Who killed Robin Hood? The dark legends that inspired the new Hugh Jackman blockbuster
Gritty and grounded, The Death of Robin Hood stars Hugh Jackman as the legendary outlaw, now gravely wounded after a lifetime of violence and offered a final chance at redemption.
《罗宾汉之死》坚韧而脚踏实地，由休·杰克曼 (Hugh Jackman) 饰演传奇亡命之徒，在经历了一生的暴力之后，现在身受重伤，并提供了最后的救赎机会。
Speaking to writer and director Michael Sarnoski about the historical roots and creative inspirations behind his new film, Emily Briffett looks at the enduring legend of Robin Hood’s death and the blurred lines between myth and history
艾米莉·布里菲特与编剧兼导演迈克尔·萨诺斯基谈论了他的新电影背后的历史根源和创作灵感，探讨了罗宾汉之死的不朽传奇以及神话与历史之间的模糊界限
Robin Hood has been a fixture of English folklore for centuries, most often portrayed as a green-clad outlaw stealing from the rich, giving to the poor, and outwitting the Sheriff of Nottingham with his band of Merry Men.
几个世纪以来，罗宾汉一直是英国民间传说中的固定人物，最常被描绘成一个身穿绿衣的亡命之徒，从富人那里偷窃，向穷人施舍，并与他的快乐小队智取诺丁汉警长。
It’s an image that’s a far cry from what audiences see in The Death of Robin Hood .
这个形象与观众在《罗宾汉之死》中看到的形象相去甚远。
In the film from writer and director Michael Sarnoski, Hugh Jackman’s Robin Hood is an aged man worn down by years of violence and crime, grappling with the fallout of his decisions, when he is offered one final chance at redemption.
在编剧兼导演迈克尔·萨诺斯基 (Michael Sarnoski) 的这部影片中，休·杰克曼 (Hugh Jackman) 饰演的罗宾汉 (Robin Hood) 是一位因多年的暴力和犯罪而疲惫不堪的老人，努力应对自己的决定所带来的后果，此时他得到了最后一次救赎的机会。
This different vision of the outlaw begs the question: is it possible to capture an authentic, accurate version of Robin Hood?
亡命之徒的这种不同视角引出了一个问题：是否有可能捕捉到真实、准确的罗宾汉版本？
How do you separate fact from fiction?
你如何区分事实和虚构？
The earliest surviving medieval accounts that mention Robin Hood give little detail as to the character’s death, but early modern retellings developed a more dramatic ending.
现存最早的提到罗宾汉的中世纪记载几乎没有提供有关罗宾汉角色死亡的细节，但早期的现代重述发展了一个更具戏剧性的结局。
In one of the best-known traditions, from versions of a 17th-century ballad known as Robin Hood's Death or Robin Hoode his Death , Robin and Little John travelled to Kirklees Priory, where he was then betrayed by his cousin, the prioress.
最著名的传统之一是一首 17 世纪民谣《罗宾汉之死》或《罗宾汉之死》的版本，罗宾和小约翰前往柯克利斯修道院，在那里他被他的表弟女修道院院长出卖。
While bloodletting an unwell Robin, she deliberately took too much blood, leaving him fatally weakened.
在给身体不适的罗宾放血时，她故意吸了太多的血，导致他严重虚弱。
In one version, Robin is also stabbed by his enemy – and the prioress’s lover – Sir Roger of Doncaster, otherwise known as ‘Red Roger’.
在一个版本中，罗宾也被他的敌人——也是女修道院院长的情人——唐卡斯特的罗杰爵士（也被称为“红罗杰”）刺伤。
With his last ounces of strength, Robin is said to have shot one final arrow from his deathbed, asking Little John to be buried wherever it landed.
据说，罗宾用尽最后一丝力气，在临终前射出了最后一支箭，要求将小约翰埋葬在箭落到的地方。
Although there is no firm historical evidence that Robin Hood was a real individual (let alone where he may have died) this tale has helped establish Kirklees as his supposed final resting place.
尽管没有确凿的历史证据表明罗宾汉是一个真实的个体（更不用说他可能死在哪里），但这个故事帮助柯克利斯成为了他所谓的最后安息之地。
It was this narrative of Robin Hood’s death that inspired Sarnoski.
正是罗宾汉之死的故事激发了萨诺斯基的灵感。
“I had been fascinated by the death of Robin Hood story since I was a little kid,” he explained.
“我从小就对罗宾汉之死的故事很着迷，”他解释道。
“It was so surprising that this man of adventure ends up [dying] in this sunlit church.
“令人惊讶的是，这个冒险家最终在这座阳光明媚的教堂里[死去]。
The intimacy of that story always struck me.”
这个故事的亲密感总是让我印象深刻。”
In the early modern retellings of Robin Hood’s death, there is a sharp dichotomy between the two main characters: the prioress is a scheming villainess to Robin’s ailing hero.
在现代早期对罗宾汉之死的重述中，两个主要角色之间存在着尖锐的二分法：对于罗宾汉生病的英雄来说，女修道院院长是一个诡计多端的恶棍。
Sarnoski has instead made the decision to flip this perception on its head.
相反，萨诺斯基决定彻底改变这种看法。
However, that’s not to say that the film’s approach to characterisation is not rooted in historical imagination.
然而，这并不是说这部电影的人物塑造方法不是植根于历史想象。
Sarnoski looked to figures like Hildegard von Bingen, a twelfth-century German abbess and polymath, as inspiration for the prioress.
萨诺斯基将希尔德加德·冯·宾根（Hildegard von Bingen）（一位 12 世纪的德国女修道院院长和博学者）等人物视为女修道院院长的灵感来源。
Similarly, Sarnoski says that his Robin is far from the unblemished hero.
同样，萨诺斯基说他的罗宾远非完美的英雄。
Instead, his characterisation is rooted in the question: “If Robin wasn’t this goodly hero, what would life as a medieval bandit have been like?
相反，他的人物塑造植根于这样一个问题：“如果罗宾不是这位优秀的英雄，那么作为中世纪强盗的生活会是什么样子？
How brutal might that have been?”
那会有多残酷？”
Rather than drawing on the later, more romanticised versions of the Robin Hood myth, Sarnoski grounded the feeling of the film in the earliest surviving documented ballads – including, among others, A Gest of Robyn Hode , Robin Hood and the Monk , Robin Hood and the Potter , and Robin Hood and Guy of Gisborne .
萨诺斯基并没有借鉴后来更为浪漫化的罗宾汉神话版本，而是将电影的感觉植根于现存最早的有记载的民谣中——包括《罗宾汉的杰作》、《罗宾汉与僧人》、《罗宾汉与波特》、《罗宾汉与吉斯伯恩的盖伊》等。
These sources provide a glimpse into a more morally ambiguous Robin: “They are mischievous, very violent stories about this outlaw who has a moral code, but it’s not as solidified as [that of the stories] we are familiar with nowadays”.
这些资料让我们得以一窥道德上更加模糊的罗宾：“这些故事都是关于这个有道德准则的亡命之徒的恶作剧、非常暴力的故事，但它并不像我们现在所熟悉的[故事]那么牢固”。
Indeed, there are many elements of Robin Hood’s story that have changed over time.
事实上，罗宾汉的故事中有许多元素随着时间的推移而发生了变化。
“A lot was added later on,” Sarnoski notes, referring to familiar tropes such as Robin’s connection to Richard the Lionheart and the idea of stealing from the rich to give to the poor: “That was not in the original texts”.
“后来添加了很多内容，”萨诺斯基指出，他指的是熟悉的比喻，例如罗宾与狮心王理查德的联系以及从富人那里偷窃来送给穷人的想法：“这在原始文本中没有”。
Equally, instead of giving to the poor and needy, Robin’s main focus was originally targeting corrupt clergy and members of the nobility – something that was expanded upon over time.
同样，罗宾最初的主要目标不是向穷人和有需要的人提供援助，而是针对腐败的神职人员和贵族成员——随着时间的推移，这一目标不断扩大。
Additionally, he was no scorned noble, but a yeoman.
此外，他并不是受人蔑视的贵族，而是一名自耕农。
Even fair Maid Marian was a somewhat later invention.
就连美丽的女仆玛丽安也是后来才发明的。
However, what is clear in these early ballads is the folk hero’s impressive skills at archery.
然而，从这些早期民谣中可以清楚地看出这位民间英雄令人印象深刻的射箭技巧。
Fittingly, one of the new film’s central themes is the uncertainty of truth in legend – a question that is regularly raised when it comes to the story of Robin Hood.
恰如其分的是，这部新电影的中心主题之一是传说中真实性的不确定性——这个问题在谈到罗宾汉的故事时经常被提出。
As Sarnoski explained: “What would happen if you outlived your time as an outlaw and were seeing your own legends start to become these folktales?
正如萨诺斯基所解释的那样：“如果你作为亡命之徒的时代结束了，并且看到你自己的传奇开始变成这些民间故事，会发生什么？
Even these characters are unsure about which of these things are true and which aren’t.”
即使是这些角色也不确定这些事情哪些是真的，哪些是假的。”
“If we’re too precious about our stories, we can define ourselves too much by those things and that can be dangerous.
“如果我们太珍视自己的故事，我们就会用这些东西来过多地定义自己，这可能是危险的。
I want people to think about the stories they tell themselves, why they tell them, and to be able to take a step back and think about the place of them [in their understanding of the past]”.
我希望人们思考他们给自己讲的故事，为什么讲这些故事，并能够退一步思考他们的位置（在他们对过去的理解中）”。
Emily Briffett is senior content producer (podcasts) at HistoryExtra
Emily Briffett 是 HistoryExtra 的高级内容制作人（播客）
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