“You have sat too long for any good
you have been doing lately …
Depart, I say; and let us have done with you.
In the name of God, go!”
Oliver Cromwell, April 20, 1653
as 1939 quoted by Winston Churchill towards appeasement politicians
The Power and the Parliament
Cromwell’s Symbolic Reichstagsbrand
April 20, 1653
mocked , had it driven apart by soldiers and locked
the parliament he had degraded already in 1648
to the docile Rump Parliament
by expulsion / arrest
— Pride’s Purge —
of its insubordinate Presbyterian members
and in such a manner
set himself once more above the Law
“ (Cromwell) commanded the Speaker to leave the Chair, and told them they had sat long enough, unless they had done more good, crying out You are no longer a Parliament, I say you are no Parliament. He told Sir Henry Vane he was a Jugler (sic!); Henry Martin and Sir Peter Wentworth, that they were Whoremasters; Thomas Chaloner, he was a Drunkard; and Allen the Goldsmith that he cheated the Publick: Then he bid one of his Soldiers take away that Fool’s Bauble the mace and Thomas Harrison pulled the Speaker of the Chair; and in short Cromwell having turned them all out of the House, lock’d up the Doors and returned to Whitehall ”
(Thomas Salmon, The Chronological Historian, London 1723, p. 106).
To put himself at the head of a new executive board, which several months later appointed a hand-picked “Assembly of Saints”. Which still was not docile enough, and thus already in December he assumed as Lord Protector exclusive power:
The proclaimed republic
had finally become a dictatorship .
Just as already eight years before “he himself (had) maintained the command of the mounted troops, the second post in the army, by saving clause”, when in April 1645 for thoroughly given timeless reason he took care of parliamentary integrity, causing resignations, by the so-called Bill of Self-denial according to which
“ no member of parliament may hold a civil or military post ”
(Meyers Konvers.-Lex., 4th ed., IV , 344 f.).
« The governments that might be displaced
are unlikely to be missed —
incompetent and corrupt as they may have been .
But what will go with them is more important :
the possibility of electing or rejecting
whatever political leadership you ,
or a majority of your countrymen , choose . »
Europe’s democratic deficit grows wider by the day
The Telegraph, November 5, 2011
The scenically Rich Plate
about Power dealing with Insubordination
William Hogarth (1697 London 1764). Burning ye Rumps at Temple-Barr. Down with the rump parliament. The 1653 symbolic burning of the parliament which in 1648 Cromwell had cleaned of its Presbyterian members as a milestone for his further show of power. It then executed Charles I instead of holding negotiations with him and thus rang in the Puritan republic which itself almost turned into a Cromwell monarchy. Place of the event of 20 April the London gate Temple Bar. One of the iconoclasts with the convenant of the Presbyterian Scots in his hands, another one holding up the banner:
Down with the Rumps .
Etching + engraving. (1726.) Inscribed: 11 (by the publisher) / W. Hogarth Inv. delin. et sculp. (in the subject border below right) / Burning ye Rumps at Temple Barr. 10⅞ × 20¼ in (27.7 × 51.6 cm).
HUDIBRAS XI. – Nagler 10-11; Hogarth Catalog Zurich, 1983, ills. 11 (2nd state, inscribed “in the subject below left”!). – 6-quatrain caption abridged from Butler’s poem. – Impression on strong paper from the plate retouched by the royal engraver James Heath (1757 London 1834) about 1822 (“Even these impressions have become relatively rare today though”, Art Gallery Esslingen 1970; and Meyers Konv.-Lex., 4th ed., VIII , 625: “A fine edition”, esteemed also already by contemporary collectors of the rank of for instance an A. T. Stewart [Catalog of the Stewart Collection, New York 1887, 1221, “fine plates”]).
“ is a vulgarized (English) Don Quixote , a dewitted Rabelais ”
(Laaths, Geschichte der Weltliteratur, 1953, p. 375), a “satiric scourge” (Meyers Konv.-Lex., 4th ed., III, 693/I) on the politically just sacked Puritanism and the best-known work of its creator esteemed by Charles II,
(Strensham, Worcestershire, 1612/13 – London 1680), as result of his impressions in the employ of Cromwell’s Colonel Sir Samuel Luke, “at which religious and political sects were about” (Meyers). Remaining incomplete the first two parts of the epic were published in 1663/64, a third one in 1678, then, joined, long-lived through the centuries. In three cantos each
“ describing in rough, mostly eight-syllabic songs (later known as ‘hudibrastic verse’) the loosely connected, grotesque adventures of two Puritans, the knight Hudibras and his shield-bearer Ralpho. Hogarth has engraved two different sets of illustrations to this poem: twelve large, carefully executed engravings he has created on his own, independently of a publisher, and published in February 1726, and seventeen smaller ones which have more the character of woodcuts and presumably done before, but were published the following April only in a poem edition. These follow the course of the action while the large sheets only represent the decisive scenes with an abridgement as legend … Epic and pictures are an antiheroic satire on Puritanism and sectarianism ”
(Margrit Bachofen-Moser in Hogarth Catalogue Zurich, 1983, pp. 25 ff. illustrating the large version in partly differing arrangement).
The Hudibras set – Thieme-Becker judge – is “of decisive significance for Hogarth’s development.
Here lies the key to the understanding of the satirist H. ”
(Thieme-Becker XVII , 300/II).
And Austin Dobson in the Encyclopedia Britannica of 1911 :
“ These (plates Hogarth) himself valued highly, and they are the best of his book illustrations. But he was far too individual to be the patient interpreter of other men’s thoughts, and it is not in this direction that his successes are to be sought … (And generally resuming) If we regard him – as he loved to regard himself – as ‘author’ rather than ‘artist’, his place is with the great masters of literature – with the Thackerays and Fieldings, the Cervantes and Molières. ”
Offer no. 14,730 / EUR 390. / export price EUR 371. (c. US$ 400.) + shipping
– – – The same. Engraving by Thomas Cook (ca. 1744 – London 1818). Inscribed: Pl. XI. / Hogarth pinxt. / HUDIBRAS. / T. Cook & Son sc. / Published by Longman, Hurst, Rees, & Orme, May 1st. 1808. Subject size 4⅜ × 7⅝ in (11.2 × 19.5 cm).
Cook „made his mark as Hogarth engraver, too (1795-1803) whose complete work he has reproduced” (Thieme-Becker VII, 1912, p. 348/I) and whose original format he maintained in contrast to all later Hogarth editions, which moreover mostly don’t contain the consequently rarer Hudibras. Several works not published by Hogarth himself had been engraved by Cook for the first time as he then met with approval by a contemporary connoisseur as Maximilian Specht von Sternburg, too. But here present in Cook’s popular later, smaller version with the caption being replaced by the series title. – In contrast to the Hogarth engraving, surely worked in reverse (repeated left-handedness) as in many cases, here in correct sense as known for Cook. – Trimmed within the wide white platemark and this chiefly in the outer part slightly foxed and browned resp.
Offer no. 8,858 / EUR 135. (c. US$ 146.) + shipping
„ … Toll, die Verbindung der Kunst mit berühmten Männern der Geschichte. Dazu die qualitative Aufmachung … “
(Frau U. K., 2. Januar 2010)