The Merry Adventures of Robin Hood

Fiction | Novel | YA | Published in 1883

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Summary

Chapter Summaries & Analyses

Preface-Prologue

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Part 8

Epilogue

Character Analysis

Themes

Symbols & Motifs

Important Quotes

Essay Topics

Tools

Beta

Discussion Questions

Part 4Chapter Summaries & Analyses

Part 4, Chapter 1 Summary: “Robin Hood and Allan a Dale”

Looking for adventure, the Merry Men happen upon a young minstrel named Allan a Dale, who is weeping. Bringing him back to Sherwood Forest for a feast, they learn that he is in love with a young woman named Ellen o’ the Dale, but her father is forcing her to marry an older merchant named Sir Stephen of Trent. Robin vows to have Allan and Ellen married, but first he must find a priest to perform the ceremony—the “Curtal Friar” in Fountain Abbey. This gives Allan hope, and he entertains the Merry Men with a song. They are so moved by the singing that they accept Allan as one of their own.

Part 4, Chapter 2 Summary: “Robin Seeketh the Curtal Friar of the Fountain”

The next morning, Robin sets out for Fountain Abbey with Little John, Will Scarlet, David of Doncaster, and Arthur a Bland. Pressing forward by himself at a certain point, he finds a fat friar eating and singing by a riverbank. The friar promises to carry Robin across the river to see the Curtal Friar. However, Robin ends up in the river; the two men have a swordfight; and the friar eventually calls a pack of dogs on Robin and his men, who have come to Robin’s rescue. However, the friar, whose name is Tuck, recognizes Will Scarlet, as do the dogs. Tuck turns out to be none other than the Curtal Friar.

Part 4, Chapter 3 Summary: “Robin Hood Compasseth the Marriage of Two Lovers”

Robin and the Merry Men, with Friar Tuck, go to the church where Ellen is to be married to Sir Stephen. The Bishop of Hereford, a proud and “overgaudy” churchman, is to perform the ceremony along with the Prior of Emmet. Robin, disguised as a minstrel, explains to the bishop that he can play a song at the wedding so as to make Ellen love her husband for the rest of their lives. The bishop promises that, if Robin can do this, he (the bishop) will give Robin whatever he desires.

As the bishop is about to marry the couple, Robin strides forward and orders Sir Stephen not to marry Ellen. Robin then blows his horn, and his men force their way into the church. Haughty and scornful, Sir Stephen gives Ellen up without a fight and leaves with his retinue. Robin shows Ellen’s father a bag of gold coins and explains that he will pay for Ellen’s dowry to marry Allan, or else they will marry without his consent, and he will get nothing. He bitterly assents, saying that he will have nothing to do with his daughter from now on. When someone objects that there is no priest present to perform the marriage, Friar Tuck steps down from the choir loft and accepts the task.

Robin reminds the bishop of his promise outside the church, and as a “wedding present” for the new bride, he demands the bishop’s golden chain. The bishop hands over the chain, and Robin places it around Ellen’s neck. As the Merry Men make their way back home, Friar Tuck asks if he may join the band “to oversee holy matters” (169). Robin joyously assents.

Part 4 Analysis

Part 4 belongs to Allan a Dale, the sensitive and romantic minstrel who becomes the Merry Men’s entertainer. We meet him, learn of his romantic dilemma, and follow the Merry Men as they sabotage the marriage of Allan’s sweetheart Ellen to the much older Sir Stephen of Trent. The storyline in which two lovers must overcome the opposition of their parents (cf. Shakespeare’s Romeo and Juliet), and the idea of the conflict between money and true love are common motifs in classical romantic comedy.

Here, Pyle combines the traditional storyline in with the Robin Hood characters and themes of social prejudice and corruption of power. Ellen’s father wants her to “marry high” to improve their fortunes. Sir Stephen professes that he loves Ellen, but his love is mixed with social condescension; he says that he “would have taken her up like a jewel from the sty” and, as he leaves her, tells her “Maiden, if thou dost rather choose a beggarly minstrel than a high-born knight, take thy choice. I do feel shame that I should thus stand talking amid this herd, and so I will leave you” (167).

Part 4 contains commentary on the clerical class, a very important segment in medieval Christian society. The Bishop of Hereford and the Prior of Emmet are among the roguish clerics in the book. They are both rich, pompous, and lacking in charity. Pyle emphasizes the richness of the bishop’s robes and entourage and that he “strove to be as like the great barons as was in the power of one in holy orders” (163). In other words, these clerics do not follow the teaching of the gospel regarding poverty and simplicity but instead surround themselves with worldly wealth. Yet these clerics fear Robin Hood; when he reveals his identity, “the Prior of Emmet and those that belonged to him gathered together like a flock of frightened sheep” (166). Here, again, we see the power that Robin, a simple outlaw, has over the leaders of society.

Another clerical figure makes his debut in Part 4: Friar Tuck, one of the most recognizable characters in the Robin Hood stories. The term “friar” comes from the Latin for “brother” and denotes a member of certain religious orders. Tuck is a “curtal friar,” or a friar who wears a short frock. It might come as a surprise that this iconic character doesn’t appear until halfway through the book, but he remains a prominent member of the Merry Men from here on. In contrast to the bishop and prior—who also do not behave the way one expects ministers of the gospel to behave—Tuck’s roguishness and earthiness are depicted as lovable qualities that make the world a better place.

Part 4 shows the triumph of the common people over the powerful and of true love over riches and rank. It adds a much-needed element of romance to The Merry Adventures of Robin Hood, a book otherwise devoted to rough adventure and humor.