The quaint conceit of making verses assume grotesque shapes and devices, expressive of the theme selected by the writer, appears to have been most fashionable during the seventeenth century. Writers tortured their brains in order to torture their verses into all sorts of fantastic forms, from a flowerpot to an obelisk, from a pin to a pyramid. Hearts and fans and knots were chosen for love-songs; wineglasses, bottles, and casks for Bacchanalian songs; pulpits, altars, and monuments for religious verses and epitaphs. Tom Nash, according to Disraeli, says of Gabriel Harvey, that “he had writ verses in all kinds: in form of a pair of gloves, a pair of spectacles, a pair of pot-hooks, &c.” Puttenham, in his Art of Poesie, gives several odd specimens of poems in the form of lozenges, pillars, triangles, &c. Butler says of Benlowes, “the excellently learned,” who was much renowned for his literary freaks, “As for temples and pyramids in poetry, he has outdone all men that way; for he has made a grid-iron and a frying-pan in verse, that, besides the likeness in shape, the very tone and sound of the words did perfectly represent the noise made by these utensils! When he was a captain, he made all the furniture of his horse, from the bit to the crupper, the beaten poetry, every verse being fitted to the proportion of the thing, with a moral allusion to the sense of the thing: as the bridle of moderation, the saddle of content, and the crupper of constancy; so that the same thing was the epigram and emblem, even as a mule is both horse and ass.” Mr. Alger tells us that the Oriental poets are fond of arranging their poems in the form of drums, swords, circles, crescents, trees, &c., and that the Alexandrian rhetoricians used to amuse themselves by writing their satires and invectives in the shape of an axe or a spear. He gives the following erotic triplet, composed by a Hindu poet, the first line representing a bow, the second its string, the third an arrow aimed at the heart of the object of his passion:—

THE WINE GLASS.

The following specimen of this affectation was written by George Wither, who lived from 1588 to 1677. It is called by Mr. Ellis a

RHOMBOIDAL DIRGE.

The Christian monks of the Middle Ages, who amused themselves similarly, preferred for their hymns the form of

THE CROSS.

EXPLANATION.

The middle cross represents our Saviour; those on either side, the two thieves. On the top and down the middle cross are our Saviour’s expression, “My God! My God! why hast thou forsaken me?” and on the top of the cross is the Latin inscription, “INRI”—Jesus Nazarenus Rex JudÆorum, i.e. Jesus of Nazareth, King of the Jews. Upon the cross on the right-hand is the prayer of one of the thieves:—“Lord! remember me when thou comest into thy kingdom.” On the left-hand cross is the saying, or reproach, of the other:—“If thou beest the Christ, save thyself and us.” The whole, comprised together, makes a piece of excellent poetry, which is to be read across all the columns, and makes as many lines as there are letters in the alphabet. It is perhaps one of the most curious pieces of composition to be found on record.

The following was written by Prof. Whewell at the request of a young lady:—

TYPOGRAPHICAL.

We once saw a young man gazing at the *ry heavens, with a † in 1 ? and a ? of pistols in the other. We endeavored to attract his attention by .ing to a ¶ in a paper we held in our ?, relating 2 a young man in that § of the country, who had left home in a state of mental derangement. He dropped the † and pistols from his ?? with the !

“It is I of whom U read. I left home be4 my friends knew of my design. I had s0 the ? of a girl who refused 2 lis10 2 me, but smiled b9nly on another. I ——ed madly from the house, uttering a wild ’ 2 the god of love, and without replying 2 the ??? of my friends, came here with this † & ? of pistols, 2 put a . 2 my existence. My case has no "" in this §.”

OXFORD JOKE.

A gentleman entered the room of Dr. Barton, Warden of Merton College, and told him that Dr. Vowel was dead. “What!” said he, “Dr. Vowel dead! well, thank heaven it was neither U nor I.”

In an old church in Westchester county, N. Y., the following consonants are written beside the altar, under the Ten Commandments. What vowel is to be placed between them, to make sense and rhyme of the couplet?