Returning to the problem, from this point on we find the two standpoints, that of the specific situation and that of the absolute system, so closely interwoven and entangled that they are followed with great difficulty. We have already seen that the idea seeks correspondence with its object, because it is "fragmentary," "incomplete," "indetermined." And there we found that this indeterminate and fragmentary character belonged to the idea as a purpose, a plan of seeking relief from some sort of "restlessness" and "dissatisfaction," such as singing out of tune, etc. Here it is the incompleteness of an imperfect representation of its object in the absolute system that is the _motif_, and how it is to effect an improvement in its imperfect condition is now the problem. Here again the appeal is to purpose. Whatever may constitute the absolute system, one thing is assured: nothing in it can be an object except as the finite idea "intends it," purposes it, to be its object. Again must we ask: On what basis is this object in the absolute system selected at all? In general the answer is: On the basis of a need of "further determination;" but when we further analyze this, we find it means on the basis of a specific want or need, such as food, shelter, measuring, singing, etc. The basis of the selection, then, is entirely on the side of the concrete, finite situation. Here, too, we might ask: Whence the confidence that there will be found something in the absolute system that will fulfil the purpose generated on the side of the finite? Must we not here fall back on something like a pre-established harmony? To this our author would say: "Yea, verily. The fact that the absolute system responds to the finite needs does precisely show that the finite and the absolute cannot be sundered." But when we try to state _how_ the purpose generated on the side of the finite can be met by the absolute system, the account again seems to run so much in terms of the finite experience that to call it a system of "final," "completed," and "fulfilled" ideas does not seem accurate. We must note here, too, the shifting in the sense of "purpose." The idea selects its object on the basis of the material needed to relieve the unrest and dissatisfaction of singing out of tune, etc. But now it is to be satisfied by increasing the extent of its representation of its object in the absolute system. And now, finally, what shall mark the attainment of this purpose of the idea to correspond and represent "its own completed form"? When is the correspondence and representation true? Simply at the point where "we pause satisfied," where "no other content need be substituted, or from the point of view of the satisfied idea could be substituted." That is all; there is no other answer. There are other statements, but they all come to the same thing. For instance: