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Daffy Duck is an animated cartoon character produced by Warner Bros.. He has appeared on series such as Looney Tunes and Merrie Melodies, where he is usually depicted as the best friend and occasional arch-rival of Bugs Bunny. Daffy was one of the first of the new "screwball" characters that emerged in the late 1930s to replace traditional everyman characters who were more popular earlier in the decade^{[citation needed]}, such as Mickey Mouse and Popeye. Daffy starred in 133 shorts in the Golden Age, making him the third most frequent character in the Looney Tunes/Merrie Melodies cartoons behind Bugs Bunny's 166 appearances and Porky Pig's 159 appearances.

Daffy was #14 on TV Guide's list of top 50 best cartoon characters^[1] and was featured on one of the issue's four covers as Duck Dodgers with Porky Pig and the Powerpuff Girls (all of which are Time Warner-owned characters).^[2]

Origin[link]

Daffy first appeared on April 17, 1937, in Porky's Duck Hunt, directed by Tex Avery and animated by Bob Clampett. The cartoon is a standard hunter/prey pairing for which Leon Schlesinger's studio was famous, but Daffy (barely more than an unnamed bit player in this short) was something new to moviegoers: an assertive, completely unrestrained, combative protagonist. Clampett later recalled, "At that time, audiences weren't accustomed to seeing a cartoon character do these things. And so, when it hit the theaters it was an explosion. People would leave the theaters talking about this daffy duck."^[3]

This early Daffy is less anthropomorphic and resembles a "normal" duck. In fact, the only aspects of the character that have remained consistent through the years are his voice characterization by Mel Blanc and his black feathers with a white neck ring. Blanc's characterization of Daffy holds the world record for the longest characterization of one animated character by his or her original actor: 52 years.

The origin of Daffy's voice is a matter of some debate. One often-repeated "official" story is that it was modeled after producer Schlesinger's tendency to lisp. However, in Mel Blanc's autobiography, That's Not All Folks!, he contradicts that conventional belief, writing, "It seemed to me that such an extended mandible would hinder his speech, particularly on words containing an s sound. Thus 'despicable' became 'desthpicable.'"

Daffy's slobbery, exaggerated lisp was developed over time—it's barely noticeable in the early cartoons. In "Daffy Duck & Egghead", Daffy does not lisp at all except in the separately drawn set-piece of Daffy singing "The Merry-Go-Round Broke Down," in which just a slight lisp can be heard.

Daffy has no official middle name, but he has sometimes been given a "joke" middle name specific to the plot of a cartoon. In "The Scarlet Pumpernickel" (1949), he calls himself "Daffy Dumas Duck" as the writer of a swashbuckling script, a nod to Alexandre Dumas. Also, in the Baby Looney Tunes episode "The Tattletale," Granny addresses Daffy as "Daffy Horacio Tiberius Duck." In The Looney Tunes Show (2011), the joke middle names "Armando" and "Sheldon" are used.

Different interpretations[link]

Virtually every Warner Bros. cartoon director put his own spin on the Daffy Duck character—he may be a lunatic vigilante in one short but a greedy gloryhound in another. Bob Clampett and Chuck Jones both made extensive use of these two very different versions of the character.

Daffy's early years from 1937-1940[link]

Tex Avery created the original version of Daffy in 1937. Daffy established his status by jumping into the water, hopping around, and yelling, "Woo-hoo! Woo-hoo! Woo-hoo! Hoo-hoo! Woo-hoo!" Animator Bob Clampett immediately seized upon the Daffy Duck character and cast him in a series of cartoons in the 1930s and 1940s. Clampett's Daffy is a wild and zany screwball, perpetually bouncing around the screen with cries of "Hoo-hoo! Hoo-hoo!" (In his autobiography, Mel Blanc stated that the zany demeanor was inspired by Hugh Herbert's catchphrase, which was taken to a wild extreme for Daffy.) Clampett physically redesigned the character, making him taller and lankier and rounding out his feet and bill. He was often paired with Porky Pig.

World War II Daffy from 1941-1945[link]

Daffy would also feature in several war-themed shorts during World War II. Daffy always stays true to his unbridled nature, however; for example, he attempts to dodge conscription in "Draftee Daffy" (1945), battles a Nazi goat intent on eating Daffy's scrap metal in "Scrap Happy Daffy" (1943), and hits the head of Adolf Hitler in "Daffy the Commando" (1943). Daffy was "drafted" as a mascot for the 600th Bombardment Squadron.

Daffy from 1946-1952[link]

For "Daffy Doodles" (his first Looney Tunes cartoon as a director), Robert McKimson, Sr. tamed Daffy a bit, redesigning him yet again to be rounder and less elastic. The studio also instilled some of Bugs Bunny's savvy into the duck, making him as brilliant with his mouth as he was with his battiness. Daffy was teamed up with Porky Pig; the duck's one-time rival became his straight man. Art Davis, who directed Warner Bros. cartoon shorts for a few years in the late 1940s until upper management decreed there should be only three units (McKimson, Friz Freleng, and Jones), presented a Daffy similar to McKimson's. McKimson is noted as the last of the three units to make his Daffy uniform with Jones', with even late shorts such as "Don't Axe Me" (1958) featuring traits of the "screwball" Daffy.

Daffy's peak from 1953-1964[link]

While Daffy's looney days were over, McKimson continued to make him as bad or good as his various roles required him to be. McKimson would use this Daffy from 1946 to 1961. Friz Freleng's version took a hint from Chuck Jones to make the duck more sympathetic, as in the 1957 "Show Biz Bugs." Here Daffy is arrogant and jealous of Bugs, yet he has real talent that is ignored by the theatre manager and the crowd. This cartoon finishes with a sequence in which Daffy attempts to wow the Bugs-besotted audience with an act in which he drinks gasoline and swallows nitroglycerine, gunpowder, and uranium-238 (in a greenish solution), jumps up and down to "shake well," and finally swallows a lit match that detonates the whole improbable mixture. Some TV stations, and in the 1990s the cable network TNT, edited out the dangerous act, afraid of imitation by young kids.

Chuck Jones' Daffy from 1951-1964[link]

Pairing of Daffy and Porky in parodies of popular movies from 1951-1965[link]

While Bugs Bunny became Warner Bros.' most popular character, the directors still found ample use for Daffy. Several cartoons place him in parodies of popular movies and radio serials. For example, "Drip-Along Daffy" (released in 1951 and named after the popular Hopalong Cassidy character) throws Daffy into a Western, while "Robin Hood Daffy" (1958) casts the duck in the role of the legendary outlaw Robin Hood. In "Duck Dodgers in the 24½th Century" (1953), a parody of Buck Rogers, Daffy trades barbs (and bullets) with Marvin the Martian, with Porky Pig retaining the role of Daffy's sidekick. Other parodies were Daffy in "The Great Piggy Bank Robbery" (1946) as "Duck Twacy" (Dick Tracy) by Bob Clampett and as "Stupor Duck" (Superman, now a WB property himself) by Robert McKimson.

Pairing of Bugs and Daffy from 1951-1964[link]

Bugs' ascension to stardom also prompted the Warner Bros. animators to recast Daffy as the rabbit's rival, intensely jealous and determined to steal back the spotlight, while Bugs either remained indifferent to the duck's jealousy or used it to his advantage. Daffy's desire to achieve stardom at any cost was explored as early as 1940 in Freleng's "You Ought to Be in Pictures," but the idea was most successfully used by Chuck Jones, who redesigned the duck once again, making him scrawnier and scruffier. In Jones' famous "Hunting Trilogy" (or "Duck Season/Rabbit Season Trilogy") of "Rabbit Fire," "Rabbit Seasoning," and "Duck! Rabbit, Duck!" (each respectively launched in 1951, 1952, and 1953), Daffy's vanity and excitedness provide Bugs Bunny the perfect opportunity to fool the hapless Elmer Fudd into repeatedly shooting the duck's bill off. Also, these cartoons reveal Daffy's catchphrase, "You're despicable!" Jones' Daffy sees himself as self-preservationist, not selfish. However, this Daffy can do nothing that does not backfire on him, more likely to singe his tail feathers as well as his dignity than anything.^[4] It’s thought that Chuck Jones based Daffy Duck’s new personality off of his fellow animator Bob Clampett, who, like Daffy, was known as a shameless self promoter.

In the new Cartoon Network series The Looney Tunes Show, Bugs and Daffy live together in suburbia opposite Yosemite Sam.

Solo Daffy[link]

Film critic Steve Schneider calls Jones' version of Daffy "a kind of unleashed id."^[5] Jones said that his version of the character "expresses all of the things we're afraid to express."^[5] This is evident in Jones' "Duck Amuck" (1953), "one of the few unarguable masterpieces of American animation" according to Schneider.^[6] In the episode, Daffy is plagued by a godlike animator whose malicious paintbrush alters the setting, soundtrack, and even Daffy. When Daffy demands to know who is responsible for the changes, the camera pulls back to reveal none other than Bugs Bunny. Duck Amuck is widely heralded as a classic of filmmaking for its illustration that a character's personality can be recognized independently of appearance, setting, voice, and plot.^[6] In 1999, the short was selected for preservation in the United States National Film Registry.

Freleng's Daffy[link]

Friz Freleng used the Jones idea for Daffy in "Show Biz Bugs" (1957) wherein Daffy's "trained" pigeon act (they all fly away as soon as Daffy opens their cage) and complicated tap dance number are answered by nothing but crickets chirping in the audience, whereas Bugs's simple song-and-dance numbers bring wild applause.

McKimson's Daffy[link]

McKimson made more benevolent use of Daffy; in "Ducking the Devil," for example, his greed becomes a vital tool in subduing the Tasmanian Devil and collecting a big cash reward. However, McKimson also played with Daffy's movie roles. In 1959, Daffy appeared in "China Jones" (a parody of a television series of the day, China Smith, starring Dan Duryea) in which he was an Irish private eye with an Irish accent instead of the usual lisp.

Daffy's pairing with Speedy in 1965-1968[link]

When the Warner Bros. animation studio briefly outsourced cartoon production to DePatie-Freleng Enterprises (DFE) in the 1960s, Daffy Duck became an antagonist (or inconsistent friend) in several Speedy Gonzales cartoons. For example, in "Well Worn Daffy" (1965), Daffy is determined to keep the mice away from a desperately needed well seemingly for no other motive than pure maliciousness. Furthermore, when he draws all the water he wants, Daffy then attempts to destroy the well in spite of the vicious pointlessness of the act, forcing Speedy to stop him. The Warner Bros. studio was entering its twilight years, and even Daffy had to stretch for humor in the period. It's worth mentioning, though, that in many of the later DFE cartoons, such as "Feather Finger" and "Daffy's Diner," Daffy is portrayed as a more sympathetic character rather than the full-blown villain he is in cartoons like "Well Worn Daffy" and "Assault and Peppered." The last cartoon featuring Daffy and Speedy is "See Ya Later Gladiator," in what animation fans call the worst cartoon made by Warner Bros.^[7]

Daffy today[link]

Daffy appears in later cartoons like a piano duel with fellow fowl Donald Duck (from the rival Walt Disney Company) in the 1988 Disney film Who Framed Roger Rabbit, as both are playing Hungarian Rhapsody No. 2. In 1987, to celebrate Daffy's 50th anniversary, Warner Bros. released "The Duxorcist," its first theatrical Looney Tunes short in two decades. Daffy Duck also appeared in several feature-film compilations, including two films centering on Daffy. The first was released in 1983, Daffy Duck's Fantastic Island; the second came in 1988, Daffy Duck's Quackbusters, which is considered one of the Looney Tunes' best compilation films and featured another new theatrical short, "The Night of the Living Duck." Daffy has also had major roles in films such as Space Jam in 1996 and Looney Tunes: Back in Action in 2003. The latter film does much to flesh out his character, even going so far as to cast a sympathetic light on Daffy's glory-seeking ways in one scene, where he complains that he works tirelessly without achieving what Bugs does without even trying. That same year, Warner Bros. cast him in a brand-new Duck Dodgers series. (It should be stressed that in this show, Duck Dodgers actually is Daffy Duck due to him being frozen in suspended animation in some unknown incident.) He had a cameo appearance in the Sylvester and Tweety Mysteries episode "When Granny Ruled The Earth", first airing on March 27, 1999. Daffy has also been featured in several webtoons, which can be viewed online.

In the television series Tiny Toon Adventures, Daffy is a teacher at Acme Looniversity, where he is the hero and mentor of Plucky Duck. Daffy is shown as a baby in the Baby Looney Tunes show, and makes occasional cameos on Animaniacs and Histeria! In the show Loonatics Unleashed, his descendant is Danger Duck (voiced by Jason Marsden), who is also lame and unpopular to his teammates. In the majority of these appearances, the selfish, neurotic, and spotlight-hungry Daffy characterized by Chuck Jones is the preferred version.

More recently, Daffy has been given larger roles in more recent Looney Tunes films and series. Following Looney Tunes: Back in Action, Warner Bros. has slowly moved the spotlight away from Bugs and more towards Daffy, as shown in the 2006 video release Bah, Humduck! A Looney Tunes Christmas, where Daffy plays the lead while Bugs Bunny appears in a supporting role.

However, more recent merchandise of the duck as well as that featured on the official website have been shown to incorporate elements of the zanier, more light-hearted Daffy of the 1940s. Producer Larry Doyle noted that recent theatrical cartoons were planned that would portray a more diverse Daffy closer to that of Robert McKimson's design; however, due to the box-office failure of Looney Tunes: Back in Action, these new films ceased production.^[8]

Daffy returned to Cartoon Network in The Looney Tunes Show, voiced by Jeff Bergman^{[citation needed]}. His characterization here seems to incorporate some elements of Clampett's and Jones' designs while giving him an overall cheery if dimwitted personality. In the show, he has moved out of the forest and shares Bugs's house with him. Unlike Bugs and their neighbors, Daffy has no way of earning money and relies on Bugs for food and shelter. He has tried on numerous occasions to get rich quick, but ended up failing repeatedly. Daffy's one possession he is proud of is his paper-mache parade float, constructed on top of a minivan, which is his main means of transportation. It was destroyed by a car wash incident, and Daffy sought to replace it with a yacht by tricking Porky into giving him the expensive loan, but his less-than-stellar boating skills ended that ambition. His parade float is repaired shortly after. While Daffy's greed and jealousy of Bugs remains, it appears to be less antagonistic in this show.

Daffy starred in the 3-D short Daffy's Rhapsody with Elmer Fudd that was originally set to premiere before Happy Feet Two but instead it debuted prior to Journey 2: The Mysterious Island. The short features Daffy and Elmer in the first CG or 3-D depiction of these specific Looney Tunes characters. According to Matthew O’Callaghan who directed the short, the audio comes from a 1950s recording for a children's album.^[9]

Comics[link]

Dell Comics published several Daffy Duck comic books, beginning in Four Color Comics #457, #536, and #615 and then continuing as Daffy #4-17 (1956–59), then as Daffy Duck #18-30 (1959–62). The comic book series was subsequently continued in Gold Key Comics Daffy Duck #31-127 (1962–79). This run was in turn continued under the Whitman Comics imprint until the company completely ceased comic book publication in 1984. In 1994, corporate cousin DC Comics became the publisher for comics featuring all the classic Warner Bros. cartoon characters, and while not getting his own title, Daffy has appeared in many issues of Looney Tunes.

Other voice actors who voiced Daffy[link]

Daffy has been voiced by other actors besides Mel Blanc, Jeff Bergman, Greg Burson, Dee Bradley Baker, and Joe Alaskey:

• Mel Tormé provided Daffy's singing voice in Night of the Living Duck (one of the new shorts in the compilation feature Daffy Duck's Quackbusters)
• Frank Gorshin (Superior Duck)
• Jeff Bennett (Attack of the Drones)
• Samuel Vincent (Baby Looney Tunes)
• Bill Farmer (Robot Chicken)
• Maurice LaMarche (Taz-Mania)

Other media[link]

• In 1950, Mel Blanc recorded "Daffy Duck's Rhapsody", a comic song written by Warren Foster, Billy May, and Michael Maltese. It appears in the short Daffy Rhapsody featuring Daffy and Elmer that was shown prior to Journey 2: The Mysterious Island.

• Daffy plays a piano duet with Donald Duck in the 1988 film, Who Framed Roger Rabbit.

• Daffy made a cameo in a 1998 episode of The Drew Carey Show in a method of live-action/animated film.

• A poster of Daffy is prominently displayed in Michael Garibaldi's quarters in the science fiction TV series Babylon 5. In one episode, Zack Allen jokingly explains to G'Kar that Daffy is the "ancient Egyptian god of frustration." Garibaldi is also shown entertaining Ambassador Delenn with Duck Dodgers in the 24 & 1/2th Century, which she finds difficult to understand when Duck Dodgers accidentally puts his rocket into reverse.

• In Family Guy, after holding an exploding bomb from Adam West, Meg has Daffy Duck's bill on the wrong side of her head, moves it to its proper position, and then states, “Of course, you realize this means war!” This scene was supposedly deleted after the contract between MacFarlane and Warner Bros.

• A sound clip of Daffy Duck grunting from one cartoon was reused for Linus Van Pelt fidgeting in anger in Bon Voyage, Charlie Brown (and Don't Come Back!!) (1980)

• In The Office episode "Diversity Day," Michael signs his diversity form with Daffy's name.

• In the Kid vs. Kat episode "Something Fishy in Owl Lake," Coop and Burt accidentally grab Daffy and Yakky Doodle.

• The Eminem freestyle "Despicable" gets its name from the claim that Eminem is as "despicable as Daffy Duck."

• Doug Walker of "ThatGuywiththeGlasses.com" stated that he drew a lot of inspiration for the Nostalgia Critic from Daffy.

See also[link]

	Animation portal
	United States portal
	Film portal

• List of Daffy Duck cartoons
• The Golden Age of American animation
• Duck Dodgers
• Danger Duck

References[link]

Sources[link]

• Adamson, Joe (1990). Bugs Bunny: 50 Years and Only One Grey Hare. Henry Holt & Co. 
• Schneider, Steve (1990). That's All Folks!: The Art of Warner Bros. Animation. Henry Holt & Co. ISBN 0-8050-0889-6. 
• Solomon, Charles (1994). The History of Animation: Enchanted Drawings. Random House Value Publishing. ISBN 0-517-11859-9. 

External links[link]

Wikiquote has a collection of quotations related to: Daffy Duck

Wikimedia Commons has media related to: Daffy Duck

• Daffy Duck at the Internet Movie Database

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (December 2009)

Chuck Jones
Born	Charles Martin Jones (1912-09-21)September 21, 1912 Spokane, Washington, U.S.
Died	February 22, 2002(2002-02-22) (aged 89) Corona Del Mar, California, U.S.
Nationality	American
Occupation	Animator, director, producer, screenwriter
Years active	1933–2001
Spouse	Dorothy Webster (1935-1978) Her death Marian J. Dern (1981-2002)
Children	Linda Jones Clough
Website
[1]

Charles Martin "Chuck" Jones (September 21, 1912 – February 22, 2002) was an American animator, cartoon artist, screenwriter, producer, and director of animated films, most memorably of Looney Tunes and Merrie Melodies shorts for the Warner Bros. Cartoons studio. He directed many of the classic short animated cartoons starring Bugs Bunny, Daffy Duck, the Road Runner and Wile E. Coyote, Sylvester, Pepé Le Pew and a slew of other Warner characters. Three of these shorts (Duck Amuck, One Froggy Evening and What's Opera, Doc?) were later inducted into the National Film Registry. Chief among Jones' other works was the famous "Hunting Trilogy" of Rabbit Fire, Rabbit Seasoning, and Duck! Rabbit, Duck! (1951–1953).

After his extraordinary career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions and began producing memorable cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas!. He later started his own studio, Chuck Jones Productions, which created several one-shot specials, and periodically worked on Looney Tunes related works.

Film historian Leonard Maltin has praised Jones' work at Warner Bros., MGM and Chuck Jones Productions. He also noted that the "feud" that there may have been between Jones and colleague Robert Clampett was mainly because they were so different from each other. Chuck Jones' character styles were more controlled and calmed down, while Bob Clampett's were crazy, wacky and insane.

Early life[link]

Jones was born in Spokane, Washington on September 21, 1912. He later moved with his parents and three siblings to the Los Angeles, California area.

In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, who was an unsuccessful businessman in California in the 1920s. His father, Jones recounts, would start every new business venture by purchasing new stationery and new pencils with the company name on them. When the business failed, his father would quietly turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible. Armed with an endless supply of high-quality paper and pencils, the children drew constantly. Later, in one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must first get past before they could possibly draw anything worthwhile. Jones recounted years later that this pronouncement came as a great relief to him, as he was well past the 200,000 mark, having used up all that stationery. Jones and several of his siblings went on to artistic careers.

After graduating from Chouinard Art Institute, Jones held a number of low-ranking jobs in the animation industry, including washing cels at the Ub Iwerks studio and assistant animator at the Walter Lantz studio. While at Iwerks, he met a cel painter named Dorothy Webster, who would later become his first wife.

Warner Bros.[link]

Chuck Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros., in 1933 as an assistant animator. In 1935, he was promoted to animator, and assigned to work with new Schlesinger director Tex Avery. There was no room for the new Avery unit in Schlesinger's small studio, so Avery, Jones, and fellow animators Bob Clampett, Virgil Ross, and Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace". When Clampett was promoted to director in 1937, Jones was assigned to his unit; the Clampett unit was briefly assigned to work with Jones' old employer, Ub Iwerks, when Iwerks subcontracted four cartoons to Schlesinger in 1937. Jones became a director (or "supervisor", the original title for an animation director in the studio) himself in 1938 when Frank Tashlin left the studio. Jones' first cartoon was The Night Watchman, which featured a cute kitten who would later evolve into Sniffles the mouse.

Many of Jones' cartoons of the 1930s and early 1940s were lavishly animated, but audiences and fellow Schlesinger staff members found them lacking in genuine humor. Often slow-moving and overbearing with "cuteness", Jones' early cartoons were an attempt to follow in the footsteps of Walt Disney's shorts (especially with such cartoons as Tom Thumb in Trouble and the Sniffles cartoons). Jones finally left traditional animation conventions with the cartoon The Dover Boys in 1942. Jones credits this cartoon as the film where he "learned how to be funny." The Dover Boys is also one of the first uses of stylized animation in American film, breaking away from the more realistic animation styles influenced by the Disney Studio. This was also the period where Jones created many of his lesser-known characters, including Charlie Dog, Hubie and Bertie, and The Three Bears. Jones' shorts from this period starring these characters represent some of his earliest classics that were strictly intended to be funny.

'The Outpost', Private Snafu cartoon directed by Chuck Jones in 1944

During the World War II years, Jones worked closely with Theodor Geisel, better known as Dr. Seuss, to create the Private Snafu series of Army educational cartoons. Private Snafu comically educated soldiers on topics like spies and laziness in a more risque way than general audiences would have been used to at the time. Jones would later collaborate with Seuss on a number of adaptations of Seuss' books to animated form, most importantly How the Grinch Stole Christmas! in 1966.

Also, during World War II, Jones directed such shorts as The Weakly Reporter, a 1944 short that related to shortages and rationing on the home front. During the same year, he directed Hell-Bent for Election, a campaign film for Franklin D. Roosevelt.

Not widely known, he also directed Angel Puss in this period which contains portrayals of African-Americans that are now considered offensive; it is no longer available in any type of authorized release and is among the group of controversial cartoons known to animation buffs as the Censored Eleven.

Jones hit his stride in the late 1940s, and continued to make his best-regarded works through the 1950s. Jones-created characters from this period includes Claude Cat, Marc Antony and Pussyfoot, Charlie Dog, Michigan J. Frog, and his three most popular creations, Marvin the Martian, Pepe LePew, the Road Runner, and Wile E. Coyote. The Road Runner cartoons, in addition to the cartoons that are considered his masterpieces (all written and conceived by Michael Maltese), Duck Amuck, One Froggy Evening, and What's Opera, Doc? are today hailed by critics as some of the best cartoons ever made.

The staff of the Jones' Unit A were as important to the success of these cartoons as Jones himself. Key members included writer Maltese, layout artist/background designer/co-director Maurice Noble, animator and co-director Abe Levitow, and animators Ken Harris and Ben Washam.

In 1950, Jones and Maltese began working on Rabbit Fire, a short that has changed Daffy Duck's personality forever. They decided to make him a totally different character; instead of the wacky, comic relief character he had been, they turned Daffy into a vain, egomaniacal prima donna wanting to steal the spotlight from Bugs Bunny. Of his versions of Bugs and Daffy, Chuck Jones has said, "Bugs is who we want to be. Daffy is who we are."

Jones remained at Warner Bros. throughout the 1950s, except for a brief period in 1953 when Warner closed the animation studio. During this interim, Jones found employment at Walt Disney Pictures, where he teamed with Ward Kimball for a four month period of uncredited work on Sleeping Beauty (1959). Upon the reopening of the Warner animation department, Jones was rehired and reunited with most of his unit.

In the early-1960s, Jones and his wife Dorothy wrote the screenplay for the animated feature Gay Purr-ee. The finished film would feature the voices of Judy Garland, Robert Goulet and Red Buttons as cats in Paris, France. The feature was produced by UPA, and directed by his former Warner collaborator, Abe Levitow. Jones moonlighted to work on the film, since he had an exclusive contract with Warner Bros. UPA completed the film and made it available for distribution in 1962; it was picked up by Warner Bros. When Warner discovered that Jones had violated his exclusive contract with them, they terminated him.^[1] Jones' former animation unit was laid off after completing the final cartoon in their pipeline, The Iceman Ducketh, and the rest of the Warner Bros. Cartoons studio was closed in early 1963.^[1] (Jones frequently claimed, including in the aforementioned autobiography, that this happened because Warner finally learned they weren't making Mickey Mouse cartoons).

Jones on his own[link]

With business partner Les Goldman, Jones started an independent animation studio Sib Tower 12 Productions, bringing on most of his unit from Warner Bros., including Maurice Noble and Michael Maltese. In 1963, Metro-Goldwyn-Mayer contracted with Sib Tower 12 to have Jones and his staff produce new Tom and Jerry cartoons as well as a Television adaptation of all Tom and Jerry theatricals produced to that date. This included major editing, including writing out the African-American maid, Mammy Two-Shoes, and replacing her with one of Irish descent. In 1964, Sib Tower 12 was absorbed by MGM and was renamed MGM Animation/Visual Arts. Jones' animated short film The Dot and the Line: A Romance in Lower Mathematics won the 1965 Oscar for Best Animated Short. Jones also directed the classic animated short The Bear That Wasn't. Many^[who?] consider Jones' Tom and Jerry cartoons superior to the original Hanna & Barbera series.^{[citation needed]}

As the Tom and Jerry series wound down (it would be discontinued in 1967), Jones produced more for television. In 1966, he produced and directed the TV special How the Grinch Stole Christmas!, featuring the voice and facial models based on the readings by Boris Karloff.^[2] Jones continued to work on other TV specials such as Horton Hears a Who! (1970), but his main focus during this time was producing the feature film The Phantom Tollbooth, which did lukewarm business when MGM released it in 1970. Jones co-directed 1969's The Pogo Special Birthday Special, based on the Walt Kelly comic strip, and voiced the characters of Porky Pine and Bun Rab. It was at this point that he decided to start 'ST Incorporated'.

MGM closed the animation division in 1970, and Jones once again started his own studio, Chuck Jones Productions. He produced a Saturday morning children's TV series for the American Broadcasting Company called The Curiosity Shop in 1971. In 1973, he produced an animated version of the George Selden book The Cricket in Times Square, and would go on to produce two sequels. His most notable work during this period was three animated TV adaptations of short stories from Rudyard Kipling's The Jungle Book: Mowgli's Brothers, The White Seal and Rikki-Tikki-Tavi, and a famous commercial for Kia-Ora which can be found here http://www.youtube.com/watch?v=5LvLn9PWln8. Jones resumed working with Warner Bros. in 1976 with the animated TV adaptation of The Carnival of the Animals with Bugs Bunny and Daffy Duck. Jones also produced the 1979 film The Bugs Bunny/Road Runner Movie which was a compilation of Jones' best theatrical shorts; Jones produced new Road Runner shorts for The Electric Company series and Bugs Bunny's Looney Christmas Tales (1979), and even newer shorts were made for Bugs Bunny's Bustin' Out All Over (1980).

From 1977-1978, Jones wrote and drew the syndicated comic strip Crawford (also known as Crawford & Morgan) for the Chicago Tribune-NY News Syndicate. IDW will collect Jones' classic comic strip in 2011 as part of their Library of American Comic Strips.

In 1978, Jones' wife Dorothy died; three years later, he married Marian Dern, the writer of the comic strip Rick O'Shay.

The Chuck Jones Show[link]

From 2001 - 2002 Cartoon Network aired The Chuck Jones Show which features shorts directed by him. The show won the Annie Award for Outstanding Achievement in an Animated Special Project.

Later years[link]

Through the 1980s and 1990s, Jones was painting cartoon and parody art, sold through animation galleries by his daughter's company, Linda Jones Enterprises. Jones was the creative consultant and character designer for two Raggedy Ann animated specials and the first Alvin and the Chipmunks Christmas special "A Chipmunk Christmas". He was also creating new cartoons for the Internet based on his new character, Thomas Timberwolf. He made a cameo appearance in the 1984 film Gremlins and directed the Bugs Bunny/Daffy Duck animated sequences that bookend Gremlins 2: The New Batch (1990). Jones also directed animated sequences various features such as a lengthy sequence in the 1992 film Stay Tuned and a shorter one seen at the start of the 1993 film Mrs. Doubtfire. Jones was not a fan of much contemporary animation, terming most of it, especially television cartoons such as those of Hanna-Barbera, "illustrated radio".

In 1988, Jones contributed to the creation of London's Museum of the Moving Image by spending several days working high on scaffolding creating a chase sequence directly onto the high walls of the museum.

Jones was a historical authority as well as a major contributor to the development of animation throughout the 20th century. He received an honorary degree from Oglethorpe University in 1993.

In his later years, Jones became the most vocal alumnus of the Termite Terrace studio, frequently giving lectures, seminars, and working to educate newcomers in the animation field. Many of his principles, therefore, found their way back into the mainstream animation consciousness, and can be seen in films such as The Emperor's New Groove and Lilo & Stitch.

For his contribution to the motion picture industry, Jones has a star on the Hollywood Walk of Fame at 7011 Hollywood Blvd.

Jones, whose work had been nominated eight times over his career for an Oscar (winning thrice: For Scent-imental Reasons, So Much for So Little, and The Dot and the Line), received an Honorary Academy Award in 1996 by the Board of Governors of the Academy of Motion Picture Arts and Sciences, for "the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than half a century." At that year's awards show, Robin Williams, a self-confessed "Jones-aholic," presented the Honorary award to Jones, calling him "The Orson Welles of cartoons."

Jones' final Looney Tunes cartoon was From Hare to Eternity in 1996, which starred Bugs Bunny and Yosemite Sam, with Greg Burson voicing Bugs. The cartoon was dedicated to Friz Freleng, who had passed on in 1995. Jones did produce a few more Looney Tunes-based and non-related cartoons, a noticeable one being Chariots of Fur, his final Road Runner cartoon, in 1994.

Jones, the second to last surviving animation director from the "Termite Terrace" days of the WB cartoons, died of heart failure in 2002. He was cremated and his ashes were scattered at sea. Cartoon Network aired a 20-second segment with black dots tracing Jones' portrait with the words "We'll miss you - Cartoon Network" fading in on the right-hand side, which aired during a four-hour installment of The Looney Tunes Show that featured nothing but Chuck Jones' most memorable cartoon shorts. Unlike the tribute the network aired after William Hanna's passing, Jones' tribute didn't show his birth or death years.

After his death, the Looney Tunes cartoon Daffy Duck for President, based on the book that Jones had written and using Jones' style for the characters, originally scheduled to be released in 2000, was released in 2004 as part of disc 3 of the Looney Tunes Golden Collection: Volume 2 DVD set.

Jones' life and legacy were cel­e­brated January 12, 2012 with the offi­cial grand open­ing of The Chuck Jones Expe­ri­ence at Cir­cus Cir­cus Las Vegas. Many of Jones’ fam­ily wel­comed celebri­ties, ani­ma­tion afi­ciona­dos and vis­i­tors to the new attrac­tion when they opened the attrac­tion in an appro­pri­ate and uncon­ven­tional way. Among those in atten­dance were Jones’ widow, Mar­ian Jones; daugh­ter Linda Clough; and grand­chil­dren Craig, Todd and Valerie Kausen.^[3]

Rivalry with Bob Clampett: Jones-Avery letter[link]

In 1969, after colleague Bob Clampett gave an interview for Funnyworld magazine, Jones wrote a letter to Tex Avery, accusing Clampett of taking credit for ideas that were not his. Their correspondence was never published in the media, nonetheless it was sent to Michael Barrier, who had conducted the interview with Clampett and was distributed by Jones to multiple people concerned with animation over the years. Animator Milt Gray described this as a smear campaign by Chuck Jones. Michael Barrier claims that Clampett had given himself too much credit, but also that Jones had had ill feelings towards him ever since their days at Termite Terrace, due to the fact that Bob Clampett was made an animation director before Chuck Jones. Nonetheless most of his claims in his interview, mainly those that he was the originator of Bugs Bunny have been proven overly exaggerated and false (his claim of participation on the making of A Wild Hare, on which he isn't credited). Robert McKimson claimed in an interview that many animators but mostly Clampett contributed to the crazy personality of Bugs, while others like Chuck Jones concetrated more on the more calmed down gags. As far as plagiarism is concerned, McKimson cited that the animators would always be looking at each others sheets to see if they could borrow some punchlines and cracks.^[4]

Partial list of animated films or short subjects (as director)[link]

• The Night Watchman (1938, his first)
• Dog Gone Modern (1939)
• Robin Hood Makes Good (1939)
• Daffy Duck and the Dinosaur (1939)
• Naughty But Mice (1939, debuts Sniffles, first Jones-created series character)
• Elmer's Candid Camera (1940)
• Joe Glow, the Firefly (1941)
• The Draft Horse (1942)
• The Dover Boys At Pimento University, or The Rivals Of Roquefort Hall (1942)
• Fin N' Catty (1943)
• The Aristo-cat (1943)
• The Weakly Reporter (1944)
• Angel Puss(1944)
• Hell-Bent for Election (Franklin D. Roosevelt campaign film, 1944)
• Fresh Airedale (1945)
• Fair and Worm-er (1946)
• A Pest in the House (1947)
• Scaredy Cat (1948)
• Long-Haired Hare (1949)
• For Scent-imental Reasons (1949)
• Fast and Furry-ous (1949)
• So Much for So Little (1949, made for Federal Security Agency's Public Health Service)
• Rabbit Hood (1949)
• Rabbit of Seville (1950)
• The "Hunting Trilogy": Rabbit Fire (1951), Rabbit Seasoning (1952), and Duck! Rabbit, Duck! (1953)
• Feed the Kitty (1952)
• Duck Amuck (1953)
• Duck Dodgers in the 24½th Century (1953)
• Bully for Bugs (1953)
• Punch Trunk (1953)
• Feline Frame-Up (1954)
• Sheep Ahoy (1954)
• One Froggy Evening (1955)
• Double or Mutton (1955)
• Heaven Scent (1956)
• Rocket-bye Baby (1956)
• What's Opera, Doc? (1957)
• Scrambled Aches (1957)
• Robin Hood Daffy (1958)
• Hook, Line and Stinker (1958)
• Hip Hip-Hurry! (1958)
• Hot-Rod and Reel! (1959)
• Wild About Hurry (1959)
• Fastest with the Mostest (1960)
• Hopalong Casualty (1960)
• High Note (1960)
• Ready, Woolen and Able (1960)
• Compressed Hare (1961)
• Zip 'N Snort (1961)
• Lickety-Splat (1961)
• Beep Prepared (1961)
• Now Hear This (1962)
• Zoom at the Top (1962)
• A Sheep in the Deep (1962)
• Hare-Breadth Hurry (1963)
• Mad as a Mars Hare (1963)
• To Beep or Not to Beep (1963)
• Tom and Jerry (cartoon shorts, 1963–1967)
• War and Pieces (1964)
• The Dot and the Line (1965)
• The Bear That Wasn't (1967)
• How The Grinch Stole Christmas! (TV special, 1966)
• Sesame Street (various cartoon segments, 1969)
• The Electric Company (1971)
• Horton Hears a Who! (TV special, 1970)
• The Phantom Tollbooth (feature film, 1970)
• Rikki-Tikki-Tavi (TV special, 1975)
• Raggedy Ann and Andy in The Great Santa Claus Caper (TV special, 1978)
• Raggedy Ann and Andy in The Pumpkin Who Couldn’t Smile (TV special, 1979)
• Soup or Sonic (1980)
• Chariots of Fur (1994)
• Another Froggy Evening (1995)
• Superior Duck (1996)
• From Hare to Eternity (1996)

See also[link]

• Warner Bros. Cartoons
• Warner Bros. Animation

References[link]

Sources[link]

• Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. Oxford: Oxford University Press. ISBN 0-19-516729-5.
• Jones, Chuck (1989). Chuck Amuck : The Life and Times of an Animated Cartoonist. New York: Farrar Straus & Giroux. ISBN 0-374-12348-9.
• Jones, Chuck (1996). Chuck Reducks : Drawing from the Fun Side of Life. New York: Warner Books. ISBN 0-446-51893-X.

External links[link]

Wikimedia Commons has media related to: Chuck Jones

• Chuck Jones web site
• The Animation of Chuck Jones at Keyframe - the Animation Resource
• Senses of Cinema: Great Directors Critical Database
• Chuck Jones at the Internet Movie Database
• Chuck Jones Film Productions at the Big Cartoon DataBase
• Good Chuck Jones tribute
• "Chuck Jones" by John Canemaker from Cartoonist PROfiles #45 (March 1980)
• Chuck Jones: Three Cartoons (1953-1957) - Roger Ebert discusses Jones' three films in the United States Library of Congress National Film Registry.
• Biography of Chuck Jones by Daniel Briney at ToxicUniverse.com.
• Chuck Jones at Find-A-Grave
• Art Directors Club biography, portrait and images of work
• Chuck Jones Archive of American Television Interview
• Bob Clampetts interview for Funnyworld
• The Jones-Avery Letter

Robin Hood statue in Nottingham

Robin Hood was a heroic outlaw in English folklore. A highly skilled archer and swordsman, he is known for "robbing from the rich and giving to the poor",^[1] assisted by a group of fellow outlaws known as his "Merry Men".^[2] Traditionally, Robin Hood and his men are depicted wearing Lincoln green clothes.^[3] The origin of the legend is claimed by some to have stemmed from actual outlaws, or from ballads or tales of outlaws.^[4]

Robin Hood became a popular folk figure in the medieval period continuing through to modern literature, films and television. In the earliest sources, Robin Hood is a yeoman, but he was often later portrayed as an aristocrat wrongfully dispossessed of his lands and made into an outlaw by an unscrupulous sheriff.^[5]

History[link]

In popular culture, Robin Hood and his band of "merry men" are usually portrayed as living in Sherwood Forest, in Nottinghamshire, where much of the action in the early ballads takes place.^[6] So does the very first recorded Robin Hood rhyme, four lines from the early 15th century, beginning: "Robyn hode in scherewode stod."^[7] However, the overall picture from the surviving early ballads and other early references^[7] suggest that Robin Hood may have been based in the Barnsdale area of what is now South Yorkshire (which borders Nottinghamshire).

Other traditions point to a variety of locations as Robin's "true" home both inside Yorkshire and elsewhere, with the abundance of places named for Robin causing further confusion.^[8][9] A tradition dating back at least to the end of the 16th century gives his birthplace as Loxley, Sheffield in South Yorkshire, while the site of Robin Hood's Well in Skellow, South Yorkshire, has been associated with Robin Hood since at least 1422. Records show a man named Robin Hood lived in Wakefield, Yorkshire, in the 13th and 14th centuries.^[10] His grave has been claimed to be at Kirklees Priory near Mirfield in West Yorkshire, as implied by the 18th-century version of Robin Hood's Death, and there is a headstone there of dubious authenticity.^[11]

The first clear reference to "rhymes of Robin Hood" is from the late 14th-century poem Piers Plowman, but the earliest surviving copies of the narrative ballads that tell his story date to the 15th century, or the first decade of the 16th century. In these early accounts, Robin Hood's partisanship of the lower classes, his Marianism and associated special regard for women, his outstanding skill as an archer, his anti-clericalism, and his particular animosity towards the Sheriff of Nottingham are already clear.^[12] Little John, Much the Miller's Son and Will Scarlet (as Will "Scarlok" or "Scathelocke") all appear, although not yet Maid Marian or Friar Tuck. It is not certain what should be made of these latter two absences as it is known that Friar Tuck, for one, has been part of the legend since at least the later 15th century.^[13]

In popular culture, Robin Hood is typically seen as a contemporary and supporter of the late 12th-century king Richard the Lionheart, Robin being driven to outlawry during the misrule of Richard's brother John while Richard was away at the Third Crusade. This view first gained currency in the 16th century.^[14] It is not supported by the earliest ballads. The early compilation, A Gest of Robyn Hode, names the king as "Edward", and while it does show Robin Hood as accepting the King's pardon he later repudiates it and returns to the greenwood.

The oldest surviving ballad, Robin Hood and the Monk, gives even less support to the picture of Robin Hood as a partisan of the true king. The setting of the early ballads is usually attributed by scholars to either the 13th century or the 14th, although it is recognised they are not necessarily historically consistent.^[15]

The early ballads are also quite clear on Robin Hood's social status: he is a yeoman. While the precise meaning of this term changed over time, including free retainers of an aristocrat and small landholders, it always referred to commoners. The essence of it in the present context was "neither a knight nor a peasant or 'husbonde' but something in between".^[16] We know that artisans (such as millers) were among those regarded as "yeomen" in the 14th century.^[17] From the 16th century on, there were attempts to elevate Robin Hood to the nobility and in two extremely influential plays Anthony Munday presented him at the very end of the 16th century as the Earl of Huntingdon, as he is still commonly presented in modern times.^[18]

As well as ballads, the legend was also transmitted by "Robin Hood games" or plays that were an important part of the late medieval and early modern May Day festivities. The first record of a Robin Hood game was in 1426 in Exeter, but the reference does not indicate how old or widespread this custom was at the time. The Robin Hood games are known to have flourished in the later 15th and 16th centuries.^[19] It is commonly stated as fact that Maid Marian and a jolly friar (at least partly identifiable with Friar Tuck) entered the legend through the May Games.^[20]

The early ballads link Robin Hood to identifiable real places and many are convinced that he was a real person, more or less accurately portrayed. A number of theories as to the identity of "the real Robin Hood" have their supporters. Some of these theories posit that "Robin Hood" or "Robert Hood" or the like was his actual name; others suggest that this may have been merely a nickname disguising a medieval bandit perhaps known to history under another name.^[21] One historian claims Robin Hood was a pseudonym by which the ancient Lords of Wellow, Nottinghamshire, were once known.^[22] It is interesting that the village has such a strong connection with maypole celebrations, considering Robin Hood's links with the same thing.

At the same time it is possible that Robin Hood has always been a fictional character; the folklorist Francis James Child declared "Robin Hood is absolutely a creation of the ballad-muse" and this view has been neither proven or disproven.^[23] Another view is that Robin Hood's origins must be sought in folklore or mythology;^[24] Despite the frequent Christian references in the early ballads, Robin Hood has been claimed for the pagan witch-cult supposed by Margaret Murray to have existed in medieval Europe.^[25]

Early references[link]

The oldest references to Robin Hood are not historical records, or even ballads recounting his exploits, but hints and allusions found in various works. From 1228 onwards, the names 'Robinhood', 'Robehod' or 'Robbehod' occur in the rolls of several English Justices. The majority of these references date from the late 13th century. Between 1261 and 1300, there are at least eight references to 'Rabunhod' in various regions across England, from Berkshire in the south to York in the north.^[26]

In a petition presented to Parliament in 1439, the name is used to describe an itinerant felon. The petition cites one Piers Venables of Aston, Derbyshire, "who having no liflode, ne sufficeante of goodes, gadered and assembled unto him many misdoers, beynge of his clothynge, and, in manere of insurrection, wente into the wodes in that countrie, like as it hadde be Robyn Hude and his meyne."^[27] The name was still used to describe sedition and treachery in 1605, when Guy Fawkes and his associates were branded "Robin Hoods" by Robert Cecil.

The first allusion to a literary tradition of Robin Hood tales occurs in William Langland's Piers Plowman (c. 1362–c. 1386) in which Sloth, the lazy priest, confesses: "I kan [know] not parfitly [perfectly] my Paternoster as the preest it singeth,/ But I kan rymes of Robyn Hood and Randolf Erl of Chestre."^[28]

The first mention of a quasi-historical Robin Hood is given in Andrew of Wyntoun's Orygynale Chronicle, written in about 1420. The following lines occur with little contextualisation under the year 1283:

Lytil Jhon and Robyne Hude

Wayth-men ware commendyd gude

In Yngil-wode and Barnysdale

Thai oysyd all this tyme thare trawale.

The next notice is a statement in the Scotichronicon, composed by John of Fordun between 1377 and 1384, and revised by Walter Bower in about 1440. Among Bower's many interpolations is a passage that directly refers to Robin. It is inserted after Fordun's account of the defeat of Simon de Montfort and the punishment of his adherents. Robin is represented as a fighter for de Montfort's cause.^[29] This was in fact true of the historical outlaw of Sherwood Forest Roger Godberd, whose points of similarity to the Robin Hood of the ballads have often been noted.^[30][31]

Bower writes:

Then [c. 1266] arose the famous murderer, Robert Hood, as well as Little John, together with their accomplices from among the disinherited, whom the foolish populace are so inordinately fond of celebrating both in tragedies and comedies, and about whom they are delighted to hear the jesters and minstrels sing above all other ballads.

The word translated here as "murderer" is the Latin siccarius, from the Latin for "knife". Bower goes on to tell a story about Robin Hood in which he refuses to flee from his enemies while hearing Mass in the greenwood, and then gains a surprise victory over them, apparently as a reward for his piety.^[32]

Another reference, discovered by Julian Luxford in 2009, appears in the margin of the "Polychronicon" in the Eton College library. Written around the year 1460 by a monk in Latin, it says:

Around this time, according to popular opinion, a certain outlaw named Robin Hood, with his accomplices, infested Sherwood and other law-abiding areas of England with continuous robberies.^[33]

William Shakespeare makes reference to Robin Hood in his late 16th-century play The Two Gentlemen of Verona, one of his earliest. In it, the character Valentine is banished from Milan and driven out through the forest where he is approached by outlaws who, upon meeting him, desire him as their leader. They comment, "By the bare scalp of Robin Hood's fat friar, This fellow were a king for our wild faction!"^[34] Robin Hood is also mentioned in As You Like It. When asked about the exiled Duke Senior, the character of Charles says that he is "already in the forest of Arden, and a many merry men with him; and there they live like the old Robin Hood of England."

References to Robin as Earl of Huntington[link]

Another reference is provided by Thomas Gale, Dean of York (c. 1635–1702),^[35] but this comes nearly four hundred years after the events it describes:

[Robin Hood's] death is stated by Ritson to have taken place on the 18th of November, 1247, about the 87th year of his age; but according to the following inscription found among the papers of the Dean of York...the death occurred a month later. In this inscription, which bears evidence of high antiquity, Robin Hood is described as Earl of Huntington - his claim to which title has been as hotly contested as any disputed peerage upon record.

Hear undernead dis laitl stean

Lais Robert Earl of Huntingun

Near arcir der as hie sa geud

An pipl kauld im Robin Heud

Sic utlaws as hi an is men

Vil England nivr si agen.

Obiit 24 Kal Dekembris 1247

This inscription also appears on a grave in the grounds of Kirklees Priory near Kirklees Hall (see below).

Robert is largely fictional by this time. The Gale note is inaccurate. The medieval texts do not refer to him directly, but mediate their allusions through a body of accounts and reports: for Langland, Robin exists principally in "rimes", for Bower, "comedies and tragedies", while for Wyntoun he is "commendyd gude". Even in a legal context, where one would expect to find verifiable references to Robert, he is primarily a symbol, a generalised outlaw-figure rather than an individual. Consequently, in the medieval period itself, Robin Hood already belongs more to literature than to history. In fact, in an anonymous song called Woman of c. 1412, he is treated in precisely this manner - as a joke, a figure that the audience will instantly recognise as imaginary:

He that made this songe full good,

Came of the northe and the sothern blode,

And somewhat kyne to Robert Hoad.^[36][37]

Sources[link]

"Robin shoots with Sir Guy" by Louis Rhead

There is at present little scholarly support for the view that tales of Robin Hood have stemmed from mythology or folklore, from fairies or other mythological origins, any such associations being regarded as later development.^[38] The mythological theory does go back to at least to 1584, when Reginald Scot identified Robin Hood with the Germanic goblin "Hudgin" or Hodekin and associated him with Robin Goodfellow.^[39] Maurice Keen^[40] provides a brief summary and useful critique of the once-popular view that Robin Hood had mythological origins, while (unlike some)^[41] refraining from utterly and finally dismissing it.^[42] While Robin Hood and his men often show great skill in archery, swordplay and disguise, they are no more exaggerated than those characters in other ballads, such as Kinmont Willie, which were based on historical events.^[43]

Robin Hood's role in the traditional May Day games could suggest pagan connections, but that role has not been traced earlier than the early 15th century. However, it is uncontroversial that a Robin and Marion figured in 13th-century French "pastourelles" (of which Jeu de Robin et Marion c. 1280 is a literary version) and presided over the French May festivities, "this Robin and Marion tended to preside, in the intervals of the attempted seduction of the latter by a series of knights, over a variety of rustic pastimes."^[44]

In the Jeu de Robin and Marion, Robin and his companions have to rescue Marion from the clutches of a "lustful knight".^[45] Dobson and Taylor in their survey of the legend, in which they reject the mythological theory, nevertheless regard it as "highly probable" that this French Robin's name and functions travelled to the English May Games where they fused with the Robin Hood legend.^[44]

The origin of the legend is claimed by some to have stemmed from actual outlaws, or from tales of outlaws, such as Hereward the Wake, Eustace the Monk, Fulk FitzWarin^[4] and William Wallace.^[46] Hereward appears in a ballad much like Robin Hood and the Potter, and as the Hereward ballad is older, it appears to be the source. The ballad Adam Bell, Clym of the Cloughe and Wyllyam of Cloudeslee runs parallel to Robin Hood and the Monk, but it is not clear whether either one is the source for the other, or whether they merely show that such tales were told of outlaws.^[47]

Some early Robin Hood stories appear to be unique, such as the story wherein Robin gives a knight, generally called Richard at the Lee, money to pay off his mortgage to an abbot, but this may merely indicate that no parallels have survived.^[48]

There are a number of theories that attempt to identify a historical Robin Hood. A difficulty with any such historical search is that "Robert" was in medieval England a very common given name, and "Robin" (or Robyn), especially in the 13th century, was its very common diminutive.^[49] The surname "Hood" (or Hude or Hode etc.), referring ultimately to the head-covering, was also fairly common. Unsurprisingly, therefore, there are a number of people called "Robert Hood" or "Robin Hood" to be found in medieval records. Some of them are on record for having fallen afoul of the law, but this is not necessarily significant to the legend.^[50]

The early ballads give a number of possible historical clues: notably, the Gest names the reigning king as "Edward", but the ballads cannot be assumed to be reliable in such details.^[51] For whatever it may be worth, however, King Edward I took the throne in 1272, and an Edward remained on the throne until the death of Edward III in 1377.

On the other hand, what appears to be the first known example of "Robin Hood" as stock name for an outlaw dates to 1262 in Berkshire, where the surname "Robehod" was applied to a man apparently because he had been outlawed.^[52] This could suggest two main possibilities: either that an early form of the Robin Hood legend was already well established in the mid 13th century; or alternatively that the name "Robin Hood" preceded the outlaw hero that we know; so that the "Robin Hood" of legend was so called because that was seen as an appropriate name for an outlaw.

It has long been suggested, notably by John Maddicott, that "Robin Hood" was a stock alias used by thieves.^[53] The 1911 Encyclopædia Britannica remarks that 'hood' was a common dialectical form of 'wood'; and that the outlaw's name has been given as "Robin Wood".^[24] There are indeed a number of references to Robin Hood as Robin Wood, or Whood, or Whod, from the 16th and 17th centuries. The earliest recorded example, in connection with May games in Somerset, dates from 1518.^[54]

One well-known theory of origin was proposed by Joseph Hunter in 1852. Hunter identified the outlaw with a "Robyn Hode" recorded as employed by Edward II in 1323 during the king's progress through Lancashire. This Robyn Hode was identified with (one or more people called) Robert Hood living in Wakefield before and after that time. Comparing the available records with especially the Gest and also other ballads, Hunter developed a fairly detailed theory according to which Robin Hood was an adherent of the rebel Earl of Lancaster, defeated at the Battle of Boroughbridge in 1322.

According to this theory, Robin Hood was pardoned and employed by the king in 1323. (The Gest does relate that Robin Hood was pardoned by "King Edward" and taken into his service.) The theory supplies Robin Hood with a wife, Matilda, thought to be the origin of Maid Marian, and Hunter also conjectured that the author of the Gest may have been the religious poet Richard Rolle (1290–1349), who lived in the village of Hampole in Barnsdale.^[55]

This theory has long been recognised to have serious problems, one of the most serious being that "Robin Hood" and similar names were already used as nicknames for outlaws in the 13th century. Another is that there is no direct evidence that Hunter's Hood had ever been an outlaw or any kind of criminal or rebel at all; the theory is built on conjecture and coincidence of detail.^[56] Finally, recent research has shown that Hunter's Robyn Hood had been employed by the king at an earlier stage, thus casting doubt on this Robyn Hood's supposed earlier career as outlaw and rebel.^[57]

Another theory identifies him with the historical outlaw Roger Godberd, who was a die-hard supporter of Simon de Montfort, which would place Robin Hood around the 1260s.^[21] There are certainly parallels between Godberd's career and that of Robin Hood as he appears in the Gest. John Maddicott has called Godberd "that prototype Robin Hood".^[58] Some problems with this theory are that there is no evidence that Godberd was ever known as Robin Hood and no sign in the early Robin Hood ballads of the specific concerns of de Montfort's revolt.^[56]

Another well-known theory, first proposed by the historian L. V. D. Owen in 1936 and more recently floated by J.C. Holt and others, is that the original Robin Hood might be identified with an outlawed Robert Hood, or Hod, or Hobbehod, all apparently the same man, referred to in nine successive Yorkshire Pipe Rolls between 1226 and 1234.^[59][60] There is no evidence however that this Robert Hood, although an outlaw, was also a bandit.^[61]

Ballads and tales[link]

The earliest surviving text of a Robin Hood ballad is "Robin Hood and the Monk".^[62] This is preserved in Cambridge University manuscript Ff.5.48. It was written shortly after 1450.^[63] It contains many of the elements still associated with the legend, from the Nottingham setting to the bitter enmity between Robin and the local sheriff.

Douglas Fairbanks as Robin Hood; the sword he is depicted with was common in the oldest ballads

The first printed version is A Gest of Robyn Hode (c. 1475), a collection of separate stories which attempts to unite the episodes into a single continuous narrative.^[64] After this comes "Robin Hood and the Potter",^[65] contained in a manuscript of c. 1503. "The Potter" is markedly different in tone from "The Monk": whereas the earlier tale is "a thriller"^[26] the latter is more comic, its plot involving trickery and cunning rather than straightforward force. The difference between the two texts recalls Bower's claim that Robin-tales may be both 'comedies and tragedies'.

Other early texts are dramatic pieces such as the fragmentary Robyn Hod and the Shryff off Notyngham^[66] (c. 1472). These are particularly noteworthy as they show Robin's integration into May Day rituals towards the end of the Middle Ages; Robyn Hod and the Shryff off Notyngham, among other points of interest, contains the earliest reference to Friar Tuck.

The plots of neither "the Monk" nor "the Potter" are included in the Gest; and neither is the plot of "Robin Hood and Guy of Gisborne" which is probably at least as old as those two ballads although preserved in a more recent copy. Each of these three ballads survived in a single copy, so it is unclear how much of the medieval legend has survived, and what has survived may not be typical of the medieval legend. It has been argued that the fact that the surviving ballads were preserved in written form in itself makes it unlikely they were typical; in particular stories with an interest for the gentry were by this view more likely to be preserved.^[67] The story of Robin's aid to the "poor knight" that takes up much of the Gest may be an example.

The character of Robin in these first texts is rougher edged than in his later incarnations. In "Robin Hood and the Monk", for example, he is shown as quick tempered and violent, assaulting Little John for defeating him in an archery contest; in the same ballad Much the Miller's Son casually kills a "little page" in the course of rescuing Robin Hood from prison.^[6] No extant ballad actually shows Robin Hood "giving to the poor", although in a "A Gest of Robyn Hode" Robin does make a large loan to an unfortunate knight which he does not in the end require to be repaid;^[68] and later in the same ballad Robin Hood states his intention of giving money to the next traveller to come down the road if he happens to be poor.

Of my good he shall haue some,

Yf he be a por man.^[69]

As it happens the next traveller is not poor, but it seems in context that Robin Hood is stating a general policy. From the beginning Robin Hood is on the side of the poor; the Gest quotes Robin Hood as instructing his men that when they rob:

loke ye do no husbonde harme

That tilleth with his ploughe.

No more ye shall no gode yeman

That walketh by gren-wode shawe;

Ne no knyght ne no squyer

That wol be a gode felawe.^[70]

And in its final lines the Gest sums up:

he was a good outlawe,

And dyde pore men moch god.

Within Robin Hood's band medieval forms of courtesy rather than modern ideals of equality are generally in evidence. In the early ballads Robin's men usually kneel before him in strict obedience: in A Gest of Robyn Hode the king even observes that "His men are more at his byddynge/Then my men be at myn." Their social status, as yeomen, is shown by their weapons; they use swords rather than quarterstaffs. The only character to use a quarterstaff in the early ballads is the potter, and Robin Hood does not take to a staff until the 18th century Robin Hood and Little John.^[71]

The political and social assumptions underlying the early Robin Hood ballads have long been controversial. It has been influentially argued by J. C. Holt that the Robin Hood legend was cultivated in the households of the gentry, and that it would be mistaken to see in him a figure of peasant revolt. He is not a peasant but a yeoman, and his tales make no mention of the complaints of the peasants, such as oppressive taxes.^[72] He appears not so much as a revolt against societal standards as an embodiment of them, being generous, pious, and courteous, opposed to stingy, worldly, and churlish foes.^[73] Other scholars have by contrast stressed the subversive aspects of the legend, and see in the medieval Robin Hood ballads a plebeian literature hostile to the feudal order.^[74]

"Little John and Robin Hood" by Frank Godwin

Although the term "Merry Men" belongs to a later period, the ballads do name several of Robin's companions.^[75] These include Will Scarlet (or Scathlock), Much the Miller's Son, and Little John - who was called "little" as a joke, as he was quite the opposite.^[76] Even though the band is regularly described as being over a hundred men, usually only three or four are specified. Some appear only once or twice in a ballad: Will Stutely in Robin Hood Rescuing Will Stutly and Robin Hood and Little John; David of Doncaster in Robin Hood and the Golden Arrow; Gilbert with the White Hand in A Gest of Robyn Hode; and Arthur a Bland in Robin Hood and the Tanner.^[76]

Printed versions of the Robin Hood ballads, generally based on the Gest, appear in the early 16th century, shortly after the introduction of printing in England. Later that century Robin is promoted to the level of nobleman: he is styled Earl of Huntingdon, Robert of Locksley, or Robert Fitz Ooth. In the early ballads, by contrast, he was a member of the yeoman classes, which included common freeholders possessing a small landed estate.^[77]

By the early 15th century at the latest, Robin Hood had become associated with May Day celebrations, with revellers dressing as Robin or as members of his band for the festivities. This was not common throughout England, but in some regions the custom lasted until Elizabethan times, and during the reign of Henry VIII, was briefly popular at court.^[78] Robin was often allocated the role of a May King, presiding over games and processions, but plays were also performed with the characters in the roles,^[79] sometimes performed at church ales, a means by which churches raised funds.^[80]

A complaint of 1492, brought to the Star Chamber, accuses men of acting riotously by coming to a fair as Robin Hood and his men; the accused defended themselves on the grounds that the practice was a long-standing custom to raise money for churches, and they had not acted riotously but peaceably.^[81]

Robin Hood and Maid Marian

It is from the association with the May Games that Robin's romantic attachment to Maid Marian (or Marion) apparently stems. The naming of Marian may have come from the French pastoral play of c. 1280, the Jeu de Robin et Marion, although this play is distinct from the English legends.^[78] Both Robin and Marian were certainly associated with May Day festivities in England (as was Friar Tuck), but these may have been originally two distinct types of performance - Alexander Barclay in his Ship of Fools, writing in c. 1500, refers to "some merry fytte of Maid Marian or else of Robin Hood" - but the characters were brought together.^[75] Marian did not immediately gain the unquestioned role; in Robin Hood's Birth, Breeding, Valor, and Marriage, his sweetheart is 'Clorinda the Queen of the Shepherdesses'.^[82] Clorinda survives in some later stories as an alias of Marian.^[76]

In the 16th century, Robin Hood is given a specific historical setting. Up until this point there was little interest in exactly when Robin's adventures took place. The original ballads refer at various points to "King Edward", without stipulating whether this is Edward I, Edward II, or Edward III.^[83] Hood may thus have been active at any point between 1272 and 1377. However, during the 16th century the stories become fixed to the 1190s, the period in which King Richard was absent from his throne, fighting in the crusades.^[84] This date is first proposed by John Mair in his Historia Majoris Britanniæ (1521), and gains popular acceptance by the end of the century.

Giving Robin an aristocratic title and female love interest, and placing him in the historical context of the true king's absence, all represent moves to domesticate his legend and reconcile it to ruling powers. In this, his legend is similar to that of King Arthur, which morphed from a dangerous male-centred story to a more comfortable, chivalrous romance under the troubadours serving Eleanor of Aquitaine. From the 16th century on, the legend of Robin Hood is often used to promote the hereditary ruling class, romance, and religious piety. The "criminal" element is retained to provide dramatic colour, rather than as a real challenge to convention.^[85]

In 1598, Anthony Munday wrote a pair of plays on the Robin Hood legend, The Downfall and The Death of Robert Earl of Huntington (published 1601). The 17th century introduced the minstrel Alan-a-Dale. He first appeared in a 17th century broadside ballad, and unlike many of the characters thus associated, managed to adhere to the legend.^[82] This is also the era in which the character of Robin became fixed as stealing from the rich to give to the poor.^[86]

In the 18th century, the stories began to develop a slightly more farcical vein. From this period there are a number of ballads in which Robin is severely "drubbed" by a succession of professionals including a tanner, a tinker and a ranger.^[84] In fact, the only character who does not get the better of Hood is the luckless Sheriff. Yet even in these ballads Robin is more than a mere simpleton: on the contrary, he often acts with great shrewdness. The tinker, setting out to capture Robin, only manages to fight with him after he has been cheated out of his money and the arrest warrant he is carrying. In Robin Hood's Golden Prize, Robin disguises himself as a friar and cheats two priests out of their cash. Even when Robin is defeated, he usually tricks his foe into letting him sound his horn, summoning the Merry Men to his aid. When his enemies do not fall for this ruse, he persuades them to drink with him instead.

The continued popularity of the Robin Hood tales is attested by a number of literary references. In As You Like It, the exiled duke and his men "live like the old Robin Hood of England", while Ben Jonson produced the (incomplete) masque The Sad Shepherd, or a Tale of Robin Hood^[87] as a satire on Puritanism. Somewhat later, the Romantic poet John Keats composed Robin Hood. To A Friend^[88] and Alfred Lord Tennyson wrote a play The Foresters, or Robin Hood and Maid Marian,^[89] which was presented with incidental music by Sir Arthur Sullivan in 1892. Later still, T. H. White featured Robin and his band in The Sword in the Stone - anachronistically, since the novel's chief theme is the childhood of King Arthur.^[90]

The title page of Howard Pyle's 1883 novel, The Merry Adventures of Robin Hood

The Victorian era^[91] generated its own distinct versions of Robin Hood. The traditional tales were often adapted for children, most notably in Howard Pyle's The Merry Adventures of Robin Hood, which influenced accounts of Robin Hood through the 20th century.^[1] These versions firmly stamp Robin as a staunch philanthropist, a man who takes from the rich to give to the poor. Nevertheless, the adventures are still more local than national in scope: while King Richard's participation in the Crusades is mentioned in passing, Robin takes no stand against Prince John, and plays no part in raising the ransom to free Richard. These developments are part of the 20th century Robin Hood myth.

The idea of Robin Hood as a high-minded Saxon fighting Norman lords also originates in the 19th century. The most notable contributions to this idea of Robin are Jacques Nicolas Augustin Thierry's Histoire de la Conquête de l'Angleterre par les Normands (1825) and Sir Walter Scott's Ivanhoe (1819). In this last work in particular, the modern Robin Hood - "King of Outlaws and prince of good fellows!" as Richard the Lionheart calls him - makes his debut.^[92]

The 20th century grafted still further details on to the original legends. The 1938 film, The Adventures of Robin Hood, starring Errol Flynn and Olivia de Havilland, portrayed Robin as a hero on a national scale, leading the oppressed Saxons in revolt against their Norman overlords while Richard the Lionheart fought in the Crusades; this movie established itself so definitively that many studios resorted to movies about his son (invented for that purpose) rather than compete with the image of this one.^[93]

In the 1973 animated Disney film, Robin Hood, the title character is portrayed as an anthropomorphic fox voiced by Brian Bedford. Years before Robin Hood had even entered production, Disney had considered doing a project on Reynard the Fox. However, due to concerns that Reynard was unsuitable as a hero, animator Ken Anderson lifted many elements from Reynard into Robin Hood, thus making the titular character a fox.^{[citation needed]}

The 1976 British-American film Robin and Marian, starring Sean Connery as Robin Hood and Audrey Hepburn as Maid Marian, portrays the figures in later years after Robin has returned from service with Richard the Lionheart in a foreign crusade and Marian has gone into seclusion in a nunnery. This is the first in popular culture to portray King Richard as less than perfect.

Since the 1980s, it has become commonplace to include a Saracen among the Merry Men, a trend which began with the character Nasir in the Robin of Sherwood television series. Later versions of the story have followed suit: the 1991 movie Robin Hood: Prince of Thieves and 2006 BBC TV series Robin Hood each contain equivalents of Nasir, in the figures of Azeem and Djaq respectively.^[93] The latest movie version released in spring of 2010 is simply entitled Robin Hood and is directed by Ridley Scott, with Robin played by Russell Crowe. The Saracen character was dropped from this version.

The Robin Hood legend has thus been subject to numerous shifts and mutations throughout its history. Robin himself has evolved from a yeoman bandit to a national hero of epic proportions, who not only supports the poor by taking from the rich, but heroically defends the throne of England itself from unworthy and venal claimants.

Connections to existing locations[link]

The Major Oak in Sherwood Forest

In modern versions of the legend, Robin Hood is said to have taken up residence in the verdant Sherwood Forest in the county of Nottinghamshire. For this reason the people of present-day Nottinghamshire have a special affinity with Robin Hood, often claiming him as the symbol of their county. For example, major road signs entering the shire depict Robin Hood with his bow and arrow, welcoming people to 'Robin Hood County'. BBC Radio Nottingham also uses the phrase 'Robin Hood County' on its regular programmes. The Robin Hood Way runs through Nottinghamshire and the county is home to literally thousands of other places, roads, inns and objects bearing Robin's name.^{[citation needed]}

Specific sites linked to Robin Hood include the Major Oak tree, claimed to have been used by him as a hideout,^[94] Robin Hood's Well, located near Newstead Abbey (within the boundaries of Sherwood Forest), and the Church of St. Mary in the village of Edwinstowe, where Robin and Maid Marian are historically thought to have wed.^[95] To reinforce this belief, the University of Nottingham in 2010 has begun the Nottingham Caves Survey with the goal "to increase the tourist potential of these sites". The project "will use a 3D laser scanner to produce a three dimensional record of more than 450 sandstone caves around Nottingham".^[96]

However, the Nottingham setting is a matter of some contention. While the Sheriff of Nottingham and the town itself appear in early ballads, and Sherwood is specifically mentioned in the early ballad Robin Hood and the Monk, certain of the original ballads (even those with Nottingham references) locate Robin on occasion in Barnsdale (the area between Pontefract and Doncaster), approximately fifty miles north of Nottingham, in the county of Yorkshire; furthermore, it has been suggested that the ballads placed in this area are far more geographically specific and accurate.^[97] This is reinforced for some by the alleged similarity of Locksley to the area of Loxley, South Yorkshire, in Sheffield, where in nearby Tideswell, which was the "Kings Larder" in the Royal Forest of the Peak, a record of the appearance of a "Robert de Lockesly" in court is found, dated 1245. As "Robert" and its diminutives were amongst the most common of names at the time, and also since it was usual for men to adopt the name of their hometown ("De Lockesly" means simply, "Of [or from] Lockesly"), the record could just as easily be referring to any man from the area named Robert. Although it cannot be proven whether or not this is the man himself, it is further believed by some that Robin had a brother called Thomas - an assertion with no documentary evidence whatsoever to support it in any of the stories, tales or ballads. If the Robert mentioned above was indeed Robin Hood, and if he did have a brother named Thomas, then consideration of the following reference may lend this theory a modicum of credence:

24) No. 389, f0- 78. Ascension Day, 29 H. III., Nic Meverill, with John Kantia, on the one part, and Henry de Leke. Henry released to Nicholas and John 5 m. rent, which he received from Nicolas and John and Robert de Lockesly for his life from the lands of Gellery, in consideration of receiving from each of them 2M (2 marks). only, the said Henry to live at table with one of them and to receive 2M. annually from the other. T., Sampson de Leke, Magister Peter Meverill, Roger de Lockesly, John de Leke, Robert fil Umfred, Rico de Newland, Richard Meverill. (25) No. 402, p. 80 b. Thomas de Lockesly bound himself that he would not sell his lands at Leke, which Nicolas Meveril had rendered to him, under a penalty of L40 (40 pounds).

A pound was 240 silver pence, and a mark was 160 silver pence (i.e., 13 shillings and fourpence).

It is again, however, equally likely that Nicolas, John, Robert and Thomas were simply members of a family which came from the area.

In Barnsdale Forest, Yorkshire, there is a well known as Robin Hood's Well (by the side of the Great North Road), a Little John's Well (near Hampole) and a Robin Hood's stream (in Highfields Wood at Woodlands). There is something of a modern movement amongst Yorkshire residents to attempt to claim the legend of Robin Hood, to the extent that South Yorkshire's new airport, on the site of the redeveloped RAF Finningley airbase near Doncaster, although ironically in the historic county of Nottinghamshire, has been given the name Robin Hood Airport Doncaster Sheffield.

In the city centre of Leeds, West Yorkshire, at 71 Vicar Lane, is a retail clothing store operated by Hugo Boss. This was the previous location of a pub/music venue known as The Duchess of York which was previously known as the Robin Hood. During an interior refurbishment, wallpaper was removed to reveal a wall mural depicting Robin Hood and his Merry Men in the small snug of the pub. The Landlord at the time, Robin Dover, was photographed standing next to the mural which was published in The Yorkshire Evening Post.

There have been further claims made that he is from Swannington in Leicestershire^[98] or Loxley, Warwickshire.

Robin Hood Tree aka Sycamore Gap, Hadrian's Wall, UK. This location was used in the 1991 film Robin Hood: Prince of Thieves.

This debate is hardly surprising of course, given the considerable value that the Robin Hood legend has for local tourism. The Sheriff of Nottingham also had jurisdiction in Derbyshire that was known as the "Shire of the Deer", and this is where the Royal Forest of the Peak is found, which roughly corresponds to today's Peak District National Park. The Royal Forest included Bakewell, Tideswell, Castleton, Ladybower and the Derwent Valley near Loxley. The Sheriff of Nottingham possessed property near Loxley, amongst other places both far and wide including Hazlebadge Hall, Peveril Castle and Haddon Hall. Mercia, to which Nottingham belonged, came to within three miles of Sheffield City Centre. But before the Law of the Normans was the Law of the Danes, The Danelaw had a similar boundary to that of Mercia but had a population of Free Peasantry which were known to have resisted the Norman occupation. Many outlaws could have been created by the refusal to recognise Norman Forest Law.^[99] The supposed grave of Little John can be found in Hathersage, also in the Peak District.

Robin Hood himself was once thought to have been buried in the grounds of Kirklees Priory between Brighouse and Mirfield in West Yorkshire, although for the reasons given above this theory has now largely been abandoned. There is an elaborate grave there with the inscription referred to above. The story said that the Prioress was a relative of Robin's. Robin was ill and staying at the Priory where the Prioress was supposedly caring for him. However, she betrayed him, his health worsened, and he eventually died there.

Before he died, he told Little John (or possibly another of his Merry Men) where to bury him. He shot an arrow from the Priory window, and where the arrow landed was to be the site of his grave. The grave with the inscription is within sight of the ruins of the Kirklees Priory, behind the Three Nuns pub in Mirfield, West Yorkshire. The grave can be visited on occasional organised walks, organised by Calderdale Council Tourist Information office.

Further indications of the legend's connection with West Yorkshire (and particularly Calderdale) are noted in the fact that there are pubs called the Robin Hood in both nearby Brighouse and at Cragg Vale; higher up in the Pennines beyond Halifax, where Robin Hood Rocks can also be found. Robin Hood Hill is near Outwood, West Yorkshire, not far from Lofthouse. There is a village in West Yorkshire called Robin Hood, on the A61 between Leeds and Wakefield and close to Rothwell and Lofthouse. Considering these references to Robin Hood, it is not surprising that the people of both South and West Yorkshire lay some claim to Robin Hood, who, if he existed, could easily have roamed between Nottingham, Lincoln, Doncaster and right into West Yorkshire.

A British Army Territorial (reserves) battalion formed in Nottingham in 1859 was known as The Robin Hood Battalion through various reorganisations until the "Robin Hood" name finally disappeared in 1992. With the 1881 Childers reforms that linked regular and reserve units into regimental families, the Robin Hood Battalion became part of The Sherwood Foresters (Nottinghamshire and Derbyshire Regiment).

A Neolithic causewayed enclosure on Salisbury Plain has acquired the name Robin Hood's Ball, although had Robin Hood existed it is doubtful that he would have travelled so far south.

List of traditional ballads[link]

Ballads are the oldest existing form of the Robin Hood legends, although none of them are recorded at the time of the first allusions to him, and many are much later. They share many common features, often opening with praise of the greenwood and relying heavily on disguise as a plot device, but include a wide variation in tone and plot.^[100] The ballads below are sorted into three groups, very roughly according to date of first known free-standing copy. Ballads whose first recorded version appears (usually incomplete) in the Percy Folio may appear in later versions^[101] and may be much older than the mid 17th century when the Folio was compiled. Any ballad may be older than the oldest copy which happens to survive, or descended from a lost older ballad. For example, the plot of Robin Hood's Death, found in the Percy Folio, is summarised in the 15th-century A Gest of Robyn Hode, and it also appears in an 18th-century version.^[102]

Early ballads (i.e., surviving in 15th- or early 16th-century copies)[link]

• A Gest of Robyn Hode
• Robin Hood and the Monk
• Robin Hood and the Potter

Ballads appearing in 17th-century Percy Folio[link]

NB. The first two ballads listed here (the "Death" and "Gisborne"), although preserved in 17th century copies, are generally agreed to preserve the substance of late medieval ballads. The third (the "Curtal Friar") and the fourth (the "Butcher"), also probably have late medieval origins.^[103]

• Robin Hood's Death
• Robin Hood and Guy of Gisborne
• Robin Hood and the Curtal Friar
• Robin Hood and the Butcher
• Robin Hood Rescuing Will Stutly
• Robin Hood Rescuing Three Squires
• The Jolly Pinder of Wakefield
• Robin Hood and Queen Katherine

Other ballads[link]

• A True Tale of Robin Hood
• Robin Hood and the Bishop
• Robin Hood and the Bishop of Hereford
• Robin Hood and the Golden Arrow
• Robin Hood and the Prince of Aragon
• Robin Hood and the Ranger
• Robin Hood and the Scotchman
• Robin Hood and the Tanner
• Robin Hood and the Tinker
• Robin Hood and the Valiant Knight
• Robin Hood Newly Revived
• Robin Hood's Birth, Breeding, Valor, and Marriage
• Robin Hood's Chase
• Robin Hood's Delight
• Robin Hood's Golden Prize
• Robin Hood's Progress to Nottingham
• The Bold Pedlar and Robin Hood
• The King's Disguise, and Friendship with Robin Hood
• The Noble Fisherman

Some ballads, such as Erlinton, feature Robin Hood in some variants, where the folk hero appears to be added to a ballad pre-existing him and in which he does not fit very well.^[104] He was added to one variant of Rose Red and the White Lily, apparently on no more connection than that one hero of the other variants is named "Brown Robin."^[105] Francis James Child indeed retitled Child ballad 102; though it was titled The Birth of Robin Hood, its clear lack of connection with the Robin Hood cycle (and connection with other, unrelated ballads) led him to title it Willie and Earl Richard's Daughter in his collection.^[106]

Popular culture[link]

Main characters of the folklore[link]

• Robin Hood (a.k.a., Robin Longstride, Robin of Loxley or Locksley)
• The band of "Merry Men"
  • Little John
  • Friar Tuck
  • Will Scarlett
  • Allan A'Dayle
• Maid Marian
• King Richard the Lionheart
• Prince John
• Sir Guy of Gisbourne
• The Sheriff of Nottingham

See also[link]

• Tadas Blinda
• Eustace Folville
• Gwenllian ferch Gruffydd
• Juraj Jánošík
• Iancu Jianu
• Rummu Jüri
• Ustym Karmaliuk
• Ned Kelly
• Kayamkulam Kochunni
• Nezumi Kozō
• Chucho el Roto
• Schinderhannes
• Robin Hood tax
• Kobus van der Schlossen
• Trysting Tree
• Verysdale
• William de Wendenal
• Redistribution of wealth

References[link]