Having laid down as fundamental the distinction between the two typical prose movements, Aristotle proceeds to details: the balance of member against member,[67] and the heightening of the individual member[68] by visualizing metaphor. His recurrence here to metaphor is unexpected, since he has discussed this already in Chapter ii[69] under the choice of words; but here something is added. The connotation of figurative language is explored further as a means to make a whole statement telling. Aristotle is inquiring how such pithy sayings as he has just exemplified in balance and antithesis are made forcible[70] by other means; and he implies that the process is essentially poetic, as being imaginative first in realization and secondly[71] in movement. Imaginative realization in metaphor and simile is considered here as intellectual suggestion. As enthymemes, so metaphors and similes must steer between the obvious and the subtle. The best images, like the best enthymemes, stimulate the hearer to coöperate, to see the relation for himself. As to sense such are the popular enthymemes; as to style [they are popular] if the order, or movement[72] is antithetical.... So for the terms; if metaphorical, they must be neither far-fetched, for then they are hard to grasp, nor trite, for then they stir no emotion; and besides [as to movement] they must put [the thing] before our eyes; for we must see it in action rather than in intention (happening rather than about to happen, present rather than future). The essential elements, then, are three: metaphor, antithesis, actuality.[73] Numerous examples follow[74] of ἀστεῖα, or pithy sayings, and Chapter xi[75] expands what is meant by “before our eyes” and how this is to be done. I mean that those passages put the thing before our eyes which show it in action.[76] For instance, to say that a good man is “square” is metaphor ... but it does not show him in action, whereas “in flowering vigor” does, and so does “at large.” And in “Straightway the Greeks with bounding feet” the “bounding” is at once actuality and metaphor.... In all these [instances from Homer] by being alive (living, organic) [the subject] seems to be in action.... They all make the subject moving and living; and actuality is movement.[77] Aristotle’s recurrence, then, to metaphor in the midst of his doctrine of sentence movement is because metaphor has the wider implication. It may be more than a single vivid word; it should extend to a whole habit of realizing a thing in action; and this involves expression in a sentence movement that shall heighten the suggestion by its pace.