§ 181. Such is absolute idealism approached from the stand-point of antecedent metaphysics. It is the most elaborate and subtle provision for antagonistic differences within unity that the speculative mind of man has as yet been able to make. It is the last and most thorough attempt to resolve individual and universal, temporal and eternal, natural and ideal, good and evil, into an absolute unity in which the universal, eternal, ideal, and good shall dominate, and in which all terms shall be related with such necessity as obtains in the definitions and theorems of geometry. There is to be some absolute meaning which is rational to the uttermost and the necessary ground of all the incidents of existence. Thought could undertake no more ambitious and exacting task. Nor is it evident after all that absolute idealism enjoys any better success in this task than absolute realism. The difference between them becomes much less marked when we reflect that the former, like the latter, must reserve the predicate of being for the unity of the whole. Even though evil and contradiction belong to the essence of things, move in the secret heart of a spiritual universe, the reality is not these in their severalty, but that life within which they fall, the story within which they "earn a place." And if absolute idealism has defined a new perfection, it has at the same time defined a new imperfection. The perfection is rich in contrast, and thus inclusive of both the lights and shades of experience; but the perfection belongs only to the composition of these elements within a single view. It is not necessary to such perfection that the evil should ever be viewed in isolation. The idealist employs the analogy of the drama or the picture whose very significance requires the balance of opposing forces; or the analogy of the symphony in which a higher musical quality is realized through the resolution of discord into harmony. But none of these unities requires any element whatsoever that does not partake of its beauty. It is quite irrelevant to the drama that the hero should himself have his own view of events with no understanding of their dramatic value, as it is irrelevant to the picture that an unbalanced fragment of it should dwell apart, or to the symphony that the discord should be heard without the harmony. One may multiply without end the internal differences and antagonisms that contribute to the internal meaning, and be as far as ever from understanding the external detachment of experiences that are not rational or good in themselves. And it is precisely this kind of fact that precipitates the whole problem. We do not judge of sin and error from experiences in which they conduct to goodness and truth, but from experiences in which they are stark and unresolved. In view of such considerations many idealists have been willing to confess their inability to solve this problem. To quote a recent expositor of Hegel,