1. Northrup Frye, Anatomy of Criticism (Princeton: Princeton University Press, 1957), pp. 33, 139–40, 151–3, 162.
2. See Lorraine Kochanske Stock’s comparison of Robin Hood’s iconography and ambiguity with that of the Green Man in “Lords of the Wildwood: The Wild Man, the Green Man, and Robin Hood,” in Robin Hood in Popular Culture: Violence, Transgression, and Justice, ed. Thomas Hahn (Cambridge. UK: D. S. Brewer, 2000), pp. 239–49;
3. and also John Matthews, Robin Hood: Green Lord of the Wildwood (Glastonbury: Gothic Image, 1993), especially his reading of the death of Robin Hood.
4. On “ancestral romances,” see Maria Dominica Legge, Anglo-Norman Literature and Its Background (1963; Oxford: Oxford University Press, 1971), pp. 139–75.
5. See also Susan Crane’s reservations about the connection of these romances with specific families and incidents in Insular Romance: Politics, Faith and Culture in Anglo-Norman and Middle English Romance (Berkeley: University of California Press, 1986), pp. 16–18.