A simple summary of Barfield’s work is that there is a direct relationship between what nameable and what is perceivable. Thus any change in language has a corresponding effect on perception, and vice versa. Barfield’s definition of poetry is language which produces a “felt change in consciousness.” In other words, it is the use of names, either old or new, which modify the readers or listeners perception. For example, Shakespeare supposedly “invented” or popularized over 1700 English words, thereby producing new percepts, or phenomena. In Saving the Appearances, Barfield follows Aristotle in splitting the world by into the actually phenomenal and the potentially phenomenal, with perception being the actualization of the potentially phenomenal. The kind of poetry performed by the likes of Shakespeare shifted the domain of the “potentially phenomenal” by providing new names. And with a shift in the potentially phenomenal comes a shift in the actually phenomenal—the perceived. It is by this process that the poet participates in ποίησις (poiesis), or “making.” The work of the Inklings in general is a self-aware attempt at recovering this kind of ποίησις and protecting it from evil. The imagination lies at the heart of the Inklings due to its relation to the “potentially phenomenal” as opposed to the perceived. Using the imagination, Lewis and Tolkien in particular reshaped the public field of potential phenomena in the modern world, reintroducing angels, demons, and the spiritual world as a whole.