Robin Hood: A collection of all the ancient poems, songs, and ballads, now extant, relative to that celebrated English outlaw. To which are prefixed historical anecdotes of his life. — John Shaqi
Robin Hood: A collection of all the ancient poems, songs, and ballads, now extant, relative to that celebrated English outlaw. To which are prefixed historical anecdotes of his life.
General
Robin Hood: A collection of all the ancient poems, songs, and ballads, now extant, relative to that celebrated English outlaw. To which are prefixed historical anecdotes of his life.
Ballads, English -- England -- Texts; Outlaws -- Poetry; Robin Hood (Legendary character) -- Poetry; Songs, English -- England -- Texts
In the latter part of this extract, honest Richard evidently
alludes to “A pleasant conceyted comedie of George a Greene, the
pinner of Wakefield; as it was sundry times acted by the servants
of the right honourable the earle of Sussex,” 1599, 4to, which
has been erroneously ascribed to Heywood the epigrammatist, and
is reprinted, with other trash, in the late edition of Dodsley’s
Old Plays; only it unluckily happens that Robin Hood is almost the
only person who has no difference with the souter (or shoemaker) of
Bradford. The play, in short (or at least that part of it which we
have any concern with), is founded on the ballad of Robin Hood and
the Pinder of Wakefield (see part ii. song 3), which it directly
quotes, and is, in fact, a most despicable performance.[18] King
Edward (the Fourth) having taken King James of Scotland prisoner,
after a most bloody battle near Middleham Castle, from which of
30,000 Scots not 5000 had escaped, comes with his royal captive in
disguise to Bradford, where they {xxix} meet Robin Hood and George
a Green, who have just had a stout affray: and after having read
this, and a great deal more such nonsensical stuff, Captain Grose
sagaciously “supposes that this play has little or no foundation
in history;” and very gravely sits down and debates his opinion in
form.
“The history of George a Green, pindar of the town of Wakefield,”
4to, no date,[19] is a modern production, chiefly founded on the
old play just mentioned, of neither authority nor merit.
Our gallant pinder is thus facetiously commemorated by Drunken
Barnaby:
“Hinc diverso cursu, sero
Quod audissem de pindero
Wakefeeldensi; gloria mundi,
Ubi socii sunt jucundi,
Mecum statui peragrare
Georgii fustem visitare.”
“Turning thence, none could me hinder
To salute the Wakefield pindar;
Who indeed is the world’s glory,
With his comrades never sorry.
This was the cause, lest you should miss it,
George’s club I meant to visit.”
“Veni Wakefield peramænum,
Ubi quærens Georgium Greenum,
Non inveni, sed in lignum
Fixum reperi Georgii signum,
Ubi allam bibi feram
Donec Georgio fortior eram.”
“Strait at Wakefield I was seen a,
Where I sought for George a Green a;
But could find not such a creature,
Yet on a sign I saw his feature,
Where strength of ale had so much stir’d me,
That I grew stouter far than Jordie.”
Besides the companions of our hero enumerated in the text, and
whose names are most celebrated and familiar, we find those of
William of Goldsbrough (mentioned by Grafton), Right-hitting Brand
(by Mundy), and Gilbert with the white {xxx}
hand, who is thrice named in the Lyttell Geste of Robyn Hode (i.
52, 71), and is likewise noticed by Bishop Gawin Douglas in his
Palice of Honour, printed at Edinburgh in 1579, but written before
1518:
“Thair saw I Maitlaind upon auld Beird Gray,
Robene Hude, and Gilbert with the quhite hand,
How Hay of Nauchton slew, in Madin land.”[20]
Public-domain text, read in full here on John Shaqi.
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