No More Learning

Lydia is as widely developed as the rump of a bronze equestrian statue, as the swift hoop that resounds with its tinkling rings, as the wheel so often struck from the extended springboard 1, as a worn-out shoe drenched by muddy water, as the wide-meshed net that lies in wait for wandering thrushes, as an awning that does not belly to the wind in Pompey's theatre, as a bracelet that has slipped from the arm of a consumptive catamite, as a pillow widowed of its           stuffing, as the aged breeches of a pauper Briton, and as the foul throat of a pelican of Ravenna 2.