Hegel then divides this form of art, and classes the varieties to which it gives rise. He distinguishes, for this purpose, two points of view: first, the case when the sensuous fact is presented first to spirit, and spirit afterwards gives it a signification, as in the _fable_, the _parable_, the _apologue_, the _proverb_, the _metamorphoses_; second, the case where, on the other hand, it is the idea which appears first to the spirit, and the poet afterwards seeks to adapt to it an image, a sensuous form, by way of comparison. Such are the _enigma_, the _allegory_, the _metaphor_, the _image_, and the _comparison_. We shall not follow the author in the developments which he thinks necessary to give to the analysis of each of these inferior forms of poetry or art.[2] II. Of Classic Art. The aim of art is to represent the ideal, that is to say, the perfect accord of the two elements of the beautiful, the idea and the sensuous form. Now this object symbolic art endeavors vainly to attain. Sometimes it is nature with its blind force which forms the ground of its representations; sometimes it is the spiritual Being, which it conceives in a vague manner, and which it personifies in inferior divinities. Between the idea and the form there is revealed a simple affinity, an external correspondence. The attempt to reconcile them makes clearer the opposition; or art, in wishing to express spirit, only creates obscure enigmas. Everywhere there is betrayed the absence of true personality and of freedom. For these are able to unfold, only with the clear consciousness of itself that spirit achieves. We have met, it is true, this idea of the nature of spirit as opposed to the sensuous world, clearly expressed in the religion and poetry of the Hebrew people. But what is born of this opposition is not the Beautiful, it is the Sublime. A living sentiment of personality is further manifest in the East, in the Arabic race. In the scorching deserts, in the midst of free space, it has ever been distinguished by this trait of independence and individuality, which betrays itself by hatred of the stranger, thirst for vengeance, a deliberate cruelty, also by love, by greatness of soul and devotion, and, above all, by passion for adventure. This race is also distinguished by a mind free and clear, ingenious and full of subtlety, lively, brilliant—of which it has given so many proofs in the arts and sciences. But we have here only a superficial side, devoid of profundity and universality; it is not true personality supported on a solid basis, on a knowledge of the spirit and of the moral nature. All these elements, separate or united, cannot, then, present the Ideal. They are antecedents, conditions, and materials, and, together, offer nothing which corresponds to the idea of real beauty. This ideal beauty we shall find realized, for the first time, among the Greek race and in Classic art, which we now propose to characterize.