冠军和dimalegend品牌的区别



“冠军联盟”国内时尚运动品牌黑马

融媒产业网

2019-11-25 17:53

“冠军联盟-DIMALEGEND”——符合当下消费场景、具有强流行,以原创设计师为代表的时尚运动鞋服品牌。泉州柏霖文化创意有限公司作为冠军联盟品牌中国运营商,拥有多年鞋服产业运作经验和雄厚的实力积淀;旗下工厂—百华公司拥有体育用品制造三十多年的多元化生产经验,4条现代化先进的流水生产线与专业产品研发与检测中心。

不同于市面上其他的运动品牌,冠军联盟品牌在产品定位风格上面非常明确,以符合年轻人消费场景的强流行原创产品设计,直接瞄准90后、Z代和千禧一代年轻消费群体,在夯实加强休闲、街头、潮流因素,形成品牌差异化的特色区分度后,持续深耕时尚运动风尚细分领域的品牌受众。



冠军联盟在设计理念上,不局限于特定的风格,而是根据流行与年轻人消费场景不断变化产品设计走向与定位,从而保证品牌源源不断的创造力。在设计中,融入运动、街头、竞技、D标等元素,彰显鲜明的品牌特色,让追求潮流的年轻人既能得到更有辨识度的穿搭风格,同时也能与各种生活场景完美对接。

以“推动时尚运动服饰市场趋向多元化、细分化”为目标的冠军联盟,将带着敢想敢做,不负青春的态度,默契地为一群有自己专属态度和想要肆意展现自我个性的人群量身打造专属的时尚运动风尚服饰,与顾客一同探索时尚,迸发无限活力。

冠军联盟将深入与娱乐,音乐,艺术等不同领域的协同合作,将流行文化根植到系列产品中。以“冠军”的心,将“D”字母标打造成为更具备识别度的品牌标志性设计。



主要将从社交网络营销及与明星IP联名营销上入手,潜移默化树立冠军联盟在时尚意识日益增强的“90后&千禧”一代心中的品牌形象。不可否认,时尚风潮变化瞬息万变,迎合大众结合潮流趋势,不断调整品牌定位,向时尚化、多元化、细分化方向发展,以变应变是冠军不变的理念。冠军联盟希望通过引领时尚潮流的方式满足细分消费者市场需求,为年轻人打造最流行的时尚运动原创单品。

冠军联盟作为时尚运动鞋服品牌中异军突起的一匹黑马,目前线下品牌店遍布在全国各大省市,营业点覆盖全国多个大中城市,拥有广大的消费者群体。

线下门店空间通过黑白灰这种极简的富有品质感的色彩,诠释复杂深邃的生活意义,给予消费者思绪放飞的空间,营造简洁而不简单的放松的空间体验;木艺窗格布置新颖又为其增添生机色彩,为时尚增添不少色彩。



公司完善的生产供应链体系,先进的企业管理制度、高素质、高效率的运营中心团队及优质的产品期待为企业和加盟商赢得更多商机。加盟冠军联盟,八大优势将助您赢得先机:

问题一：龙头企业的意思 在本板块里营业收入，总市值，净利润排行前边，业绩比较稳定，影响力大。

问题二：龙头企业是什么意思 龙头企业指的是在某个行业中，对同行业的其他企业具有很深的影响、号召力和一定的示范、引导作用，并对该地区、该行业或者国家做出突出贡献的企业。

龙头企业涵盖三个产业，可以是生产加工企业，可以是中介组织和专业批发市场等流通企业。它不同于一般的工商企业，它肩负有开拓市场、创新科技、带动农户和促进区域经济发展的重任，能够带动农业和农村经济结构调整，带动商品生产发展，推动农业增效和农民增收。

问题三：股票各行业的龙头股是什么啊 各行业部分龙头股一览表

电子通讯行业：000063中兴通讯，600183生益科技

科技板快：000021深科技，600718东软股份

纺织板快：600177雅戈尔，000726鲁泰A

钢铁板快：000898鞍钢股份，600019宝钢股份，600005武钢股份

汽车板快：600104上海汽车

医药板快：600085同仁堂，600276恒瑞医药，600521华海药业

化工行业：600309烟台万华

机场港口：600018上港集团，000088盐田港

公路桥梁：600012皖通高速，600269赣粤高速，000900现代投资

玻璃行业：000012南玻A

商业板快：000759武汉中百，600694大商股份

电力板快：600900长江电力，600011华能国际 601991大唐发电

发电设备：600875东方电机，000400许继电器

交通运输：000039中集集团，600125铁龙物流

房地产： 000002万科A

家电行业：000651格力电器

节能环保：600388龙净环保，000617海螺型材

农药化肥：000792盐湖钾肥

造纸行业：000488晨鸣纸业

金融板快：600030中信证券，600036招商银行

机械制造：600761安徽合力，000528柳工

水泥行业：600585海螺水泥

煤炭行业：600123兰花科创，601001大同煤业

3G概念：000063中兴通讯，000997新大陆

有色金属：600456宝钛股份，600205山东铝业

食品行业：600616第一食品

基础材料：000970中科三环

白酒红酒: 600519贵州茅台,000858五粮液,000869张裕A

问题四：龙头企业是什么意思 龙头企业（Corporate champion）是指在某个行业中，对同行业的其他企业具有很深的影响、号召力和一定的示范、引导作用，并对该地区、该行业或者国家做出突出贡献的企业，被称之为龙头企业。

问题五：龙头企业是什么意思 农业产业化是我国农业经营体制机制的创新，是现代农业发展的方向。农业产业化龙头企业（以下简称龙头企业）集成利用资本、技术、人才等生产要素，带动农户发展专业化、标准化、规模化、集约化生产，是构建现代农业产业体系的重要主体，是推进农业产业化经营的关键。支持龙头企业发展，对于提高农业组织化程度、加快转变农业发展方式、促进现代农业建设和农民就业增收具有十分重要的作用。

问题六：股市中各行业的龙头股是哪些？ (1)指标股：

中国石油、工商银行、建设银行、中国石化、中国银行、中国人寿、中国神华、招商银行、中国平安、中国铝业、中国远洋、宝钢股份、中国国航、大秦铁路、中国联通、大唐发电、长江电力、中国中铁、中国太保

(2)金融、证券、保险：

招商银行、浦发银行、民生银行、深发展A、工商银行、中国银行、中信证券、宏源证券、陕国投A、建设银行、华夏银行、中国平安、中国人寿、中国太保

(3)地产：万科A、金地集团、招商地产、保利地产、泛海建设、华侨城A、金融街、中华企业

(4)航空：中国国航、南方航空、东方航空

(5)钢铁：宝钢股份、武钢股份、鞍钢股份

(6)煤炭：中国神华、兰花科创、平煤天安、开滦股份、兖州煤业、潞安环能、恒源煤电、国阳新能、西山煤电、大同煤业

(7)重工机械：中船股份、中国船舶、三一重工、安徽合力、中联重科、晋西车轴、柳工、振华港机、广船国际、山推股份、太原重工

(8)电力能源： 长江电力、华能国际、国电电力、漳泽电力、大唐发电、国投电力

(9)汽 车：长安汽车、中国重汽、一汽夏利、一汽轿车、上海汽车、江铃汽车

(10)有色金属：中国铝业、山东黄金、中金黄金、驰宏锌锗、宝钛股份、宏达股份、厦门钨业、吉恩镍业、包头铝业、中金岭南、云南铜业、江西铜业、株冶火炬

(11)石油化工：中国石油 、中国石化、中海油服、海油工程、金发科技、上海石化

(12)农林牧渔：北大荒、通威股份、中牧股份、新希望、中粮屯河、丰乐种业、新赛股份、敦煌种业、新农开发、冠农股份、登海种业

(13)环 保：龙净环保、菲达环保

(14)航天军工：中国卫星、火箭股份、西飞国际、航天信息、 航天通信、哈飞股份、成发科技、洪都航空

(15)港口运输：中国远洋、中海海盛、中远航运、上港集团、中集集团

(16)新 能 源：天威保变、丰原生化

(17)中小板：苏宁电器、思源电器、丽江旅游、华星化工、科华生物、大族激光、中捷股份、华帝股份、苏泊尔、七匹狼、航天电器、华邦制药

(18)电力设备：东方电机、东方锅炉、特变电工、平高电气、国电南自、华光股份、湘电股份

(19)科 技 类：歌华有线、东方明珠、综艺股份、中信国安、同方股份

(20)高 速 类：赣粤高速、山东高速、福建高速、中原高速、粤高速、宁沪高速、皖通高速

(21)机 场 类：深圳机场、上海机场、白云机场

(22)建筑用品：中国玻纤、长江精工、海螺型材

(23)水 务：首创股份、南海发展、原水股份

(24)仓储物流运输：中化国际、铁龙物流、外运发展、中储股份

(25)水 泥：海螺水泥、华新水泥、冀东水泥

(26)电子类：晶源电子、生益科技、法拉电子、华微电子、彩虹股份、广电电子、深天马A、东信和平

(27)软 件：用友软件、东软股份、恒生电子、中国软件、金证股份、宝信软件

(28)超 市：大商股份、华联综超、友谊股份、上海家化、武汉中百、北京城乡、大连友谊、新华传媒

(29)零 售：王府井、广州友谊、新华百货、重庆百货、银座股份、益民百货、中兴商业、东百集团、百联股份、武汉中商、西单商场、上海九百

(30)材 料：星新材料、中材国际

(31)酒店旅游：首旅股份、华天酒店、黄山旅游、峨眉山、丽江旅游、锦江股份、桂林旅游、北京旅游、西安旅游、 中青旅游

(32)奥 运：中体产业、首创股份、首旅股份 、北京城乡、西单商场

(33)酒 类：贵州茅台、五粮液、张裕A、古越龙山、水井坊、泸州老窖>>

问题七：各行业龙头股有哪些 在股市中强势股永远都是股民追逐的对象，强势股是指在股市中稳健上涨的股票。可能是一波行情的龙头股，也可以是热点板块中的代表性股票。这些是需要有一定的经验才能作出准确的判断。

强势股主要特点：

1高换手率：强势股的每日成交换手率一般不低于5%，某些交易日达到10%以上，甚至可能达到20%～30%。

2具有板块效应：强势股可能是一波行情的龙头股，也可以是热点板块中的代表性股票。强势股的涨跌，会影响同板块股票的涨跌。

3在一定时间交易价格内累创新高。

每个人的个性不同，操作风格也会不同，找准一条适合你自己的投资之路，非常重要！建议新手不要急于入市，先多学点东西，可以去游侠股市模拟炒股先了解下基本东西。

操作方法:

1、抓住龙头股不动：龙头股一般在大盘低迷时率先放量上涨或第一个封涨停，大胆的投资者如果能够及时介入龙头股，就可以持股不动，等待大盘行情结束，或龙头股明显形成头部时方卖出。

2、介入换手率高的强势股：龙头股很多人不敢追，或等考虑清楚了，再想追而追不到。这时，应该及时寻找同板块的高换手率的强势股。

3、在强势股技术性回调过程中介入：强势股因为受到市场关注程度高，而且可能有主力操纵，一般上涨迅速，回调时间短、幅度浅。

4、强势股出现利空消息时：强势股在一轮上涨过程中，可能出现基本面的利空消息，这时该股短线会有短线下跌。由于板块热点还未消退，主力资金也还在其中，等该股短暂企稳之后，主力再次拉升的概率很大。

问题八：龙头企业是什么意思 龙头有多种意思，

一是指杰出人物的领袖；

二是指状元的别称；

三是指饰有龙头的琴；四是指龙船的船头；

五是指榨床上的酒液出口处；

六是指自来水管的放水活门；

七是指自帝王的头颅；

八是指近代三合会、哥老会等的首领；

九是指自行车的车把；

十是指火车的机车；

十一是指怀表上的摁扭。

问题九：龙头产业是什么意思 龙头很形象的给我们第一感觉就像自行车，它由龙头还有车身，轮胎构成，就像你所说的龙头产业（自行车龙头），所谓的龙头产业只是起到带动一个产业连，或者是带动其他与这个产业有联系的产业。起到一个引导发展的作用的产业，但不一定龙头产业就是赚钱最多的，效益最好的，只是在产业发展中有时起到一个关键作用或者是决定作用的企业。对于一个产业或者产业连的兴衰有着至关重要的作用的企业连部分。

问题十：股市板块龙头股是什么意思？ 龙头股也就是领涨股，比如最近的雄安板块，涨幅超前的就是龙头股。

国内有专柜。

中国内地店铺：

北京：王府半岛酒店 新东安广场 三里屯北区

上海：港汇恒隆广场 久光百货 浦东国际机场 香港广场 新世界

沈阳：万象城尚泰百货 卓越精品馆 新世界百货

杭州：尚泰百货

深圳：阳光酒店

广州：太古汇

天津：乐天百货

大连：久光百货

南京：德基广场

苏州：久光百货

郑州：裕达国贸

成都：华润万象城

昆明：金鹰购物中心

扩展资料

longchamp（珑骧）是法国奢侈品皮具品牌，1948年由Jean Cassegrain创始于在巴黎。[1]产品包括皮革手袋、箱包、鞋款、旅行用品、时尚配饰以及女装成衣系列。

尚·卡士格兰(Jean Cassegrain)推出了世界上第一款使用奢华皮革制作的烟斗套，随后将产品品类从烟具逐步扩展到了其它皮革产品，如钱包、护照夹等。

珑骧在全球80多个国家拥有超过1500家零售店，其中包括了300多家精品店铺选址均在全球知名并享有美誉的大街上。

珑骧的突破性发展是在于在皮具设计中对尼龙材质的引用。20世纪70年代，珑骧制造出了第一款皮革尼龙拼接的行李箱。

相比那个年代所常见的行李箱而言，珑骧的这款行李箱显得十分轻便。这一设计也就是几十年后Le Pliage系列折叠手袋的前身。

参考资料：

ACUPUNCTURE( 6层 )

爱步( ECCO,1层 )

爱意( AEE,1层 )

百丽( BELLE,1层 )

翠贝卡( TR/BECA,1层 )

CROCS( 6层 )

玖熙( NINE WEST,1层 )

LACOSTE( 6层 )

NOVO( 6层 )

OLGA( 1层 )

思加图( STACCATO,1层 )

STEVE MADDEN( 1层 )

WHAT FOR( 1层 )

真美诗( JOY&PEACE,1层 )

补充一下哈：还有TATA，天美意，奥卡索，羚羊，好人缘，米连诺等

Robin Hood

Robin Hood memorial statue in NottinghamRobin Hood is the archetypal English folk hero; a courteous, pious and swashbuckling outlaw of the medieval era who, in modern versions of the legend, is famous for robbing the rich to feed the poor and fighting against injustice and tyranny Robin was not a real person who lived, he was a fictional character and still is one He operates with his "seven score" (140 strong) group of fellow outlawed yeomen – called his "Merry Men"[1] Robin Hood and his band are usually associated with Sherwood Forest, Nottinghamshire He has been the subject of numerous movies, books, comics and plays

In many stories Robin's nemesis is the Sheriff of Nottingham In the oldest legends, this is merely because a sheriff is an outlaw's natural enemy,[2] but in later versions, the despotic sheriff gravely abuses his position, appropriating land, levying intolerable taxation, and unfairly persecuting the poor In some tales the antagonist is Prince John, based on John of England, seen as the unjust usurper of his pious brother Richard In the oldest versions surviving, Robin Hood is a yeoman, but in some versions he is said to have been a nobleman, the earl of Loxley (Locksley), who was unjustly deprived of his lands[3] Sometimes he has served in the crusades, returning to England to find his lands pillaged by the dastardly sheriff In some tales he is the champion of the people, fighting against corrupt officials and the oppressive order that protects them, while in others he is an arrogant and headstrong rebel, who delights in bloodshed, cruelly slaughtering and beheading his victims

In point of fact, Robin Hood stories are different in every period of their history Robin himself is continually reshaped and redrawn, made to exemplify whatever values are deemed important by the storyteller at the time The figure is less a personage and more of an amalgam of the various ideas his "life" has been structured to support

Contents [hide]

1 Early references

2 Sources

3 Ballads and tales

4 Connections to existing locations

5 List of traditional ballads

6 Popular culture

7 Bibliography

8 Notes

9 See also

10 External links

[edit] Early references

From 1227 onwards the names 'Robinhood', 'Robehod' or 'Hobbehod' occur in the rolls of several English justices The majority of these references date from the late thirteenth century: between 1261 and 1300 there are at least eight references to 'Rabunhod' in various regions across England, from Berkshire in the south to York in the north[4] The term seems to be applied as a form of shorthand to any fugitive or outlaw Even at this early stage, the name Robin Hood denotes an archetypal criminal This usage continues throughout the medieval period In a petition presented to Parliament in 1439, the name is again used to describe an itinerant felon The petition cites one Piers Venables of Aston, Derbyshire, "who having no liflode, ne sufficeante of goodes, gadered and assembled unto him many misdoers, beynge of his clothynge, and, in manere of insurrection, wente into the wodes in that countrie, like as it hadde be Robyn Hude and his meyne"[5] The name is still used to describe sedition and treachery in 1605, when Guy Fawkes and his associates are branded "Robin Hoods" by Robert Cecil

The first allusion to a literary tradition of Robin Hood tales occurs in William Langland's Piers Plowman (c1362–c1386) in which Sloth, the lazy priest, confesses: "I kan [know] not parfitly [perfectly] my Paternoster as the preest it singeth,/ But I kan rymes of Robyn Hood"[6]

The first mention of a quasi-historical Robin Hood is given in Andrew of Wyntoun's Orygynale Chronicle, written about 1420 The following lines occur with little contextualisation under the year 1283:

Lytil Jhon and Robyne Hude

Wayth-men ware commendyd gude

In Yngil-wode and Barnysdale

Thai oysyd all this tyme thare trawale

The next notice is a statement in the Scotichronicon, composed by John Fordun between 1377 and 1384, and revised by his pupil Walter Bower in about 1440 Among Bower's many interpolations is a passage which directly refers to Robin It is inserted after Fordun's account of the defeat of Simon de Montfort and the punishment of his adherents Robin is in fact turned into a fighter for de Montfort's cause, one of his 'disinherited' followers:[7]

Then [c1266] arose the famous murderer, Robert Hood, as well as Little John, together with their accomplices from among the disinherited, whom the foolish populace are so inordinately fond of celebrating both in tragedies and comedies, and about whom they are delighted to hear the jesters and minstrels sing above all other ballads

Despite Bower's scorn, and demotion of Robin to a savage 'murderer', his account is followed by a brief tale in which Robin becomes a symbol of piety, gaining a decisive victory after hearing the Mass Another interesting, although much later, reference is provided by Thomas Gale, Dean of York (c1635–1702):[8]

[Robin Hood's] death is stated by Ritson to have taken place on the 18th of November, 1247, about the eighty-seventh year of his age; but according to the following inscription found among the papers of the Dean of York…the death occurred a month later In this inscription, which bears evidence of high antiquity, Robin Hood is described as Earl of Huntington — his claim to which title has been as hotly contested as any disputed peerage upon record

Hear undernead dis laitl stean

Lais Robert Earl of Huntingtun

Near arcir der as hie sa geud

An pipl kauld im Robin Heud

Sic utlaws as hi an is men

Vil England nivr si agen

Obiit 24 Kal Dekembris 1247

This inscription also appears on a grave in the grounds of Kirklees Priory near Kirklees Hall (see below) Despite appearances, and the author's assurance of 'high antiquity', there is little reason to give the stone any credence It certainly cannot date from the 13th century; notwithstanding the implausibility of a 13th century funeral monument being composed in English, the language of the inscription is highly suspect Its orthography does not correspond to the written forms of Middle English at all: there are no inflected '—e's, the plural accusative pronoun 'hi' is used as a singular nominative, and the singular present indicative verb 'lais' is formed without the Middle English '—th' ending Overall, the epitaph more closely resembles modern English written in a deliberately 'archaic' style Furthermore, the reference to Huntingdon is anachronistic: the first recorded mention of the title in the context of Robin Hood occurs in the 1598 play The Downfall of Robert, Earl of Huntington by Anthony Munday The monument can only be a 17th century forgery

Therefore, even in the earliest records, Robin is already largely fictional The Gale note is literally a fiction The medieval texts do not refer to him directly, but mediate their allusions through a body of accounts and reports: for Langland Robin exists principally in "rimes", for Bower "comedies and tragedies", while for Wyntoun he is "commendyd gude" Even in a legal context, where one would expect to find verifiable references to Robin, he is primarily a symbol, a generalised outlaw-figure rather than an individual Consequently, in the medieval period itself, Robin Hood already belongs more to literature than to history In fact, in an anonymous carol of c1450, he is treated in precisely this manner — as a joke, a figure that the audience will instantly recognise as imaginary: "He that made this songe full good,/ Came of the northe and the sothern blode,/ And somewhat kyne to Robyn Hode"[9]

[edit] Sources

On the other hand, even though clearly fictitious, Robin does not appear to have stemmed from mythology or folklore While there are occasional efforts to trace him to fairies (such as Puck under the alias "Robin Goodfellow") or other mythological origins, good evidence for this has not been found, and when Robin Hood has been connected to such folklore, it is a later development[10] While Robin Hood and his men often show improbable skill in archery, swordplay, and disguise, they are no more exaggerated than those characters in other ballads, such as Kinmont Willie, which were based on historical events[11] The origin of the legend appears to have stemmed from actual outlaws, or from tales of outlaws, such as Hereward the Wake, Eustace the Monk, and Fulk FitzWarin[12]

There are many analogues for various Robin Hood tales, featuring both historical and fictitious outlaws Hereward appears in a ballad much like Robin Hood and the Potter, and as the Hereward ballad is the older, it appears to be the source The ballad Adam Bell, Clym of the Cloughe and Wyllyam of Cloudeslee runs parallel to Robin Hood and the Monk, but it is not clear whether either one is the source for the other, or whether they merely show that such tales were told of outlaws[13] Some early Robin Hood stories appear to be unique, such as the story where Robin gives a knight, generally called Richard at the Lee, money to pay off his mortgage to an abbot, but this may merely indicate that no parallels have survived[14]

[edit] Ballads and tales

The earliest surviving Robin Hood text is "Robin Hood and the Monk"[15] This is preserved in Cambridge University manuscript Ff548, which was written shortly after 1450[16] It contains many of the elements still associated with the legend, from the Nottingham setting to the bitter enmity between Robin and the local sheriff

Also in manuscript is A Gest of Robyn Hode (c1475), a collection of separate stories which attempts to unite the episodes into a single continuous narrative[17] After these come "Robin Hood and the Potter",[18] contained in a manuscript of c1503 "The Potter" is markedly different in tone from "The Monk": whereas the earlier tale is 'a thriller'[19] the latter is more comic, its plot involving trickery and cunning rather than straightforward force The difference between the two texts recalls Bower's claim that Robin-tales may be both 'comedies and tragedies' Other early texts are dramatic pieces such as the fragmentary Robyn Hod and the Shryff off Notyngham[20] (c1472) These are particularly noteworthy as they show Robin's integration into May Day rituals towards the end of the Middle Ages

It is interesting to compare the character of Robin in these first texts to his later incarnations While in modern stories Robin Hood typically pursues justice, and the Merry Men are almost a proto-democracy, this sense of generosity and egalitarianism is absent from the medieval and Early Modern sources Robin is often presented as vengeful and self-interested, meting out barbaric punishments to his own enemies, but rarely fighting on the behalf of others Nothing is stated about 'giving to the poor', although Robin does make a large loan to an unfortunate knight[21] Furthermore, even within his band, ideals of equality are generally not in evidence In the early ballads Robin's men usually kneel before him in strict obedience: in the Gest the king even observes that "His men are more at his byddynge/Then my men be at myn" Their social status, as yeomen, is shown by their weapons; they use swords rather than quarterstaffs The only character to use a quarterstaff in the early ballads is the potter, and Robin Hood does not take to a staff until the eighteenth century Robin Hood and Little John[22] And rather than being deprived of his lands by the villainous Sheriff of Nottingham, when an origin for Robin appears, he takes to 'the greenwood' after killing royal foresters for mocking him (see Robin Hood's Progress to Nottingham)

While he is sometimes described as a figure of peasant revolt, the details of his legends do not match this He is not a peasant but a yeoman, and his tales make no mention of the complaints of the peasants, such as oppressive taxes[23] He appears not so much as a revolt against societal standards as an embodiment of them, being generous, pious, and courteous, opposed to stingy, worldly, and churlish foes His tales glorified violence, but did so in a violent era[24] While he fights with royal officials, his loyalty to the king himself is strong[25]

Although the term "Merry Men" belongs to a later period, the ballads do name several of Robin's companions[26] These include Will Scarlet (or Scathlock), Much the Miller's Son, and Little John — who was called "little" as a joke, as he was quite the opposite[27] Even though the band is regularly described as being over a hundred men, usually only three or four are specified Some appear only once or twice in a ballad: Will Stutly in Robin Hood Rescuing Will Stutly and Robin Hood and Little John; David of Doncaster in Robin Hood and the Golden Arrow; Gilbert with the White Hand in A Gest of Robyn Hode; and Arthur a Bland in Robin Hood and the Tanner[28] Many later adapters developed these characters Guy of Gisbourne also appeared in the legend at this point, as was another outlaw Richard the Divine who was hired by the sheriff to hunt Robin Hood, and who dies at Robin's hand[29]

Printed versions of the Robin Hood ballads, generally based on the Gest, appear in the early 16th century, shortly after the introduction of printing in England Later that century Robin is promoted to the level of nobleman: he is styled Earl of Huntington, Robert of Locksley, or Robert Fitz Ooth In the early ballads, by contrast, he was a member of the yeoman classes, a common freeholder possessing a small landed estate [30]

In the fifteenth century, Robin Hood became associated with May Day celebrations; people would dress as Robin or as other members of his band for the festivities, a practice that was not engaged in all England, but which lasted until Elizabethean times, and during the reign of Henry VIII, was briefly popular at court[31] This often put the figure in the role of a May King, presiding over games and processions, but plays were also performed with the characters in the roles[32] These plays could be enacted at "church ales", a means by which churches raised funds[33] A complaint of 1492, brought to the Star Chamber, accuses men of acting riotously by coming to a fair as Robin Hood and his men; the accused defended themselves on the grounds that the practice was a long-standing custom to raise money for churches, and they had not acted riotously but peaceably[34]

It is from this association that Robin's romantic attachment to Maid Marian (or Marion) stems The naming of Marian may have come from the French pastoral play of c 1280, the Jeu de Robin et Marion, although this play is unrelated to the English legends[35] Both Robin and Marian were certainly associated with May Day festivities in England (as was Friar Tuck), but these were originally two distinct types of performance — Alexander Barclay, writing in c1500, refers to "some merry fytte of Maid Marian or else of Robin Hood" — but the characters were brought together[36] Marian did not immediately gain the unquestioned role; in Robin Hood's Birth, Breeding, Valor and Marriage, his sweetheart is 'Clorinda the Queen of the Shepherdesses'[37] Clorinda survives in some later stories as an alias of Marian[38]

The first allusions to Robin Hood as stealing from the rich and giving to the poor appear in the 16th century However, they still play a minor role in the legend; Robin still is prone to waylaying poor men, such as tinkers and beggars[39]

In the 16th century, Robin Hood is given a specific historical setting Up until this point there was little interest in exactly when Robin's adventures took place The original ballads refer at various points to 'King Edward', without stipulating whether this is Edward I, Edward II, or Edward III[40] Hood may thus have been active at any point between 1272 and 1377 However, during the 16th century the stories become fixed to the 1190s, the period in which King Richard was absent from his throne, fighting in the crusades[41] This date is first proposed by John Mair in his Historia Majoris Britanniæ (1512), and gains popular acceptance by the end of the century

Giving Robin an aristocratic title and female love interest, and placing him in the historical context of the true king's absence, all represent moves to domesticate his legend and reconcile it to ruling powers In this, his legend is similar to that of King Arthur, which morphed from a dangerous male-centered story to a more comfortable, chivalrous romance under the trobadours serving Eleanor of Aquitaine From the 16th century on, the legend of Robin Hood is often used to promote the hereditary ruling class, heterosexual romance, and religious piety The "criminal" element is retained to provide dramatic colour, rather than as a real challenge to convention[42]

The seventeenth century introduced the minstrel Alan-a-Dale He first appeared in a seventeenth century broadside ballad, and unlike many of the characters thus associated, managed to adhere to the legend[43] This is also the era in which the character of Robin became fixed as stealing from the rich to give to the poor[44]

In the 18th century, the stories become even more conservative, and develop a slightly more farcical vein From this period there are a number of ballads in which Robin is severely "drubbed" by a succession of professionals, including a potter, a tanner, a tinker and a ranger[45] In fact, the only character who does not get the better of Hood is the luckless Sheriff Yet even in these ballads Robin is more than a mere simpleton: on the contrary, he often acts with great shrewdness The tinker, setting out to capture Robin, only manages to fight with him after he has been cheated out of his money and the arrest warrant he is carrying In Robin Hood's Golden Prize, Robin disguises himself as a friar and cheats two priests out of their cash Even when Robin is defeated, he usually tricks his foe into letting him sound his horn, summoning the Merry Men to his aid When his enemies do not fall for this ruse, he persuades them to drink with him instead

The continued popularity of the Robin Hood tales is attested by a number of literary references In As You Like It, the exiled duke and his men "live like the old Robin Hood of England", while Ben Jonson produced the (incomplete) masque The Sad Shepheard, or a Tale of Robin Hood[46] as a satire on Puritanism Somewhat later, the Romantic poet John Keats composed Robin Hood To A Friend[47] and Alfred Lord Tennyson wrote a play The Foresters, or Robin Hood and Maid Marian,[48] which was presented with incidental music by Sir Arthur Sullivan in 1892 Later still, T H White featured Robin and his band in The Sword in the Stone — anachronistically, since the novel's chief theme is the childhood of King Arthur[49]

The Victorian[50] era generated its own distinct versions of Robin Hood The traditional tales were often adapted for children, most notably in Howard Pyle's Merry Adventures of Robin Hood These versions firmly stamp Robin as a staunch philanthropist, a man who takes from the rich to give to the poor Nevertheless, the adventures are still more local than national in scope: while Richard's participation in the Crusades is mentioned in passing, Robin takes no stand against Prince John, and plays no part in raising the ransom to free Richard These developments are part of the 20th century Robin Hood myth The idea of Robin Hood as a high-minded Saxon fighting Norman Lords also originates in the 19th century The most notable contributions to this idea of Robin are Thierry's Histoire de la Conquête de l'Angleterre par les Normands (1825), and Sir Walter Scott's Ivanhoe (1819) In this last work in particular, the modern Robin Hoo