Calendar was printed by the Navarre Society in 1927, whilst the Folio Society has more recently reprinted a selection of the most famous trials in two volumes, The Newgate Calendar, and The New Newgate Calendar (1951).
The legacy of The Newgate Calendar can be seen in any bookshop today. This publication, along with criminal biographies, initiated the whole ‘true crime’ book industry.
Thus although nobody today prints accounts of criminals in the same way as the publishers of The Newgate Calendar did, it has to be remembered that there would be no novels were it not for eighteenth-century criminal accounts.
 The New Newgate Calendar; or, The Malefactor’s Bloody Register 5 Vols. (London: A. Hogg, 1795), 1.
 Robert Shoemaker ‘The Old Bailey Proceedings and the Representation of Crime and Criminal Justice in Eighteenth-Century London’ Journal of British Studies 47: 3 (2008), 563.
 John Brewer The Pleasures of the Imagination: English Culture in the Eighteenth Century (London: Routledge, 2013), 351.
 The New Newgate Calendar, 16.
 For a critical discussion of these accounts see Andrea Mckenzie Tyburn’s Martyrs: Execution in England, 1675-1775 (London: Continuum, 2007) and Lincoln B. Faller Turned to Account: The Forms and Functions of Criminal Biography in Late Seventeenth- and Early Eighteenth-Century England (Cambridge, 1987).
 The New Newgate Calendar, 1.
This is a blog post written for my friend, Dr. Kate Lister, and her ‘Whores of Yore’ project.
All illustrations featured in the article are from original nineteenth-century books in my personal collection.
The two thieves which feature most on this blog are, of course, Robin Hood (supp. fl. c.1190s), and Jack Sheppard (1702-24). Robin was not the only thief to have been enamoured with a woman, however, for Sheppard was also. The name of Sheppard’s woman was Elizabeth Lyons alias Edgworth Bess. What little we know of Bess’ life is gleaned from the contemporary criminal biographies about Sheppard. She was born, apparently, in the county of Middlesex in the early eighteenth century, was the reputed wife of a soldier but also a prostitute, having led ‘a wicked and debauched life’.  She was ‘a large masculine woman’, and of her personal character we are told (from second-hand, highly-embellished sources) that she was fond of strong drink, and often beat her lover Sheppard when she quarrelled with him. 
To contemporary journalists, she was a temptress: ideas about criminality in the eighteenth century were not related to social class; instead of a sociological explanation of crime, the Georgians held to a theological explanation. Anyone in the eighteenth century was capable of becoming a criminal because all men were sinners.  People instead were ‘tempted’ into a life of crime through small sins which multiplied and hardened their hearts against God. As Andrea McKenzie explains:
It was a commonplace of seventeenth- and eighteenth-century thought (if by no means new or unique to the period) that sin was both addictive and progressive. Contemporary moralists warned that from such little acorns as childhood raids on orchards and the pilfering of ‘Farthings and Marbles’ grew great oaks of iniquity. 
Temptation could come from bad associations also, which is an echo of the Bible’s command at 1 Corinthians 15: 33 which says that ‘bad company corrupts good morals’. And it was usually through a prostitute that unsuspecting good youths could be led astray down a bad path. This was the case with Jack Sheppard, who was enticed by Edgworth Bess into a life of crime. Speaking of Sheppard, Charles Johnson says in Lives and Exploits of the Most Noted Highwaymen (1734) that:
The history of this unfortunate man affords another to the many examples of already given in this volume, that the company of profligate women have plunged men into scenes of dissipation and vice. 
In a biography attributed to Daniel Defoe (c.1660-1731) entitled The History of the Remarkable Life of John Sheppard (1724), we are told how Sheppard was essentially a good lad when he first started his apprenticeship as a carpenter:
The lad proved an early proficient, had a ready and ingenious hand, and soon became master of his business, and gave entire satisfaction to his master’s customers, and had the character of a very sober and orderly boy. 
In all of the accounts of Sheppard’s life, it is his fateful meeting with Edgworth Bess which leads him astray, however, and it is narrated by Defoe in a truly dramatic way:
Alas, unhappy youth! Before he had completed six years of his apprenticeship he commenced a fatal acquaintance with one Elizabeth Lyon, otherwise known as Edgworth Bess […] Now was laid the foundation of his ruin! 
In his own confession, printed by John Appleby in 1721, Sheppard himself (or more likely the Ordinary of Newgate who attended to him before his execution) blames Bess for his misfortune:
I may justly lay the blame of my temporal, and (without God’s great mercies) my eternal ruin on Joseph Hind, a button-mould-maker, who formerly kept the Black Lyon alehouse in Drury Lane; the frequenting of this wicked house brought me acquainted with Elizabeth Lyon, and with a train of vices, that before I was altogether a stranger to. 
But how, exactly, was Bess responsible for bringing Jack to a life of crime?
Firstly, she convinced him that ‘they must cohabit together as man and wife’.  She also convinced Sheppard to steal items for her on multiple occasions. At first they were small items, but having introduced Sheppard to other thieves in the Georgian underworld such as Joseph Blueskin Blake, his robberies became greater in number (crime, remember, was ‘addictive and progressive).
The pair’s first brush with the law came when Sheppard and Bess stole a watch from a gentlemen as they were passing through Leicester Fields (now Leicester Square). The hue and cry was raised and Sheppard was captured, but Bess got away. Sheppard was consequently detained in St. Ann’s Roundhouse in Soho. When Bess went to visit him the next morning, she too was arrested, having been implicated in the robbery the day before.
Remarkably, however, Sheppard and Bess managed to escape. With a file, Sheppard sawed off his and Bess’ fetters, cut an iron bar out of the window, and descended 25 feet down the walls of the prison by fastening a blanket to the remaining iron bars and lowering himself and Bess down. 
As soon as he was out, Sheppard turned again to robbery:
Sheppard, not warned by this admonition, returns like a dog to his vomit. 
Sheppard managed to escape from gaol a further four times, and once with Bess’ help, when she visited him in gaol and secretly gave him the tools with which to carry out his escape.
Sheppard was hanged on 16 November 1724. It is not known if she attended the execution of her lover, and history is silent in all particulars of Bess’ life after that. There was an Elizabeth Lyons who gave evidence in a trial at the Old Bailey on 16 April 1740,  and then there is an Elizabeth Lyons listed as a defendant in a trial at the Old Bailey on 28 April 1742.  It is unknown, however, if these two Elizabeth Lyons are the same person as the prostitute with whom Jack Sheppard was enamoured.
Whatever the circumstances of her later life, Bess did enjoy a ‘literary afterlife’. This came in the next century with William Harrison Ainsworth’s novel Jack Sheppard (1839). In this novel, she comes across as quite a mean-spirited character: changeable, indifferent to Jack’s fate. Ainsworth’s novel was plagiarised several times: in Lincoln Fortescue’s Life and Adventures of Jack Sheppard (1845); in the anonymously authored penny serial Jack Sheppard; or, London in the Last Century (1847); and in The Real Life and Times of Jack Sheppard (c.1850). In addition to these novels, she also appears in entries on Jack Sheppard in the numerous reprints of The Newgate Calendar (1825) and Camden Pelham’s The Chronicles of Crime; or, The New Newgate Calendar (1887). All of these publications presented Bess in the same way that Defoe and Ainsworth had done: a treacherous, wicked woman.
An altogether more positive portrayal of Bess came in the little-known movie Where’s Jack? (1969). However, while the movie is certainly an entertaining watch, the producers were liberal with the truth. Bess is not a sex worker in the movie, and far from being a temptress, she actually tries to steer Jack away from a life of crime.
As of yet there is no scholarly biography of Bess’ life, and likely there never will be due to the lack of evidence surrounding her life. This post has merely endeavoured to shed light on the life and actions of an historic sex worker.
 Daniel Defoe, ‘The History of the Remarkable Life of John Sheppard’ in Defoe on Sheppard and Wild Ed. Richard Holmes (London: Harper, 2004), 6.  Charles Johnson, Lives of the Most Remarkable Criminals Ed. Arthur Heyward (London: Routledge, 1927), 182.  Lincoln B. Faller, Turned to Account: The Forms and Functions of Criminal Biography in Late Seventeenth- and Early Eighteenth-Century England (Cambridge: Cambridge University Press, 1987), 54.  Andrea McKenzie, Tyburns Martyrs: Execution in England, 1675-1775 (London: Hambledon, 2007), 59.  Charles Johnson, Lives and Exploits of the Most Noted Highwaymen (1734 repr. London: T. Tegg, 1839), 367.  Perhaps not written by Daniel Defoe. See P. N. Furbank & W. R. Owens, Defoe De-Attributions: A Critique of J. R. Moore’s Checklist (London: Hambledon, 1994).  Defoe, ‘The History of the Remarkable Life of John Sheppard’, 5.  Defoe, ‘The History of the Remarkable Life of John Sheppard’, 6.  Daniel Defoe, ‘A Narrative of all the Robberies and Escapes, etc. of John Sheppard’ in Defoe on Sheppard and Wild Ed. Richard Holmes (London: Harper, 2004), 51.  Defoe, ‘The History of the Remarkable Life of John Sheppard’, 6.  Defoe, ‘The History of the Remarkable Life of John Sheppard’, 10.  Ibid.  Anon. The Proceedings of the Old Bailey 16 April 1740 (t17400416-37) [Internet http://www.londonlives.org/browse.jsp?div=t17400416-37 Accessed 12 March 2016].  Anon. The Proceedings of the Old Bailey 28 April 1742 (t17420428-14) [Internet http://www.londonlives.org/browse.jsp?id=t17420428-14 Accessed 12 March 2016].
This is the text of a public talk given at Abbey House Museum, Kirkstall, Leeds on 1 March 2015 to complement their Crime and Punishment Exhibition.
The history of crime, in particular the history of eighteenth- and nineteenth-century crime, is often sensationalised in popular histories. Usually these types of history books focus upon notorious cases such as that of Jack the Ripper in the late Victorian period. It is only relatively recently that a small cohort of professional historians who have approached the subject from an academic standpoint, including Heather Shore,  Tim Hitchcock, Robert Shoemaker,  and Clive Emsley.  And it is the insights and research of these historians that I would like to introduce you to today, as well as some of my own research from my Masters dissertation. 
The Victorian period witnessed a number of changes in the nature of dealing with crime. There was the establishment of a professionalised police force with the passage of the Metropolitan Police Act in 1829, which replaced the haphazard system of part time constables, Bow Street Runners, and Thief Takers. Gaols, which previously had housed offenders only until their trial, became huge institutions which where offenders stayed for a longer term. The object of this was not only to punish the offender but also to rehabilitate him or her. Most importantly for the purposes of our talk today, the Victorian period witnessed the emergence of an idea: the idea of the criminal class, or underworld. In popular histories, terms such as ‘underworld’ have often been applied without consideration of their full meaning, and usually to sensational effect. Indeed, perhaps I am guilty of this myself in naming my talk such in order to draw people in, playing on people’s interest in the darker side of Victorian life. Sometimes the underworld is almost envisaged as a physical space. To the Victorians the idea of the existence of an underworld, or a criminal class held that there was a certain section of society, drawn from its poorest ranks, that was responsible for the majority of crime. But as I will show, this is very much an idea that was constructed in the Victorian press and popular fiction. To chart the development of the idea of a Victorian criminal, however, we need to briefly begin in the previous century, the Georgian period.
The Eighteenth Century
The image which many people will have of crime in the eighteenth century is of the romanticised highway robber. Criminals such as Dick Turpin (1705-1739) are usually portrayed in literature and television shows as gallant, noble robbers, usually mounted upon a trusty steed such as Turpin’s Black Bess. This was not always the view of people who actually lived in the eighteenth century, however, and Turpin’s modern reputation as a noble robber was an invention of the nineteenth-century novelist William Harrison Ainsworth (1805-1882) in Rookwood: A Romance (1834). The real Turpin was something of a thug.
In reality, crime was perceived as a problem during the eighteenth century. People in England, particularly in London, believed that they were in the midst of a ‘crime wave’. One newspaper in the late seventeenth century reported that:
Even at noonday, and in the most open spaces in London, persons are stopped and robbed. 
Similarly, the pamphlet Newes from Newgate (Newgate was a notorious gaol in London) reported that:
Notwithstanding the severity of our wholesome laws, and vigilancy of magistrates against robbers and highwaymen, ‘tis too notorious that the roads are almost perpetually infested with them. 
Later in the eighteenth century, the author Horace Walpole (1717-1797) wrote to a friend that:
You will hear little news from England, but of robberies […] people are almost afraid of stirring after dark. 
Henry Fielding (1707-1754) would echo the same sentiments in his 1751 publication An Enquiry into the Causes of the Great Increase of Robbers, saying that:
I make no doubt, but that the streets of this town, and the roads leading to it, will shortly be impassable without the utmost hazard, nor are we threatened with seeing less dangerous rogues gangs of rogues among us, than those which the Italians call the banditti. 
Thus what we have in the eighteenth century is a moral panic over this perceived wave of crime that England was said to be experiencing throughout the century. It is doubtful that crime in the eighteenth century was ever as bad as people in the past thought that it might be. Certainly there were sporadic increases in the number of indictments, and these spikes generally coincided with peace treaties, when soldiers returned home and had trouble finding means of supporting themselves.
However, in the eighteenth century, criminals occupy the same moral universe as law abiding people.  They are not inherently different from normal members of society. They are people who had allowed themselves to succumb to their own sinful inclinations. Usually the route to crime was through a love of gambling and good living, and bad associations. So the famous eighteenth-century house breaker, Jack Sheppard (1702-1724), first turned to crime when he met Edgeworth Bess, a prostitute, and began cohabiting with her. Similarly, the fictional highwayman Captain MacHeath in John Gay’s The Beggar’s Opera (1728) manifests a love of good living, and it is implied that this is why he continues to rob as it is said:
Mrs. Peach. Pray, my dear, is the Captain rich? Peach. The Captain keeps too good company ever to grow rich. Marybone and the chocolate-houses are his undoing. The man that proposes to get money by play should have the education of a fine gentleman, and be train’d up to it from his youth. 
Criminals are simply people with a tragic fatal flaw in their character, but they are not inherently criminal. And indeed however wrong their actions are, the English criminal in this period was credited with a certain amount of civility and politeness. They might have robbed you, but they were relatively nice about it.
The Nineteenth Century
The situation changes, however, as we move into the late eighteenth and early nineteenth centuries. The industrial revolution continued apace and concomitant with this was increasing urbanisation. The poor migrated from rural areas in search of work, and they gathered in certain districts of cities, which in time would come to be designated as slum areas. One effect of having so many people living in close proximity in dire poverty is that the areas where they live become a natural breeding ground for crime. The early socialist writer Frederich Engels painted a gloomy picture in The Condition of the Working Class in England that:
The incidence of crime has increased with the growth of the working-class population and there is more crime in Britain than in any other country in the world.
What we begin to see in the Victorian press and contemporary popular culture are portrayals and references to ‘professional criminals’. This type of offender was represented, for example, by men such as Bill Sikes in Charles Dickens’ novel Oliver Twist (1838), who inhabits an ‘underworld’ peopled by other ominous creatures. He is a man whose sole existence and subsistence is based upon the proceeds of crime. Dickens’ description of the environment and the populace in Jacob’s Island, a place notorious for crime, is quite revealing. When Oliver is taken by the Artful Dodger to go and meet Fagin, a receiver of stolen goods, Oliver takes note of some of the people he encounters on the way there:
Covered ways and yards, which here and there diverged from the main street, disclosed little knots of houses, where drunken men and women were positively wallowing in filth; and from several of the door-ways, great ill-looking fellows were cautiously emerging, bound, to all appearance, on no very well-disposed or harmless errands. 
Dickens’ characters, Sikes and Fagin, operate in a relatively sophisticated manner. There’s a division of labour. Sikes and his henchmen rob people, but they rely on Fagin’s criminal network to dispose of their stolen goods.
In a word, crime in the modern industrial city is thought to have become organised, and this is reflected in other pieces of popular literature such as George W. M. Reynolds’The Mysteries of London, serialised between 1844 and 1845, which was the biggest selling novel of the Victorian period. Inspired by a serialised French novel by Eugene Sue entitled The Mysteries of Paris (1844), it is a tale of vice and crime in both high and low life. To see how crime is configured as something that is organised, take this example of a highway robbery:
‘What’s the natur of the sarvice?’ demanded the Cracksman.
‘A highway robbery’ coolly answered [Eugene]…‘I will explain what I want done. Between eleven and twelve o’clock a gentleman will leave London for Richmond. He will be in his own cabriolet. His horse is bay, with silver mounted harness. This gentleman must be stopped; and everything his pockets contain must be brought to me. Whatever money there may be about him shall be yours:-but all that you find about his person, save the money, must be brought to me’. 
In this passage, the old image of the lone highwayman upon the heath in the moonlight is dead. This is not a feat likely to have been done by a ‘heroic’ highwayman. What we have here is organised crime. It is carried out with precision. Crime in the new urban society is depicted here as being cold and calculated, and it is carried through as though it was a business transaction. After Eugene relates the particulars of how the robbery is to be undertaken, he gives the Cracksman an advance of twenty guineas, to which the villain exclaims ‘that’s business!’ After the deed has been done, the Cracksman says to Eugene that he hopes ‘that he should have his custom in future’. The Cracksman, similar to Dickens’ Bill Sikes and Fagin, was a ‘professional criminal’. There was nothing ‘gentlemanly’ or ‘polite’ about the above exchange between the Cracksman and Eugene, instead the undertaking of the highway robbery was determined by financial considerations.
In addition to ideas surrounding professional criminals, towards the middle of the century we start to see another term come into use: ‘criminal class’. The criminal class, it was assumed, were a class of people beneath the respectable working classes who, like professional criminals, existed solely upon the proceeds of crime. It was imagined that there were specific geographical locations that harboured members of this criminal class. It was a term which was driven by the press and also adopted by law enforcement. Perhaps the person most responsible for giving impetus to the growth of this idea was Henry Mayhew who wrote a four volume social treatise entitled London Labour and the London Poor in 1861. Mayhew travelled into some of the poorest districts of the capital and documented what he saw, often conducting interviews with paupers. Taking his cue from the eighteenth-century writer Henry Fielding, he divided the poor into three categories or groups – the Victorians loved to categorise things – and these were: those that will work (the respectable working classes), those that can’t work (the infirm, disabled, and the elderly), and those that won’t work. It is in the last category that the criminal classes could be found, according to Mayhew.
The poorest class of society were accused of being many things. They were usually accused of being idle – shunning hard work. In turn this made them turn to a life of crime. Usually they indulged in certain vices: gambling, drink. They usually avoided going to Church. The broadside detailing the ‘Last Dying Speech’ of Thomas Hopkinson is typical of how many people viewed criminals:
He formed an intercourse with abandoned companions, and commenced that profligate career which brought him to his untimely end […] his whole time was spent in the perpetration of almost every species of vice. The petty pilferings in which he engaged, gradually, led him on to bolder offences: his mind became so familiarised with guilt that he seemed scarcely sensible of its depravity; and thus, in the natural progress of iniquity, he was led on till be was ‘driven away with his wickedness’. 
Their living conditions were assumed to be deplorable. Even a man such as G. W. M. Reynolds, who was a radical and quite friendly towards the working classes, did some investigation into working-class living conditions. He found one slum dwelling that was:
A regular pig-stye, in which they wallowed like swine: and like that of brutes was also the conduct of the boys and girls. If the other rooms of the house were used as a brothel by grown up persons, no stew could be more atrocious than this garret […] Many children of nine and ten practised the vices of their elders. But, my God! Let me draw a veil over this dreadful scene. 
Dickens’ description of Jacob’s Island, the area where Fagin lives, is similar in its horror:
Crazy wooden galleries common to the backs of half a dozen houses, with holes from which to look upon the slime beneath; windows, broken and patched, with poles thrust out, on which to dry the linen that is never there; rooms so small, so filthy, so confined, that the air would seem to be too tainted even for the dirt and squalor which they shelter; wooden chambers thrusting themselves out above the mud and threatening to fall into it – as some have done; dirt-besmeared walls and decaying foundations, every repulsive lineament of poverty, every loathsome indication of filth, rot, and garbage: all these ornament the banks of Jacob’s Island. 
In the years after Reynolds and Mayhew other social investigators would follow his lead. Andrew Mearns authored The Bitter Cry of Outcast London in 1883, subtitled as ‘An Inquiry into the Condition of the Abject Poor’. In 1885 William T. Stead, a journalist for The Pall Mall Gazette, authored a series of articles entitled ‘The Maiden Tribute of Modern Babylon’ which purported to be ‘The story of an actual pilgrimage into a real hell’.  He showed readers how easy it was for somebody to ‘purchase’ a child prostitute. Similarly, Charles Booth published a monumental social study entitled Life and Labour of the People in London, which eventually ran to seventeen volumes, between 1889 and 1903. All of these publications perpetuated the myth that it was the poorer classes of society who were responsible for the majority of crime. Closer to home, W. Swift authored Leeds Slumdom in 1896, although he was relatively understanding about the problems that working-class people faced, saying that although many people thought that the poor were poor because they were idle, ‘the more I study the character and history of our slum dwellers, the less inclined I am to think that idleness is their besetting sin’. 
Nevertheless, so ingrained was the idea of a criminal class becoming that people in government were talking soon about it. In the minutes of evidence for the Report of the Capital Punishment Commission in 1865, for example, we find the commissioners speaking of ‘The vast criminal class that holds sway in this country’.  People even assumed that they could identify and quantify this dangerous criminal class. J. Thackeray Bunce, in an academic journal article from 1865, produced a graph in which he estimated the numbers of the criminal classes, as you can see here:
The caveat here is that these were ‘estimated numbers’, and in fact it was often quite difficult to find an actual person who hailed from this seemingly elusive criminal class. To be sure, Mayhew had spoken to many criminals, but no criminal ever said: “I am a member of the criminal class and I live in the underworld”. It was very much a label applied by the elite to the poorer sections of society. And it was a convenient label too, which absolved those in higher social situations of any responsibility towards making working and living conditions better for the working classes.
For some members of the supposed criminal class, however, it was not all doom and gloom. Children especially could be redeemed through the efforts of reforming societies and a rigorous penal system, because one of the great fears of people in the early nineteenth century was that the opportunistic young pickpocket would grow into a professional criminal. Early on some reformers realised that it was sometimes counter-productive to incarcerate children with adults because of the corrupting effects it might have on a child who could be saved:
I consider that the indiscriminate confinement practised in most of our prisons, where the child committed for trial or some small offence, is locked up in the same yard, and obliged to constantly associate with the hardened offender and convicted felon, is the most certain method that can be devised of increasing the number of delinquents. 
The press unsurprisingly saw the work of these reformers as a good thing. In 1852, for example, The Morning Chronicle reported how:
A blue book containing evidence given before the Select Committee of the House of Commons upon juvenile destitution will comprise an account [… of how] 140 of the vagrant and criminal class [… have been] drilled into order and industry. 
Of course, most of the people, children included, who were indicted for robbery and/or burglary were not in reality professional criminals. But as I said earlier, it was convenient for the Victorian press and contemporary reformers to push the idea of an underworld or criminal class.
Surely, however, the idea of a criminal class or underworld subculture does not sufficiently explain the fact that seemingly respectable criminals turned to crime? It is a question that Victorian moralists in the press themselves struggled to explain. Why did white collar crime exist when it was supposedly only the criminal class – drawn from the poorer parts of society – who perpetrated the majority of crime? A prevalent motif in Victorian literature is that of the corrupt clerk or banker who embezzles and steals funds from respectable people. In Charles Dickens’ novel David Copperfield (serialised between 1849 and 1850), for instance, we have Uriah Heep, an almost snakelike and devious character who extorts money from the good Mr. Wickfield. Similarly, there is Count Fosco in Wilkie Collins’ sensation novel The Woman in White, serialised between 1859 and 1860, who plots to claim Laura Fairlee’s fortune by faking her death. Recognising that businessmen of good social standing were perfectly able to commit offences, The Illustrated London News reported that:
If we progress at the same rate for half a generation longer, commercial dishonesty will become the rule, and integrity the exception. On every side of us we see perpetually – fraud, fraud, fraud. 
These people, however, were viewed as exceptions: they were often seen as ‘bad apples’. They had often been led astray or been placed in a tempting situation.  In the case of middle- and upper-class offenders, often employers were criticised for lacking a sense of proper business management, or for paying their clerks wages that were too low.  As one newspaper asked:
We can’t for a moment dispute the right of merchant princes paying what salaries they deem fit to their clerks […] but we would ask, is the system of paying low salaries likely to conduce a high moral tone in the young men employed? 
Oddly, while low wages might encourage dishonesty in middle-class clerks, the same reasoning seems never to have been applied to the poorer classes who often lived a hand-to-mouth existence.
Just to conclude, I hope that what I have shown you today is that the idea of a Victorian underworld, or criminal class, is just that: an idea. There was never anything tangible about the underworld. You could not go and visit. It was a description applied by the elites in society to some of the poorest, most vulnerable members of society. Moralists in the press imagined that there were some people who were irredeemably criminal. Yet the fact that it was an invented idea should be evident by the fact that a conception of a criminal class, or underworld, did not exist prior to the nineteenth century. In the eighteenth century nobody was born a criminal; offenders and the law-abiding inhabited the same moral universe.  Crime was a sin, rather than something inherent.
The term ‘underworld’ is still used frequently in the press to this day. We are told in The Telegraph, for example, that the Hatton Garden Robbers ‘the busiest crooks in the underworld’.  Similarly, so convincing in explaining criminality was the idea of a criminal class that it is, by and large, an explanation of crime which we are stuck with today. I just want to take a recent example from The Big Issue magazine. While the magazine praised its own good work in helping to reform many offenders, it lamented the state of the prison system in the UK, saying:
Some Big Issue sellers are ex-cons but, while this organisation helps move people back to normal life, our prisons are so useless in helping men and women back permanently on to the straight and narrow that they increase rather than decrease the overall size of the criminal class. 
Additionally, in the Daily Mail newspaper in January of this year, the columnist Peter Hitchens in an article entitled ‘The Great British Bobby is Dead’ railed against the police in the following manner:
These new police are obsessed with the supposed secret sins of the middle class, and indifferent to the cruel and callous activities of the criminal class. 
Crime these days is often something that happens ‘out there’ in what the press calls ‘deprived areas’. Indeed, television shows such as Benefits Street, arguably the modern equivalent of Mayhew’s London Labour and the London Poor, encourage the myth that it is primarily people from lower social strata who turn to crime. So if there is one thing which I hope you will take away from today, it is obviously that it is not the poor who are responsible for the majority of crime; the criminal underworld is nothing more than a convenient label for the elites which they apply often to some of our most vulnerable people.
1. Heather Shore, Artful Dodgers: Youth and Crime in Early Nineteenth-Century London (Woodbridge: Boydell, 1999) & London’s Criminal Underworlds, c.1720-c.1930: A Social and Cultural History (Basingstoke: Palgrave, 2015).
2. Tim Hitchcock and Robert Shoemaker, London Lives: Poverty, Crime, and the Making of a Modern City, 1690-1800 (Cambridge: Cambridge University Press, 2015).
3. Clive Emsley, Crime and Society in England, 1750-1900 (London: Longman, 1987)
4. Stephen Basdeo, ‘Dying Speeches, Daring Robbers, and Demon Barbers: The Forms and Functions of Nineteenth-Century Crime Literature, c.1800-c.1868 (Unpublished MA Thesis, Leeds Metropolitan University, 2014).
5. Cited in Lincoln B. Faller, Turned to Account: The Forms and Functions of Criminal Biography in Late Seventeenth- and Early Eighteenth-Century England (Cambridge: Cambridge University Press, 1987), p.x.
6. Anon. Newes from Newgate: or, a True Relation of the Manner of Taking Several Persons, Very Notorious for Highway-men, in the Strand; upon Munday the 13th of this Instant November, 1677 cited in Hal Gladfelder, Criminality and Narrative in Eighteenth-Century England: Beyond the Law (Baltimore: John Hopkins University Press, 2001), 47
7. Horace Walpole, ‘To Mann, Wednesday 31 January 1750’ in The Yale Edition of Horace Walpole’s Correspondence, Eds. W. S. Lewis et al 48 Vols. (New Haven: Yale University Press, 1960), 20: 111-131 (111)
8. Henry Fielding, An Enquiry into the Causes of the Late Increases of Robbers (Dublin: G. Faulkner, 1751), p.1.
9. Emsley, Crime and Society, p.59.
10. John Gay, The Beggar’s Opera (London: John Watts, 1728), p.5.
11. Frederich Engels, The Condition of the Working Class in England (1848 repr. London: Penguin, 2009)
12. Charles Dickens, Oliver Twist, or, The Parish Boy’s Progress (London, 1838) [Internet << http://www.online-literature.com/dickens/olivertwist>> Accessed 24 February 2016].
13. George William MacArthur Reynolds, The Mysteries of London: Containing Stories of Vice in the Modern Babylon (1845 repr. London, 1890), p.81.
14. The Life and Execution of Thomas Hopkinson (Derby: G. Wilkins, 1819).
15. G. W. M. Reynolds cited in Michael Diamond, Victorian Sensation: or, The Spectacular, the Shocking, and the Scandalous inn Nineteenth-Century Britain (London: Anthem, 2003), 193.
16. Dickens, Oliver Twist [Internet << http://www.online-literature.com/dickens/olivertwist>> Accessed 24 February 2016].
17. W. T. Stead, ‘The Maiden Tribute of Modern Babylon: A Notice to Our Readers: A Frank Warning’ The Pall Mall Gazette 4 July 1885 [Internet <http://www.attackingthedevil.co.uk/pmg/tribute/notice.php> Accessed 24 February 2016].
18. W. Swift, Leeds Slumdom (Leeds, 1896), p.15.
19. Report of the Capital Punishment Commission (London: George E. Eyre, 1866), p.240.
20. Cited in Shore, Artful Dodgers, p.102.
21. Anon. The Morning Chronicle 11 August 1852, p.2.
22. Cited in Emsley, Crime and Society, p.57.
23. Emsley, Crime and Society, p.58.
26. Emsley, op cit.
27. Tom Morgan and Martin Evans ‘Revealed: How Hatton Garden’s OAP raiders were cream of criminal underworld’ The Telegraph 14 January 2016 [Internet: << http://www.telegraph.co.uk/news/uknews/law-and-order/12093096/Revealed-How-Hatton-Gardens-OAP-raiders-were-cream-of-criminal-underworld.html>> Accessed 01 February 2016].
28. Dennis McShane, ‘Lord Ramsbotham Interview: There is No Accountability in Our Prisons’ The Big Issue 8 June 2015 [Internet: << http://www.bigissue.com/features/interviews/5293/lord-ramsbotham-interview-there-is-no-accountability-in-our-prisons>> Accessed 01 February 2016].
29. Peter Hitchens, ‘The Great British Bobby is Dead’ Mail on Sunday 24 January 2016 [Internet: <http://www.dailymail.co.uk/debate/article-3413970/The-British-bobby-long-dead-one-chance-bring-writes-PETER-HITCHENS.html#ixzz3yvCdhsxo> Accessed 01 February 2016.