likely, from the few "snatches" I have heard him give. By the bye,
excepting the hurried, thick utterance of Incledon when speaking, there
is great resemblance, as far as regards voice, between that singer and
Mr. Young.

As a Shakspearean, I must class next his two sweet songs in "As You Like
it." His was the pipe to be listened to amongst the warblers of
"Ardenne," in Dr. Arne's delicious "Blow! blow! thou Winter's wind," and
"Under the green-wood tree." "Oh!" as Jaques says, "I can suck
melancholy from the recollection of these songs as a weasel sucks eggs."
Then follow Jackson of Exeter's "Lord of the Manor," and Dibdin's
"Quaker" and "Waterman;" pieces after Incledon's own heart; all free,
rich, clear melody, without glitter.

But of all the composers of his own day, Shield[6] was his favourite;
and justly. He furnished him with most of his popular songs. The singer
was the peculiar organ of the composer--his "Thorn," his "Mouth which a
Smile," "Tom Moody," "Heaving the Lead," and many, many others, seem to
have faded away with the voice of the melodist.

[6] Let the lover of melody look over the list of works
published, in the obituary of that beautiful composer!

But I find, were I to run through, as I proposed, all the songs
_peculiar_ to my hero, I should, most likely, tire my reader. The
delight with which I dwell upon them is a species of egotism; I will
therefore only name a few more, and "leave him alone with his
glory."--"Sally in our Alley," the song Addison was so fond of; what an
_association!_ "Post Captain," "Brown Jug." In his decline, even "His
father he lost," and "On Lethe's banks," in Artaxerxes;--hear the