Printed in Ritson's Robin Hood, 1795, II, 16, from one of Wood's copies, "compared with two other copies in the British Museum, one in black letter:" Evans, Old Ballads, 1777, 1784, 1, 99.
There is another copy in the Roxburghe collection, III, 24, and there are two in the Bagford.
'A ballett of Wakefylde and a grene' is entered to Master John Wallye and Mistress Toye, 19 July, 1557-9 July, 1558: Stationers' Registers, Arber, I, 76.
The ballad is one of four, besides the Gest, that were known to the author of the Life of Robin Hood in Sloane Manuscript 780, which dates from early in the seventeenth century. It is thoroughly lyrical, and therein "like the old age," and was pretty well sung to pieces before it ever was printed. A snatch of it is sung, as Ritson has observed, in each of the Robin Hood plays, The Downfall of Robert, Earl of Huntington, by Anthony Munday, and The Death of Robert, Earl of Huntington, by A. Munday and Henry Chettle, both printed in 1601.
Silence sings the line 'And Robin Hood, Scarlet, and John,' 32, in the Second Part of King Henry Fourth, V, 3, and Falstaff addresses Bardolph as Scarlet and John in the first scene of The Merry Wives of Windsor. In Beaumont and Fletcher's Philaster, V, 4, Dyce, I, 295, we have: "Let not ... your Robinhoods, Scarlets, and Johns tie your affections in darkness to your shops." Scarlet and John, comrades of Robin Hood from the beginning, are prominent in many ballads.
Robin Hood, Scarlet, and John have left the highway and made a path over the corn,[foot-note] apparently in defiance of the Pinder of Wakefield, who has the fame of being able to exact a penalty of trespassers, whatever their rank. The Pinder bids them turn again; they, being three to one, scorn to comply. The Pinder fights with them till their swords are broken. Robin cries Hold! and asks the Pinder to join his company in the greenwood. This the Pinder is ready to do at Michaelmas, when his engagement to his present master will be terminated. Robin asks for meat and drink, and the Pinder offers him bread, beef, and ale.
The adventure of the ballad is naturally introduced into the play of George a Greene, the Pinner of Wakefield, printed in 1599, reprinted in Dodsley's Old Plays (the third volume of the edition of 1825), and by Dyce among the works of Robert Greene. George a Greene fights with Scarlet, and beats him; then with Much (not John), and beats him; then with Robin Hood. Robin protests he is the stoutest champion that ever he laid hands on, and says:
George welcomes Robin to his house, offering him wafer-cakes, beef, mutton, and veal. (Dyce, II, 196 f.)
The scene in the play is found in the prose history of George a Green, London, 1706, of which a copy is known, no doubt substantially the same, of the date 1632. The Pinner here fells 'Slathbatch,' Little John, and the Friar, before his bout with Robin. See Thorns, A Collection of Early Prose Romances, II, 44-47, and the prefaces, p. viii ff, p. xviii f, for more about the popularity of the Pinner's story.
Wakefield is in the West Riding of the county of York.
Richard Brathwayte, in a poetical epistle "to all true-bred northerne sparks of the generous society of the Cottoneers," Strappado for the Divell, 1615 (cited by Ritson, Robin Hood, ed. 1795, I, xxvii-ix), speaks of
from which we might infer that according to one account the Pinder had impounded Robin's horse. But as Robin Hood, in this passage, is confounded with the rebel Earl of Kendal, or some one of his adherents, it is safe to suppose that Brathwayte has been twice inaccurate.[foot-note]
The ballad is so imperfect that one might be in doubt whether the Pinder fights with Robin Hood, Scarlet, and John all together or successively. But to suppose the Pinder capable of dealing with all three at once would be monstrous, and we see from the History and from Greene's play that the Pinder must take them one after the other, and Robin the last of the three.
There are seven other ballads, besides The Pinder of Wakefield, in which Robin Hood, after trying his strength with a stout fellow, and coming off somewhat or very much the worse, induces his antagonist to enlist in his company. Several of these are very late, and most of them imitations, we may say, of the Pinder, or one of the other. These ballads are: Robin Hood and the Curtal Friar; Robin Hood and Little John; Robin Hood and the Tanner; Robin Hood and the Tinker, 28 ff; Robin Hood Revived; Robin Hood and the Ranger; Robin Hood and the Scotchman. We might add Robin Hood and Maid Marian. The episode of Little John and the Cook, in the Gest, 165-171, is after the same pattern. There is another set in which a contest of a like description does not result in an accession to the outlaw-band. These are Robin Hood and the Potter; Robin Hood and the Butcher; Robin Hood and the Beggar, I; Robin Hood and the Beggar, II (Robin Hood first beaten, then three of his men severely handled); Robin Hood and the Shepherd (Robin Hood overmastered, Little John on the point of being beaten, etc.); The Bold Pedlar and Robin Hood (John outmatched first, then his master); Robin Hood's Delight (combat between Robin Hood, Little John, and Scadlock and three Keepers); Robin Hood and the Pedlars (again three to three).
There are, as might be expected, frequent verbal agreements in these ballads, and many of them are collected by Fricke, Die RobinHood-Balladen, pp 91-95.
The fights in these ballads last from an hour, Gest, st. 168, to a long summer's day, in this ballad, st. 6. In Robin Hood and Maid Marian, st. 11, the time is at least an hour, or more; in Robin Hood and the Tanner, st. 20, two hours and more; in Robin Hood and the Ranger, st. 12, three hours; in Robin Hood and the Curtal Friar, B 24, and Robin Hood and the Shepherd, st. 11, from ten o'clock till four; in Robin Hood's Delight, st. 11, from eight o'clock till two, and past.
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