Rymes of Robyn Hood: An introduction to the English outlaw

by R.B. Dobson, John Taylor

Who was Robin Hood? Did he ever exist? Two eminent historians here piece together the evidence and illustrate, through a critical edition of the ballads, including fourteen of the earliest known, the development of the Robin Hood myth from his medieval portrayal as a common criminal through to his Victorian idealization as a rustic hero. A thorough and updated introduction ensures that this remains the most comprehensive guide to the subject available.

Genres: Poetry, Medieval, Mythology, Fiction

330 pages, Paperback

First published January 1, 1976

About the author

Richard Barrie Dobson, medieval historian, specialised in church and clergy of later medieval England. He taught at St.Andrews, York and Cambridge universities.

Reviews

[Sean Hadley]

Gest of Robin Hood (12.3.2025)

[Joseph F.]

Robin Hood is known to many from the work of Howard Pyle. I never read it, but when I decided to learn about the legend I wanted to read the early literature about this outlaw. This book has everything one would need for that purpose. After a lengthy introduction the book presents the oldest rymes or ballads, as they are sometimes called. The oldest and best known is A Gest of Robin Hood, Robin Hood and the Monk, and Robin Hood and the Potter. The book then gives us samples of plays featuring Robin Hood. The final section features some stories of other outlaws.
The reason I gave this fine book only 3 stars is a matter of taste. I felt the stories were entertaining, but they did not move me as much as I thought they would. I suppose after years of reading romance literature such as the legends of King Arthur or Charlemagne, these tales did not have the same level of grandness. They are fun, simple, and humorous. Perhaps to someone that grew up reading about Robin Hood as a child could probably appreciate these stories more. I never acquainted myself much with him until now.
Also, the English is late medieval/early modern. So there are many words that are no longer used. Sure, the authors were kind enough to translate these words at the bottom of the page, but I had to look down so often that my concentration was broken. Oftentimes I had to reread the ballads to get the point.
I did not care for the section on the plays. They were mainly only portions of surviving works and would only appeal to those who would want a more rounded picture of this type of literature.
I can now see why Robin hood is so beloved to many. Even though he was a thief, he stole from those who were greedy and who lied about how much money he carried on his person. He never stole from the poor and he always helped a friend. He worked at outsmarting the sheriff of Nottingham, and when he lost a fight or contest, which he did more that you think, he would take it well and invite the person to join his merry band.

[Tomaso Frater]

'The Rhymes of Robyn Hood', edited by R. B. Dobson and John Taylor, published in 1976, is a demanding but rewarding read, rich in historical context, literary analysis, and dense yet elegant prose. Far from presenting Robin Hood as the simple folk hero of popular imagination, the collection reveals a far more complex and elusive figure, "For he was a good outlawe, And dyde pore men moch god."

I embarked upon this journey in search of a more grounded understanding of the legendary outlaw before watching 'The Death of Robin Hood' (2026), starring Hugh Jackman. I chose this volume because I wished to become acquainted with the man Robin Hood, should one ever be said to exist behind the myth. What I uncovered were medieval ballads in their original forms, which often struck me as too antiquated to approach, while many modern adaptations felt so diluted that they obscured the character's historical and literary significance. This edition occupies a valuable middle ground for those brave enough to embark upon the character examination.

What emerges from these pages is not a singular hero, but an ever-shifting cultural figure. Robyn Hood remains elusive. As one ballad relates, "Than worde came to oure kyng, How Robyn Hode was gon, And how the scheref of Notyngham, Durst never loke hym upon."

Elsewhere, in the Harley Manuscripts, we find the striking observation, "There is no deceit there, nor any bad law." Such passages strengthen the editors argument that Robin Hood could simultaneously embody resistance to authority, popular justice, communal values, and social order. He is at once outlaw and moral exemplar. And yet the man cannot have been both, which is repeatedly bemoaned by those same editors.

I applaud the editors' efforts to present not only the major ballads but also the later carols, plays, and related stories that contributed to the growth of the legend.

In the end, Hood (or perhaps Wood) is less a historical individual than an enduring idea. He is the everyman, a product of his age, and ultimately the allegorical betrayed hero: a figure continually remade by the hopes, anxieties, and aspirations of those who tell his story.

I do not recommend this collection of ballads. Robyn Hood is dead. Long live Adam Bell.

[Reading Through the Lists]

This is a useful book to accompany, say, a research project on Robin Hood. It runs on the assumption that the reader is already familiar with the Robin Hood ballads as presented in collections such as Ritson's or Child's. In the introduction it traces the history and development of the Robin Hood legend from its genesis to the mid 1970's and then lists with some commentary the major Robin Hood ballads and dramas. The only thing I would have added would be some of the 'stranger' ballads such as 'Robin Hood and the Prince Aragon'; commentary about those would have interesting (and entertaining) to read.

[Sarah]

A great compilation of the Rymes of Robin Hood, especially the old medieval ones which may take awhile to get used to but well worth it