B also in the Roxburghe collection, III, 16.
B d was printed in Ritson's Robin Hood, 1795, II, 58, corrected by b and compared with e; and in Evans's Old Ballads, 1777-1784, I, 136, probably from the Aldermary garland.
The opening verses of A are of the same description as those with which Nos 117, 118, 119, and others begin. 1 has been corrupted, and 2 also, one would think, as there is no apparent reason for maids weeping and young men wringing hands in the merry month of May. In the first stanza,
month, in the first and the fourth line might be changed to moon, to justify thirteen in the second, and to accord with moon in the third. For in May, in the second line, we may read, I say, or many say. The first stanza of No 140, B, runs:
Nearly, or quite, one half of A has been torn from the manuscript, but there is no reason to suppose that the story differed much from that of B.
Upon Little John's killing a hart at five hundred foot, Robin Hood exclaims that he would ride a hundred mile to find John's match. Scadlock, with a laugh, says that there is a friar at Fountains Abbey who will beat both John and Robin, or indeed Robin and all his yeomen. Robin Hood takes an oath never to eat or drink till he has seen that friar. (Cf. No 30, I, 275, 279.) Robin goes to Fountains Abbey, and ensconces his men in a fern-brake. He finds the friar walking by the water, well armed, and begs [orders, B] the friar to carry him over.[foot-note] The friar takes Robin on his back, and says no word till he is over; then draws his sword and bids Robin carry him back, or he shall rue it. Robin takes the friar on his back, and says no word till he is over; then bids the friar carry him over once more. The friar, without a word, takes Robin on his back, and when he comes to the middle of the stream throws him in. When both have swum to the shore, Robin lets an arrow fly, which the friar puts by with his buckler. The friar cares not for his arrows, though Robin shoots till his arrows are all gone. They take to swords, and fight with them for six good hours, when Robin begs the boon of blowing three blasts on his horn. The friar gives him leave to blow his eyes out: fifty bowmen come raking over the lea. The friar in turn asks a boon, to whistle thrice in his fist. Robin cares not how much he whistles: fifty good bandogs come raking in a row. Here there is a divergence. According to A, the friar will match every man with a dog, and himself with Robin. God forbid, says Robin; better be matched with three of the dogs than with thee. Stay thy tikes, and let us be friends. In B, two dogs go at Robin and tear his mantle from his back; all the arrows shot at them the dogs catch in their mouths. Little John calls to the friar to call off his dogs, and enforces his words by laying half a score of them dead on the plain with his bow. The friar cries, Hold; he will make terms. Robin Hood offers the friar clothes and fee to forsake Fountains Abbey for the green-wood. We must infer, as in the parallel case of the Pinder of Wakefield, that the offer is accepted.[foot-note] But the Curtal Friar, like the Pinder again, plays no part in Robin Hood story out of his own ballad.
Robin Hood and the Friar, in both versions, is in a genuinely popular strain, and was made to sing, not to print. Verbal agreements show that A and B have an earlier ballad as their common source; but of this, one or the other has retained but little. I cannot think that B 33, 34 are of the original matter. It is a derogation from Robin Hood's prowess that he should have his mantle torn from his back, and we may ask why the dogs do not catch Little John's arrows as well as others.
Fountains Abbey, near Ripon, in the West Riding of Yorkshire, was a Cistercian monastery, dating from the twelfth century. (It is loosely called a nunnery in A 4.) The friar is called "cutted" in A and "curtal" in B, and these words have been held to mean short-frocked, and therefore to make the friar a Franciscan. Staveley, The Romish Horseleech, speaking of the Franciscans, says at p. 214, Experience shews that in some countrys, where friers used to wear short habits, the order was presently contemned and derided, and men called them curtaild friers. Cited by Douce, Illustrations of Shakspere, I, 61. So, according to Douce, we may probably understand the curtal friar to be a curtailed friar, and in like manner of the curtal dogs. "Cutted" in A can signify nothing but short-frocked. In the title of that version, though not in the text, the friar is called Tuck, which means that he is "ytukked hye," like Chaucer's Friar John, but not that he wears a short frock. The friar in the play (see below) has a "long cote," v. 46. But I apprehend that B has the older word in curtal, and that curtal is simply curtilarius, and applied to both friar and dogs because they had the care and keeping of the curtile, or vegetable garden, of the monastery.[foot-note]
The title of A in the Manuscript is Robin Hood and Friar Tuck; from which it follows that the copyist, or some predecessor, considered the stalwart friar of Fountains Abbey to be one with the jocular friar of the May-games and the morris dance. But Friar Tuck, the wanton and the merry, like Maid Marian, owes his association with Robin Hood primarily to these popular sports, and not in the least to popular ballads. In the truly popular ballads Friar Tuck is never heard of, and in only two even of the broadsides, Robin Hood and Queen Katherine and Robin Hood's Golden Prize, is he so much as named; in both no more than named, and in both in conjunction with Maid Marian.
'The Play of Robin Hood,' the first half of which is based on the present ballad, calls the friar Friar Tuck, and represents him accordingly. See the Appendix. He is also called Tuck in the play founded on Guy of Gisborne.
In Munday's Downfall of Robert, Earl of Huntington, Friar Tuck is by implication identified with the friar who fell into the well, Dodsley's Old Plays, ed. Hazlitt, VIII, 185; and Mr. Chappell is consequently led to say, at p. 390 of his 'Popular Music,' that the ballad of the Friar in the Well was in all probability a tale of "Robin Hood's fat friar." Cavilling at this phrase of Shakspere's only so far as to observe that the friar of the traditional Robin Hood ballad is as little fat as wanton, I need but say that the truth of the case had been already accurately expressed by Mr. Chappell at p. 274 of his invaluable work: "the story is a very old one, and one of the many against monks and friars in which not only England, but all Europe, delighted."
The boon to blow three blasts on his horn, B 25, is also asked by Robin of the Shepherd, No 135, st. 15. The reply made by the Shepherd, st. 16, is, If thou shouldst blow till tomorrow morn, I scorn one foot to flee. In R.H. Rescuing Three Squires, B 25, when Robin, disguised as a beggar, intimates to the sheriff that he may blow his horn, the answer is nearly the same as here: Blow till both thy eyes fall out. In No 127, st. 34 f, Robin asks a boon of the Tinker, without specifying what the boon is; the Tinker refuses; Robin blows his horn while the Tinker is not looking. In No 135, st. 16 f, Robin asks the three keepers to let him blow one blast on his horn, and they refuse. This boon of [three] blasts on a horn is not an important matter in these Robin Hood ballads, but it may be noticed as a feature of other popular ballads in which an actor is reduced to extremity: as in the Swedish ballad Stolts Signild, Arwidsson, II, 128, No 97, and the corresponding Signild og hendes Broder, Danske Viser, IV, 31, No 170, in both of which the answer to the request is, Blow as much as you will. So in a Russian bylina, when Solomon is to be hanged, he obtains permission three several times to blow his horn, and is told to blow as much as he will, and upon the third blast his army comes to the rescue: Rybnikof, II, No 52, Jagić, in Archiv für slavische Philologie, I, 104 ff; Miss Hapgood's Epic Songs of Russia, p. 287 f; also F. Vogt, Salman und Morolf, p. 104, sts 494 ff.[foot-note] Three cries take the place of three blasts, upon occasion: as in the case of the unhappy maid in the German forms of No 4, I, 32 ff, where also the maid is sometimes told to cry as much as she wants, and in Gesta Romanorum, Oesterley, cap. 108, p. 440.
B is translated by Anastasius Grün, p. 124.
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