African elephants form a widely-accepted taxon, the genus Loxodonta

A taxon (plural: taxa) is a group of (one or more) organisms, which a taxonomist adjudges to be a unit. Usually a taxon is given a name and a rank, although neither is a requirement. Defining what belongs or does not belong to such a taxonomic group is done by a taxonomist with the science of taxonomy. It is not uncommon for one taxonomist to disagree with another on what exactly belongs to a taxon, or on what exact criteria should be used for inclusion.

Taxonomists sometimes make a distinction between "good" (or natural) taxa and others that are "not good" (or artificial). Today it is common to define a good taxon as one that reflects evolutionary (phylogenetic) relationships, but this is not mandatory.

A taxon may be given a formal name, or a scientific name. Such a scientific name is governed by one of the Nomenclature Codes, which sets out rules to determine which scientific name is correct for that particular grouping.

Advocates of phylogenetic nomenclature, using cladistic methods, do require taxa to be monophyletic, consisting of all descendants of some ancestor. They generally do not refer to taxa as their basic unit, but to "clades," a clade being a special form of taxon. However, even in traditional nomenclature, few taxonomists of our time would establish new taxa that they know to be paraphyletic.^[1] A famous example of a widely accepted taxon that is not also a clade is the "Reptilia."

Definition[link]

The Glossary of the International Code of Zoological Nomenclature (1999) defines^[2] a

• "taxon, (pl. taxa), n.

A taxonomic unit, whether named or not: i.e. a population, or group of populations of organisms which are usually inferred to be phylogenetically related and which have characters in common which differentiate (q.v.) the unit (e.g. a geographic population, a genus, a family, an order) from other such units. A taxon encompasses all included taxa of lower rank (q.v.) and individual organisms. [...]"

But there are other definitions.

Ranks[link]

A taxon can be assigned a rank, usually (but not necessarily) when it is given a formal name. The rank of a given taxon is not necessarily fixed, but can be altered later by another (or the same) taxonomist.

"Phylum" applies formally to any biological domain, but traditionally it was always used for animals, whereas "Division" was traditionally often used for plants, fungi, etc.

The hierarchy of biological classification's eight major taxonomic ranks, which is an example of definition by genus and differentia. Intermediate minor rankings are not shown.

A prefix is used to indicate a ranking of lesser importance. The prefix super- indicates a rank above, the prefix sub- indicates a rank below. In zoology the prefix infra- indicates a rank below sub-. For instance, among the additional ranks of class are superclass, subclass and infraclass.

Rank is relative, and restricted to a particular systematic schema. For example, liverworts have been grouped, in various systems of classification, as a family, order, class, or division (phylum). The use of a narrow set of ranks is challenged by users of cladistics; for example, the mere 10 ranks traditionally used between animal families (governed by the ICZN) and animal phyla (usually the highest relevant rank in taxonomic work) often cannot adequately represent the evolutionary history as more about a lineage's phylogeny becomes known. In addition, the class rank is quite often not an evolutionary but a phenetical and paraphyletic group and as opposed to those ranks governed by the ICZN, can usually not be made monophyletic by exchanging the taxa contained therein. This has given rise to phylogenetic taxonomy and the ongoing development of the PhyloCode, which is to govern the application of names to clades.

See also[link]

• ABCD Schema
• Alpha taxonomy
• Folk taxonomy
• Chresonym
• Cladistics
• International Code of Botanical Nomenclature (ICBN)
• International Code of Zoological Nomenclature (ICZN)
• Rank (botany)
• Rank (zoology)
• Segregate (taxonomy)

References[link]

Bill Nighy
Bill Nighy, 2007
Born	(1949-12-12) 12 December 1949 (age 62) Caterham, Surrey, England
Nationality	British
Occupation	Actor
Years active	1975–present
Partner	Diana Quick (1980–2008)
Children	Mary Nighy
Parents	Alfred Martin Nighy and Catherine Josephine Nighy (née Whittaker).
Relatives	Martin (brother), Anna (sister)
Signature	150px

William Francis "Bill" Nighy (pronounced NYE  /ˈnaɪ/;^[1] born 12 December 1949) is an English actor and comedian. He worked in theatre and television before his first cinema role in 1981, and made his name in television with The Men's Room in 1991, in which he played the womanizer Prof. Mark Carleton, whose extra-marital affairs kept him "vital".^[2]

He became known around the world in 2003 for his critically acclaimed performance in Love Actually. Other notable roles in cinema include his portrayal of Davy Jones in Pirates of the Caribbean: Dead Man's Chest and Pirates of the Caribbean: At World's End, as well as Viktor in the Underworld film series.

He is also known for his roles in the films Lawless Heart, I Capture the Castle, Shaun of the Dead, The Hitchhiker's Guide to the Galaxy, Hot Fuzz, Valkyrie, Harry Potter and the Deathly Hallows – Part 1, and Rango. His performances were also acclaimed in the State of Play series and in the TV movies The Girl in the Café, Gideon's Daughter and Page Eight, for which he earned Golden Globe nominations, winning one for Gideon's Daughter.

Early life and education[link]

Nighy was born in Caterham, Surrey. His mother, Catherine Josephine Nighy (née Whittaker), was a psychiatric nurse who was born in Glasgow,^[3] and his father, Alfred Martin Nighy, managed a car garage after working in the family chimney sweeping business.^[4] Of part Irish descent, Nighy was raised Roman Catholic, serving as an altar boy.^[5] He has two elder siblings, Martin and Anna. Nighy attended The John Fisher School, a Roman Catholic Grammar School in Purley, where he was a member of the school theatre group. He left the school with two O-levels and then took a job with the Croydon Advertiser as a messenger boy.^[6] He went on to train at the Guildford School of Acting, known at the time as The Guildford School of Dance and Drama.^[7]

Career[link]

After two seasons at the Everyman Theatre, Liverpool, Nighy made his London stage debut at the National Theatre in an epic staging of Ken Campbell and Chris Langham's Illuminatus!, which opened the new Cottesloe Theatre on 4 March 1977, and went on to appear in two David Hare premieres, also at the National. During the 1980s, he appeared in several television productions, among them Hitler's SS: Portrait in Evil, alongside John Shea and Tony Randall.

He has starred in many radio and television dramas, notably the BBC serial The Men's Room (1991). He claimed that the serial, an Ann Oakley novel adapted by Laura Lamson, was the job which launched his career.^[8] More recently he has featured in the thriller State of Play (2003) and costume drama He Knew He Was Right (2004). He played Samwise Gamgee in the 1981 BBC Radio dramatisation of The Lord of the Rings (where he was credited as William Nighy), and appeared in the 1980s BBC Radio versions of Yes Minister episodes. He starred alongside Stephen Moore and Lesley Sharp in the acclaimed short radio drama Kerton's Story first aired in 1996. He had a starring role in the 2002 return of Auf Wiedersehen, Pet, portraying crooked politician Jeffrey Grainger. He has also made a guest appearance in the BBC Radio 4 series Baldi.

Two of Nighy's most acclaimed stage performances were in National Theatre productions. Taking the role of Bernard Nightingale, an unscrupulous university don, in Tom Stoppard's Arcadia (1993), he engaged in witty exchanges with Felicity Kendal, playing the role of Hannah Jarvis, an author; and he played a consultant psychiatrist in Joe Penhall's Blue/Orange (2000), for which he won an Olivier Award nomination for Best Actor, and which transferred to the West End at the Duchess Theatre the following year.

Nighy outside the Music Box Theatre on Broadway following a performance of The Vertical Hour, 15 January 2007

Nighy received some recognition by American audiences for his acclaimed portrayal of overaged rock star Ray Simms in the 1998 film Still Crazy. In 1999 he gained further prominence in the UK with the starring role in "The Photographer", an episode of the award-winning BBC-TV mockumentary comedy series People Like Us, playing Will Rushmore, a middle aged man who has abandoned his career and family in the deluded belief that he can achieve success as a commercial photographer.

In 2003, Nighy played the role of the Vampire Elder Viktor in the American production Underworld and returned in the same role for the sequel Underworld: Evolution in 2006 and again in the prequel Underworld: Rise of the Lycans in 2009. In February 2004, he was awarded the BAFTA Film Award for Best Supporting Actor for his role as shameless, washed-up rocker Billy Mack in Love Actually (a role foreshadowed by his Still Crazy character) and followed this up at the BAFTA Television Awards in April with the Best Actor award for State of Play. He also appeared in the comedy Shaun of the Dead.

In early 2004, The Sunday Times reported that Nighy was on the shortlist for role of the Ninth Doctor in the 2005 revival of the BBC television series Doctor Who.^[9] Christopher Eccleston ultimately filled the role.

In 2005, he appeared as Slartibartfast in the film adaptation of The Hitchhiker's Guide to the Galaxy. He also appeared in the one-off BBC One comedy-drama The Girl in the Café. In February 2006, he appeared in scriptwriter Stephen Poliakoff's one-off drama, Gideon's Daughter. Nighy played the lead character, Gideon, a successful events organiser who begins to lose touch with the world around him. This performance won him a Golden Globe Award for Best Actor in a Mini-series or TV Movie in January 2007. Also in 2006, Nighy made his Broadway debut at the Music Box Theatre alongside Julianne Moore in The Vertical Hour, directed by Sam Mendes.

In 2006, Nighy featured in Pirates of the Caribbean: Dead Man's Chest, where he played the principal villain, Davy Jones, although his face was entirely obscured by computer-generated makeup and he voiced the character with a Scots accent. He reprised the role in the 2007 sequel, Pirates of the Caribbean: At World's End, in which his real face was briefly revealed in one scene. He also provided the narration for the Animal Planet series Meerkat Manor. Recently, he played the role of Richard Hart in Notes on a Scandal, for which he was nominated for a London Film Critics Circle award. Nighy also appeared as General Friedrich Olbricht, one of the principal conspirators, in the 2008 film Valkyrie. He had played an SS officer in the 1985 Hitler's SS: Portrait in Evil. Nighy has starred in the film Wild Target.^[10]

In July 2009, he announced that he would play Rufus Scrimgeour in Harry Potter and the Deathly Hallows – Part 1.^[11] Nighy had already worked with director David Yates three times, and with the majority of the Harry Potter cast in previous movies. He has said of his role as Rufus Scrimgeour that it meant he was no longer the only English actor not to be in Harry Potter.^[11]

Nighy voiced Grandsanta in the 2011 CGI animated movie Arthur Christmas.^[12] In 2012, he starred in The Best Exotic Marigold Hotel and Wrath of the Titans, and will appear in Jack the Giant Killer and the remake of Total Recall.^[13]

Personal life[link]

Nighy had a 27-year-relationship with English actress Diana Quick, with whom he has a daughter, actress Mary Nighy. The couple "amicably separated" in 2008.^[14]

He is a supporter of Crystal Palace and is the Patron of the CPFRIS (Crystal Palace F.C. Fast Results & Information Service) Disabled Children's Club, and of the Ann Craft Trust.^[15] He is also one of the Honorary Patrons of the London children's charity Scene & Heard.^[16] He suffers from Dupuytren's contracture, a condition which causes the ring and little finger of each hand to be permanently bent inwards towards the palm.^[7]

Nighy is also a patron for The Milton Rooms, a new Arts centre in Malton, North Yorkshire, along with Imelda Staunton, Jools Holland and Kathy Burke.^[17]

Filmography[link]

Films[link]

Television[link]

Video game[link]

Selected performances[link]

Theatre[link]

• The Milk Train Doesn't Stop Here Anymore by Tennessee Williams – Watermill Theatre, Newbury
• Landscape and Silence, by Harold Pinter – Gateway Theatre, Chester
• Entertaining Mr Sloane by Joe Orton – Gateway Theatre, Chester
• Rosencrantz & Guildenstern Are Dead, by Tom Stoppard – Arts Theatre, Cambridge
• The Immoralist, from the novel by André Gide – Hampstead Theatre
• Speak Now, by Olwen Wymark – Traverse Theatre, Edinburgh (1971)
• Freedom of the City, by Brian Friel – Everyman Theatre, Liverpool
• Under New Management, by Chris Bond – Everyman Theatre, Liverpool
• Occupy! – Liverpool Everyman Theatre (1976)
• Illuminatus!, Ken Campbell/Chris Langham – NT Cottesloe (The theatre's first production, 1977)^[20]
• Comings and Goings, by Mike Stott – Hampstead Theatre Club (1978)
• The Warp, by Neil Oram/ Ken Campbell – ICA (1979)
• Illuminations, by Arthur Rimbaud – Lyric Hammersmith (1980)
• A Map of the World, by David Hare – NT Lyttelton (1983)
• Pravda, by David Hare/ Howard Brenton – NT Olivier (1985)
• King Lear, by William Shakespeare – NT Olivier (1986)
• Mean Tears, by Peter Gill – NT Cottesloe (1987)
• Betrayal, by Harold Pinter – Almeida Theatre, London (1991)
• Arcadia, by Tom Stoppard – NT Lyttelton (1993)
• The Seagull, by Anton Chekhov/ad. Pam Gems – NT Olivier (1994)
• Skylight, by David Hare – NT production at Vaudeville Theatre, London (1995)/ UK tour (1997)
• A Kind of Alaska, by Harold Pinter – Donmar Warehouse (1998)
• Blue/Orange, by Joe Penhall – NT Cottesloe (2000), Duchess Theatre (2001)
• The Vertical Hour, by David Hare, Broadway production at the Music Box Theater, NY (2006)
• Valkyrie, by Christopher McQuarrie (2008)

Radio[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Bill Nighy

• Bill Nighy at the Internet Movie Database
• Bill Nighy: A Life in Pictures Interview at BAFTA
• Bill Nighy at the British Film Institute's Screenonline
• Silk Sound Books

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]