THE OTHER SIDE.

THE following review of Ruth Hall is from the pen of a talented woman, far above any feelings of pique or jealousy.

"Our first recollections of 'Fanny Fern' are connected with her appearance in the Olive Branch a few years since. We were then entirely ignorant of her real name and position, nor did we, in common with the indifferent public, feel any particular interest or curiosity respecting them. The impression of the careless reader would have been that the spicy scraps bearing this signature were the production of some hoydenish school-girl, ambitious to see her writings in print. With the supposition that they were the work of a young lady, was associated an indefinite, but

slightly painful feeling that the writer was not sufficiently endowed with female delicacy. While a perfect sketch, artistically wrought out, and disfigured by no defects of style or coarse inuendoes, partially filled a column, the same column often contained another article, full of these blemishes. Vulgar expressions and exclamations were often used, though when these writings were afterwards collected and published in a book, these were carefully pruned away. Some judicious friend had evidently guided the pen to strike out phraseology which would have been injurious if not fatal to Fanny's rising fame. Whether this judicious friend was the 'Mr. Tibbetts' through whose agency her first work was introduced to the publishers, who received and forwarded to her all the proofs, reading the whole aloud to her as fast as it appeared in type, we are not able to say. Upon 'Fern Leaves,' and successive volumes, thus carefully pruned of what too plainly revealed a certain coarseness in the habits of thought of the writer, the public has doubtless passed a just verdict. With the fame thus won, and the independence thus secured, would that 'Fanny Fern' had been satisfied.

We do not intend to attempt an elaborate review of 'Ruth Hall.' As a novel it will not

bear it. We have read it through twice without catching any clew to its merits or intentions as a work of art. Disjointed fragments of what should be a beautiful and complete edifice, are all that meet the eye. As in the newly discovered remains of ancient cities, monstrous faces, caricatures of humanity, glare upon us when we look for 'the human face divine.' One cannot but feel that the mind of the artist must have been itself deformed to have designed such monstrosities. On looking over the preface, we perceive that the author disclaims the intention of writing a novel. We will therefore examine 'Ruth Hall' as an auto-biography.

"A work which appears before the world, heralded as such, with the evident intention of being so understood, should above all else, be distinguished for truth. Exaggerated, instead of correct descriptions, imaginary instead of real conversations and letters, which if genuine, have no point, and if fictitious, no interest, should not have been admitted to its pages. The work abounds in these. If 'Ruth Hall' is 'Fanny Fern,' then the incognito of the latter is forever laid aside. Half the charm attached to her writings has already vanished. She is no longer a 'Maid of the Mist,' whose silvery veil conceals

deformities and enhances beauties, but plain 'Fanny Fern;' and 'Ruth Hall' is 'Fanny Fern' described by herself. Let us look at this description.

""Ruth Hall' is not without vanity. In the very first chapter, 'her lithe form had rounded into symmetry and grace, her slow step had become light and elastic, her smile winning, and her voice soft and melodious.'

"Again on page 48th.

'It was blessed to see the love light in Ruth's gentle eyes ; to see the rose chase the lily from her cheek; to see the old spring come back to her step; to follow her from room to room while she draped the pretty white curtains, and beautified unconsciously everything she touched!'

"We have not space for farther quotations, but must refer our readers to the 59th, 61st, 70th, and other pages of the work, not forgetting the lengthy and flattering phrenological description commencing at page 278.

"Another very striking characteristic of 'Ruth Hall' is her want of filial piety. If we omit the evidences of this, half the book disappears. Whether the parents of her deceased husband, respect for whose memory at least should have restrained her pen, or her own relatives, become

the subjects of her notice, vulgar ridicule and pointless wit are unsparingly lavished upon them. Whatever may have been the faults of those connected with 'Fanny Fern's' past history, a decent self-respect should have withheld her from thus parading them before the world. It is well known to the public that 'Fanny Fern' has been twice married, but all allusion to this circumstance is omitted in 'Ruth Hall.' How are we then to know that this suppressed history may not contain a partial justification of the course pursued by her friends? One intimate with her first husband, long ago informed us that she was a 'poor housekeeper,' and 'did not make him a comfortable home.' We have therefore been half inclined to sympathize with 'Mrs. Hall's' lamentations over the missing accomplishment of bread-making.

"But for infringing on the sacredness of communications intended to be private, we could give a different aspect to other allusions in 'Ruth Hall.' Whatever may have been the defects of 'Hyacinth Ellet,' he has never publicly failed to 'know his father and his mother.' The gray hairs which

are a crown of glory when found in the way of righteousness,' should have shielded an aged parent from the irreverent attacks of the daughter, and the hollow cough of an invalid struggling with