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The this, the that, the _individuum omni modo determinatum_, is its kingdom, as it is the kingdom of art. History, therefore, is included under the universal concept of art. Faced with this proposition and with the impossibility of conceiving a third mode of knowledge, objections have been brought forward which would lead to the affiliation of history to intellective or scientific knowledge. The greater portion of these objections is dominated by the prejudice that in refusing to history the character of conceptual science, something of its value and dignity has been taken from it.
Finally, the linguists insisted upon the irrationality of the word, in relation to the concept. But a conscious, sure, and radical movement of reform can find no base or starting-point, save in the science of Aesthetic. _ In a Logic suitably reformed on this basis, it will be fitting to proclaim before all things this truth, and to draw from it all its consequences: the logical fact, _the only logical fact_, is _the concept_, the universal, the spirit that forms, and in so far as it forms, the universal.
In the same way the distinction between _poetry and prose_ cannot be justified, save in that of art and science. It was seen in antiquity that such distinction could not be founded on external elements, such as rhythm and metre, or on the freedom or the limitation of the form; that it was, on the contrary, altogether internal. Poetry is the language of sentiment; prose of the intellect; but since the intellect is also sentiment, in its concretion and reality, so all prose has a poetical side. _ The relation between intuitive knowledge or expression, and intellectual knowledge or concept, between art and science, poetry and prose, cannot be otherwise defined than by saying that it is one of _double degree_.