Mrs. Thrale, on her thirty-fifth birthday, remarked to Dr. Johnson, that no one would send her verses now that she had attained that age, upon which the Doctor, without the least hesitation, recited the following lines:

Thirty-Five.

“Oft in danger, yet alive,
We are come to thirty-five;
Long may better years arrive,
Better years than thirty-five.
Could philosophers contrive
Life to stop at thirty-five,
Time his hours should never drive
O’er the bounds of thirty-five.
High to soar, and deep to dive,
Nature gives at thirty-five;
Ladies, stock and tend your hive,
Trifle not at thirty-five;
For, howe’er we boast and strive,
Life declines from thirty-five;
He that ever hopes to thrive,
Must begin by thirty-five;
And all who wisely wish to wive,
Must look on Thrale at thirty-five.”

Moore, in his “Life of Sheridan,” says that he (Sheridan) “had a sort of hereditary fancy for difficult trifling in poetry; particularly to that sort which consists in rhyming to the same word through a long string of couplets, till every rhyme that the language supplies for it is exhausted,” a task which must have required great patience and perseverance. Moore quotes some dozen lines entitled “To Anne,” wherein a lady is made to bewail the loss of her trunk, and she thus rhymes her lamentations:

“Have you heard, my dear Anne, how my spirits are sunk?
Have you heard of the cause? Oh, the loss of my trunk!
From exertion or firmness I’ve never yet slunk,
But my fortitude’s gone with the loss of my trunk!
Stout Lucy, my maid, is a damsel of spunk,
Yet she weeps night and day for the loss of my trunk!
I’d better turn nun, and coquet with a monk,
For with whom can I flirt without aid from my trunk?
········
Accursed be the thief, the old rascally hunks,
Who rifles the fair, and lays hold on their trunks!
He who robs the king’s stores of the least bit of junk,
Is hanged—while he’s safe who has plundered my trunk!
There’s a phrase among lawyers when nunc’s put for tunc;
But nunc and tunc both, must I grieve for my trunk!
Huge leaves of that great commentator, old Brunck,
Perhaps was the paper that lined my poor trunk!” &c. &c.

From another of these trifles of Sheridan, Moore gives the following extracts:

“Muse, assist me to complain,
While I grieve for Lady Jane;
I ne’er was in so sad a vein,
Deserted now by Lady Jane.
Lord Petre’s house was built by Payne,
No mortal architect made Jane.
If hearts had windows, through the pane
Of mine, you’d see Lady Jane.
At breakfast I could scarce refrain
From tears at missing Lady Jane;
Nine rolls I ate, in hope to gain
The roll that might have fallen to Jane.”

John Skelton, a poet of the fifteenth century, in great repute as a wit and satirist, was inordinately fond of writing in lines of three or four syllables, and also of iteration of rhyme. This perhaps was the cause of his writing much that was mere doggerel, as this style scarcely admits of the conveyance of serious sentiment. Occasionally, however, his miniature lines are interesting, as in this address to Mrs. Margaret Hussey:

“Merry Margaret,
As midsummer flower,
Gentle as falcon,
Or hawk of the tower,
With solace and gladness,
Much mirth and no madness,
All good and no badness,
So joyously,
So maidenly,
So womanly,
Her demeaning,
In everything
Far, far passing
That I can indite
Or suffice to write
Of merry Margaret,
As midsummer flower,
Gentle as falcon,
Or hawk of the tower.”

The following national pasquinade we find in Egerton Brydges’ “Censura Literaria Restituta,” written in commemoration of the failure of Spain by her Invincible Armada to invade Britain. The iteration of metre is all that approaches in it to the style of Skelton, of whose verse it is an imitation: