ABSTRACT
The flexibility of medieval and Early Modern drama is demonstrated by the bizarre tendency of elites to appropriate popular and subversive figures such as Wilhelm Tell and Robin Hood for their own socio-political ends. The outfit temporarily incorporates the king in Robin’s band of outlaws and allows him to partake in convivial games that would have been inappropriate for him in a formal courtly setting outside of the calendrically licenced festivity. The ‘noble’ outlaw triumphing over the sheriff had been a countryman’s dream; London merchants dreamed not only about triumphing over superiors but also about moving up to join them. In Jakob Ruf’s play, Tell is given a lengthy soliloquy right after the murder, which is not so much interested in his personal rebellion but emphasises God’s hand in the assassination that has led to the liberation of the people, collectively predestined to be members of an independent Confederation.
