§ 456. Thus even the association of ideas is to be treated as a subsumption of the individual under the universal, which forms their connecting link. But here intelligence is more than merely a general form: its inwardness is an internally definite, concrete subjectivity with a substance and value of its own, derived from some interest, some latent concept or Ideal principle, so far as we may by anticipation speak of such. Intelligence is the power which wields the stores of images and ideas belonging to it, and which thus (2) freely combines and subsumes these stores in obedience to its peculiar tenor. Such is creative imagination(140)—symbolic, allegoric, or poetical imagination—where the intelligence gets a definite embodiment in this store of ideas and informs them with its general tone. These more or less concrete, individualised creations are still “syntheses”: for the material, in which the subjective principles and ideas get a mentally pictorial existence, is derived from the data of intuition. § 457. In creative imagination intelligence has been so far perfected as to need no helps for intuition. Its self-sprung ideas have pictorial existence. This pictorial creation of its intuitive spontaneity is subjective—still lacks the side of existence. But as the creation unites the internal idea with the vehicle of materialisation, intelligence has therein _implicitly_ returned both to identical self-relation and to immediacy. As reason, its first start was to appropriate the immediate datum in itself (§§ 445, 455), i.e. to universalise it; and now its action as reason (§ 458) is from the present point directed towards giving the character of an existent to what in it has been perfected to concrete auto-intuition. In other words, it aims at making itself _be_ and be a fact. Acting on this view, it is self-uttering, intuition-producing: the imagination which creates signs.