Abstract France receives little attention in narratives about the sublime in the late eighteenth and the nineteenth centuries. This article will argue that the cataclysmic tableau at the climax of Cherubini's first opera for the Théâtre Feydeau in Paris,Lodoïska(1791), can be understood as part of a coherent and distinctively French discourse of the sublime, rooted in revolutionary experience that can be understood in relation to wider European trends.
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