Weight, grandeur, and energy are furthermore most readily achieved by images (φαντασίαι), or, as some call them, bodyings-forth.... [By these terms are meant] specifically those cases in which, moved by enthusiasm and passion, you seem to see the things of which you speak, and to put them under the eyes of your hearers. As imagery means one thing with the orators and another with the poets, you must have observed that with the latter its function is vivid suggestion; with the former, precision.[6] Nevertheless both uses of imagery appeal to emotion. [Euripides in a passage quoted from _Orestes_, 255] saw the Furies himself, and what was imaged in his mind he almost compelled his hearers to see. [In another passage, from the lost _Phaëthon_] would you not say that the soul of the writer mounts the car with the driver, takes the risk with him, and with the horses has wings?[7] Imaginative diction, then, is not primarily a trick of words; it is a visualizing habit of thought. It is sympathetic insight, even to the extent of feeling with Phaëthon’s horses their wings. [In poetry imagery may even range beyond what is convincing;] but in oratory it is always best when it holds to reality and verisimilitude (ἔμπρακτον καὶ ἐνάληθες).... What, then, can the image do in oratory? Much else, doubtless, it can add to speeches in energy and emotion; but infused into arguments drawn directly from facts it not only persuades the hearer, but also makes him its slave. [Instances from Demosthenes and Hyperides] While he is arguing from the facts, the orator has expressed them in images. He has given his very premise (λῆμμα) a force beyond persuasion. As by a law of nature, in all such cases we always hear the stronger. So we are drawn away from the argumentative [value] to that which is imaginatively striking, in which the facts [as mere evidence] disappear in excess of light.[8] Imaginative realization of facts, the author is saying, which is essentially poetic, has its use also in rhetoric. That use is normally intellectual, for precision, for making an idea luminous. But there is a further use that is emotional. Besides making ideas clear, imagery in oratory, as well as in poetry, makes facts live. Thus it is not merely stylistic beauty; it has its function at the very base of oratory, in the subject-matter, in the very facts. Make the audience visualize these facts, see them, hear them, live in them by imagination, and you have done something more effective than marshaling them as evidence and urging your inferences. By the imaginative illusion of actuality the audience is not merely convinced; it is captured. In such passages, rather than in reasoning, oratory reaches its heights.[9]