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The power of combination he appropriates to the former: "quae singula et simpliciter acceperat imaginatio, ea conjungit et disjungait phantasia." And the law by which the thoughts are spontaneously presented follows thus: "quae simul sunt a phantasia comprehensa, si alterutrum occurrat, solet secum alterum representare."
At the expiration of that time he begins to feel a peculiar corded and tympanic tightness about the epigastrium. A feverish condition of the brain, which sometimes amounts to absolute phantasia, now ensues, marked off into periods of increasing excitement by a heavy sleep, which, after each interval, grows fuller of tremendous dreams, and breaks up with a more intensely irritable waking.
For he it was, as it is said, who first or principally gave Latin names to phantasia, syncatathesis, epokhe, catalepsis, atomon, ameres, kenon, and other such technical terms, which, either by metaphors or other means of accommodation, he succeeded in making intelligible and expressible to the Romans.
It is not, I own, easy to conceive a more apposite translation of the Greek phantasia than the Latin imaginatio; but it is equally true that in all societies there exists an instinct of growth, a certain collective, unconscious good sense working progressively to desynonymize those words originally of the same meaning, which the conflux of dialects supplied to the more homogeneous languages, as the Greek and German: and which the same cause, joined with accidents of translation from original works of different countries, occasion in mixed languages like our own.
Ere he had finished the last, his passion had begun to fold its wings, and he grew dimly aware of a beating at the door of the solitary chamber in which he sat. He knew nothing of the enormity of which he was guilty presenting unsought the city of Antwerp with a glorious phantasia.
"He slept in the dead man's bed, earnestly desiring to see his ghost, but no ghost came." "You see," he said, "ghosts do not generally come to imaginative people;" a remark very true, though ghosts are attributed to "imagination." Whatever causes these phantasms, it is not the kind of phantasia which is consciously exercised by the poet.
It tells us of Artemisia, who erected to her husband a mausoleum which was one of the wonders of the world; of Telesilla, the poetess, who saved Argos by her courage; of Hipparchia, who married a deformed and ugly cynic, in order that she might make attainments in learning and philosophy; of Phantasia, who wrote a poem on the Trojan war, which Homer himself did not disdain to utilize; of Sappho, who invented a new measure in lyric poetry, and who was so highly esteemed that her countrymen stamped their money with her image; of Volumnia, screening Rome from the vengeance of her angry son; of Servilia, parting with her jewels to secure her father's liberty; of Sulpicia, who fled from the luxuries of Rome to be a partner of the exile of her husband; of Hortensia, pleading for justice before the triumvirs in the market-place; of Octavia, protecting the children of her rival Cleopatra; of Lucretia, destroying herself rather than survive the dishonor of her house; of Cornelia, inciting her sons, the Gracchi, to deeds of patriotism; and many other illustrious women.
When 'fancy' was spelt 'phant'sy, as by Sylvester in his translation of Du Bartas, and other scholarly writers of the seventeenth century, no one could doubt of its identity with 'phantasy, as no Greek scholar could miss its relation with phantasia. Spell 'analyse' as I have sometimes seen it, and as phonetically it ought to be, 'annalize, and the tap-root of the word is cut.
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