Then comes a digression of extreme importance on the subject of φαντασίαι or εἰδωλοποιΐαι—“images.” One of the points in which a history of the kind here attempted may [Sidenote: “_Images._”] prove to be of most service, lies in the opportunity it affords of keeping the changes of certain terms, commonly used in criticism, more clearly before the mind than has always been done. And of these, none requires more care than “Images” and “Imagination.” At the first reading, the mere use of such a word as φαντασίαι may seem to make all over-scrupulousness unnecessary, though if we remember that even Fancy is not quite Imagination, the danger may be lessened. At any rate, it is nearly certain that no ancient writer,[233] and no modern critic before a very recent period (Shakespeare uses it rightly, but then he was Shakespeare and not a critic), attached our full sense to the term. To Aristotle φαντασία is merely αἴσθησις ἀσθενὴς, a “weakened sensation,” a copy furnished by memory from sensation itself. Even animals have it. No idea of Invention seems to have mingled with it, or only of such invention as the artist’s is when he faithfully represents natural objects. Of the Imagination, which is in our minds when we call Shelley an imaginative poet, and Pope not one, Sir Edward Burne Jones an imaginative painter, and any contemporary whom it may be least invidious to name not one, there does not seem to have been a trace even in the enthusiastic mind of Longinus, though he expressly includes Enthusiasm—nay, Passion—in his notion of it. You think you see what you say, and you make your hearers see it. Good; but Crabbe does that constantly, and one would hardly, save in the rarest cases, call Crabbe imaginative. In short, φαντασίαι here are vivid illustrations drawn from nature—Orestes’ hallucination of the Eumenides, Euripides’ picture of Phaethon, that in the _Seven_ of the slaying of the bull over the black-bound shield, and many others. No doubt he glances at the fabulous and incredible, the actually “imagined”; but he seems, as in the case of the _Odyssey_, to be a little doubtful of these even in poetry, while in oratory he bars them altogether. You must at one and the same time reason and illustrate—again the very method of Burke. Footnote 233: On the exception to be made for Philostratus, see above, p. 120.