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Alexander von Humboldt’s descriptions of volcanic mountains in his travel journals (Reise auf dem Río Magdalena, durch die Anden und Mexico) show both his reliance on and impatience with literary conventions and travel narratives. Using Goethe’s Italienische Reise and Bürger’s Münchhausen as points of comparison for literary treatments of the volcano ascent, Humboldt’s process of writing is examined. Humboldt shows the failure of the existing discourse and begins to experiment with narratives which fragment and recombine personal and historical modes of writing with, in this case, images from new technical inventions which visualize landscape according to fundamental scientific principles. While the inclusion of scientific prose is relevant, Humboldt’s link to modernity is based on experimental narrative techniques which draw upon changing sets of discourse practices to describe complex realities.
Stephen Jay Gould wrote recently that “when Church began to paint his great canvases, Alexander von Humboldt may well have been the world’s most famous and influential intellectual.” Humboldt’s influence in the case of the landscape artist Church is especially interesting. If we examine the precise relationship between the German explorer and his American admirer, we gain an insight into how Humboldt transformed Church’s life and signaled a new phase in the career of the artist. Church retraced Humboldt’s travels in Ecuador and in Mexico. If we compare the texts available to Church and the comparison of Church’s paintings and the texts and images of Humboldt’s works we can arrive at new perspectives on Humboldt’s extraordinary influence on American landscape painting in the nineteenth century.
My essay attends to a number of passages in Alexander von Humboldt’s "Personal Narrative" in which the Prussian explorer expresses anxiety about the apparent dangers posed by the overwhelmingly productive tropical landscapes he observes. In these passages, the excesses of an “exotic nature” threaten European identity and modes of civilization—and they trouble the accuracy of Humboldt’s own observational project. I also explore Humboldt’s related worry that South American vegetable (and visual) overload will exert a destabilizing effect on his aesthetic sensibility, disrupting his ability to represent the “New Continent” accurately in writing. Finally, I sketch the influence of Humboldt’s representations of tropical excess on nineteenth-century British cultural thought and literary practice. Studying the instabilities experienced by "Personal Narrative’s" expatriates and colonists promises to draw out important tensions latent in Humboldt’s treatment of tropical landscape and to illuminate broader epistemological and aesthetic shifts being worked out during the period.
Together with their wives Otto and Richard Schomburgk arrived in Port Adelaide (South Australia) on August 16th 1849. The essay looks at how these two brothers, who had received their scientific training and promotion in the circle surrounding Alexander von Humboldt, reacted to the unfamiliar conditions in the young British colony. Some indication will be given as to the differences between the Schomburgk brothers treatment of the natural resources of the new colony and that of the English colonists of the time.