This chapter first walks readers through Kant’s critical theory of the sublime before tracing this Kantian sublime in a selection of German Romantic-period cultural texts. One of Caspar David Friedrich’s most famous paintings, The Monk by the Sea, and Heinrich von Kleist’s equally awesome review of it, are read through a (post-)Kantian lens. The chapter then explains how Kant’s model of the sublime was decisively re-interpreted by Friedrich Schiller, whose idea of the ‘pathetic-sublime’ made the concept amenable to poetics, particularly so with respect to tragedy and questions of free will and fate. The chapter closes with a discussion of the sublime in German Romantic-period music, focusing on Beethoven’s Fidelio and Ninth Symphony, with the words of the final chorus from Schiller’s Ode to Joy.