“And his tongue
Sounds ever after as a sullen bell
Remembered knolling a departing friend.”

The passing bell has a place in the story of the death, in the Tower of London, of Lady Catherine Grey, sister to the unfortunate Lady Jane. The constable of the Tower, Sir Owen Hopton, seeing that the end was approaching, said to Mr. Bokeham: “Were it not best to send to the church, that the bell may be rung?” and Lady Catherine herself, hearing the remark, said to him: “Good Sir Owen, be it so,” and died almost at once, closing her eyes with her own hands. This was in 1567.

The tolling of the passing bell, as such, continued until the time of Charles II., and it was one of the subjects of inquiry in all articles of visitation.

The form of inquiry in the Archdeaconry of Yorke by the churchwardens and swornemen, in 163-, was: “Whether doth your clark or sexton, when any one is passing out of this life, neglect to toll a bell, having notice thereof, or, the party being dead, doth he suffer any more ringing than one short peale, and before his burial one, and after the same another?” Inquiry was also to be made: “Whether, at the death of any, there be any superstitious ringing?” There is a widespread saying:

“When the bell begins to toll,
Lord have mercy on the soul.”

Gascoigne, in his “Workes,” 1587, mentions the passing bell in the prefatory lines to a sonnet, he says:

“Alas, loe now I heare the passing bell,
Which care appoynteth carefully to knowle,
And in my brest I feele my heart now swell
To breake the stringes which joynd it to my soule.”

Another instance of the poetic use is to be found in the Rape of Lucrece, by Heywood (1630), where Valerius exclaims: “Nay, if he be dying, as I could wish he were, I’le ring out his funerall peale, and this it is:

Come list and harke, the bell doth towle,
For some but now departing soule.
And was not that some ominous fowle,
The batt, the night-crow, or skreech-owle,
To these I heare the wild woolfe howle,
In this black night that seems to skowle.
All these my black booke shall in-rowle;
For hark, still, still, the bell doth towle
For some but now departing sowle.”

Just a little earlier, Copley, in his “Wits, Fits, and Fancies” (1614), bears evidence to the ringing of the bell while persons were yet alive. A gentleman who lay upon a severe sick bed, heard a passing bell ring out, and thereupon asked his physician: “Tell me, maister Doctor, is yonder musicke for my dancing?” Continuing the subject, he gives an anecdote concerning “The ringing out at the burial.” It is as follows: A rich miser and a beggar were buried in the same churchyard at the same time, “and the belles rung out amaine” for the rich man. The son of the former, fearing the tolling might be thought to be for the beggar instead of his father, hired a trumpeter to stand “all the ringing-while” in the belfry and proclaim between every peal, “Sirres, this next peale is not for R., but for Maister N.,” his father. In the superstitions which gathered round the bells of Christianity, the passing bell was considered to ward off the influence of evil spirits from the departing soul. Grose says: “The passing bell was anciently rung for two purposes: one to bespeak the prayers of all good Christians for a soul just departing; the other to drive away the evil spirits who stood at the bed’s foot and about the house, ready to seize their prey, or at least to molest and terrify the soul in its passage; but, by the ringing of the bell (for Durandus informs us evil spirits are much afraid of bells), they were kept aloof; and the soul, like a hunted hare, gained the start, or had what is by sportsmen called law. Hence, perhaps, exclusive of the additional labour, was occasioned the high price demanded for tolling the greatest bell of the church, for, that being louder, the evil spirits must go farther off to be clear of its sound, by which the poor soul got so much more the start of them; besides, being heard farther off, it would likewise procure the dying man a greater number of prayers.” This dislike of spirits to bells is mentioned in the “Golden Legend,” by Wynkyn de Worde.