If the unity of the differences should destroy itself by changing into contradiction,
without returning to unity, that rupture comes to be what we generally and rightly call
disharmony. Such a contradiction is ugly because it destroys unity, that fundamental
condition of all aesthetic design, from the inside out. Disharmony is indeed in itself
ugly, but one must distinguish right away between that which is necessary and thus
beautiful and that which is accidental and thus ugly. Necessary disharmony is the
conflict into which the so-to-speak esoteric differences within a unity can fall through
their justified collision; the accidental is the as-it-were exoteric contradiction imposed
on a unity. The necessary kind reveals the entire depth of a unity in the monstrous rip
it tears open. The force of harmony seems to us greater, the greater the disharmony
over which it triumphs, but the rupture must not only [105] share a homogeneous
element with the unity, but it must be in fact the negative relation of the unity with
itself; for only under this precondition is the recovery of the unity possible. Rupture
then is beautiful not through the negative as such, but through the unity, which in the
rupture proves its energy as that which is internally efficacious, cohesive, saving,
renewing power