who regretted that her sister had not devoted herself to the drama apart from music, her acting seemed to be hampered by her singing. But in reviewing Adelaide's career (ib. ii. 293), she remarks: ‘In both Pasta and Adelaide the dramatic power was so great as to throw their musical achievements in some degree into the shade.’
Mrs. Sartoris's ‘Week in a French Country House’ was published in 1867, and reissued, with a preface by [Lady] Richmond Ritchie, in 1902. ‘Medusa and other Tales’ (1868) were republished, with additions and a preface by her daughter, Mrs. Gordon, under the title of ‘Past Hours,’ London, 1880, 2 vols.
[Mrs. Butler's (i.e. Fanny Kemble's) Records of a Girlhood, passim; her Records of a Later Life, passim; her Further Records, passim; Chorley's Thirty Years of Musical Recollections, i. 112; Morning Post, 14 May 1835, 3 Nov. 1841, 14 Jan., 16 March, 8 April, 3 Oct., 30 Nov., and 23 Dec. 1842; Athenæum, 16 Aug. 1879; Era, 17 Aug. 1879; Grove's Dict. ii. 50, 699, iii. 229.]
KEMBLE, CHARLES (1775–1854), actor, fourth and youngest son of Roger Kemble [q. v.] and Sarah his wife, was born at Brecon, South Wales, 25 Nov. 1775, and in his thirteenth year was sent by his brother, John Philip [q. v.], to the English College at Douay. Returning to England he obtained a situation in the post-office. In opposition to the counsels of his brother he took to the stage, and made his second appearance, the first being unrecorded, at Sheffield, towards the close of 1792 or beginning of 1793, as Orlando in ‘As you like it.’ After playing parts beyond his strength in Newcastle, Edinburgh, and other country towns, he made his way, through his brother's influence, to Drury Lane, where he appeared, 21 April 1794, as Malcolm in ‘Macbeth.’ His early performances were unsuccessful, mainly owing to his ungainly figure. It was said concerning him that during thirty years he steadily improved. Jaques de Boys in ‘As you like it,’ Cromwell in ‘King Henry VIII,’ and Belville in the ‘Country Girl’ were among the parts played in his first season. On 28 Oct. 1794 he was the original Count Appiani in ‘Emilia Galotti,’ translated from Lessing, and on 28 Feb. the original Henry Woodville in the ‘Wheel of Fortune.’ During 1795–6 he played Carlos in ‘Isabella,’ Lawson in the ‘Gamester,’ Octavio in ‘She would and she would not,’ Paris in ‘Romeo and Juliet,’ Laertes, Celadon in ‘Celadon and Florimel,’ Saville in the ‘Belle's Stratagem,’ &c. He was also Pascentius in the ill-starred production of ‘Vortigern.’ Lovel in ‘High Life below Stairs,’ Ferdinand in the ‘Tempest,’ Guiderius in ‘Cymbeline,’ Philotas in the ‘Grecian Daughter,’ followed. In the summer season, or when not playing at Drury Lane, Kemble appeared at the Haymarket, where he was, on 29 July 1791, the first Jammy (Jamie) in ‘Auld Robin Gray.’ At the Haymarket as Hotspur, Wilford in the ‘Iron Chest,’ Vivaldi in the ‘Italian Monk,’ Bassanio, and Cassio, he rose steadily in public favour. Richmond in ‘Richard III’ was essayed at Drury Lane on 25 Sept. 1798; Claudio in ‘Measure for Measure’ followed, and as Norval in ‘Douglas,’ 27 Dec. 1798, he took a principal part in tragedy. In many of the new plays in which John Philip Kemble and Mrs. Siddons appeared Charles Kemble took a part, and he originated many rôles in comedy. In the first performance of ‘Pizarro,’ 24 May 1799, he was Alonzo. In July 1800 he made a considerable reputation at the Haymarket as Three-Fingered Jack in Fawcett's pantomime of ‘Obi,’ and on 15 July 1800 was the original Durimel in ‘Point of Honour,’ 8vo, 1800, his own three-act adaptation of Mercier's ‘Le Déserteur,’ a five-act piece given at the Théâtre Italien in 1782. Charles in the ‘School for Scandal,’ Falconbridge, Edmund in ‘Lear,’ Young Mirabel in the ‘Inconstant,’ belong to this season, in which his value as a comedian began to be recognised. He was, 4 May 1801, at Drury Lane, the original Adelmorn in ‘Monk’ Lewis's ‘Adelmorn the Outlaw,’ Lothario, Florizel in the ‘Winter's Tale,’ Sir Brilliant Fashion in ‘The Way to keep him,’ and, at the Haymarket, Frederic in ‘Lovers' Vows’ and Dick Dowlas. In the Drury Lane season of 1802–3 he added to his repertory Cromwell, Chamont, and some new parts; and was, 19 May 1803, Hamlet, a performance which the ‘Monthly Mirror’ says added greatly to his reputation.
After a trip to Vienna and St. Petersburg, necessitated by a threatened loss of voice, Kemble joined his brother at Covent Garden, appearing on 12 Sept. 1803 as Henry in ‘Speed the Plough.’ On 19 Feb. he played Romeo. Pyrrhus in the ‘Distressed Mother’ and very many important parts were now taken by him. On the first appearance of Master Betty, 1 Dec. 1804, Kemble spoke an occasional address. On 2 July 1806 he married Miss de Camp, who henceforth acted as Mrs. Charles Kemble [see Kemble, Mrs. Maria Theresa]. He was, on 10 Feb. 1807, the original Plastic in Morton's ‘Town and Country,’ and on 8 May Peter the Great in Cherry's piece of that name. His own adaptation in three acts, from Kotzebue, ‘The Wanderer, or the Rights of Hospitality,’
