2. Moreover, the objects of the transcendental philosopher have no existence, except in so far as they are freely produced. Nothing can compel to this production, any more than the external describing of a figure can compel one to regard it internally. Just as the existence of a mathematical figure rests on the outer sense, so the whole reality of a philosophical idea rests upon the inner sense. The whole object of this philosophy is no other than the action of Intelligence according to fixed laws. This action can be conceived only by means of a peculiar, direct, inner intuition, and this again is possible only by production. But this is not enough. In philosophizing, one is not only the object considered, but always at the same time the subject considering. To the understanding of philosophy, therefore, there are two conditions indispensable: first, that the philosopher shall be engaged in a continuous internal activity, in a continuous production of those primal actions of the intelligence; second, that he shall be engaged in continuous reflection upon the productive action;—in a word, that he shall be at once the contemplated (producing) and the contemplating. 3. By this continuous duplicity of production and intuition, that must become an object which is otherwise reflected by nothing. It cannot be shown here, but will be shown in the sequel, that this becoming-reflected on the part of the absolutely unconscious and non-objective, is possible only by an æsthetic act of the imagination. Meanwhile, so much is plain from what has already been proved, that all philosophy is productive. Philosophy, therefore, no less than art, rests upon the productive faculty, and the difference between the two, upon the different direction of the productive power. For whereas production in art is directed outward, in order to reflect the unconscious by products, philosophical production is directed immediately inward, in order to reflect it in intellectual intuition. The real sense by which this kind of philosophy must be grasped, is therefore the æsthetic sense, and hence it is that the philosophy of art is the true organum of philosophy (III.) Out of the vulgar reality there are only two means of exit—poetry, which transports us into an ideal world, and philosophy, which makes the real world vanish before us. It is not plain why the sense for philosophy should be more generally diffused than that for poetry, especially among that class of men, who, whether by memory-work (nothing destroys more directly the productive) or by dead speculation (ruinous to all imaginative power), have completely lost the æsthetic organ.