Andrew Marvell's "An Horatian Ode" is a multifaceted work that superficially celebrates Oliver Cromwell while subtly weaving in reservations about his legacy. Although the poem ostensibly praises Cromwell’s military and political prowess, it quietly reveals Marvell’s ambivalence. This nuanced portrayal mirrors the complexity of Cromwell's historical impact.

Cromwell: A Force of Nature

Oliver Cromwell is depicted as a formidable and near-mythical figure, likened to "three-forked lightning" and identified as a "greater spirit." Marvell paints him as a divine scourge, sweeping away corruption with an unstoppable force. Through the lines, "’Tis madness to resist or blame/ The force of angry heaven’s flame," Cromwell emerges as a conqueror on par with historical giants like Caesar and Hannibal. Yet, Marvell introduces a sense of lament over the destruction of established institutions. Cromwell’s revolution is portrayed as having "ruin[ed] the great work of time," disrupting the longstanding social and governmental order. In Marvell's eyes, Cromwell is an instrument of fate and power, not of inherent righteousness, as reflected in the lines, "Though justice against fate complain,/ And plead the ancient rights in vain:/ . . . those do hold or break/ As men are strong or weak."

Sympathy for the Fallen King

The poem shifts focus to the monarchy, the greatest institution Cromwell dismantled. Marvell treats King Charles I’s execution with notable sensitivity and empathy. The king is metaphorically portrayed as an "actor" in his final, poignant scene on the scaffold stage, surrounded by "armed bands" who "clap their bloody hands." Marvell acknowledges the dignity and courage of the king, stating, "He nothing common did or mean/ Upon that memorable scene . . . / Nor called the gods with vulgar spite/ To vindicate his helpless right." In this depiction, Marvell emphasizes the human drama, portraying the king not as a villain or adversary but as a courageous prisoner facing his fate.

Layered Meanings and Subtle Critiques

Beneath the overt ambivalence, the poem is rich with puns and double meanings. For instance, the poem opens with a description of Cromwell’s supporters as "forward," a word that can mean either "eager" or "presumptuous," or perhaps both. Additionally, Marvell slyly illustrates Cromwell's transition from a simple farmer to a powerful conqueror and statesman. When describing his past, Marvell notes Cromwell toiled in his "private gardens . . . / As if his highest plot/ To plant the bergamot." Here, "plot" hints at both his agrarian labor and his political aspirations. The mention of "bergamot," a fruit tree whose name suggests a "prince’s pear," may indirectly critique Cromwell’s ambitions for power akin to a royal figure.

Resolution and Reflection

The poem navigates toward a resolution of the tensions in Marvell's ambivalent praise, particularly in the closing sections. Marvell acknowledges Cromwell’s attentiveness to the public’s will, crediting him for laying "his sword and spoils ungirt,/ To lay them at the public’s skirt." However, Marvell also voices a cautionary note about the exercise of unrestrained power. He warns both Cromwell and the public of the potential need for further conflict to sustain such authority: "The same arts that did gain/ A power, must it maintain." This statement serves as a reflection on the cyclical nature of power and the potential cost of its preservation.