Used Up.

By Rose Hawthorne Lathrop

    Hand me my light gloves, James;     I'm off for the waltzing world,     The kingdom of Strauss and that -     Where is my old crush-hat?     Is my hair properly curled?     Call in the daytime, James.     Think of me, won't you, James,     When I am rosily twirling     The "Rose of a garden of girls,"     The Pearl among circling pearls,     In a mesh of melodious whirling?     Envy me, won't you, James?     For a heart lost along with her fan,     For a nice sense of honor flown,     For the care of an invalid soul,     And tastes far beyond my control, -     I have for my precious own     The fame of a "waltzing man."     If I don't come, come for me, James.     Ah, the waltz is my mastering passion!     The trip-tripping airs are as sweet     As love to my turning feet,     While I clasp the fair doll of fashion,     My fiancée. But come for me, James.     The heart which I lost - it is strange -     I've been told it will yet be my death;     And I think it quite likely I might     Waltz once too often to-night,     In spite of the music and Beth.     Death's a difficult move to arrange.     Pray smoke by the fire, old boy,     And find yourself whiskey and books.     If I should not turn up, then, at two     Or three, you will know I need you.     If I'm dead, you must pardon my looks     As I lie in the ball-room, old boy.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
Poems like this one thrive on tension between surface charm and lurking menace. The speaker’s frantic, confiding tone addressed to an unseen James contrasts with the poem’s ominous undercurrent, as the waltz becomes a metaphor for both ecstatic freedom and self-destruction. Structured in a single stanza of thirty-six lines, the poem’s loose iambic rhythm mimics the speaker’s breathless urgency, while internal rhymes and alliterative phrases (rosily twirling, melodious whirling) evoke the dizzying motion of the dance. The volta occurs midway, shifting from playful bravado to grim resignation, as the speaker acknowledges the fatal consequences of their obsession. The final stanza’s casual instructions to James smoking, whiskey, books undercut the poem’s darkest moment, blending mundanity with macabre humor. The speaker’s insistence on their own fate (I might / Waltz once too often to-night) underscores the poem’s central paradox: the waltz is both a celebration of life and a prelude to death.

Understanding Limerick

A limerick is a five-line poem known for its jaunty rhythm, playful tone, and a punchline twist. It’s built for humor—often sly, sometimes downright silly.


Common characteristics of limericks:

  • Five Lines & Rhyme: The standard scheme is AABBA—the first, second, and fifth lines rhyme; the shorter third and fourth lines rhyme with each other.
  • Bouncy Meter: Typically anapestic (two short, one long beat). Lines 1, 2, and 5 are longer; lines 3 and 4 are shorter.
  • Tone & Humor: Lighthearted, mischievous, and built around a final gag or reversal.
  • Subject & Setup: Often starts with “There once was a … from …,” setting place and character before the comic turn.
  • Sound Play: Internal rhyme, alliteration, and rhythmic snap heighten the joke’s delivery.

The best limericks land like a good toast: quick, musical, and clinched by a memorable last line.