Nor can the connection be thought as are thought the subdivisions of the theoretic and the practical forms, or according to the relations of individual to universal, of finite to infinite, the first of which terms conditions the second, but is conditioned by it only in an implicit manner. Of the two theoretical forms (and we shall see further on that the forms of the practical are also two), the æsthetic precedes the logical and is autonomous: a song, a story, a statue, do not express any concept; but the philosophy that gives the concept, is at the same time fancy, expression, word: the prose of the philosopher is his song. The æsthetic form is the knowledge of the individual; the logical that of the universal, which is also individual. But this relation that arises within the theoretic, as within the practical form, cannot be transported to the relation of the two forms without logical incoherence: the subdivision, so to speak, is not the division. Thought is not the finite in respect of willing, which is the infinite; nor is the will the finite in respect of thought, which is the infinite. Thought and will are both of them at once finite and infinite, individual and universal. He who passes from action to thought, does not limit his own being by becoming finite; nor does he limit it by passing from thought to action; or better, in both cases he makes himself finite to attain to the infinite; poet to open to himself the way to the thought of the eternally true; man of action, that he may dedicate his work to the eternal good. [Sidenote: _Perfect analogy of the two forms, theoretic and practical._] The two forms, theoretical and practical, both positive, both a connection of finite and infinite, correspond in everything, as has already appeared from our exposition, in which the appeal to the one from the problems of the other has always aided a better penetration of the nature of such problems and the finding of their solution. Thus in both there is genius and creation (geniuses of art and of thought, and geniuses of action); in both, reproduction and judgment take place in the same way (æsthetic taste, practical taste; history of art and history of philosophy, history of actions); in both arise representative concepts and empirical rules. The analogy will be better illustrated by what is to follow, when will be demonstrated the correspondence between art and economic, logical thought and ethicity, historical discrimination and ethical discrimination, empirical concepts and laws of action, and so on. [Sidenote: _Not a parallelism, but a circle._]