strange forces which did not belong to it. The word, and consequently the idea it represents, is polarized." The larger part of our religious and no small portion of our political vocabulary consist of such polarized words—words which, on account of their acquired magnetism, unduly attract and influence the mind. We can never hope to think calmly and clearly while the very symbols of our thoughts thus possess a kind of thaumaturgic power over us, which in turn readily transfers itself to our ideas.
If, then, "words plainly force and overrule the understanding and throw all into confusion and lead men away into numberless empty controversies and idle fancies," it behooves us to watch closely the interrelations of language and thought. To put it in the vernacular, we must at all times make sure that we know what we are talking about and say what we mean. To this end the study of language itself is useful, but the habits of precise thought and expression will never be acquired by linguistic exercise alone. To use no word without a distinct idea of what it means to us as we speak or write it; to check, when necessary, the process of thought by constant redefinition of terms; to depolarize all language that has become, or threatens to become, magnetic, thus translating familiar ideas into "new, clean, unmagnetic" phraseology, these may be set down as first among the rules to which we should tolerate no exception.
We now come to the last group of Idols—those "which have immigrated into men's minds from the various dogmas of philosophies, and also from wrong laws of demonstration." These Bacon calls Idols of the Theater, "because in my judgment all the received systems are but so many stage-plays, representing worlds of their own creation after an unreal and scenic fashion." And perhaps this conceit carries further than Bacon himself intended, for it not only suggests the unsubstantial character of philosophic speculations, but also reminds us how, in the world's history, these airy fabrics have succeeded each other as on a stage, some to be hissed and some applauded, but all sooner or later to drop out of popular favor and be forgotten.
Dealing with these Idols of the Theater, or of Systems (of which there are many, "and perhaps will be yet many more"), Bacon takes the opportunity of criticising, briefly but incisively, the methods and results of ancient and mediæval philosophers. His classification of false systems is threefold: The sophistical, in which words and the finespun subtilties of logic are substituted for "the inner truth of things"; the empirical, in which elaborate dogmas are built up out of a few hasty observations and ill-conducted experiments; and the superstitious, in which philosophy is corrupted by myth and tradi-
