"Do not trust the cheering, for those persons would shout as much if you or I were going to be hanged"
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Crowd applause, Cromwell implies, is less a moral verdict than a reflex: loud, contagious, and terrifyingly indifferent to what it’s actually endorsing. The line lands with the brutality of someone who’s watched public feeling pivot overnight. “Cheering” sounds benign until he yokes it to hanging, a jarring switch that exposes the crowd’s capacity to celebrate punishment with the same gusto it celebrates triumph. He’s not just warning against vanity; he’s warning against confusing noise with legitimacy.
The intent is tactical as much as philosophical. Cromwell, a soldier-politician in a civil war culture of pamphlets, sermons, and street rumor, understood that popularity is an unstable weapon. Today the mob crowns you; tomorrow it demands your head. By choosing the scaffold as his comparison point, he isn’t being melodramatic so much as historically literate: in revolutionary politics, leaders routinely become liabilities, then examples. The subtext is self-discipline. Don’t let acclaim soften your judgment, don’t mistake momentum for righteousness, and don’t outsource your conscience to the crowd’s lungs.
There’s also an implied critique of spectatorship: people cheer because cheering is what crowds do. It’s performance, social proof, a way to belong. Cromwell’s cynicism is pragmatic, not nihilistic. He isn’t rejecting public opinion; he’s insisting it’s fickle, and therefore unusable as a compass. In an era where “the people” was becoming a political force, he offers a grim rule: treat applause as weather, not as a mandate.
The intent is tactical as much as philosophical. Cromwell, a soldier-politician in a civil war culture of pamphlets, sermons, and street rumor, understood that popularity is an unstable weapon. Today the mob crowns you; tomorrow it demands your head. By choosing the scaffold as his comparison point, he isn’t being melodramatic so much as historically literate: in revolutionary politics, leaders routinely become liabilities, then examples. The subtext is self-discipline. Don’t let acclaim soften your judgment, don’t mistake momentum for righteousness, and don’t outsource your conscience to the crowd’s lungs.
There’s also an implied critique of spectatorship: people cheer because cheering is what crowds do. It’s performance, social proof, a way to belong. Cromwell’s cynicism is pragmatic, not nihilistic. He isn’t rejecting public opinion; he’s insisting it’s fickle, and therefore unusable as a compass. In an era where “the people” was becoming a political force, he offers a grim rule: treat applause as weather, not as a mandate.
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