Abstract
This essay argues that Elizabeth Inchbald’s tragedy, The Massacre (1793), depicts the sufferings of the French, predominately Catholic, émigrés through a historical lens in order to dramatize the politics of memory underlying Romantic‐period sectarian conflicts. Using the dramaturgical technique of the tableau vivant and figuring the stage as a school for transnational sympathy, Inchbald contributes to what Paul Gilroy has called a culture of “cosmopolitan conviviality” that forms community without effacing difference or forgetting the victims of history.
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