And I am the readier to favour this conjecture from a common observation, that in the several assemblies of these orators Nature itself has instructed the hearers to stand with their mouths open and erected parallel to the horizon, so as they may be intersected by a perpendicular line from the zenith to the centre of the earth. In which position, if the audience be well compact, every one carries home a share, and little or nothing is lost. I confess there is something yet more refined in the contrivance and structure of our modern theatres. For, first, the pit is sunk below the stage with due regard to the institution above deduced, that whatever weighty matter shall be delivered thence, whether it be lead or gold, may fall plump into the jaws of certain critics, as I think they are called, which stand ready open to devour them. Then the boxes are built round and raised to a level with the scene, in deference to the ladies, because that large portion of wit laid out in raising pruriences and protuberances is observed to run much upon a line, and ever in a circle. The whining passions and little starved conceits are gently wafted up by their own extreme levity to the middle region, and there fix and are frozen by the frigid understandings of the inhabitants. Bombast and buffoonery, by nature lofty and light, soar highest of all, and would be lost in the roof if the prudent architect had not, with much foresight, contrived for them a fourth place, called the twelve-penny gallery, and there planted a suitable colony, who greedily intercept them in their passage. Now this physico-logical scheme of oratorical receptacles or machines contains a great mystery, being a type, a sign, an emblem, a shadow, a symbol, bearing analogy to the spacious commonwealth of writers and to those methods by which they must exalt themselves to a certain eminency above the inferior world. By the Pulpit are adumbrated the writings of our modern saints in Great Britain, as they have spiritualised and refined them from the dross and grossness of sense and human reason. The matter, as we have said, is of rotten wood, and that upon two considerations: because it is the quality of rotten wood to light in the dark; and secondly, because its cavities are full of worms—which is a type with a pair of handles, having a respect to the two principal qualifications of the orator and the two different fates attending upon his works. {63} The Ladder is an adequate symbol of faction and of poetry, to both of which so noble a number of authors are indebted for their fame. Of faction, because . . . (Hiatus in MS.) . . . Of poetry, because its orators do _perorare_ with a song; and because, climbing up by slow degrees, fate is sure to turn them off before they can reach within many steps of the top; and because it is a preferment attained by transferring of propriety and a confounding of _meum_ and _tuum_.