The Scarlet Forest is an excellent new collection of Robin Hood tales. In some ways, Robin, Marian and their band of Merry Men have evolved over the centuries just as the balladeers’ Middle-English, a mixture of Anglo-Saxon and Norman French, has transformed into the modern vernacular. However, one major theme of the old tales remains consistent in the re-telling: Robin Hood, the outlaw, enforces the law when corrupt officials, of both the state and the church, fail to do so.
The Robin Hood stories take satirical jabs at the malfeasance of officials, as well as those crafty individuals, both lay and clergy who hide behind a cloak of respectability while engaging in nefarious practices.
Here’s just one example of law enforcement, Robin Hood style; Robin’s encounter with a Corn Engrosser. The ancient legal term is defined as follows: “Engrossing and the kindred practices of forestalling and regrating were early regarded as serious offences in restraint of trade, and were punishable both at common law and by statute. They were of more particular importance in relation to the distribution of corn supplies.”
Robin, disguised as a beggar, meets up with a corn engrosser on the highway near Sherwood. He (Robin in disguise) warns the man of Robin Hood’s dislike for the prohibited trade:
“Dost thou not know his (Robin’s) dislike for thine? To raise the price of corn by withholding it until famine prices are reached is depraved. Only profit concernest thee.”
Robin tricks the engrosser into disclosing where he hides his money; Robin then reveals his true identity and “enforces the law” by confiscating the ill-gotten gains. Likewise, Robin and his band enforce the Forest Law including how much timber might be taken, by whom and for what purpose. Those who despoil Sherwood for their own personal gain had better be on the lookout for Robin Hood.
My first impression of Robin Hood was formed by movies and television, for example the 1938 Errol Flynn Adventures of Robin Hood and the 1950’s TV series with Richard Greene. The 20th century cinematic Robin Hood was itself partially derived from 19th century literature that had its roots in Sir Walter Scott’s Ivanhoe. Scott’s Robin of Locksley varies somewhat from the bawdier and more roguish, satirical character of Lancastrian and Yorkist era ballads and Tudor plays that were taken from an oral tradition that goes back to the Plantagenet Period. Moreover, the usurping Prince John versus Richard I, Norman versus Saxon plot is a modern addition to the Robin Hood legend. Regardless, throughout the centuries the concept of the honorable law-enforcing outlaw hero remains.
In the following passage from The Scarlet Forest, Anne/Marian affirms her husband’s true character: “Robin, thou art the outlaw who doth sit here defending the rule of the society that hath cast thee out, as hath been ever thy wont. Thou art the criminal who doth uphold justice better than the Sheriff. Thou art the robber who can be more generous than the gentry. Thou art the excommunicant who doth show more devotion than the clergy.”
The Scarlet Forest was very well-researched. It contains a comprehensive Historical Note that answers many questions I’ve had about the Robin Hood stories, or explains why some of the questions can’t be answered with certainty. I won’t wander too deep into the weeds—or the forest—about the multitude of interesting subjects raised by these tales that are addressed in the Note. Here are a few puzzling questions that the Note answers or explains. Was there an historical Robin Hood? Was he noble or common? What was his “real” name? When did he live? Was there an historical Marian (or Anne of the Hood)? Were Robin and Marian married? What about the Merry Men: Little John, Will Stutely, Will Scarlet (Gamewell), Arthur a Bland, Allan a Dale, Midge or Much the Miller, Friar Tuck et. al. Are they historical or fictional; individuals or composites? How do the Robin Hood stories relate to the history of the long bow?
In addition, the stories tell us something about the evolution of English law and government including the Forest Law, Magna Carta and the conflict between Church and State. There’s enough “meat” on the bones of these medieval stories for several of Robin’s feasts.
The Robin Hood stories can be analyzed to an extent far beyond the scope of my review. For example, taken as a whole, the arc of Robin’s story makes him arguably one of the great Tragic Heroes of English literature. However, to put it more simply, I like the adventure, humor, friendship, honor and romance of characters who fight for justice in an authentic historical setting, which is why I recommend this well-written, thoroughly researched and thoughtful version to readers of all ages.