and perplexing are their accompaniments. Time is a more staid personage, and not so full of gambols. It puts you in mind of a tune with variations, or of an embroidered dress. Surely, nothing is more simple than time. His march is straightforward; but we should have leisure allowed us to look back upon the distance we have come, and not be counting his steps every moment. Time in Holland is a foolish old fellow with all the antics of a youth, who "goes to church in a coranto, and lights his pipe in a cinque-pace." The chimes with us, on the contrary, as they come in every three or four hours, are like stages in the journey of the day. They give a fillip to the lazy, creeping hours, and relieve the lassitude of country-places. At noon, their desultory, trivial song is diffused through the hamlet with the odour of rashers of bacon; at the close of day they send the toil-worn sleepers to their beds. Their discontinuance would be a great loss to the thinking or unthinking public. Mr. Wordsworth has painted their effect on the mind when he makes his friend Matthew, in a fit of inspired dotage, "Sing those witty rhymes About the crazy old church-clock And the bewilder'd chimes." The tolling of the bell for deaths and executions is a fearful summons, though, as it announces, not the advance of time but the approach of fate, it happily makes no part of our subject. Otherwise, the "sound of the bell" for Macheath's execution in the "Beggar's Opera," or for that of the Conspirators in "Venice Preserved," with the roll of the drum at a soldier's funeral, and a digression to that of my Uncle Toby, as it is so finely described by Sterne, would furnish ample topics to descant upon. If I were a moralist, I might disapprove the ringing in the new and ringing out the old year. 'Why dance ye, mortals, o'er the grave of Time?' St. Paul's bell tolls only for the death of our English kings, or a distinguished personage or two, with long intervals between.[38] [Footnote 38: Rousseau has admirably described the effect of bells on the imagination in a passage in the Confessions, beginning "_Le son des cloches m'a toujours singulierement affecte_," &c.]