The landscape background of the first two stanzas has been often praised, and its beauty will never pall. It may be called landscape or prelude, for both eyes and ears are addressed, and several others of these woodland ballads have a like symphony or setting: Adam Bell, Robin Hood and the Potter, Guy of Gisborne, even the much later ballad of The Noble Fisherman. It is to be observed that the story of the outlaw Fulk Fitz Warine, which has other traits in common with Robin Hood ballads, begins somewhat after the same fashion.[87] Robin Hood’s devotion to the Virgin, st. 34, is a feature which reappears in Robin Hood and the Potter, Guy of Gisborne, Robin Hood and the Curtal Friar, and above all in The Gest. His profound piety, as evinced in stanzas 6, 7, and again in 8, 9 of The Gest, is commemorated by Bower in a passage in the Scotichronicon, of about the same date as the manuscript of the present ballad (1450), which we have every reason to assume to be derived from a lost ballad.[88] Robin Hood had mass regularly sung at Barnsdale, nor would he suffer the office to be interrupted for the most pressing occasion. (We know from The Gest, st. 440, that he had a pretty chapel there, dedicated to Mary Magdalen.) One day, while so engaged, he was informed that the sheriff and his men, old foes of his, had tracked him to the very retired part of the forest where the service was going on, and was urged to fly with his best speed. This, for reverence of the sacrament, which he was then most devoutly adoring, he utterly refused to do, and then, while the rest were fearing for their lives, trusting in him whom he worshipped, fell upon his enemies, with a few of his followers who had rallied to him, and easily put them to rout. Enriched with their spoil and ransom, he was led to hold the ministers of the church (but apparently not “bishops and archbishops,” Gest, st. 15) and masses in greater veneration than ever, mindful of the common saw, God hears the man who often hears the mass.[89] There is a general resemblance between the rescue of Robin Hood in stanzas 61–81 and that of William of Cloudesly in Adam Bell, 56–94, and the precaution suggested by Much in the eighth stanza corresponds to the warning given by Adam in the eighth stanza of the other ballad. There is a verbal agreement in stanzas 71 of the first and 66 of the second.[90] Such agreements or repetitions are numerous in the Robin Hood ballads, and in other traditional ballads, where similar situations occur. Robin Hood’s rescue of Little John, in Guy of Gisborne, after quarrelling with him on a fanciful provocation, is a partial offset for Little John’s heart-stirring generosity in this ballad. We have already had several cases of ballads in which the principal actors exchange parts.