'heard the chimes at midnight', but these are insignificant details.

Since Sir Roger belongs to Addison, it follows naturally that in the
present selection Addison's share compared with Steele's is larger in
proportion than in the complete _Spectator_, but it would be a
mistake to lose sight of the importance of Steele's part of the work.
Addison was the greater artist, and the balance and shapeliness of his
style enhances the effect of his thought and judgment, but we should be
no less sorry to relinquish Steele's headlong directness and warmth of
feeling. The humorous character sketches of Sir Roger's ancestors
[Footnote: _Spectator_ 109.] are his, and his the passage at arms
between the Quaker and the soldier in the coach--the delightful soldier
of whose remark the _Spectator_ tells us: 'This was followed by a
vain laugh of his own, and a deep silence of all the rest of the
company. I had nothing left for it but to fall fast asleep, which I did
with all speed.' [Footnote: _Spectator_ 132.] His, too, is the
charming little idyll of the huntsman and his Betty, who fears that her
love will drown himself in a stream he can jump across, [Footnote:
_Spectator_ 118.] and the whole fragrant story of Sir Roger's
thirty years' attachment to the widow. [Footnote: _Spectator_ 113,
118.] But above all, we must not overlook the fact that without Steele,
as he himself says in his dedication to _The Drummer_, Addison
would never have brought himself to give to the world these familiar,
informal essays. Addison was naturally both cautious and shy; the mask
which Steele invented lent him just the security which he needed, and
the _Spectator_ endures as the monument of a great friendship, a
memorial such as Steele had always desired. [Footnote: _Spectator_
555.]

Steele himself explained the other advantages of the disguise: 'It is