But as soon as the circumstance is mentioned, that touches the memory, the very same ideas now appear in a new light, and have, in a manner, a different feeling from what they had before.

Without any other alteration, beside that of the feeling, they become immediately ideas of the memory, and are assented to.
Since, therefore, the imagination can represent all the same objects that the memory can offer to us, and since those faculties are only distinguished by the different feeling of the ideas they present, it may be proper to consider what is the nature of that feeling.

And here I believe every one will readily agree with me, that the ideas of the memory are more strong and lively than those of the fancy.
A painter, who intended to represent a passion or emotion of any kind, would endeavour to get a sight of a person actuated by a like emotion, in order to enliven his ideas, and give them a force and vivacity superior to what is found in those, which are mere fictions of the imagination.

The more recent this memory is, the clearer is the idea; and when after a long interval he would return to the contemplation of his object, he always finds its idea to be much decayed, if not wholly obliterated.

We are frequently in doubt concerning the ideas of the memory, as they become very weak and feeble; and are at a loss to determine whether any image proceeds from the fancy or the memory, when it is not drawn in such lively colours as distinguish that latter faculty.