It has unanimously been acknowledged that Thomas Carlyle’s portrayal of the French Revolution in his mammoth History of the French Revolution has been one of the best accounts of the French Revolution written by a British author. Carlyle’s account differs with conventional historians’ in a sense that he liberates history from the morbidity of the printer’s type and presents the past as an action rather than a document. In doing this, Carlyle employs the techniques of theatricality, which is writing in a theatrical mode, writing that articulates the slippage between theatrical and literary discourse i.e. Carlyle becomes the master puppeteer who throws the revolutionary figures into the chaos of the Revolution and controls their actions like a stage director. Carlyle’s stylization deliberately downplays the category of character and reduces the protagonists of the French Revolution to passive vehicles of collective and transindividual forces, rendering them to mere cogs caught up and destroyed by the all-powerful revolutionary machine. According to Schoch, Carlyle believed that “the historian’s task is to restore the past in its bodily integrity through a series of performative acts that institute their authority through their own repetition” (51). In a letter to John Stuart Mill, Carlyle had indicated that “[his] great business was recording the presence, bodily concrete presence of things … not hearsays of things for which ‘Nominative-and-verb’ would always prove insufficient” (134). Carlyle’s insistence on this form of “embodiment” links him to the historical dramaturgy of the Victoria stage. Pictorialism, sensation, overt performative acts, etc. are of the common theatrical conventions that Carlyle uses in the representation of the French Revolution and revolutionaries in his History. The paper endeavours to study the ways in which Carlyle has used these conventions, and the effect that this dramatization of the Revolution has had on the reception of his History in mid-Victorian Britain and on the image of Revolution in the collective mind-set of the period.