神格化的護國公：試論十七世紀版畫的克倫威爾形象

當傳統君權符號隨著國王查理一世（Charles I, 1600-1649）的處刑而消亡之際，不論是另闢蹊徑或援引前朝，新的政府需要建立一套新的政治記號與符號體系來與之因應。本文試圖藉由一張1658年印行，以克倫威爾（Oliver Cromwell, 1599-1658）為主題的版畫《英格蘭的混亂暨其成就，與將來臨的自由與幸福之寓意畫》（Theembleeme of Englands distraction as also of her attained, and furtherexpected Freedome, & Happines）為例子，討論當時人們怎麼看待英格蘭歷史上前所未有的共和政府的統治者。畫中克倫威爾身著戎裝，描繪為傑出的軍事與宗教領導者，及運用自身德行與軍事長才領導國家篳路藍縷邁向永久和平境地的虔誠信徒。他領受三個國家——英格蘭（Anglia）、蘇格蘭（Scotia）與愛爾蘭（Hiberntia）——所獻上的桂冠。相較於當時英國本土的作畫風格，這類運用了大量宗教圖像與符號的作品並不多見。該畫的存在呈現了克倫威爾當時給予世人複雜觀感的一面。

Once the traditional monarchical symbols were removed after the execution of Charles I (1600-1649) in 1649, the new government needed to establish a new system of political signs and symbols either original or imitating earlier images. Therefore, this essay attempts to analyze an engraving ‘The embleem of Englands distraction as also of her attained, and further expected Freedom, & Happines’. In this engraving, Cromwell is portrayed in armour as a great military and religious leader, a godly man who led his country through all the troubled waters of the civil war and reached an eternally peaceful settlement through both his virtues and his military force. He is shown with the laurels of three kingdoms personified as Anglia (England), Scotia (Scotland) and Hiberntia (Ireland). Compared with other printings during that era, it is an unusual work which contains a large amount of symbolic messages. It shows how much effort and ingenuity was required to portray Cromwell as a convincing ruler.