Cornish Characters and Strange Events

by S. Baring-Gould

Thomas Harris, hearing him at Bath, proposed that he should sing and act at Covent Garden Theatre, and engaged him for three years at six, seven, and eight pounds a week. Hardly was this agreement made, when Linley, of Drury Lane, offered him twelve pounds a week, and to retain him for five years. But, although only a verbal agreement had been entered into with Harris, Incledon, to his honour, rejected the offer of Linley. It was unfortunate in more ways than one, as he would have profited by Linley's exquisite taste and instruction, as well as have earned nearly double what Harris offered. Moreover, he was very badly treated at Covent Garden, and often not given parts in which he could do himself justice. In 1809 came a rupture, and the managers dismissed him, and Incledon quitted London on a provincial tour. After two years he was re-engaged by Harris, at a salary of seventeen pounds a week, for a term of five years; but he stipulated that he should be given such rôles as suited him. This engagement was not fulfilled, and a fresh quarrel ensued that led to a final rupture at the end of three years, and he quitted Covent Garden for ever, refusing even to sing in the Oratorios performed there during Lent.

He had made his first appearance at Covent Garden in October, 1790, as Dermont in The Poor Soldier, by Shield. His vocal endowments were certainly great; he had a voice of uncommon power and sweetness, both in the natural and falsetto. The former was from A to G, a compass of about fourteen notes; the latter he could use from D to E or even F, or about ten notes. His natural voice was full and open, and of such ductility, that when he sang pianissimo it retained its original quality. His falsetto was rich, sweet, and brilliant, and totally unlike the other. He could use it with facility, and execute in it ornaments of a certain class with volubility and sweetness. His shake was good, and his intonation much more correct than is common to singers so imperfectly educated. But he never quite got over his West-country pronunciation. His strong point was the ballad, and that not the modern sentimental composition, but of the robust old school. When Ranzzini first heard him at Bath, rolling his voice upwards like a surge of the sea, till, touching the top note, it expired in sweetness, he exclaimed in rapture, "Corpo di Dio! it was ver' lucky dere vas some roof above or you would be heard by de angels in Heaven, and make dem jealous."

Incledon himself used to tell a story of the effect he produced upon Mrs. Siddons: "She paid me one of the finest compliments I ever received. I sang 'The Storm' after dinner; she cried and sobbed like a child. Taking both my hands, she said: 'All that I and my brother ever did is nothing to the effect you produce.'"

"I remember," says William Robson, in The Old Playgoer, "when the élite of taste and science and literature were assembled to pay the well-deserved compliment of a dinner to John Kemble, and to present him with a handsome piece of plate on his retirement, Incledon sang, when requested, his best song, 'The Storm.' The effect was sublime, the silence holy, the feeling intense; and while Talma was recovering from his astonishment, Kemble placed his hand on the arm of the great French actor, and said in an agitated, emphatic, and proud tone, 'That is an English singer.'" Marsden adds that Talma jumped up from his seat and embraced him.

Incledon sang with great feeling, and in "The Storm" he was able to throw his whole heart into the ballad, for not only had he encountered many a storm at sea, but he had been shipwrecked on a passage from Liverpool to Dublin, on the bar. Some of those on board were lost, but he saved himself and his wife by drawing her up to the round-top and lashing her and himself to it. From this perilous position, after a duration of several hours, they were rescued by some fishermen who saw the wreck from the shore.

Incledon belonged in town to "The Glee Club," composed of Shield, Bannister, Dignum, himself, and one or two others. It met on Sunday evenings during the season at the Garrick Coffee House, in Bow Street, once a fortnight. At one of these little gatherings Incledon was amusingly hoaxed. Though an admirable singer, he was a shockingly bad actor. When he came in one of the party informed him that an intended musical performance for a charitable purpose, in which he, Incledon, was to sing, had been abandoned, on account of the Bishop of London objecting to an actor performing in church. Incledon, who was an extremely irritable man, broke out in a violent strain, conceiving the word actor to have been employed as a term of reproach, and addressing himself to Bannister, said with great vehemence, "There, Charles, do you hear that?" "Why," said Bannister, "if I were you, I'd make his lordship prove his words."

Incledon one day was at Tattersall's, when Suett, the actor, also happened to be there, and asked him whether he had come to buy a horse. "Yes," said Charles, "I have. I must ride, it is good for my health. But why are you here, Dickey? Do you think that you know the difference between a horse and an ass?"

"Oh, yes," replied the comedian. "If you were among a thousand horses, I would know you immediately."

There was a public-house in Bow Street called "The Brown Bear," which was famous for a compound liquor, a mixture of beer, eggs, sugar, and brandy. Incledon and Jack Johnstone were partial to this, and frequently indulged themselves with it during the evening at the theatre, and, as a jest, occasionally obtained it in the following manner. When there happened to be several ladies of the theatre in the green-room, they took that opportunity to represent to them the hard case of the widow of a provincial actor, left with her children in great distress, and to solicit from them a few shillings to enable them to purchase some flannel during that inclement season. Having obtained contributions, they despatched the dresser to "The Brown Bear" for a quart of egg-hot, and had the modesty not to drink it all themselves, but to present a glass to each of the females who had subscribed, requesting them to drink to the health of the widow and the flannel. When Incledon and Johnstone had practised this trick several times, Quick, the comedian of the same theatre, bribed the dresser to infuse into the mixture a dose of ipecacuanha, and that brought the joke to an end. But the mixture thenceforth, without the last ingredient, was popularly called Flannel.

Incledon was a notoriously vain man. Vanity was his besetting sin. "In pronouncing his own name," says Mr. Matthews, "he believed he described all that was admirable in human nature. It would happen, however, that this perpetual veneration of self laid him open to many effects which, to any man less securely locked and bolted in his own conceit, would have opened the door to his understanding. But he had no room there for other than what it naturally contained; and the bump of content was all-sufficient to fill the otherwise aching void. Incledon called himself the 'English Ballad Singer' per se; a distinction he would not have exchanged for the highest in the realm of talent. Among many self-deceptions arising out of his one great foible, he was impressed with the belief that he was a reading man."