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In the preface to A Tale of Two Cities, Charles Dickens recalls that he conceived of the idea for the novel while staging a scene from Collins’ play The Frozen Deep with his children. Building on this account of the story’s theatrical inspiration, public displays or acts of performance are prominently featured throughout the novel and punctuate moments of collective unrest, false behavior, or political corruption. From the showcasing of the guillotine executions to the characterization of crowds as active audiences, dramatic tropes, forms, and terms are frequently employed throughout the text. This article explores the theatrical imagery of A Tale of Two Cities as it communicates a political statement, contributes to the narrative as a whole, and engages with established dramatic traditions from the period, such as melodrama. To that end, it specifically considers the use of melodramatic conventions in the court scenes to demonstrate Dickens’s “politics of performance” in the novel.