Sheriff of nottingham game reprint12/25/2023 Thus, though his outlaw opponent shifts easily from location to location, the sheriff's authority and identity are, uniquely, anchored to a single place. Only in Robin Hood and the Monk (circa 1450) is the sheriff not explicitly named as the "sheriff of Nottingham" instead, when Robin attends church in Nottingham, the monk runs out into the streets to find the sheriff. In the early literary tradition of Robin Hood the sheriff is always identified with Nottingham: the ballads may be located in Barnsdale, Sherwood, or an unnamed greenwood, but the sheriff is always associated with Nottingham, and no other urban area. What follows is a brief analysis of the sheriff of Nottingham's appearances and history during three major periods of the tradition's development: the earliest materials available, up to the end of the fifteenth century ( EARLY), the stepping stone texts of the sixteenth through nineteenth centuries ( MIDDLE), and the advent of film and novels in the twentieth and twenty-first centuries ( MODERN). However, the sheriff of Nottingham has been appearing alongside Robin Hood since the fifteenth century and, like his nemesis, his history is complex. Late twentieth- and early twenty-first-century cinematic tastes for consistent characterization have produced more detailed "stock" characteristics for the sheriff. Every novel, film, television series, or other media production which felt the need to include the sheriff used the character differently, and with little lasting impact. Thus, until the 1970s, the history of the sheriff of Nottingham as a character was a virtual tabula rasa. The exception to this rule is when the sheriff is played as utterly crazed and insane: for example, in the television series Robin of Sherwood and the feature film Robin Hood: Prince of Thieves, where the sheriff's antics draw more narrative and audience attention than his position as Robin Hood's chief enemy. When the sheriff appears in modern productions, his second in command, Guy of Gisborne, frequently steals the show. Even in modern film productions the character is still often unnamed, largely because he continues to serve as an identifiable stock villain. Modernity has not been kind to the sheriff (though his survival rate has generally improved) and he has barely escaped that early anonymity in modern film and literature. Read Less Sheriff, to Robin Hood: "I'll cut your heart out with a spoon!" Even in modern film productions the character is still often unnamed. Nor is the sheriff the same "person": the sheriff is killed in The Geste of Robyn Hode and in Robin Hood and Guy of Gisborne because they are separate stories and are not intended to cohere. The narrative continuity that many modern audiences expect from serial productions on the same topic is not present in the medieval Robin Hood materials Robin is not the same "person" from story to story. Certainly in the late medieval / early modern ballad tradition the sheriff serves more as an incompetent stock villain over whom the protagonist – for the early Robin Hood can hardly be called a hero – continually triumphs. Consequently, the sheriff of Nottingham is rarely granted so much as a personal name. Without a foe who embodies local and national governmental corruption, indicating both personal failings and systemic problems,Robin Hood cannot hope to stand as a resistance figure to unjust authority. In sum, the sheriff exists because Robin Hood needs the sheriff to exist. The sheriff of Nottingham's role in the Robin Hood legends is not glamorous – nor is his rivalry with Robin Hood particularly personal. Guy of Gisborne: "Why a spoon, cousin? Why not an axe?" Sheriff, to Robin Hood: "I'll cut your heart out with a spoon!"
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