Monday, 30 April 2012

Oliver Cromwell: God's Warrior and the English Revolution (British History in Perspective) Professor Ian Gentles. 288 pages Publisher: Palgrave Macmillan.

The figure of Oliver Cromwell has long occupied a contested position within the historiography of the English Revolution. Traditional Whig narratives cast him as the harbinger of constitutional liberty; revisionists have sought to reduce him to a political opportunist or provincial gentleman elevated by contingency; post‑revisionists have attempted to synthesise these positions without fully restoring the revolution’s social content. This review of Ian Gentles’ biography observes, the English Revolution must be understood as a moment in which “we witnessed all be it slowly the transition from feudalism to capitalism,” and Cromwell “played an critical role in that process.” A Marxist reinterpretation therefore begins not with Cromwell’s personality, piety, or military genius, but with the structural transformation of English society and the contradictory class forces that propelled him to national prominence.

Cromwell’s Class Position and the Crisis of the 1640s

Cromwell’s emergence cannot be separated from the long‑term erosion of feudal relations and the rise of agrarian and mercantile capitalism. His own economic behaviour—meticulously documented by Gentles—reveals a provincial gentleman whose fortunes were tied to the expanding circuits of commercial agriculture and credit. As this review notes “on many occasions, he cancelled debts and on more than one occasion financed military operations himself,” including the Irish campaign. Such actions are not the gestures of a feudal magnate defending inherited privilege; they are the political investments of a class fraction confident that the destruction of the old order would secure its material interests.

Cromwell’s religiosity, often treated as the key to his character, must be understood as the ideological form through which this class experienced its own ascent. His providentialism, moral discipline, and insistence on “liberty of conscience” articulated the worldview of a social group seeking freedom from monarchical and episcopal constraints while affirming the sanctity of property, contract, and labour discipline. Religion here is not an alternative to class analysis; it is its cultural expression.

The New Model Army and the Dialectic of Revolution

The New Model Army was the most advanced institutional expression of the revolutionary process. It fused the interests of the middling sort, artisans, small producers, and lower gentry into a disciplined, ideologically mobilised force capable of destroying the military power of the feudal state. Cromwell’s leadership of this army was not accidental. His class position enabled him to mediate between the Army’s radical democratic impulses—embodied in the Levellers and the soldiers’ councils—and its property‑defending tendencies, represented by the officer corps and the more conservative Parliamentarians.

Cromwell’s suppression of Leveller mutinies, often portrayed as hypocrisy or betrayal, was in fact the necessary act of a bourgeois revolutionary. The revolution required the mobilisation of the lower classes to break the old order, but it equally required their containment once their demands threatened to exceed the limits of bourgeois property relations. This dialectic—unleash, then restrain—is not a personal contradiction but the structural logic of bourgeois revolution itself.

The Protectorate and the Formation of a Bourgeois State

The Protectorate (1653–1658) represents the first sustained attempt to construct a modern state apparatus in England. Its centralising fiscal reforms, professionalised military establishment, cautious religious toleration, and expansion of overseas trade all point toward the consolidation of a proto‑capitalist state. Cromwell’s regime was not a restoration of feudal authority, nor merely a military dictatorship; it was an embryonic form of the bourgeois state, struggling to stabilise the gains of the revolution while suppressing the radical forces it had unleashed.

The ideological language of “godly reformation” served as a moral framework for the regulation of labour, the disciplining of social life, and the consolidation of hierarchical order compatible with capitalist relations. The Protectorate’s oscillation between parliamentary forms and military rule reflects the unresolved contradictions of a society in transition.

The Marxist reinterpretation of Cromwell must ultimately move beyond biographical reconstruction to a structural assessment of his historical function. The English Revolution was not a spontaneous ideological rupture, nor a mere political crisis, nor a coup by a disaffected aristocratic faction. It was a class transformation, uneven, contradictory, and incomplete, in which Cromwell served as the most consequential political and military mediator. His actions cannot be understood outside the long-term processes that were dissolving feudal relations and generating the institutional, ideological, and economic preconditions of capitalist modernity.

That Cromwell “played an critical role” in the transition from feudalism to capitalism is not a rhetorical flourish; it is the essential historiographical insight that must anchor any serious analysis. The destruction of the monarchy, the reorganisation of the state, the expansion of imperial power, and the disciplining of labour and social life were not discrete episodes but interconnected moments in a single historical movement.

 Cromwell and the Logic of Bourgeois State Formation

The Protectorate’s administrative innovations—centralised taxation, county committees, a professional standing army, and a more coherent national bureaucracy—represent the embryonic form of the modern state. These developments were not the product of Cromwell’s personal preferences but of the structural imperatives of a society transitioning toward capitalist relations. The old feudal state, with its decentralised authority, personal loyalties, and fiscal incoherence, could not sustain the demands of commercial expansion, colonial ventures, or the political aspirations of the middling sort.

Cromwell’s regime, for all its instability, embodied the new logic of state power: rationalisation, centralisation, and the subordination of local and aristocratic autonomies to a national authority. The ideological language of “godly reformation” provided the moral vocabulary through which these transformations were legitimated. It is no accident that the same period saw the intensification of labour discipline, the policing of morality, and the regulation of social behaviour. These were not theological obsessions; they were the cultural forms of a new economic order.

 Revolution, Counter‑Revolution, and the Limits of Bourgeois Agency

Cromwell’s career illustrates the inherent limits of bourgeois revolution. He destroyed the old order but could not construct a stable new one. He mobilised radical forces but was compelled to suppress them. He championed liberty of conscience but imposed political authoritarianism. These contradictions reflect not personal inconsistency but the structural ambivalence of a class that is revolutionary in its struggle against feudalism and conservative in its defence of property.

The suppression of the Levellers, the dissolution of the Rump, and the imposition of the Major‑Generals were not deviations from Cromwell’s principles; they were the necessary acts of a class that required popular mobilisation to win the revolution but feared the social consequences of its own victory. The bourgeoisie could not allow the democratic aspirations of the Army or the radicalism of the sectaries to reshape the social order beyond the limits of property and hierarchy.Thus Cromwell’s authoritarianism was not a betrayal of the revolution but its completion—the moment at which the revolutionary energy of the lower classes was contained in order to stabilise the emerging capitalist order.

 Ireland and the Colonial Dimension of Bourgeois Revolution

The English Revolution was not a purely domestic event. Its logic extended outward, into Ireland, Scotland, and the Atlantic world. Cromwell’s Irish campaign, often treated as a moral stain or a tragic excess, must be understood as a constitutive moment of capitalist imperialism. The reviewer notes that Cromwell’s anti‑Catholicism “was prevalent amongst the rising bourgeoisie,” but the deeper significance lies in the campaign’s role in the violent restructuring of landownership, the consolidation of a Protestant settler class, and the integration of Ireland into the economic orbit of the English state.

The massacres at Drogheda and Wexford were not aberrations; they were the terroristic enforcement of a new property regime. The plantation system, the redistribution of confiscated land, and the suppression of Catholic political power were essential to the formation of a capitalist agrarian economy in Ireland. Cromwell’s imperial violence thus reveals the global dimension of bourgeois revolution, in which the consolidation of capitalist relations at home is inseparable from colonial domination abroad.

No Marxist interpretation can treat Cromwell’s Irish campaign as an aberration. It was a constitutive moment in the formation of the English capitalist state. This review notes that Cromwell’s anti Catholicism “was prevalent amongst the rising bourgeoisie,” and that his actions contributed to “the development of Irish nationalism.” Yet the deeper significance lies in the campaign’s role in land expropriation, plantation, and the restructuring of property relations. Ireland became a laboratory for colonial domination, where religious ideology justified the violent imposition of a new economic order.

Cromwell’s Historical Legacy: Destruction as Creation

Gentles’ conclusion that Cromwell’s achievements were “chiefly destructive” reflects a failure to grasp the dialectical nature of revolutionary transformation. As the reviewer rightly insists, “revolutions by their nature are destructive, but out of that destruction… something new and better arises.” The destruction of the monarchy, the episcopal church, and the feudal aristocracy was not an end in itself; it was the precondition for the emergence of a new social order.

Cromwell’s legacy must therefore be understood in terms of historical necessity, not moral judgement. He was the agent through whom the old order was shattered and the new one partially constructed. His contradictions were the contradictions of the revolution; his violence was the violence of a class in the process of becoming dominant; his failures were the failures of a bourgeoisie unable to stabilise its own victory without recourse to authoritarianism. Cromwell is thus neither hero nor villain, neither saint nor tyrant. He is the historical form through which the English bourgeois revolution passed: a figure at once indispensable and tragic, creative and destructive, revolutionary and conservative.

Conclusion: Cromwell as the Dialectical Figure of Transition

To reinterpret Cromwell from a Marxist standpoint is to restore the revolution’s social content and to situate his actions within the structural transformation of English society. Cromwell was not the author of the revolution but its instrument; not the creator of capitalism but its midwife; not the embodiment of liberty but the agent of a new form of domination. His life and career reveal the contradictory unity of destruction and creation, mobilisation and repression, national liberation and colonial violence.

Cromwell stands, therefore, as the dialectical figure of transition: the political condensation of a class in motion, the military executor of a collapsing feudal order, and the unstable architect of a nascent capitalist state. His contradictions are the contradictions of the bourgeois revolution itself, and his legacy is inseparable from the world that revolution made possible.Gentles concludes his biography by asserting that Cromwell’s “achievements were chiefly destructive.” This reviewer rightly objects that “revolutions by their nature are destructive, but out of that destruction… something new and better arises.” A Marxist analysis insists that Cromwell’s apparent contradictions—radical and conservative, liberatory and repressive, democratic and authoritarian—are not personal inconsistencies but the necessary contradictions of a class in the process of becoming dominant.

 

Monday, 23 April 2012

Bandit Queen commented on The English Civil War- Trial of The King Killers

Excellent drama and history of the trials of the men who killed Charles I and the revenge of the monarchy that they tried to abolish, the sources are well represented here and here their own words and testimony. It was brilliant.

   

Saturday, 21 April 2012

Nick commented on Oliver Cromwell: God's Warrior and the English Revolution (British History in Perspective) Professor Ian Gentles


I really enjoyed this review - thanks for posting it, I must get round to reading Gentles's book soon.

On the subject of Cromwell and the junto, I don't think it's disputed that he was involved in its fringes during the early 1640s. His links to Oliver St John and through that to the circle around the Earl of Warwick and Viscount Saye and Sele are well documented. Where historians disagree - and ultimately the evidence is too slender to prove either way - is quite how much a part of the circle he was.

It's possible to see his interventions in the Long Parliament in 1640/41 as naive and over-reaching, misjudging the politics of the day, but equally they can be represented as Cromwell flying kites for the junto in full knowledge that they might get watered down (but recognising someone needed to start negotiations). 

Personally, I think Cromwell's involving in freeing John Lilburne points more towards the latter, but whichever the interpretation you take it's clear Cromwell was only a minor player at this stage.

John Adamson is good on this in his chapter on Cromwell and the Long Parliament in John Morrill's "Oliver Cromwell and the Puritan Revolution".



Friday, 20 April 2012

A Short Q&A with Professor Ian Gentles.

Professor Ian Gentles is the author of a new biography of Oliver Cromwell. To compliment my review I asked him a few questions

Q. What made you write another biography of Cromwell?

A. I wrote this biography because the publisher invited me to.  In addition, I am fascinated by Oliver Cromwell, and believe that I understand the 'inner man’ better than most historians, especially his religion, which is of such key importance in understanding him. Finally, I believe I had some original information and insights to impart.  Through my research in the Close Rolls (NA, C 54) I turned up material on his personal finances of which no one else was aware.  I am also the first person to draw public attention to the "Fleetwood Chest", his wedding gift to his daughter Bridget, now held in the Collins Barracks Museum in Dublin.  I believe also that I have successfully interwoven his political and military careers and shown how they were interconnected, and influenced each other.

Q Are you aware that Prof john Morrill and his team are working on a new critical edition of the collected works of Oliver Cromwell.

A. Yes, I know about the forthcoming critical edition.  John Morrill is a good friend of mine, and we have discussed many aspects of Cromwell's life. The critical edition will be most welcome since WC Abbott's edition is unsatisfactory in many respects.

Q How do you see the current historiography on Oliver Cromwell

A.It is striking that new material on Cromwell is being turned up all the time.  In particular Patrick little has written about the Protectorate, as well as Cromwell's daughters' marriages, his interest in horses, and music, and his sense of humour.  Andrew Barclay has written a valuable study of Cromwell's early life, in which he has solved the puzzle of how Cromwell managed to get elected for the borough of Cambridge in 1640.  Both Little and Barclay have kindly shared with me their research findings in advance of publication.  Blair Worden is preparing a keenly-awaited intellectual biography of Cromwell.

Q What are you working on now.

A.This summer I am writing the biography of Col. Thomas Pride for the History of Parliament, and preparing a keynote address to the Midwest Conference on British Studies on the state of play in Civil War studies.  My longer-term project is a book on Ireland and England in the 16th and 17th centuries, with particular attention to the plantations of the 1650s.



Tuesday, 17 April 2012

Kate Chidley commented on http://keith-perspective.blogspot.co.uk/2010/08/on-katherine-chidley-1616-1653.html


I'd love to find that she was my ancestor ! you go.girl.l've read somewhere that she harangued Cromwell, saying they had promised all would be equal, but, quoting Orwell, some were more equal than others, i.e. men more equal than women. Is it possible to find pamphlets online? What a lady,

Reply

Thank you for the comment. Can you remember where you saw that she met Cromwell? I have just finished an article on Women Levellers and the English Revolution for the blog Hoydens and Firebrands which includes some stuff on Chidley.

If you like I can send you some stuff I have on her. It is true she was quite a lady and apparently one of many. Maybe you should do some research on whether she was a relative. Chidley does not strike me as a common name, where are you from.

Best Wishes

Keith Livesey


Wednesday, 11 April 2012

Newton commented on winstanley Review

I became excited by Winstanley et. al. through Hill's World Turned Upside Down in the 70s, about the time Kevin Brownlow was creating his movie. Much later, after Christopher Hill gave a talk (on Bunyan), I asked him about the Diggers from the sixties.

I noted, that Emmet Grogan's autobiography, Ringolevio mentions that they decided on calling their NYC group (transplanted to San Francisco) the Diggers after reading an English history book.

I asked what that the book would have been since WTUD came out after the Digger moment.

He smiled with delight to remind me, of course, that he had been writing about the Diggers at length at least since the edited collection of documents, The Good Old Cause, in 1949.   

Monday, 9 April 2012

Winstanley [DVD] [1975] Director Kevin Brownlow and Andrew Mollo

“We could certainly do with a new Winstanley to help today” Kevin Brownlow

“You poor take courage; you rich take care/This Earth was made a Common Treasury for everyone to share/All things in common, all people one “.Diggers Song.

Winstanley is the stunning 1975 film about the 17th-century revolutionary Digger Gerrard Winstanley. To begin with, anyone who is looking to view this movie should at least have a basic understanding of the English revolution. To get even more enjoyment out of the movie, they should acquaint themselves with the left-wing of that revolution the Diggers and to a lesser extent the Ranters.

The film has as one writer put It a “stark monochrome beauty” to it. The film style pays homage to the Russian filmmaker Sergei Eisenstein. The film was clearly a labour of love for Brownlow and Mollo with a large degree of perfection for detail and costume. Winstanley was produced on a minuscule budget £24,000 with a volunteer cast apart from one professional actor, first shown in 1975. This review is of the digital re-mastering carried out by the British Film Institute.

What was Brownlow’s inspiration from making this film? Like many people he had become disillusioned with the political set up (this was in 1975),” The Labour Party is no longer the Labour Party. Nor is the Conservative Party. You can hardly tell the difference. We are in a real mess. And I don’t know where we’re heading.”.

Why should anyone want to see this film and what relevance does it have today. Like under four hundred years ago we live in a time of wars, revolution and economic upheaval. Social inequality still exists, and democracy does not exist for millions of people. So in this respect, we are not so far away from the people who fought in the English Civil War.


According to the writer Marina Lewycka who worked on the film “ it is no coincidence that there should have been a renewed surge of interest in Winstanley and the Diggers in the 1960s and 1970s, at a time when the spirit of revolution was out on the streets, and latter-day Diggers were occupying campuses and squatting houses and apartment blocks. I was a starry-eyed young PhD student in 1970, researching radical thought in the 17th century. What drew me to Winstanley was not only his political radicalism but that he seemed to have a "psychological" understanding of the biblical narrative, unusual at that time, as an allegory of the struggle between good and evil which took place in every human heart”.

The director of Winstanley Kevin Brownlow like some people had not heard of his subject matter before starting work on the film. The fact that the movie is so good is, even more, testimony to him and co- director Andrew Mollo’s enthusiasm to learn about Winstanley and apply that learning with such startling effect.

Lewycka explains the ethics behind the making of the film “in some ways, the making of the movie Winstanley mirrored the endeavour of the original Diggers. It was an enterprise held together by a shared belief that commitment was more important than money, a lack of hierarchy that occasionally bordered on the anarchic, the spirit of voluntarism, good humour, camaraderie, stoicism in the face of setbacks, and a willingness to submit to the rigours of English dirt and English weather in pursuit of a higher purpose. Like Winstanley, we had our priorities straight. We knew that fame, fortune and ambition were not what it was about; what mattered was doing it properly”.

It is only recently that a systematic study of Winstanley has started to emerge. The recent publication of his collected works is one indication of the trend to restore Winstanley to his place as one of the most prominent figures of the English civil war.

He is certainly a figure that according to Christopher Hill who turned the world upside down.
His form of utopian communism was influenced by John Lilburne and his fellow Levellers. But in ideological terms, he went further than the Levellers in both actions and words.

The egalitarian nature of his philosophy was captured in his pamphlet “The New Law of Righteousness”, written in 1648. “Selfish imaginations”, he said had lead one man to rule over another. “But everyone shall put their hands to till the earth and bring up cattle, and the blessing of the earth shall be common to all,” “When a man hath need of any corn or cattle, take from the next store-house he meets with. There shall be no buying and selling, no fairs or markets, but the whole earth shall be the common Treasury for every man.”

Cromwell does not appear in the film which is a pity because along with Ireton he was the chief ideological opponent of the Levellers, Diggers and Ranters not Fairfax who does appear in the movie. Cromwell’s rebuke to Winstanley “What is the purport of the levelling principle but to make the tenant as liberal a fortune as the landlord. I was by birth a gentleman. You must cut these people in pieces, or they will cut you in pieces.”

Winstanley founded his commune of Diggers at St George’s Hill, Surrey. The film portrays with heartbreaking accuracy the tremendous poverty of the people belonging to the commune. Who also faced increasing violence at the hands of both New Model Army soldiers and the local population.

The commune was to last only two years. Within in that two years, other communities began to spring up, but these were eventually dissolved. In many ways, this was a movement way ahead of its time.

The film has mixed reviews which are a little harsh as Brownlow admits “No artist is ever satisfied. We did the best we could at the time. ”I wanted to be a professional director, making films with a social context here or in Hollywood, If I hadn’t made those first two features outside the industry, and taken a more regular route, I might have achieved that ambition. Money is essential in making films. If you get enough of it, it gives you time to make them properly – and time ensures quality. That’s why cheap pictures are usually so awful and why Hollywood spends hundreds of millions to achieve the standards of epics like Titanic.”

Winstanley is a superb film. See it if you can. More could have done to explore the ideological differences that occurred during the war. Perhaps in this one case more money would have helped. Having said that Winstanley is still a little gem.

Notes
(1) Kevin Brownlow’s Winstanley: Warts and All, 320 pages UKA Press (8 May 2009)ISBN- 1905796226

(2) The Complete Works of Gerrard Winstanley Hardcover Thomas N. Corns (Editor), Ann Hughes (Editor), David Loewenstein (Editor) OUP Oxford (24 Dec 2009)