This chapter introduces the wide range of music bound up with the sublime in the Romantic period. This is a time often associated with the triumph of music – and especially ‘autonomous’ instrumental music – as the most sublime of the arts, and with a canon of overwhelming, ground-breaking, transgressive works by great (mostly German) composers. These associations are important, not least as a way of understanding the unease and sometimes controversy that has surrounded the musical sublime since the later twentieth century. Yet equally important to understanding the sublime in the Romantic period is to look beyond monumental instrumental compositions to see how smaller-scale genres and vocal music, alongside performers, listeners and other agents, shaped and contested the sublimity of music, sound and hearing, and left an indelible mark on the broader aesthetic category of the sublime itself.

One of the major aesthetic and philosophical frameworks that has been used to represent and think about the modern environmental crisis is the sublime. This chapter traces how a tradition of the sublime traceable directly to Romantic literature and culture has been used to conceptualize both the forms of nature that we should cherish, such as particular landscapes, and the forms of nature that we should shrink from, such as extreme weather events. The chapter also addresses how in the twenty-first century the sublime, and specifically a ‘Romantic sublime’ based mainly on Kant’s writings, has been condemned as an aesthetic that assumes a distance between human and nonhuman, and which creates a false impression that humans can transcend or solve the environmental crisis. Finally, the chapter considers whether a Romantic eco-sublime might still have a useful role in helping us to think about the nonhuman world and our relationship with it in a time of crisis.

This chapter examines the remarkable growth in the popularity of mountain climbing in Britain during the Romantic period, as adventurous fell-walkers went in search of the sublime. Mountain summits were increasingly seen as the ultimate sublime location and ascent as a near-guaranteed way to experience psychological as well as physical elevation. The chapter explores the links between mountains and the sublime in the period’s aesthetic theories before examining how the literature of British domestic tourism described the sublime pleasures of ascents to British summits. It investigates the relationship between the presentation of sublime experiences on British mountains and those on the higher peaks of the Alps and traces the emergence of Snowdon in Wales, Skiddaw in the Lake District, and Ben Lomond in Scotland as pre-eminent British sublime locations. It shows how, as summits became more crowded, thrill-seeking climbers increasingly ventured to more remote and dangerous locations to experience the sublime.

The Alpine sublime contributed to the Romantic vogue for mountains, but also to the development of Romantic aesthetics and modern subjectivity. This chapter examines a variety of representations of the Alps, including scientific and aesthetic treatises, poems, prose fiction, and painting, as well as more ephemeral documents such as travel journals and visitors’ books. Authors addressed include Rousseau, Ramond, the Duchess of Devonshire, Wordsworth, the Shelleys, Byron, and Ruskin. It argues that the Alpine sublime served as an expression of divine power, human autonomy, and social distinction. Proceeding chronologically, the chapter begins with the Grand Tour, with its scientific, aesthetic, and mythical representations of the Alps, then looks at how the French Revolution appropriated the Alpine sublime, at ways in which Romantic writers responded by making it a private experience, and finally at how tourism helped generalize this modern attitude to mountains.

The Introduction surveys the range and diversity of engagements with the sublime across different areas of enquiry, genres of cultural productivity, and national traditions in late eighteenth- and early nineteenth-century Europe. It explores the close links between ‘the sublime’ and ‘the Romantic’ in academic discourse before outlining the history of ‘the Romantic Sublime’ as a critical construct. It argues for a potential disconnect between what scholars have called ‘the Romantic Sublime’ and how the sublime might actually have been produced, encountered, experienced, and understood during the Romantic period. A selection of key Romantic-period engagements with the sublime are discussed, as are the major scholarly histories of the topic, from the early twentieth century to the present day.

This chapter examines the ‘Critical sublime’ as developed by Kant in the ‘Analytic of the Sublime’ in his Kritik der Urteilskraft. It interprets Kant as adumbrating three features that later become central tropes of the Romantic characterization of sublimity: the sense that its source and ultimate value lie beyond everyday experience; that it involves the subject, rather than any external object, as the immediate and direct object of consciousness; and that the paradigmatically natural phenomena and their qualities that ostensibly excite the experience are less important than the contemplative relationship one takes to them. Consideration of each in turn gives the chapter its narrative structure and divides it into three main sections, ‘Transcendence and the Phenomenal Self’, ‘The Moral Subject Within’, and ‘The “Objects” of Nature and Art’. The discussion concludes with a brief observation on the proto-Romantic sentiment that Kant expresses in his view of poetry and the arts.

This chapter analyzes the redistribution of the Romantic sublime in Victorian culture. Contrary to the assumption that the Victorians seem to have neglected the sublime, it shows how the concept was unpacked into a busy metonymy, first by Thomas Carlyle when he speaks of inverse sublimity. A fit for the world disassembled by the Industrial Revolution and for Charles Lyell’s geology of ongoing planetary transformation, Carlyle’s metonymy heralds the Victorian chthonic sublime, a structure of feeling where affect, once bound in awe, terror and rupture, is reclaimed for melancholia and tasked with the work of mourning. It is a work that finds an emphatic articulation in John Ruskin’s aesthetics and art history, notably in his theory of pathetic fallacy, and in Matthew Arnold’s poetry and criticism, especially in the concept of touchstone, with important critical footholds in the Victorian industrial novel, evolutionary theory and Pre-Raphaelite painting and poetry.

This chapter explores the extensive discussion of the sublime in eighteenth-century English, Irish and Scottish philosophy, often considered as laying the groundwork for the Romantic sublime. The chapter also examines academic histories of these eighteenth-century discussions of the sublime, showing how such histories have at times over-simplified the relationship between competing philosophical approaches and national traditions. The chapter pays particular attention to the increasing centrality of the association of ideas to descriptions of the sublime in Anglophone philosophy, identifying it as a key marker of difference from the German idealist tradition that has been the focus of so many scholarly accounts of the Romantic sublime.

This chapter considers the early modern ‘prehistory’ of the Romantic sublime. It considers the sublime as a type of experience of the natural world that far preceded its formal articulation, taking as examples the volcanic encounters of the Scottish traveller William Lithgow (c. 1582–c. 1645) and the Jesuit Athanasius Kircher (1602–1680). The natural philosopher Thomas Burnet (c. 1635–1715) has often been identified as an originator of the Romantic sublime; this chapter casts him instead as a lynchpin. He was not the first to ‘see’ the great in nature; instead, his theory challenged the theological foundations of many early modern sublime experiences, paving the way for a theory of the sublime that could move beyond the divine. Above all the chapter argues for the value of the vocabulary of sublime experience to describe encounters with the natural world before the Romantic sublime.

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.

This chapter deals with a rarity in Romantic literature: the sublime body. While landscapes tended to be seen as sublime, as outpourings of ever-growing philosophical minds, bodies were more often than not belittled and considered as insignificant husks. While eighteenth-century literature introduced the priapistic sublime into erotic novels, thus juxtaposing demure sentimentality with the burlesque gigantism of the homme machine’s genitals, Romantic poets opened “workshop[s] of filthy creation” where philosophical minds seem to unleash bodies that combine the sublime with the monstrous. Mary Shelley’s Victor Frankenstein, thus, impregnated by the sexualized voices of his Ingolstadt professors, gives birth to a grotesque abortion, whereas a generation before Matthew Gregory Lewis had shown what happens when an abbot’s mind loses control and – in an unparalleled example of Romantic hagio-porn – transforms a Madonna lactans into a Mephistophelean abettor to the devil. Byron even goes a step further when he imagines man’s existence as a voyage on a gargantuan female body, constantly threatened by the jaws of a vagina dentata.