Here it is important to indicate only that false application of the dialectic which tends to resolve in itself and so to destroy distinct concepts, by treating them as opposites. The distinct concepts are distinct and not opposite; and they cannot be opposite, precisely because they already have opposition in themselves. Fancy has its opposite in itself, fanciful passivity, or æsthetic ugliness, and therefore it is not the opposite of thought, which in its turn has its opposite in itself, logical passivity, antithought, or the false. Certainly (as has been said), he who does not make the beautiful (in so far as he does anything, and he cannot but do something) effectively produces another value, for example the useful, and he who does not think, if he does anything, produces another value, the fanciful for instance, and creates a work of art. But in this way we issue from those determinations considered in themselves, from the opposition which is in them and _which constitutes them_; and from the consideration of effectual opposition we pass to the consideration of distinction. Considered as real, the opposite cannot be anything but the distinct; but the opposite is precisely the unreal in the real, and not a form or grade of reality. It will be said that unless one distinct concept is opposed to another, it is not clear how there can be a transition from one to the other. But this is a confusion between concept and fact, between _ideal_ and therefore eternal moments of the real and their _existential_ manifestations. Existentially, a poet does not become a philosopher, save when in his spirit there arises a contradiction to his poetry, that is to say, when he is no longer satisfied with the individual and with the individual intuition: in that moment, he does not pass into but is a philosopher, because to pass, to be effectual, and to become are synonyms. In the same way, a poet does not pass from one intuition to another, or from one work of art to another, save through the formation of an internal contradiction, owing to which his previous work no longer satisfies him; and he passes into, that is to say he becomes and truly is, _another_ poet. Transition is the law of the whole of life; and therefore it is in all the existential and contingent determinations of each of these forms. We pass from one verse of a poem to another because the first verse satisfies, and also does not satisfy. The ideal moments, on the contrary, do not pass into one another, because they are eternally in each other, distinct, and one with each other. [Sidenote: _Its reductio ad absurdum._]