The Arctic Sublime
Robert W. Rix
Abstract
‘The Arctic sublime’ was a Romantic subcategory in its own right because of the period’s fascination with Arctic vastness and awe-inspiring icescapes. This chapter examines some of the famous representations of the Arctic sublime, including Mary Shelley’s Frankenstein and Caspar David Friedrich’s painting Das Eismeer , but also lesser-known texts that illustrate the intense contemporary engagement with northern climes. The sources that were available to the public and helped create an image of the Arctic were not only literary or artistic representations but also travel accounts and stories of shipwrecks. The chapter traces the patriotic celebrations of explorers braving the deadly terrors of the Arctic as well the discourse that developed around the optical mirages and illusions in high latitudes. The latter are particularly pertinent as they fitted into a Burkean sense of sublime psychological disruption and disorientation. The chapter shows how the public could – virtually – occupy the Arctic and experience the thrill of its sublime landscapes in books and at exhibitions, while the actual Arctic remained enigmatic and unconquerable.