We are told, that an ancient tragic poet, to move the pity of his audience for his exiled kings and distressed heroes, used to make the actors represent them in dresses and clothes that were thread-bare and decayed.
No one stops to question the coin of a rich man; but a poor devil cannot pass off either a joke or a guinea, without its being examined on both sides. Wit and coin are always doubted with a threadbare coat.
Ah! You may look through that shirt till your eyes ache; but you won't find a hole in it, nor a thread-bare place. It's the best he had, and a fine one too.
The shabbiness of these attendants upon shabbiness, the poverty of these insolvent waiters upon insolvency, was a sight to see. Such threadbare coats and trousers, such fusty gowns and shawls, such squashed hats and bonnets, such boots and shoes, such umbrellas and walking-sticks, never were seen in Rag Fair.
a.1530 (date written), John Skelton, “Magnyfycence, a Goodly Interlude and a Mery,[…]”, in Alexander Dyce, editor, The Poetical Works of John Skelton:[…], volume I, London:Thomas Rodd,[…], published 1843, →OCLC, page 232, lines 225–226:
Welth and wyt, I say, be so threde bare worne, / That all is without measure, and fer beyonde the mone.
From an Underſtanding and a Conſcience, thread-bare and ragged vvith perpetual turning;[…]
1862, Thomas Carlyle, “Friedrich Starts for Moravia, on a New Scheme He Has”, in History of Friedrich II. of Prussia, Called Frederick the Great, volume III, London:Chapman and Hall,[…], →OCLC, book XIII, page 519:
Holy Virgin stood in the main Convent of Glatz, in rather a threadbare condition, when the Prussians first approached; the Jesuits, and ardently Orthodox of both sexes, flagitating Heaven and her with their prayers, that she would vouchsafe to keep the Prussians out.
2012 August 21, Jason Heller, “The Darkness: Hot Cakes[music review]”, in The A.V. Club, archived from the original on 2023-04-06:
But with so many tired, lazy callbacks to its own threadbare catalog (including “Love Is Not The Answer,” a watery echo of the epic “I Believe In A Thing Called Love” from 2003’s Permission To Land), Hot Cakes marks the point where The Darkness has stopped cannibalizing the golden age of stadium rock and simply started cannibalizing itself.