Running Head: STEALING FROM THE RICH 1

Jessica McNulty

Stealing from the Rich and Giving to the Poor:

An Examination of Robin Hood in Popular Culture

INTRODUCTION

As the outlaw hero figure, the character of Robin Hood has long been debated by historians,
anthropologists and political scientists. The debate centres on the claim that historically there are few
individuals who transcend the status of the criminal to become truly representative of an oppressed
groups struggle (Seal, 2009, p. 67). It is the great debate of whether a bandit can simultaneously be the
hero.

For the purpose of this assignment, I have narrowed in on a specific representation of Robin
Hood in modern popular culture. I have chosen the TV series Arrow which is based on the comic book
character of the same name, Oliver Queen, or Green Arrow. The character displays many commonalities
with the legendary Robin Hood and I will be using this example to consider how folklore plays an
important role in popular culture. The purpose of this assignment is to delve deeper into the origins of
Robin Hood and to demonstrate the resurface of the folkloric figure in contemporary culture. I will
discuss the background and history of Robin Hood before addressing the value of this characters role in
folklore as well as popular culture. I will then consider the modern adaptation of Robin Hood and
examine the universality of the character in terms of the recognition of Robin Hood by the general
public and across cultures.

ORIGIN

There is some debate over whether Robin Hood was based on a single man or the actions of
various men in history. There is no certainty of his origin (Wood, 2014). There is evidence as Baldwin
(2010) points out that petty criminals were given the nickname Robin (or Robert) Hood (or Hod or Hude)
during the middle of the 13th century. The name itself, Robin Hood, bears a likeness to the words
robbing and hoodies or those who obscure their appearance to seem more intimidating (2010).
Baldwin (2010) proposes that the man we call Robin Hood may have only gained the name with the
perpetual telling of such tales. There too is uncertainty about Robin Hoods moral compass. Some argue
that Robin Hood began as a bandit who robbed not for the good of the poor but for his own survival
needs. In the hands of the balladeers, Robin Hoods story would change so that he robbed only the
wealthy and unjust (Cawthorne, 2010).

Knight (2003) suggests that Robin Hood made an appearance more than six hundred years ago
in English Medieval culture. In 1377, William Langland wrote his poem The Vision of Piers Plowman and
included within it a character who knew well the rhyme of Robin Hood (Cawthorne, 2010, p. 31).
Others have argued that accounts of Robin Hood did not appear until nearly a century later with the
emergence of ballads such as the Little Geste of Robyn Hode, and his Meiny (2010). The work is a
compilation of five poems set in Barnsdale in Yorkshire and begins with Robin stating to Little John how
they should live; that they would not hurt the hardworking or those who are good but rob and show no
mercy to the rich and unjust (2010).
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Interest in Robin Hood peaked in the 19th century when authors began featuring the icon in their
works including novels, plays, operas and songs. Possibly, the most successful was Egans text in 1840
Robin Hood and Little John: or, The Merry Men of Sherwood Forest. This particular text encouraged
future texts featuring the outlaw. Sir Walter Scotts work of Ivanhoe ignited greater attention to the icon
who was now known for robbing the rich to give to the poor.

Reaching the 20th century, Robin Hood continued to become more of a hero than anything else.
The 1900s would bring forth a new medium for the adaptation of Robin Hoods story and he would now
become character celebrated in film (Chandler, 2006). The character of Robin Hood has been recreated
again and again on the big screen and in television series. Error Flynn portrayed the iconic outlaw in the
1938 film Adventures of Robin Hood and in 1991 Kevin Costner played the part in Robin Hood: Prince of
Thieves. Disney created an animated version, portraying Robin as a fox outfitted in the iconic green
hood.

The comic book character (and focus of adaptation for this assignment), Green Arrow was
modelled after the icon back in 1941 but gained momentum as a popular character later in the 1960s.
Robin Hood continues to be an ever present character in the 21st century. Russell Crow donned the
green hood in the film adaptation of Robin Hood in 2010. And the television series Arrow, a modern
adaptation of the comic book Green Arrow, has received positive reviews and success.

There seems to be an unanswered question: did Robin Hood really exist. As it remains
unanswered, Robin Hood continues to be reimagined and refashioned to fulfil the needs of each new
generation. Robin Hood has stood the test of time; he is seen in past and modern culture. Knight (2003)
states that you will discover Robin Hood in medieval manuscripts, Victorian prose and modern
journalistic headlines. The most unique quality of Robin Hood might be argued to be his flexibility; his
ability, rather, to endure as a positive force regardless of time and place.

CHARACTERS & MOTIFS

The tale of Robin Hood is centred on Robin Hood and his followers, or his Merry Men (Baldwin,
2010). This clan included Little John, Will Scarlet, Friar Truck, Alan-a-dale,Will Stutely and a few others.
In some later versions, Maid Marian serves as the love interest of Robin Hood but does not appear in the
earliest works. King John serves as the antagonist and foil to Robin Hood. He is the wealthy ruler of
England and the one who has led Robin Hood to his outlawry in many of the versions of the story.

According to S. Thompson's motif classification, the main motif is centred on the nature of life
and more specifically, life's inequalities. Justice and injustice is the prevailing theme in Robin Hood (U10
of the classification system). In later versions of the story, Robin Hood's character is central and
favorably so. This would suggest the kindness motif (W10). However, in the earlier versions, as
mentioned, it has been argued that Robin Hood was more self-motivated.

VALUE

As stated by Chandler (2006), it seems Robin Hood makes a reoccurring appearance generation
after generation. It could be the idea of taking from the rich in order to assist the poor that makes this
character so appealing. He plays by his own rules but does so not for self-profit but for selfless charity.
He has the best of both worlds, so to say; he epitomizes the role of the savior while emitting the allure
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of a rebel. The main theme associated with Robin Hood is the idea that justice will inevitably come to
those in a position of corruption and power (Paonessa, 2013).

Another interesting point about the value of the Robin Hood motif is the use of a social bandit
as one who does not necessarily belong to a particular class yet is valued by all people. The importance
of this point is that the outlaw hero seeks to conquer issues that are humanly important (Beach, 2000).
He embodies a figure with a connectedness to all classes.

Paonessa (2013) argues that the mystery of Robin Hood is a valuable aspect that has
contributed to the survival of the legendary icon. The setting, typically the forest of Sherwood which was
also forbidden territory of the King, creates a mystical element (2013). Then there is also the disguise
employed by Robin Hood which alludes further mystery. These features are necessary for an
entertaining and absorbing storytelling and thus, both have helped the tales of Robin Hood to last.

ADAPTATION

In the case of Oliver Queen, the character subtly represents a man who makes effort to help
civilization by fighting crime and corruption. He ultimately rises as a hooded vigilante armed with a bow
and arrow. He comes from a wealthy family just as Robin Hood is said to have originated. Having been
born with a silver spoon in his mouth makes him take for granted his good fortunate. However, after
some unfortunate circumstances lead to him being stranded on a deserted island, he gains a newfound
respect for those less fortunate. In this way, he is socially displaced much like the iconic outlaw hero.

It is important to bring attention to the place of Robin Hood in society and how as society
changed, the idea of Robin Hood too changed. Beach (2000) suggests that the bandit outlaw of Robin
Hood had little place in society when the need and desire for community and belonging was so
important. That is to say, that Robin Hood came to represent an outlaw and thus, some form of criticism
of the society from which he comes. This does not mean that Robin Hood was non-existent; he
remained present but he also portrayed a more or less dangerous force playing by his own rules. When
adaptations of the character did arise, the representation suggested Robin Hood existed in a time and
place far from current society. This was acceptable but did not make a significant impact.

However, this changed, according to Beach (2000), in the 1960s when the tone of society
changed (p. 4) and popular culture needed more relevance. This is how Green Arrow came to be. The
original bland version of Green Arrow was revamped and replaced by a unique and sarcastic character,
one with a radical and anarchist mindset (Beach, 2000). This new version of Green Arrow, while perhaps
not intentionally, was the modern day outlaw legend, a bowman questioning authority; a character
strikingly similar to the familiar Robin Hood.

The modern day Robin Hood, or Oliver Queen, showcases a sarcastic attitude and radical
thinking (Beach, 2000). The Robin Hood foundation exists but is enhanced with traits and qualities that
make him relevant in todays society. As such, the parallels between Robin Hood and Oliver Queen are
neither satirical nor humorous. The adaptation is quite respectful of the original with perhaps not minor,
but necessary alterations.

GENERAL PUBLICS UNDERSTANDING

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In the case of Green Arrow, there is no blatant declaration that the character is intended to be
an imitation of Robin Hood or even modelled after the icon. However, there are more than subtle
features that suggest Oliver Queen (aka Green Arrow) is a character inspired by the legend.

Much of the literature suggests the while Green Arrow was not intentionally modelled after
Robin Hood, the parallels are far too strong to ignore (Beach, 2000). The look alone is iconic to the green
caped archer. The similarities in background and life circumstances lend to further comparisons
between the two. There is too the supporting crew that assists Green Arrow much like the Merry Men
did for Robin Hood. And finally, the vigilante quest of both characters bears an undeniable resemblance.

It can be difficult to say whether the creators of Green Arrow expect the public to make the
Robin Hood reference. However, because of the parallels that do exist between the characters, there
seemed to be an expectation that the legendary Robin Hood would determine the story of Green Arrow.
From the more explicit attributes, like the green hooded cape worn by Green Arrow, to the actions of
the comic book character, it is difficult to deny Green Arrow has been anything but Robin Hood inspired.

With that being said, there is an intended audience of the comic book series, and thus, this
means that while the general public might make the connection between Green Arrow and Robin Hood,
it is likely not clear on a universal level.

UNIVERSALITY

The legend of Robin Hood is not a culturally constrained tale. In fact, the motif of an outlaw hero
pops up again and again across cultures on a global level. As Knight (2003) proposes, the idea of a good
outlaw is appealing in every culture (p. xi). Robin Hood has a kind of utopian aura that can be
personalized to fit the circumstances. Knight (2003) suggests Robin Hood to be not unlike the myth of
Santa Clause, who promises to bring merriment in the dreadful winter. He too morphs into a character
fitting to the setting. Knight (2003) provides the example of Indias film version of Robin Hood played by
actor Ravi Teja and the 2013 French musical Robin des Bois.

As such, Robin Hood takes on traits, external and internal, that vary depending upon the cultural
ideals. The legendary outlaw heros identity combines national, ethnic and regional components familiar
to those who belong to that culture. Seal (2009) proposes that often the characters are historical
dignitaries celebrated in folklore and romanticized in the media and popular culture while further
commodified in heritage and tourism industries.

Despite the universality of Robin Hood, the reinvention of the character as Oliver Queen is not
as easily distinguishable on a global level. The audience would require some familiarity with the
Westernized idea of Robin Hood. Nonetheless, the folk figure has transpired as a worldwide sensational
legend.

CONCLUSION

The debate continues; can there be a noble robber, a good thief, a social bandit? This is the
question raised in Seals (2009) article and it remains an important one to examine. Robin Hood seems
to be the icon that continues to reappear time and time again, generation after generation, across
cultures and around the globe as the heroic bandit we have all come to know so well. Within popular
culture, Robin Hood continues to emerge as a familiar and easily recognizable character.
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Perhaps the quote which stands out most when considering Robin Hood comes from Knight
(2003) who states: Robin Hood cannot be constrained by a single view of reality or unreality (p. xiii).
He is a figure who has remained important over centuries across cultures, despite place and time.

References

Baldwin, D. (2010). Robin Hood: The English Outlaw Unmasked. Gloucestershire: Amberley Publishing.
Beach, S. (2000). Robin Hood and Green Arrow: Outlaw Bowmen in the Modern Urban Landscape. Robin
Hood in Popular Culture: Violence, Transgression, and Justice, 21-28.
Cawthorne, N. (2010). A brief history of Robin Hood. Philadelphia : Running Press ; London : Robinson,
2010.
Chandler, J.H. (2006). Robin Hood: Development of a popular hero. The Robin Hood Project: A Robbins
Library Digital Project. Retrieved from http://d.lib.rochester.edu/robin-hood/text/chandler-
robin-hood-development-of-a-popular-hero
Paonessa, J. Robin Hoods: A Myth in Flux. Western Illinois Historical Review, 5, 66-90.
Knight, S. T. (2003). Robin Hood : a mythic biography. Ithaca : Cornell University Press, 2003.
Seal, G. (2009). The Robin Hood Principle: Folklore, History, and the Social Bandit. Journal Of Folklore
Research, 46(1), 67-89.
Wood, C. (2014). Robin Hood. Quest, 180, 17-27.