both so much greater than she expected, that she was thrown into a state of bewilderment, from which it took her some time to recover.
"You said, mother, that criticism would help me; but how can it, when it's so contradictory that I don't know whether I have written a promising book, or broken all the ten commandments," cried poor Jo, turning over a heap of notices, the perusal of which filled her with pride and joy one minute—wrath and dire dismay the next. "This man says 'An exquisite book, full of truth, beauty, and earnestness; all is sweet, pure, and healthy,'" continued the perplexed authoress. "The next, 'The theory of the book is bad,—full of morbid fancies, spiritualistic ideas, and unnatural characters.' Now, as I had no theory of any kind, don't believe in spiritualism, and copied my characters from life, I don't see how this critic can be right. Another says, 'It's one of the best American novels which has appeared for years'" (I know better than that); "and the next asserts that 'though it is original, and written with great force and feeling, it is a dangerous book.' 'Tisn't! Some make fun of it, some over-praise, and nearly all insist that I had a deep theory to expound, when I only wrote it for the pleasure and the money. I wish I'd printed it whole, or not at all, for I do hate to be so horridly misjudged."
Her family and friends administered comfort and commendation liberally; yet it was a hard time for sensitive, high-spirited Jo, who meant so well, and had apparently done so ill. But it did her good, for those whose opinion had real value, gave her the criticism which is an author's best education; and
