"The image is the thing named" -- "what the words actually name."
In me thou seest the dying of such fireThere, all we need do is realize (that is, make real to our imagination) the thing being evoked (a fire -- an open fire, obviously, and probably a wood fire, since it produces lots of ashes) and let it resonate in its relation to the other "thing" present -- "me" -- and feel what that resonating produces in the way of thought and (especially) feeling. Age, weariness, exhaustion -- but not, note, complete extinction. And there's even a sort of comforting memory that once there was a more powerful fire than there is now.
As on the ashes of his youth doth lie . . .
Shakespeare, Sonnet 73: "That time of year . . ."
Example 2:Love set you going like a fat gold watch.The "fat gold watch" here is a quite explicit image (a simile). It surprises by employing an unexpected adjective, one usually associated with people (so that "fat" here is a metaphor). We see an old-fashioned pocket watch and carry its associations of preciousness and a rather mysterious kind of autonomous life over to the mother's attitude to her baby.
The midwife slapped your footsoles, and your bald cry
Took its place among the elements.
Sylvia Plath, "Morning Song"
The next complex image (not the next image, strictly speaking, since "midwife" and "footsoles" also name things, but quite directly, not figuratively), "bald cry," makes a similar conjoining of elements, but it is a more implicit and much less "realized" image that appeals not only to the visual imagination but to also the auditory. (It's a metaphor -- a personification.)
Example 3:This little poem consists of almost nothing but the one image -- the plums. (Two, I guess, if you count the icebox.) They are evoked not through sight but through taste and temperature, but they certainly are something concretely and explicitly named.
This Is Just to SayI have eaten
that were in
you were probably
they were delicious
and so cold
William Carlos Williams
The mere naming of them isn't enough to make the poem interesting, of course. It's the tricky and slyly humorous tone (boast? apology? provocation?) that does that, plus the strange and wonderful effect of transmuting those ephemeral plums in the Williams family refrigerator into something permanent to the imagination.