The term "figment" in literature has evolved to signify both a product of creative invention and an element of the imagined, often serving as a metaphor for that which is intangible yet essential. Early uses, as seen in Ben Jonson's works ("Every Man in His Humor" [1] and "The Alchemist" [2]), embrace figment as synonymous with fiction or invention, highlighting a playful engagement with the unreal. In later works, however, the word takes on a more complex role; Charlotte Brontë in "Villette" [3] and Jean-Jacques Rousseau in "Emile" [4] employ it to caution against dismissing important aspects of humanity as mere fantasy, while George Santayana in "The Life of Reason: The Phases of Human Progress" [5] contrasts ideal, conceptual values with empirical existence. This shift illustrates how figment has been used to bridge the realms of creative expression and philosophical inquiry, marking it as a term that encapsulates the tension between imaginative construct and material fact.