orbits,25 the element of fire, and the like fictions, which owe their birth to futile and false theories, are instances of the first kind. And this species of idols is removed with greater facility, because it can be exterminated by the constant refutation or the desuetude of the theories themselves. The others, which are created by vicious and unskilful abstraction, are intricate and deeply rooted. Take some word, for instance, as moist, and let us examine how far the different significations of this word are consistent. It will be found that the word moist is nothing but a confused sign of different actions admitted of no settled and defined uniformity. For it means that which easily diffuses itself over another body; that which is indeterminable and cannot be brought to a consistency; that which yields easily in every direction; that which is easily divided and dispersed; that which is easily united and collected; that which easily flows and is put in motion; that which easily adheres to, and wets another body; that which is easily reduced to a liquid state though previously solid. When, therefore, you come to predicate or impose this name, in one sense flame is moist, in another air is not moist, in another fine powder is moist, in another glass is moist; so that it is quite clear that this notion is hastily abstracted from water only, and common ordinary liquors, without any due verification of it.
There are, however, different degrees of distortion and mistake in words. One of the least faulty classes is that of the names of substances, particularly of the less abstract and more defined species (those then of chalk and mud are good, of earth bad); words signifying actions are more faulty, as to generate, to corrupt, to change; but the most faulty are those denoting qualities (except the immediate objects of sense), as heavy, light, rare, dense. Yet in all of these there must be some notions a little better than others, in proportion as a greater or less number of things come before the senses.
LXI. The idols of the theatre are not innate, nor do they introduce themselves secretly into the understanding, but they are manifestly