06/11/2026
Almost everything we think we know about Herne the Hunter came from the pen of a Victorian era novelist - who gathered most of his ideas from Jacob Grimm.
Shakespeare was the first person to put the name of Herne in writing, giving us a brief description of a malevolent folkloric figure from the supernatural world who wandered alone, bound by some force to a great oak.
Herne was virtually forgotten for centuries after that, existing only in the pages and stages of Shakespeare’s literary world, reduced to a joke as Falstaff cowered in the dirt, clutching his antlers to his head.
He enjoyed a small resurrection in 1835 when Grimm published his Teutonic Mythology, where he mentioned Herne against the context of the Wild Hunt, a concept Grimm constructed by combining several different folkloric strands including medieval processions of the dead, lone ghostly huntsmen, and the figures of Dame Holda and Odin.
Just a few years later the prolific novelist Harrison Ainsworth published his “Windsor Castle”, a serial that told a completely new version of Herne’s legend. He was now a demonic leader of his own Wild Hunt, accompanied by an owl and a pair of hellhounds with a subterranean hideout, tormenting Henry VIII as he considered the fate of Ann Boleyn.
Ainsworth lifted nearly all of the details of Herne’s appearance from Grimm’s Wild Hunt chapter, the owl, the dogs, the connection to royalty and his hunting prowess. The antlers and chain were from Shakespeare’s few lines, the chain itself now explained as being taken from a gibbet.
This new and heavily embellished Herne the Hunter was a big hit with Ainsworth’s readers, and parts of the story began to seep into British folklore itself. Both Margaret Murray and Robert Graves subsequently wrote of Herne as being a nature spirit of sorts, a god of old Britain, while in neopagan circles he began to be associated with the Celtic deity Cernunnos and was sometimes a horned consort to their Great Goddess.
Now a firm fixture in Britain’s folklore, despite his purely fictional creation and with nothing known about the lost traditions that might have inspired Shakespeare, Herne returned in The Box of Delights, The Dark Is Rising and other novels before the depiction that would become the biggest influence on the public imagining of him. The TV series Robin of Sherwood introduced the Herne of Ainsworth’s Windsor Castle as a benign figure, calm and wise, who mentored the titular hero towards his destiny.
This Herne was a nod to Ainsworth with the stag head fixed atop his head and a cave lair accessible only by water, but his almost shamanic nature connected to Graves’s poetic visions of Old Britain. He still stands today as probably the Herne that most people picture when they hear the name.
Where might Shakespeare have gathered his ideas of the figure of Herne the Hunter? Why is he associated with the Wild Hunt?
I take the deepest dive into the history of the Wild Hunt in Britain, its leaders and associated figures, in my book The Horn Of Mercia - available at the link in the comments.