This article demonstrates how the Enlightenment model of sentiment and sympathy is performed in embodied gestures of affective empathy-building, cross-cultural fraternity, and concern for human rights in three Romantic Regency tragedies: Pizarro (1799) by the Romantic dramatist August von Kotzebue, adapted from the German by the Irish dramatist Richard Brinsley Sheridan; Remorse (1813) by the English poet Samuel Taylor Coleridge; and The Apostate (1817) by the Irish dramatist Richard Lalor Sheil. In these plays, protagonists are moved towards sympathy and solidarity with others across cultural divisions and conflict. The discussion also examines how human rights issues are addressed in two plays by Scottish dramatists: Archibald MacLaren’s The Negro Slaves (1799) and Joanna Baillie’s Rayner (1804). Here the protagonists express remorse for engaging in conflict, colonialism, slavery, violence, and human rights abuses against others. All these texts share a common internationalist desire to unite humanity against oppression, injustice, and inequality, advocating human rights, equality, religious tolerance, and cosmopolitan citizenship.

中文翻译：

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人权的体现姿态：浪漫摄政戏剧中的悔恨、情感和同情


本文展示了启蒙运动的情感和同情模式如何在三个浪漫主义摄政悲剧中以情感同理心建设、跨文化博爱和对人权的关注的具体姿态来表现：浪漫主义剧作家奥古斯特·冯·科茨布埃 （August von Kotzebue） 的《皮萨罗》（Pizarro，1799 年），爱尔兰剧作家理查德·布林斯利·谢里丹 （Richard Brinsley Sheridan） 改编自德语;英国诗人塞缪尔·泰勒·柯勒律治 （Samuel Taylor Coleridge） 的《懊悔》（1813 年）;以及爱尔兰剧作家理查德·拉洛尔·希尔 （Richard Lalor Sheil） 的《叛教者》（The Apostate，1817 年）。在这些戏剧中，主人公跨越文化分歧和冲突，与他人产生同情和团结一致。讨论还研究了苏格兰剧作家的两部戏剧如何解决人权问题：阿奇博尔德·麦克拉伦的《黑人奴隶》（1799 年）和乔安娜·贝利的《雷纳》（1804 年）。在这里，主角们表达了对参与冲突、殖民主义、奴隶制、暴力和侵犯他人人权的悔恨。所有这些文本都有一个共同的国际主义愿望，即团结人类反对压迫、不公正和不平等，倡导人权、平等、宗教宽容和世界公民意识。