THE PASTOEAL AND ROMANTIC. 



IT is usual to refer the sensations produced by the dif- 

 ferent objects of nature to some one of the general 

 heads of the sublime, the beautiful, or the picturesque. 

 All these terms are exceedingly vague, expressing, 

 without clearly distinguishing, a great diversity of feel- 

 ings and sentiments. By separating the ideas con- 

 veyed by them into more specific divisions, though we do 

 not thereby escape a certain vagueness of signification that 

 attaches to aH metaphysical terms, we render them more 

 distinct and intelligible. The word " picturesque " will 

 not express the character of all those objects which could 

 not be correctly described either as beautiful or sublime. 

 There are descriptions of scenery that may properly be 

 denominated pastoral and romantic, others rude, dreary, 

 and desolate. Eomantic scenery is usually described as 

 that which is naturally fitted for adventure. Such is all 

 abrupt and mountainous country, interspersed with woods 

 and ravines favorable to escapes from danger and adapted 

 to concealment. 



In a painting or romance the most interesting person is 

 the one who innocently suffers the greatest misfortunes, 

 and individuals of high station and seeming prosperity 

 can become objects of romantic interest only by exposure 

 to some threatening danger, or by actual misfortune. A 

 painting that should represent a lady in her parlor, sur- 

 rounded by the luxuries and refinements of fashionable 

 life, might elicit admiration, but could awaken no po- 

 etic interest. We may admire her beauty, the splendor 



