This may have had something to do with her sudden and exceptional success, when at barely twenty, and with no training except what heredity might give her, she "took the town [and the country] by storm" as Juliet, and very soon afterwards "carried" America likewise. But her "records" of these and other things are of almost the first quality: and this power of "recording" continued and was perhaps stimulated by the less as well as the more fortunate events of her life. It may be said indeed that in her time a young woman of full age (she was five and twenty), unusual experience of the world, and still more unusual wits, had no business to marry a planter in the Southern States, knowing that she was to live there, unless she had reconciled herself to the institution of slavery. Nor can anybody without prejudice deny this. But the inconsistency and the troubles it developed gave occasion to some very remarkable "recording," and the same had been the case earlier with her life, whether at home, on the stage, or in society, and was the case later whether she lived in England, in the Northern States, or on the Continent of Europe. Perhaps you never exactly like her: an unusual experience in the reading of letters, which for the most part are singularly reconciling from the mere fact of their explanatory quality. There is indeed no better confirmation of the well-known French saying tout comprendre c'est tout pardonner. Here, however, there are, as elsewhere, exceptions – Gray being perhaps one45 as our present subject is another. But there are few things more interesting, though their interest may be somewhat tragic, than the spectacle of the way "things go wrong" so easily, so finally, so fatally. Fanny Kemble had a sister Adelaide, afterwards Mrs. Sartoris, with whom everything appears to have gone right: but with herself it "seemed otherwise to the Gods." And her letters or memoirs, or whatever they are to be called, are the record thereof, as well as of other things.
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