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A Gest of Robyn Hode (also known as A Lyttell Geste of Robyn Hode) is one of the earliest surviving texts of the Robin Hood tales. Written in late Middle English poetic verse, it is an early example of an English language ballad, in which the verses are grouped in quatrains with an ABCB rhyme scheme, also known as ballad stanzas.
The pedlar winning, Robin laughs and says he has a man who could defeat him. They fight, and the pedlar wins again, and refuses to hold his hand, or tell his name, until they had told them theirs. They do, and he says his name is Gamble Gold, and he is fleeing because he killed a man in his father's lands.
Robin Hood and the Monk is generally considered one of the artistically best and most literarily well-crafted of the surviving tales of Robin Hood. [1] Holt wrote that it was a "blood and thunder adventure" that was crisply told, although a "shallow" work as well whose only moral is its paean to loyalty at the end. [2]
Robin puts the bishop's cloak on Little John, who mockingly asks the question seven times – and then marries the young couple, Robin giving away the bride in loco parentis. All then - except, presumably, for the old knight and the bishop - repair to the greenwood. [1]
In Henry IV part 1 Act 3 scene 3, Falstaff refers to Maid Marian, implying she is a by-word for unwomanly or unchaste behaviour. Ben Jonson produced the incomplete masque The Sad Shepherd, or a Tale of Robin Hood [62] in part as a satire on Puritanism. It is about half finished and his death in 1637 may have interrupted writing.
Among those 15 additional songs on the second part of “Tortured Poets” is a track called “Robin,” a piano ballad in which Swift draws imagery of animals and alludes to adolescence.
Robin Williams was one of Hollywood's greatest and funniest voices. Two year ago today, the Oscar winner tragically passed away. From sitcoms like "Mork and Mindy," to the touching and inspiring " ...
Robin Hood and the Shepherd is a story in the Robin Hood canon which has survived as, among other forms, a late seventeenth-century English broadside ballad, and is one (#135) out of several ballads about the medieval folk hero that form part of the Child ballad collection, which is one of the most comprehensive collections of traditional English ballads.