COUSINS ISSUE #1 - November 1991 A place for the Witches, pagans, nature spirits, fey-folk, and assorted elder kin of Sherwood to share ideas, challenges, dreams, and projects, and to stir up a little magic of our own. for more information about Cousins, contact Susan Gavula, sjgavula@terminator.rs.itd.umich.edu This Issue's Fun Word: METEMPSYCHOSIS The preservation of the identity and/or some or all of the personality of the individual through the process of reincarnation. (If you have ideas about this issue's Fun Word, or a suggestion for another, or even if you think that having a Fun Word is just too Gemini for, well, for words... let me know!) * * * LETTERS Kitty Laust-Gamarra: ...I've returned your ad and sent along $5.00 for postage even though I don't consider myself a witch. I find the magic in the show to be very interesting. Actually, I've always been intrigued by magic. I've just never done anything about it other than a little library research. While living in Spain I learned quite a bit about the Tarot and palmistry, which was fascinating. Europe is much more involved in the paranormal than the US. Many universities actually have investigation teams studying phenomena and courses available to students. More of a "ready to believe" person, I would love to hear what others think on the subject. Raven: Some things that I've been curious about... What do you think about the way the Old Religion was handled on RoS? Do you think that someone who wasn't already "knowledgeable" in Craftlore would get the Pagan references, or is it very obscure? The one objection I've always had is that there is no mention of the Goddess whatsoever in any of the episodes. The only references to ANY goddesses at all are: Rhiannon (as in Rhiannon's Wheel) and Arianrhod (as in Feast of...), but there isn't any explanation as to who these people are. You don't even know they're of the feminine gender! Kip's vision seems to be a little skewed. Hernism (for want of a better term) seems to be another male oriented religion to me. I've tried to find a feminine counterpart for Herne/Cernunnos in books, but there isn't one. In fanfic, some authors have made Her Cerridwen or Aradia, but is that correct? Then there's the Priestess herself. If Robin/Robert, as Herne's Son, is the Priest, then Marion ought to be the Priestess. But is she? She's been put in the role of the Maiden, not the Mother, but she doesn't fit the requirements of either. What is she? Also, considering her obvious Christian background, even if she IS the Priestess, how does she summon/connect with Her? It seems hard for me to conceive of a woman raised as a Christian in that time period, especially one who was quite willing to become a nun, to just give up her beliefs and play Priestess. Also, someone mentioned to me that they'd heard about Craft groups who used Robin Hood as a tradition. Does anyone know anything about this? Does anyone out there use the characters from the show (or the Archetypes, as Mark Ryan would say) as focuses for any of their magick? If so, any elaborations? How do you think we're perceived by the non-Pagan contingent of the fandom? Have you had any problems with anyone in the fandom because of your beliefs? (Raven also suggests a "recipe" section for spells, rituals, and/or meditations that people might want to share. Sounds good to me! Throw it in an envelope - we're waiting...) Janet Van Meter: ...I think most folks who have gotten "into" Robin of Sherwood already have a tolerance towards different beliefs but I can understand that not everybody can get over certain prejudices. I was born and raised a Methodist but still continue to read and research other beliefs. It was very gratifying to have my ideas and personal beliefs "bolstered" by what was presented by RoS and also talking with a RoS lady who's become a good friend (she's a Gardnerian). So basically, Goddess aspects have only enriched my view of things. The one area I have always been interested in is the finding of the "archetypes" in various myths, legends, and religions. The Green Man, the Great Mother, the Son, etc. My friend has loaned me some reading materials which I found interesting and I've also read the "Spiral Dance" (I suppose most folk have). The only area that I might be uncomfortable with was the formalized ritual used by some - but apparently that is not "written in stone" - which is good, because I prefer a much simpler way of doing things! On the whole, once I actually got to meet other folk who believed what I did, I was even more convinced that I was more of a "pagan" than some of the types I was running into in other activities! So, Hilda, I'd enjoy becoming a part of "Cousins" (and I can be discreet, too!). After all, with a middle name of Fay, I guess it was "meant to be!" P.S. - but I still like my little gold cross I wear with my garb, after all, that's a symbol of many meanings too! Besides, most everyone was "nominally" Christian back then and like I said, for me, one doesn't compromise the other when you distill everything down to its origins! Mary Ann B. McKinnon: I'm not Pagan, but I'm very interested in the real Paganism of Robin Hood's time, and I'd like to participate in your forum. I'm particularly interested in how Paganism interacted with early Christianity, and what was considered "witchcraft" at the time; it's something I would like to integrate into my writing and have very little idea how to begin. Was the "witchcraft" of Robin Hood's time purely a misconception of what Paganism was all about, or were there also groups of people who considered themselves "witches" who were truly evil and worshipped the Biblical devil? (e.g. "The Swords of Wayland") Where did the Druids fit in? Were they all gone by Robin Hood's time? I'm also interested in the Celtic myths that were integrated into RoS. What historical beliefs is Herne based upon? (I know he's based on Cernunnos, but I seem to be having a great deal of difficulty figuring out what parts of his portrayal are based on the beliefs of the people at the time, and what part was invented by Mr. Carpenter.) Also, what myths is the conception of Rhiannon's Wheel as Time or Fate based upon? I have found references to Rhiannon, but not to the Wheel, in Celtic mythology. The Celtic calendar also fascinates me. I keep seeing references to Beltain customs in RoS fan fiction, and Robin Hood refers to himself as the "Summer King" and Marion as the "May Queen." What Beltain customs were really in practice at the time of Robin Hood that were not shown in the series? (I somehow got the feeling that this was censored for Britain's Family Hour...) Were the villagers all basically pagan and the nobles basically Christian, as portrayed in the story? And what about the other festivals? I keep hearing references in fan fiction to Lammas and human sacrifice... Was this something that was already ancient by Robin Hood's time? What is "Earth Magic?" I saw a reference to it in a piece of fan fiction to the effect that Loxley had once caused all the soldiers' crossbows to shoot off prematurely. Did this happen in an actual episode, or did the writer create this incident? What other examples were there of Robin actually using magic on his own? (I can't recall any examples in which Herne was not involved, but maybe I was just not observant enough.) There's so much more I'm really interested in that's related to RoS-- every aspect of real medieval life, particularly how their social and sexual customs differed from ours; the real historic events of Robin Hood's time; the Robin Hood legend and the historic(?) Robin Hood; costuming as pertains to Robin Hood's time; the history of the bow and crossbow; fighting styles of the sword and quarterstaff; the geneology of the kings and nobles of England and Scotland of Robin Hood's time; and the historic language patterns of the various groups of people in use at the time (How did language separate the classes?)--but these topics are not quite as relevant to the issues at hand. You may print my name and address. I look forward to receiving further information from "Cousins." Nansi Loser and Nancy Arena: My roommate and I read about Cousins in the latest MPNN Newsletter, and it sounds like a wonderful idea -- this group within a group thing. Coincidentally (if there is such a thing as coincidence) a day or two before the Newsletter arrived, we were talking about the fact that it is so difficult to figure out who you can talk to about the Craft/Old Religion/myths, etc., and who is going to get all offended and hyper about the fact that we hold Pagan beliefs! (I am the nerdopagan of the family, constantly driving everyone -- even Nancy -- crazy with outcries of "Oh for $%"!! sake, it does not work like that!" when a TV show or movie is on. Her son wonUt even watch "The Inheritance" with us anymore! Anyway, let us know what all you plan on doing and thanks for coming up with the idea in the first place! Hilda: Kitty: It's for such folk as you that Cousins was, in my heart of hearts, created. Witches (and all people who consciously make magic their day-to- day lifestyle) can always find each other. But people who who are called by magic to live in a magical way, but who are stranded in a culture that denies that part of the universe's organization which is called magic, have a much harder time sharing their hearts' knowledge. WELCOME! Raven: What a lot of complicated questions! My reply to the matter of "was RoS' version of magic/the Craft/British mythology too obscure" is a sort of Ryanic faith in the shared experience of all humans: I think that the archetypes involved are strong enough and universal enough to tell their respective parts of the story with or without the cultural/ magical background. My purely emotional reaction to your comments on "Hernism": AARGH! Oogh! GRRRRR! How dare you say anything nasty about Richard Carpenter? I can't honestly vouch for the objectivity of my point of view, given this gut reaction; but I would guess that Kip was trying to preserve RoS' chances of getting aired at all. You can say a lot of interesting words on the air nowadays, but "Goddess" isn't often one of them. As far as who Herne's counterpart is, I like Mark Ryan's Ellen (from the Green Arrow Special - although I can't back up this bit of deep-well affection with any sort of research); but some deities (e.g. Brigid) don't have a definite and culturally equivalent other-sex counterpart. Marion? Beats me. I think (feel) that her representation of the Goddess was very much of the water/earth "save the details for later and just do" variety. She was neither wild Maiden nor ever- reliable Mother, but she was the Green Woman just the same - an anchor simultaneously to the wonder of the living world and to the necessities of getting by. She was always the first both to see the humor in any situation, and to realize what preparations had to be made. Maybe in this sense, she was both Maiden and Mother. (The fanfic does seem to bear this out.) I think she only took on the Crone once, accepting Albion and her own continued life against the loss of all that kept her alive. As a character, that was a lot to expect of her, but as the only well-defined female archetype, I guess she had to get stuck with it eventually. Funny "coincidence" how the situation with the actors stuck her with that... I deal with both Robin and Robert in my own magical work, but only as new faces and new names for the Dark and Light Gods whom I've known for a long time, since long before I knew to call Them gods. I've run into Marion a couple of times, but more as a guide/interpreter in the still largely unfamiliar world of Sherwood. Nasir, as "Other," also strikes a familiar chord. I love to play the airhead theorist and wonder how many other women, the "others" of our culture, feel this as well... My own experience with the cowans (a cute, archaic term for anybody who's not Pagan) of RoS has been nothing but positive. Everybody has been willing to enjoy the art and song and storytelling that goes with the old myths without taking any of it as a personal affront.In fact, I'm really glad that there are so many Christians and Jews and atheists and who-knows-what-all-else in our community, because they give us so many more cultural parallels and contrasts to enliven and give texture to the story. I think that this diversity is RoS fandom's lifeblood, despite the social delicacy sometimes required by its divergent linguistic and cultural norms. (And this is really something, from someone who can't afford to pride herself on her diplomacy!) Janet: What can I say but WELCOME! I'm so tired of people getting mad at me if I hum "Amazing Grace" or use a good old Christian swear word. Although I haven't "accepted Jesus as my personal Savior," I'll be polite to him as I would to any Sacred King. But I'll give him as wide a berth as I do the sword-swinging Norse Gods and the often sexist Yoruba Orishas, because so many of their values are at odds with my own. After all, if you can't trust yourself to find the truth in your own heart, why would you even be looking for it in the first place? (Of course, looking for it together is a lot more fun and goes much faster! And that's why we're here...) Mary Ann: Your questions deal largely with history, so once again I'm grateful for the diversity of RoS fandom. Any takers? I'm about as good with history as I am with the quarterstaff... For what it's worth, I tend to give little credence to any portrayal of devil-worshipping "witches," as most tales of such stuff arising from medieval times have proven to be the heavily interpreted reports of repressed and frightened churchmen. But Satanism does exist, and for whatever reasons it exists now (barring heavy metal), I suppose it could have existed then. I shouldn't think that such folk would have had any reason to call themselves "witches," though. (For that matter, I canUt figure out why todayUs Satanists donUt call their services "Masses" and their groups "parishes." Christian heretics celebrating "sabbats" in "covens" is like Norse Asafolk celebrating Kwanza by playing African rhythms and dancing in dashikis!) I can offer only the local pseudo-consensus on Herne/Cernunnos. Herne seems to play more the part of the Gatherer of Souls, the Wild Hunter of the Winter Solstice. Cernunnos appears to be more of a guardian of the woodland and its beings. "Rhiannon's Wheel" (correct me if I'm wrong, folks!) is the name of an actual stone circle, but the Wheel of Time or Fate that I've encountered in my limited studies of Celtic mythology is Arianrhod's Silver Wheel of the stars. Maybe all those Welsh Ladies looked alike to our heroes... I think you've got the right idea about why we didn't see more Authentic Beltane Action on our screens...more's the pity... Lammas was indeed a traditional time of sacrifice, but by Robin Hood's time, the substance of the sacrifice was more likely the first fruits of the harvest. I don't know how widespread the use of the term "Earth Magic" is, but I can tell you how I use it. I tend to use it to mean magic accomplished by the direct use of the energy of the living Earth, directed by will (as opposed to more ceremonial ways of doing things, with lots of props and memorization.) It's a more "peasanty" kind of magic than, say, high alchemy with all of its symbols, or Belleme's mangulated Latin chants and fancy knives. Definitely the sort of magic that Loxley would be most likely to use in a pinch (and he was always in a pinch!) I don't recall him being obvious about independently working magic in the show, but I very clearly remember my reactions to his dreams and his tendency to take a fix on his own heart when he was lost. Enough was left to the imagination for me to pretend that he was dealing with his difficulties in just the same way that I would! Nansi & Nancy: Why am I getting the feeling that my little "special interest" project is going to end up involving 95% of the fandom? DoesnUt it feel nice not to have to sneak? Lady, thank you for the Macintosh - this is going to be fun! ELABORATE RESCUE IN THE FACE OF RIDICULOUS ODDS DEPARTMENT I said I wouldn't print full-length articles because all of my printing and copying is, in essence, stolen; but by the time I got around to telling Ariel this article was already half-written. I expect that it should start things off with a bang... So, please take this as proof positive that I'll print anything within reason and that I'm not afraid of controversy! But it doesnUt mean that I expect to be able to handle this kind of volume once the letters really start coming in. So - here goes! PAGANISM IN ROBIN OF SHERWOOD REVISITED by Ariel The wonderful thing about fan fiction is that writers aren't constrained by budget, cast, weather, and the sundry other problems that face a TV crew trying to film a 50 minute story. Writers can resurrect dead characters, bring in unlikely guest stars, write spectacular sequences that would have cost $500,000 in special effects, and so forth. Most of the fun in fanfic, however, probably comes from getting inside the characters' heads and describing how they feel, particularly at a crucial moment in a story. Equally as fun is wondering, "Wouldn't it be neat if..." and then applying your own creativity to an already given set of characters. This temptation is irresistible in Robin of Sherwood fandom, not only because the series is so multifaceted and complex, but because of the famous "loose ends" that everyone feels compelled to tie up sooner or later. The sheer volume of fanfic that RoS has produced is staggering, as anyone who voted for the Major Oak Awards (and certainly Rache, who put the ballot together) will probably attest. As a relative newcomer to the fandom, I've spent the past two years sifting through past issues of Uzines, while trying to keep up with new Uzines as they come out, and also working on pieces of my own. One thing that has struck me is that, given the number of people contributing to RoS fanfic, thereUs not more diversity of ideas. Go back to the early Uzines and youUll find a wide variety of storytelling. Go to any of the more recent issues and youUll get the same themes popping up over and over again. Not that this is inherently bad - thereUs bound to be some overlap of ideas sooner or later - but it is exasperating. I get the feeling that fanfic is beginning to fall into a rut, where certain beliefs are held as canon, almost as dogma. In watching and re-watching the series, IUve thought that there are many nifty directions that fanfic could go in, and IUm surprised someone hasnUt explored those paths. This article is not meant to be a critique of individual pieces of fanfic, though I may bring one up if I feel that it illustrates a particular point. What IUd like to do here is discuss some of the broad, general themes in fanfic and suggest a few alternatives. The reason IUve chosen this forum, rather than one of the other RoS newsletters, for expressing my opinions is that so much fanfic has involved paganism or the Old Religion, magic, witchcraft, whatever you want to call it. The opinions stated here are mostly my own, except where IUve indicated otherwise. Robin of Loxley Robin is probably the character most associated with the Old Religion in RoS. The first two seasons are replete with pagan symbolism, some of it subtle, some of it quite obvious. Read any book on witchcraft and youUll find yourself saying, "Oh, thatUs what that meant!" For example, when Robin returns to the outlaws after his first visit to HerneUs cave in "The Sorcerer," the camera gives us a lovely shot of his knee. Why? Perhaps to give us a view of the garter tied around his knee - according to Doreen ValienteUs An ABC of Witchcraft, the garter is a symbol of the leader of a witchesU coven. Is Robin then a witch? Are the outlaws a coven? It can certainly be argued either yes or no. A coven doesnUt necessarily have to have thirteen members, though this number is more usual. Seven is certainly one of the most powerful numbers in traditional magic. [See "A Theory on Seven" by Ali Pourabbas, Journal of the Friends of Robin of Sherwood, Issue 1. -H] Some writers have depicted Robin as the religious leader of the band, their spiritual guru. We see him invoke HerneUs blessing before the outlaws eat, but he does not seem to preside over any other ritual. (DonUt forget, at least two of the outlaws, Nasir and Tuck, are not pagans and Robin doesnUt seem the type to force his faith down someone elseUs throat.) Given that Robin is often confused or uncertain himself, I canUt see him providing spiritual guidance to others. That seems to be HerneUs role. I see Herne as more of a "High Priest" than Robin, who appears to be HerneUs legman, his knight or champion. To paraphrase Richard Carpenter, Herne is Merlin to RobinUs King Arthur. Robin has been associated with supernatural or paranormal abilities - we do see him have visions and prophetic dreams. However, he also exhibits very human emotions, limitations, and frustrations. His sixth sense offers clues, but doesnUt provide him with the answer to every problem he encounters. Fan writers have, in some instances, taken these abilities to extremes, and we read stories where Robin reads peopleUs thoughts, performs feats of telekinesis, and summons the elements and wild beasts to do his bidding. Again, these are far beyond the abilities of what we actually see Robin do on television. ThatUs not to say he absolutely wouldnUt be capable of these things. Personally, I find it more interesting to have a hero use his own strength, courage, willpower, intelligence, and intuition to resolve a problem or crisis, rather than just snap his fingers and have the entire might of nature at his disposal. Fan writers have also suggested that Robin, representing the GodUs son, is the Sacred King, the harvest sacrifice whose blood feeds the crops. (He would then be "reborn," accounting for RobertUs presence in Sherwood the next year.) This would then take RobinUs personal sacrifice for Much and Marion into a larger, more symbolic realm, that of dying for the people or the land. Nearly every book on witchcraft or mythology that IUve read has made reference to this belief. There also seems to be some disagreement as to whether this sacrifice was literal or symbolic. It may have been both. Certainly RobinUs death on the tor has aspects of ritual sacrifice about it. However, I feel that itUs important to keep in mind that Robin's death (as a character) came about because Michael Praed left the series. Had Praed not decided to leave the show, Robin wouldnUt have died and the idea that his death was (or represented) a divine sacrifice would be inconsequential. The idea of the Sacred King is one thatUs practically become canon in RoS fanfic. Might there possibly be some other reason behind RobinUs death? Surprisingly few writers have explored this path. One notable exception is Rache, who suggests in "Miracles" (Tree of Life 1) that death is the price Robin ultimately pays for having Marion restored to life in "The KingUs Fool." My last musing on Robin regards his origins. A number of writers have painted him as a member of the Faery, the Little People of the Hills. I personally see no evidence either supporting or refuting this idea in the series itself. According to Valiente, the Little People may possibly have been an aboriginal group of Britons who were forced into hiding by the invading Celts. This is a historical explanation, rather than folkloric or mythic. However, any description of fairies IUve come across invariably describes them as very small. I have a hard time believing that anybody with a drop of faery blood in his (or her) veins would grow to be six feet tall. True, we never meet RobinUs mother (but then, we never meet anyoneUs mother, except when itUs convenient to the plot), and fan writers have suggested that Ailric of Loxley mated with a faery woman who then bore Robin and died. RobinUs "magical powers" can then be attributed to his motherUs heritage. My problem with this is that it puts Robin above the rest of the characters on the show and makes him something other than a mere mortal. To my way of thinking, this isnUt congruent with the Robin who makes some painfully human mistakes as the Hooded Man. (It also runs contrary to the belief that all people are created equal and itUs what one does with oneUs life that makes the difference. This is an underlying tenet of democracy as well as the re- emerging Goddess religions.) IUve seen few writers explore the possibilities of RobinUs ancestry. From his coloring, he might easily be of Irish or Welsh descent. ThereUs a vast reservoir of mostly untapped story ideas here and nobodyUs really made use of it. On a related tangent, writers seem to assume that Robin "inherited" his rebellious spirit from Ailric. Yet, Robin only knew his blood father until he was about five. IsnUt it possible Robin "learned" rebelliousness from Matthew the Miller, who raised Robin for fifteen years? After all, Matthew refuses to disclose RobinUs whereabouts to Gisburne, at the cost of his own life. ThereUs another story possibility right there, and yet Matthew has been, for the most part, overlooked by fan writers. Robin of Loxley: magus, witch, pagan sacrifice, faery king? How about leader, friend, hero, lover fighter? I think I like him best as a human being. Marion of Leaford Marion, as the only female member of the regular RoS cast, has had a lot of attributes credited to her by feminist writers who want to see a strong woman character. Indeed, "our" Marion is probably the most resilient and independent Marion in any version of Robin Hood. She fights, she plots, she lives with the guys and commands a lot of respect from them. She has her own mind; sheUs called "headstrong" more than once. Yet she still exhibits "feminine" qualities of nurturing, comforting, healing. SheUs RobinUs wife, but becomes like a mother to Much, like a sister to Nasir, Will, and John, and like a daughter to Tuck. Writers with pagan leanings have depicted Marion as the Maiden aspect of the Goddess, just as Robin represents the youthful aspect of the God. Yet we never see Marion under the direct guidance of a Goddess figure (such as Cerridwen, Rhiannon, or Arianrhod). WeUre not even sure if there is a "Lady of the Trees," although according to traditional Craft or mythology, Herne would certainly have a female consort. [I disagree - many Gods and Goddesses have no regular consort. See my reply to Raven. -H] At the very least, he would co-exist with the Goddess. In my view, stories that portray Marion as the GoddessU daughter are well-grounded in Wiccan tradition. However, I start to run into the same problems here as I do with Robin. Does Marion have any "power" of her own, and if so, what is the extent of it? Is she then the coven High Priestess, the bandUs female leader? As far as the series goes, MarionUs psychic abilities seem to be limited. Herne appears to her in "The Witch of Elsdon" and warns her that the band is in danger, but he could arguably appear to anyone if he wanted to. In "The Power of Albion," she has another vision, that of Robert being wounded. This scene raises an interesting question. From MarionUs reactions in this story, it seems that she had been unaware that Albion would not kill HerneUs Son. Which makes me wonder: was Robin himself aware? If so, why didnUt he tell Marion? ThereUs another story idea. MarionUs final vision comes in a dream in "Time of the Wolf," when she sees GulnarUs copy of Robert dead in the Ring of the Nine Maidens. When she later actually finds the body, she believes it to be Robert. These visions suggest to me a mild clairvoyant ability. It doesnUt seem as though Marion has these experiences as a matter of course, only in cases of extreme urgency. Yet, writers frequently depict Marion as a full-fledged psychic who, like Robin, "knows" when something is amiss. Again, I think this detracts from her characterUs basic humanity. There are points in the series where Marion doesnUt "know" whatUs going on. For example, in "Swords of Wayland," Marion is unaware that the other outlaws have been bespelled by Morgwyn. Robin clearly feels something when Morgwyn casts the spell, but given that she used Albion, which is psychically a part of him, itUs hardly surprising. However, Marion goes charging off after Little John, indicating (to me, anyway) that she had no clue what had happened to him. Another point that can be made against Marion as a witch is that in "Cromm Cruac," she doesnUt know when Samhain is and has to ask the Abbot. If she were a practicing Wiccan, wouldnUt she have known? (It could be argued that after RobinUs death, Marion stopped observing the pagan feast days, or maybe the outlaws had been away from their "home" villages long enough for her to have lost track of time. But again, this is only a hypothesis.) In "The Greatest Enemy," Marion doesnUt seem aware that Herne has warned Robin of his impending death. ItUs not until theyUre actually up on the tor that Marion asks, "Are we going to die?" It seems to me that if sheUd had any inkling what was going on, she would never have let the outlaws go to Wickham. Yet, a number of writers have suggested a psychic link between Robin and Marion. I personally doubt this, given that Marion doesnUt know RobinUs going to die until he tells her. Also, when Robin jumps off Ravenscar Cliff in "Swords of Wayland," Marion visibly believes him to be dead. If there had been a link between their minds, wouldnUt she have realized he was alive? (Unless, of course, she couldnUt "sense" his mind when he was unconscious.) Writers who prefer the Praed Robin hold that Marion is more independent and strong in the first two series than in the third, where she becomes a wilting sexual stereotype. I disagree with this completely. Firstly, Marion is not a fighter from the very beginning. SheUs stubborn and strong- willed in "The Sorcerer," but she also exhibits some conditioned passivity. It takes her a while to shrug this off after she marries Robin. Marion is not above tears when she thinks RobinUs life is in danger. SheUs not above needing comfort in times of trouble, nor is she above giving comfort to those who need it. She fights, but she also gets captured on occasion and needs to be rescued, just like the rest of the outlaws. In the third series, sheUs just as strong, but this strength is tempered by sorrow and probably also the fear that Robert might get himself killed at any moment. ItUs also important to remember, as Richard Carpenter pointed out at HerneUs Con 2, that in the first two series, the entire band played an integral part in the plot of each story. In the third series, part of the storytelling focus shifted to convincing viewers of RobertUs legitimacy as Robin Hood. Marion gets a little less story time in the third series, but so do the other outlaws. As for Marion not being "strong" in the third series - Marion doesnUt wait around forever in Clun Castle to be rescued. She tries to get out herself, but runs afoul of Gulnar. Despite having been pardoned by the king, she returns to Sherwood when Robert is wounded. She gets captured in "The Inheritance," but sheUs also ready to rip Isadora to shreds in the dungeon. In "The Cross of St. Ciricus," "Adam Bell," "The Pretender," and "Rutterkin," sheUs in the fray, plotting, fighting, and ambushing as always. A weak woman could hardly have played "Conquest" with King John and gotten away with it. I would not describe the woman who fights the guards in "The Sheriff of Nottingham" as a typical female character. And in "Time of the Wolf" she fights with the other outlaws until sheUs wounded and is forced to remain in Halstead. To paraphrase Linda Furey, if thatUs a helpless, frail flower, "IUll eat my bow and arrows." Every writer, it seems, has come up with her (or his) own view of why Marion decided to stay in Halstead and/or whether she remained there permanently, or returned to Sherwood. IUve even herd of two "official" versions from the fabled fourth series: one, that Marion would remain in Halstead and the six male outlaws would be captured and killed, a la BlakeUs Seven; or two, that Marion would come out of the convent in the final episode of the series and marry Robert. The "Marion returns to Sherwood" stories generally have her leaving Halstead either because of some earth-shattering event, or simply because sheUs bored silly. The "Marion stays in Halstead" genre offers numerous reasons why she chooses the nunnery over the forest. Some stories take her statement in "Time of the Wolf" at its face value: sheUs afraid of losing Robert. Some writers suggest that she never loved Robert and so stayed in Halstead rather than marry someone she could never truly love. On a related theme, other writers have suggested that Marion could not give her heart "freely" to Robert and became a nun because she could never give Robert "the kind of love he really needed." Writers who interpret the series in terms of its pagan symbolism have suggested that with RobinUs death, Marion has passed into the Mother phase of the Goddess, and is incompatible with Robert, who as the youthful aspect of the God, needs a Maiden. Yet, according to books such as StarhawkUs The Spiral Dance, the Goddess created the God, then mated with Him, so the "incestuous" nature of the son/lover does not have the Oedipal connotations given to it by Western culture. I personally feel that the Maiden/Mother theory is a device used by Loxley- oriented writers to prevent Robert from marrying Marion. ItUs interesting how most writers frame MarionUs decision to stay in Halstead in terms of her relationship with Robert. ItUs possible that the reason lies within Marion herself. Perhaps she was sick of the uncertain life of outlawry and decided to quit while she was still ahead (or alive). Modern psychology describes the stages of grieving that people go through upon a loss. One of the first steps is denial. Perhaps Marion never allowed herself to grieve RobinUs loss properly and didnUt go through the stages necessary for acceptance. In marrying Robert, she would have to admit that Robin was truly dead and would never return, and she could not bring herself to let go of this fantasy. When she tells Robert, "Let me live in your heart, but let me go," perhaps sheUs asking him to do to her memory what she could never do to RobinUs. [OUCH! That rings so true it hurts! -H] Given how independent and free-spirited Marion is, her choice of staying in a convent is surprising. ThereUs room for a lot of creative storytelling here. As Rache says in Merry Meet, Merry Part: "Where the trail goes from here, well, thatUs up to you." Robert of Huntingdon Robert gets a lot of grief in RoS fanfic. ItUs funny how one of the most down-to-earth, determined individuals in the series has had more negative labels stuck on him than the sheriff, Gisburne, and Belleme combined. It seems to me that writers canUt find enough bad things to say about him. IUve seen Robert portrayed as weak, cowardly, indecisive, high-strung, arrogant, and insensitive. IUve seen stories where heUs depicted as an unfeeling block of wood with no magical abilities, no real rapport with the outlaws, and no chance of winning Marion. IUve seen stories where he loses his mind after MarionUs departure, gives up on the outlaws, and slinks back to Scotland or Huntingdon with his tail between his legs. What particularly irks me is that Robert is viewed as a somehow less "real" Robin Hood than Loxley. This might stem from Robin Hood as the Earl of Huntingdon having been invented by Elizabethans who couldnUt abide the Robin of their plays and ballads being a peasant. In this case, Marion and Tuck, who were also introduced in the Elizabethan period, would not be "real" Merries either. Quite a few writers assume that the only reason Robert eventually returned to the forest is because Marion was kidnapped. IUd like to point out the vastly different circumstances surrounding RobinUs and RobertUs being chosen as HerneUs Son. Loxley had nothing to lose when he came to Sherwood. He was an outlaw and a fugitive. He had no material wealth or social status at stake, nor did he have a family name to dishonor. Because the outlaws more or less came together fighting a common cause in "The Sorcerer," Loxley won their support more easily than did Huntingdon. Robert, on the other hand, had everything to lose. He had wealth and a title at stake, and his familyUs name to consider, all formidable things in medieval England. He had to fight not only the bandUs suspicion of him because of his noble status, but their grief at losing Robin. He had to walk in the footsteps of a man who had commanded intense loyalty from his followers. Given this, itUs hardly surprising that Robert initially fled to Huntingdon. However, once he made the decision to return to Sherwood, that choice was final. He could easily have gone back to Huntingdon after saving Marion, but he didnUt. His commitment to justice was stronger than the ties that bound him to his family. Despite their different circumstances, there are similarities between the initial reactions of both Robin and Robert to being chosen. When Robin first encounters Herne in "The Sorcerer," he doesnUt exactly rush headlong into his destiny. He shouts, "No!" and runs away. Herne has to come for him again later. Outside of ambushing Gisburne and winning the archery competition, RobinUs first really formidable trial is rescuing Marion from Belleme. Likewise, Robert at first denies HerneUs claim on his future. The main difference is that thereUs a full year between RobertUs first and second encounters with Herne. In "HerneUs Son," Robert admits to John that he lacked the courage to stay in the forest; however, if he had presented himself to the outlaws at the end of "Greatest Enemy," would they have accepted him? Or, in their grief, would they have driven him away? The "lost year" probably gave the outlaws a bit of time to ease the pain of their loss. True, the wounds have festered a bit. But I have a hard time believing that the outlaws would have welcomed Robert into the band immediately after RobinUs death. Outside of pulling the band back together in "HerneUs Son," RobertUs first trial, like Robin's, is rescuing Marion, this time from Owen of Clun. Loxley writers have also suggested that Robert, coming from a noble background, would have sexist attitudes, whereas Robin, coming from the pagan faith, would hold a more egalitarian world view, given that witches revere the Goddess as well as the God. However, Barbara Walker, in her WomenUs Dictionary of Symbols and Sacred Objects, points out that the Goddess cultures were being usurped by patriarchal pagan sects long before the rise of Christianity. (Thus, the widespread evidence of phallus worship over much of Europe.) In RoS, we see evidence of sexism exactly once on the part of each Robin. Loxley refuses to let Marion fight with the outlaws in "Witch of Elsdon" until she comes to their rescue at the end of the story. Huntingdon goes through the same thing with Isadora in "The Inheritance," but she argues him down pretty quickly. RobertUs speedy capitulation is probably in part due to having already fought with Marion and realizing that if one woman could fight, any woman could. Otherwise, both Robert and Robin are considerate and non-patronizing with all of the women they encounter. Each of them seems to have his own code of chivalry. This brings me to another point: religion. Robin is pretty obviously a pagan. However, he has no objection to having both a Christian and a Moslem in his band. Tuck gives up none of his Christian practices and this doesnUt seem to bother Robin one bit. What both Robin and Tuck resent (and quite understandably so) is institutionalized religion, "Churchianity," particularly the high-ranking Church officials who use their positions as a means for gaining personal wealth. Several writers have depicted Robert as a devout Christian. However, unlike Tuck, we do not see Robert observing Christian practices. He kneels at the burial of Lady MargaretUs servants, but this might be simply out of habit and/or courtesy. He asks Tuck to marry him and Marion, but this might be because he regards Tuck as a friend. At this point, Tuck might very well be excommunicated, indicating to me that the religious aspect of the ritual is not that important to Robert. Robert strikes me as being a skeptic. Given that he would be well aware of the abuses of power in the Church, he would probably take its doctrines with a grain of salt. Writers have also portrayed RobertUs father as a devout Christian, yet thereUs no evidence of this in the series. Like Robert, the Earl would most likely be very world- wise. In fact, in any work of historical fiction IUve read set in this time period, the Christian nobility are usually quite cynical about their faith. So, itUs possible that Robert didnUt have very strong ties to Christianity to begin with. Indeed, he accepts HerneUs authority with no apparent qualms. However, he doesnUt seem much in awe of Herne, either. Maybe he generally regards all religion as hocus-pocus. Writers often paint Robert as very ignorant of the Old Religion. I have a hard time buying this. According to Valiente, and T.C. LethbridgeUs Gogmagog: The Buried Gods, pagan beliefs in England persisted well into the era of the Plantagenet kings. (Valiente points to Henry IIIUs Order of the Garter as evidence.) There also seems to have been a long period where the two faiths were mingled and interchanged. I canUt believe that even with a Christian upbringing, Robert would know nothing whatsoever of pagan customs. Particularly if Robert had had a lot of contact with servants and guards (such as the one whoUd taught him the quarterstaff), itUs even more likely that he would at least have been familiar with the beliefs of the common people. I think there are some excellent story possibilities regarding Robert and witchcraft or magic. Yet, writers are so set in the notion of Robert being a Christian that they canUt allow any aspect of paganism to enter his character (there have been a few instances of Robert having supernatural experiences, but these stories are few and far between.) This has resulted in a split in the fanfic, with Loxley stories being "mystical" and Huntingdon stories being "historical." IUd really like to see a writer put the shoes on the other feet, so to speak. How about a historical Loxley piece, or a magical Huntingdon piece? The last part of this article concerns RobertUs relationship with Marion. Obviously, Robert is very attracted to Marion from when he first sees her in "HerneUs Son." I feel quite sorry for him. Not only was Marion deeply in love with her first husband, they lived on the swordUs edge of danger, which would doubtless bind them even more closely together. RobinUs death was violent and tragic, and the grief Marion felt at his loss was probably unfathomable. Also, there surely must have been an element of guilt in MarionUs sorrow - after all, Robin died in order to save her life. Marion, therefore, is no ordinary widow and Robert knows this. He always seems to know just the right thing to say, but when it comes to expressing his feelings for Marion, he becomes tongue-tied (as in "The Cross of St. Ciricus.") He knows sheUs in mourning and doesnUt press his affections on her. When they first kiss at the end of "The Betrayal," itUs by mutual consent. MarionUs behavior towards Robert is difficult to interpret. She is friendly one moment, cool the next. She seems to worry about him, perhaps fearing heUll also meet an untimely end. She seems willing enough to marry him in "Time of the Wolf," but her fear is still there ("promise me weUll never be parted.") When she believes him to be dead, she has hysterics and decides to enter the order of Halstead Priory. Even when she learns that Robert is alive, she remains in the convent. My first question is: why did Marion stay in Halstead? As I mentioned previously, perhaps she had never really come to terms with RobinUs death. In marrying Robert, she would not only have to accept that Robin was truly gone, but that Robert might also one day be killed. Taking the story at its face value, it seems that Marion has come to the end of her emotional endurance. My second question: would Marion have returned to the forest? Again, writers have debated this endlessly. Some feel that no, she wouldnUt because she could never love Robert as truly as sheUd loved Robin. In some tales, Marion stays in the convent and rots, while other stories have her "rescued" from Halstead by the resurrected Loxley. Often, Loxley resurrection pieces also have Robert marrying another women (usually Isadora). As long as the lovers are all (re)united and happy, the fen seem to have no complaints. In the stories where Marion does go back to Sherwood, sheUs usually spent some time contemplating her own thoughts and is now prepared to marry Robert and take the risk that heUll die. The coming-to- grips process varies, depending on the nature of the story and the circumstances that bring her out of the convent. And what of Robert? Could he find love with another woman? ItUs possible to believe he might overcome his sorrow at MarionUs departure and eventually come to love another woman. Again, writers have created different scenarios. Post-Halstead stories have ranged from Robert going mad with grief to stories where he settles down with another woman, be it Isadora or Owen of ClunUs sister. My only real objection to post- "Time of the Wolf" stories is that so many of them show Robert in an unfavorable light, and not as the strong-willed individual we see on TV. Regardless of what decision Marion might ultimately make, IUm sure heUd survive it. Where the Trail Goes from Here... Well, IUve stood on my soap box for about 20 pages now. [ItUs all true... -H] Does anyone have thoughts about paganism, fanfic, and how the characters are portrayed? I hope that someone will respond to this lengthy column, and that writers will continue to produce stories with ingenuity and imagination. Nifty Books You Might Want to Read Lethbridge, T.C. Gogmagog: The Buried Gods. Starhawk. The Spiral Dance. Valiente, Doreen. An ABC of Witchcraft. Walker, Barbara. A WomanUs Dictionary of Symbols and Sacred Objects. Ariel- I hope you didnUt underestimate my eagerness to exercise my Droit de Editor, and to present you with my opinions in turn... I agree with: the need for more diversity, and fairer treatment of Robert. As for RobinUs death being precipitated by Michael PraedUs leaving the series, itUs a solid fact - but I donUt believe in coincidence. After all, one of the most fertile fields for fanfic ingenuity, MarionUs defection to Halstead, came about because Judi Trott wanted to be less involved in the series; but the Marion Stays in Halstead/Marion Leaves Halstead genres are hardly invalidated by that fact! In both cases, Richard Carpenter did what he could with an awkward circumstance - why blame fan writers for doing the same? While historical/aboriginal Faerie were indeed small, mythic/folkloric versions of the Faerie (such as the Irish Sidhe) often render them as at least 6 feet tall, which must have been particularly remarkable in medieval times. They were also sometimes credited with the ability to change shape at will, but seldom did this for extended periods of time; and could also be changed unwillingly by others of their own kind by way of punishment or instruction. I hardly think that Loxley-oriented writers need an "excuse" to keep Marion from marrying Robert! TheyUve tried just about everything, and any of their strategies could be labelled an "excuse" on a bad day. But I do agree that excessive rigidity in distinguishing between two phases of the Goddess is probably incompatible with Paganism as it was practiced by illiterate (and probably incestuously inbred) peasants. Yes, writers who ascribe supernormal abilities to Robin and Marion are departing from both the showUs basic premise and most folksU ranges of belief. I can only hope that they continue to do so. Perhaps IUm a foggy- headed space cookie, a credulous fool, and a snob, but those stories transfix me like only the very best of the more egalitarian RoS literature can. RobinUs courage and dedication and MarionUs determination and wisdom as portrayed in the show already awe me so much that I simply canUt identify with them, and I like a bit of magic to help me explain their already superhuman (though imperfect) characters. That way, I can pretend that if only I had been born with this or that ability, I could be just like Marion - but since IUm just a mongrel working slob of no particular bloodline, I have to get by on my own merits (sound familiar?) and canUt be blamed for the fact that IUm a bit thick sometimes, or that I sometimes lose my temper or get sick or have to go to the bathroom. ThatUs what fantasy is for - I get enough real life! Can you hear me, you fan writers? Please - donUt stop! Robin is definitely portrayed as a Pagan, which is precisely why he doesnUt mind having a Christian and a Moslem in his band. Polytheism lends itself to allowing each individual their own gods. My guess as to why Marion didnUt know when Samhain is (or any other such apparent lack of information on the part of the outlaws) is that it was written in to give the characters a chance to explain it for the audienceUs benefit. This is a hard thing to do gracefully, but it has to be done in any show that takes place in another culture and makes use of that culture in its plot. In retrospect, I guess I might have chosen a different character - but hindsight is 20-20. I feel compelled to mention here that "fen" is the plural of "fan." In conclusion, or perhaps confusion: I guess that itUs RobertUs very lovability that makes me put up with people who cut him down to size. In such a tale of high and fated hearts, where can I find someone with whom to identify? Loxley is GodUs son born, too well-suited to his circumstances to seem at all familiar (at least to me). Marion is a shining creature of distilled love. Will is borderline suicidal, and so afraid of nothing. TuckUs faith is true and unshakable. NasirUs role is "Other," meant to be known only from outside. JohnUs simple common sense and MuchUs loyalty are like nothing I see in my day- to-day life. But Robert - heUs from the "oppressing" class, heUs torn by conflicting loyalties, he has to admit that heUs out of his territory and has things to learn. ThereUs a character. The rest of the outlaws I usually know "through a glass, darkly," and can love but never feel. When Robin makes a mistake, I say, "Oops, what a dumb mistake," but when Robert makes a mistake I blush and say "Ouch! I canUt believe he did that." I think it was Laura Chevening who once said "I love to stick pins in my characters!" but when most RoS characters get pins stuck in them, it feels like a bad dream. When Robert gets stuck, I bleed. Robert appeals to alienation, our cultureUs unfortunate default emotional state. Above and beyond the need to create conflict to construct a story, we who can never live up to the ones we insist on writing about, singing about, and dreaming about have a kind of National Enquirer need to injure those we admire most to bring them closer to us. Robert, with his considerable situational disadvantages, is just the most likely target. HeUs certainly a Sacred King in this metaphorical sense! We thirst for his blood like England does for RobinUs, and become one with him through his humanity. EditorUs Notes Well, thatUs Issue 1! If youUre going to be at Visions U91, watch the Con Bulletin Board for a message for "Cousin Jennet" - it will be a notice for a Cousins get-together. If I manage to find a time in the Con schedule when there arenUt any RoS events going on, IUd like to have a very simple circle to thank the Lady and Lord for bringing us together and to request continued harmony and learning - and then to get acquainted! Bring munchies if you can. Meanwhile, keep those cards and letters (and, please, postage contributions) coming. And please do your best to make them legible (unless, of course, youUre telepathic like Loxley.) (Gotcha, Ariel!) It looks like we have a wonderfully diverse and fascinating brew of humanity here! Until the next issue, may Herne protect you. Blessed be. Love, Hilda