Creative Evolution

So much for the second point; now for the first. We said that negation is but the half of an intellectual act, of which the other half is left indeterminate. If I pronounce the negative proposition, "This table is not white," I mean that you ought to substitute for your judgment, "The table is white," another judgment. I give you an admonition, and the admonition refers to the necessity of a substitution. As to what you ought to substitute for your affirmation, I tell you nothing, it is true. This may be because I do not know the color of the table; but it is also, it is indeed even more, because the white color is that alone that interests us for the moment, so that I only need to tell you that some other color will have to be substituted for white, without having to say which. A negative judgment is therefore really one which indicates a need of substituting for an affirmative judgment another affirmative judgment, the nature of which, however, is not specified, sometimes because it is not known, more often because it fails to offer any actual interest, the attention bearing only on the substance of the first.

Thus, whenever I add a "not" to an affirmation, whenever I deny, I perform two very definite acts: (1) I interest myself in what one of my fellow-men affirms, or in what he was going to say, or in what might have been said by another Me, whom I anticipate; (2) I announce that some other affirmation, whose content I do not specify, will have to be substituted for the one I find before me. Now, in neither of these two acts is there anything but affirmation. The sui generis character of negation is due to superimposing the first of these acts upon the second. It is in vain, then, that we attribute to negation the power of creating ideas sui generis, symmetrical with those that affirmation creates, and directed in a contrary sense. No idea will come forth from negation, for it has no other content than that of the affirmative judgment which it judges.

To be more precise, let us consider an existential, instead of an attributive, judgment. If I say, "The object A does not exist," I mean by that, first, that we might believe that the object A exists: how, indeed, can we think of the object A without thinking it existing, and, once again, what difference can there be between the idea of the object A existing and the idea pure and simple of the object A? Therefore, merely by saying "The object A," I attribute to it some kind of existence, though it be that of a mere possible, that is to say, of a pure idea. And consequently, in the judgment "The object A is not," there is at first an affirmation such as "The object A has been," or "The object A will be," or, more generally, "The object A exists at least as a mere possible." Now, when I add the two words "is not," I can only mean that if we go further, if we erect the possible object into a real object, we shall be mistaken, and that the possible of which I am speaking is excluded from the actual reality as incompatible with it. Judgments that posit the non-existence of a thing are therefore judgments that formulate a contrast between the possible and the

actual (that is, between two kinds of existence, one thought and the other found), where a person, real or imaginary, wrongly believes that a certain possible is realized. Instead of this possible, there is a reality that differs from it and rejects it: the negative judgment expresses this contrast, but it expresses the contrast in an intentionally incomplete form, because it is addressed to a person who is supposed to be interested exclusively in the possible that is indicated, and is not concerned to know by what kind of reality the possible is replaced. The expression of the substitution is therefore bound to be cut short. Instead of affirming that a second term is substituted for the first, the attention which was originally directed to the first term will be kept fixed upon it, and upon it alone. And, without going beyond the first, we shall implicitly affirm that a second term replaces it in saying that the first "is not." We shall thus judge a judgment instead of judging a thing. We shall warn others or warn ourselves of a possible error instead of supplying positive information. Suppress every intention of this kind, give knowledge back its exclusively scientific or philosophical character, suppose in other words that reality comes itself to inscribe itself on a mind that cares only

for things and is not interested in persons: we shall affirm that such or such a thing is, we shall never affirm that a thing is not.

How comes it, then, that affirmation and negation are so persistently put on the same level and endowed with an equal objectivity? How comes it that we have so much difficulty in recognizing that negation is subjective, artificially cut short, relative to the human mind and still more to the social life? The reason is, no doubt, that both negation and affirmation are expressed in propositions, and that any proposition, being formed of words, which symbolize concepts, is something relative to social life and to the human intellect. Whether I say "The ground is damp" or "The ground is not damp," in both cases the terms "ground" and "damp" are concepts more or less artificially created by the mind of man - extracted, by his free initiative, from the continuity of experience. In both cases the concepts are represented by the same conventional words. In both cases we can say indeed that the proposition aims at a social and pedagogical end, since the first would propagate a truth as the second would prevent an error. From this point of view, which is that of formal logic, to affirm and to deny are indeed two mutually symmetrical acts, of which the first establishes a relation of agreement and the second a relation of disagreement between a subject and an attribute. But how do we fail to see that the symmetry is altogether external and the likeness superficial? Suppose language fallen into disuse, society dissolved, every intellectual initiative, every faculty of self-reflection and of self-judgment atrophied in man:

the dampness of the ground will subsist none the less, capable of inscribing itself automatically in sensation and of sending a vague idea to the deadened intellect. The intellect will still affirm, in implicit terms. And consequently, neither distinct concepts, nor words, nor the desire of spreading the truth, nor that of bettering oneself, are of the very essence of the affirmation. But this passive intelligence, mechanically keeping step with experience, neither anticipating nor following the course of the real, would have no wish to deny. It could not receive an imprint of negation; for, once again, that which exists may come to be recorded, but the non-existence of the non-existing cannot. For such an intellect to reach the point of denying, it must awake from its torpor, formulate the disappointment of a real or possible expectation, correct an actual or possible error - in short, propose to teach others or to teach itself.

It is rather difficult to perceive this in the example we have chosen, but the example is indeed the more instructive and the argument the more cogent on that account. If dampness is able automatically to come and record itself, it is the same, it will be said, with non-dampness; for the dry as well as the damp can give impressions to sense, which will transmit them, as more or less distinct ideas, to the intelligence. In this sense the negation of dampness is as objective a thing, as purely intellectual, as remote from every pedagogical intention, as affirmation. - But let us look at it more closely: we shall see that the negative proposition, "The ground is not damp," and the affirmative proposition, "The ground is dry," have entirely different contents. The second implies that we know the dry, that we have experienced the specific sensations, tactile or visual for example, that are at the base of this idea. The first requires nothing of the sort; it could equally well have been formulated by an intelligent fish, who had never perceived anything but the wet. It would be necessary, it is true, that this fish should have risen to the distinction between the real and the possible, and that he should care to anticipate the error of his fellow-fishes, who doubtless

consider as alone possible the condition of wetness in which they actually live. Keep strictly to the terms of the proposition, "The ground is not damp," and you will find that it means two things: (1) that one might believe that the ground is damp, (2) that the dampness is replaced in fact by a certain quality x. This quality is left indeterminate, either because we have no positive knowledge of it, or because it has no actual interest for the person to whom the negation is addressed. To deny, therefore, always consists in presenting in an abridged form a system of two affirmations: the one determinate, which applies to a certain possible; the other indeterminate, referring to the unknown or indifferent reality that supplants this possibility. The second affirmation is virtually contained in the judgment we apply to the first, a judgment which is negation itself. And what gives negation its subjective character is precisely this, that in the discovery of a replacement it takes account only of the replaced, and is not concerned with what replaces. The replaced exists only as a conception of the mind. It is necessary, in order to continue to see it, and consequently in order to speak of it, to turn our back on the reality, which flows from the past to the

present, advancing from behind. It is this that we do when we deny. We discover the change, or more generally the substitution, as a traveller would see the course of his carriage if he looked out behind, and only knew at each moment the point at which he had ceased to be; he could never determine his actual position except by relation to that which he had just quitted, instead of grasping it in itself.

To sum up, for a mind which should follow purely and simply the thread of experience, there would be no void, no nought, even relative or partial, no possible negation. Such a mind would see facts succeed facts, states succeed states, things succeed things. What it would note at each moment would be things existing, states appearing, events happening. It would live in the actual, and, if it were capable of judging, it would never affirm anything except the existence of the present. Endow this mind with memory, and especially with the desire to dwell on the past; give it the faculty of dissociating and of distinguishing: it will no longer only note the present state of the passing reality; it will represent the passing as a change, and therefore as a contrast between what has been and what is. And as there is no essential difference between a past that we remember and a past that we imagine, it will quickly rise to the idea of the "possible" in general.

It will thus be shunted on to the siding of negation. And especially it will be at the point of representing a disappearance. But it will not yet have reached it. To represent that a thing has disappeared, it is not enough to perceive a contrast between the past and the present; it is necessary besides to turn our back on the present, to dwell on the past, and to think the contrast of the past with the present in terms of the past only, without letting the present appear in it. The idea of annihilation is therefore not a pure idea; it implies that we regret the past or that we conceive it as regrettable, that we have some reason to linger over it. The idea arises when the phenomenon of substitution is cut in two by a mind which considers only the first half, because that alone interests it. Suppress all interest, all feeling, and there is nothing left but the reality that flows, together with the knowledge ever renewed that it impresses on us of its present state.

From annihilation to negation, which is a more general operation, there is now only a step. All that is necessary is to represent the contrast of what is, not only with what has been, but also with all that might have been. And we must express this contrast as a function of what might have been, and not of what is; we must affirm the existence of the actual while looking only at the possible. The formula we thus obtain no longer expresses merely a disappointment of the individual; it is made to correct or guard against an error, which is rather supposed to be the error of another. In this sense, negation has a pedagogical and social character.

Now, once negation is formulated, it presents an aspect symmetrical with that of affirmation; if affirmation affirms an objective reality, it seems that negation must affirm a non-reality equally objective, and, so to say, equally real. In which we are both right and wrong: wrong, because negation cannot be objectified, in so far as it is negative; right, however, in that the negation of a thing implies the latent affirmation of its replacement by something else, which we systematically leave on one side. But the negative form of negation benefits by the affirmation at the bottom of it. Bestriding the positive solid reality to which it is attached, this phantom objectifies itself. Thus is formed the idea of the void or of a partial nought, a thing being supposed to be replaced, not by another thing, but by a void which it leaves, that is, by the negation of itself. Now, as this operation works on anything whatever, we suppose it performed on each thing in turn, and finally on all things in block. We thus obtain the idea of absolute Nothing. If now we analyze this idea of Nothing, we find that it is, at bottom, the idea of Everything, together with a movement of the mind that keeps jumping from one thing to another, refuses to stand still, and concentrates all its attention on this refusal by never determining its actual position except by relation to that which it has just left. It is therefore an idea eminently comprehensive and full, as full and comprehensive as the idea of All, to which it is very closely akin.

How then can the idea of Nought be opposed to that of All? Is it not plain that this is to oppose the full to the full, and that the question, "Why does something exist?" is consequently without meaning, a pseudo-problem raised about a pseudo-idea? Yet we must say once more why this phantom of a problem haunts the mind with such obstinacy. In vain do we show that in the idea of an "annihilation of the real" there is only the image of all realities expelling one another endlessly, in a circle; in vain do we add that the idea of non-existence is only that of the expulsion of an imponderable existence, or a "merely possible" existence, by a more substantial existence which would then be the true reality; in vain do we find in the sui generis form of negation an element which is not intellectual - negation being the judgment of a judgment, an admonition given to some one else or to oneself, so that it is absurd to attribute to negation the power of creating ideas of a new kind, viz. ideas without content; - in spite of all, the conviction persists that before things, or at least under things, there is "Nothing." If we seek the reason of this fact, we shall find it precisely in the feeling, in

the social and, so to speak, practical element, that gives its specific form to negation. The greatest philosophic difficulties arise, as we have said, from the fact that the forms of human action venture outside of their proper sphere. We are made in order to act as much as, and more than, in order to think - or rather, when we follow the bent of our nature, it is in order to act that we think. It is therefore no wonder that the habits of action give their tone to those of thought, and that our mind always perceives things in the same order in which we are accustomed to picture them when we propose to act on them. Now, it is unquestionable, as we remarked above, that every human action has its starting-point in a dissatisfaction, and thereby in a feeling of absence. We should not act if we did not set before ourselves an end, and we seek a thing only because we feel the lack of it. Our action proceeds thus from "nothing" to "something," and its very essence is to embroider "something" on the canvas of "nothing." The truth is that the "nothing" concerned here is the absence not so much of a thing as of a utility. If I bring a visitor into a room that I

have not yet furnished, I say to him that "there is nothing in it." Yet I know the room is full of air; but, as we do not sit on air, the room truly contains nothing that at this moment, for the visitor and for myself, counts for anything. In a general way, human work consists in creating utility; and, as long as the work is not done, there is "nothing" - nothing that we want. Our life is thus spent in filling voids, which our intellect conceives under the influence, by no means intellectual, of desire and of regret, under the pressure of vital necessities; and if we mean by void an absence of utility and not of things, we may say, in this quite relative sense, that we are constantly going from the void to the full: such is the direction which our action takes. Our speculation cannot help doing the same; and, naturally, it passes from the relative sense to the absolute sense, since it is exercised on things themselves and not on the utility they have for us. Thus is implanted in us the idea that reality fills a void, and that Nothing, conceived as an absence of everything, pre-exists before all things in right, if not in fact. It is this illusion that we have tried to

remove by showing that the idea of Nothing, if we try to see in it that of an annihilation of all things, is self-destructive and reduced to a mere word; and that if, on the contrary, it is truly an idea, then we find in it as much matter as in the idea of All.

* * * * * This long analysis has been necessary to show that a self-sufficient reality is not necessarily a reality foreign to duration. If we pass (consciously or unconsciously) through the idea of the nought in order to reach that of being, the being to which we come is a logical or mathematical essence, therefore non-temporal. And, consequently, a static conception of the real is forced on us: everything appears given once for all, in eternity. But we must accustom ourselves to think being directly, without making a detour, without first appealing to the phantom of the nought which interposes itself between it and us. We must strive to see in order to see, and no longer to see in order to act. Then the Absolute is revealed very near us and, in a certain measure, in us. It is of psychological and not of mathematical nor logical essence. It lives with us. Like us, but in certain aspects infinitely more concentrated and more gathered up in itself, it endures.

But do we ever think true duration? Here again a direct taking possession is necessary. It is no use trying to approach duration: we must install ourselves within it straight away. This is what the intellect generally refuses to do, accustomed as it is to think the moving by means of the unmovable.

The function of the intellect is to preside over actions. Now, in action, it is the result that interests us; the means matter little provided the end is attained. Thence it comes that we are altogether bent on the end to be realized, generally trusting ourselves to it in order that the idea may become an act; and thence it comes also that only the goal where our activity will rest is pictured explicitly to our mind: the movements constituting the action itself either elude our consciousness or reach it only confusedly. Let us consider a very simple act, like that of lifting the arm. Where should we be if we had to imagine beforehand all the elementary contractions and tensions this act involves, or even to perceive them, one by one, as they are accomplished? But the mind is carried immediately to the end, that is to say, to the schematic and simplified vision of the act supposed accomplished. Then, if no antagonistic idea neutralizes the effect of the first idea, the appropriate movements come of themselves to fill out the plan, drawn in some way by the void of its gaps. The intellect, then, only represents to the activity ends to attain, that is to say, points of rest. And, from one end attained to another end attained, from one rest to another rest, our activity is carried by a series of leaps, during which our consciousness is turned away as much as possible from the movement going on, to regard only the anticipated image of the movement accomplished.

Now, in order that it may represent as unmovable the result of the act which is being accomplished, the intellect must perceive, as also unmovable, the surroundings in which this result is being framed. Our activity is fitted into the material world. If matter appeared to us as a perpetual flowing, we should assign no termination to any of our actions. We should feel each of them dissolve as fast as it was accomplished, and we should not anticipate an ever-fleeting future. In order that our activity may leap from an act to an act, it is necessary that matter should pass from a state to a state, for it is only into a state of the material world that action can fit a result, so as to be accomplished. But is it thus that matter presents itself?

A priori we may presume that our perception manages to apprehend matter with this bias. Sensory organs and motor organs are in fact coördinated with each other. Now, the first symbolize our faculty of perceiving, as the second our faculty of acting. The organism thus evidences, in a visible and tangible form, the perfect accord of perception and action. So if our activity always aims at a result into which it is momentarily fitted, our perception must retain of the material world, at every moment, only a state in which it is provisionally placed. This is the most natural hypothesis. And it is easy to see that experience confirms it.

From our first glance at the world, before we even make our bodies in it, we distinguish qualities. Color succeeds to color, sound to sound, resistance to resistance, etc. Each of these qualities, taken separately, is a state that seems to persist as such, immovable until another replaces it. Yet each of these qualities resolves itself, on analysis, into an enormous number of elementary movements. Whether we see in it vibrations or whether we represent it in any other way, one fact is certain, it is that every quality is change. In vain, moreover, shall we seek beneath the change the thing which changes: it is always provisionally, and in order to satisfy our imagination, that we attach the movement to a mobile. The mobile flies for ever before the pursuit of science, which is concerned with mobility alone. In the smallest discernible fraction of a second, in the almost instantaneous perception of a sensible quality, there may be trillions of oscillations which repeat themselves. The permanence of a sensible quality consists in this repetition of movements, as the persistence of life consists in a series of palpitations. The primal function of perception is precisely to grasp a series of elementary changes under the form of a quality or of a simple state, by a work of condensation. The greater the power of acting bestowed upon an animal species, the more numerous, probably, are the elementary changes that its faculty of perceiving concentrates into one of its instants.

And the progress must be continuous, in nature, from the beings that vibrate almost in unison with the oscillations of the ether, up to those that embrace trillions of these oscillations in the shortest of their simple perceptions. The first feel hardly anything but movements; the others perceive quality. The first are almost caught up in the running-gear of things; the others react, and the tension of their faculty of acting is probably proportional to the concentration of their faculty of perceiving. The progress goes on even in humanity itself. A man is so much the more a "man of action" as he can embrace in a glance a greater number of events: he who perceives successive events one by one will allow himself to be led by them; he who grasps them as a whole will dominate them. In short, the qualities of matter are so many stable views that we take of its instability.

Now, in the continuity of sensible qualities we mark off the boundaries of bodies. Each of these bodies really changes at every moment. In the first place, it resolves itself into a group of qualities, and every quality, as we said, consists of a succession of elementary movements. But, even if we regard the quality as a stable state, the body is still unstable in that it changes qualities without ceasing. The body pre-eminently - that which we are most justified in isolating within the continuity of matter, because it constitutes a relatively closed system - is the living body; it is, moreover, for it that we cut out the others within the whole. Now, life is an evolution. We concentrate a period of this evolution in a stable view which we call a form, and, when the change has become considerable enough to overcome the fortunate inertia of our perception, we say that the body has changed its form. But in reality the body is changing form at every moment; or rather, there is no form, since form is immobile and the reality is movement. What is real is the continual change of form: form is only a snapshot view of a transition. Therefore, here again, our perception manages to solidify into discontinuous images the fluid continuity of the real. When the successive images do not differ from each other too much, we consider them all as the waxing and waning of a single mean image, or as the deformation of this image in different directions. And to this mean we really allude when we speak of the essence of a thing, or of the thing itself.

Finally things, once constituted, show on the surface, by their changes of situation, the profound changes that are being accomplished within the Whole. We say then that they act on one another. This action appears to us, no doubt, in the form of movement. But from the mobility of the movement we turn away as much as we can; what interests us is, as we said above, the unmovable plan of the movement rather than the movement itself. Is it a simple movement? We ask ourselves where it is going. It is by its direction, that is to say, by the position of its provisional end, that we represent it at every moment. Is it a complex movement? We would know above all what is going on, what the movement is doing - in other words, the result obtained or the presiding intention. Examine closely what is in your mind when you speak of an action in course of accomplishment. The idea of change is there, I am willing to grant, but it is hidden in the penumbra. In the full light is the motionless plan of the act supposed accomplished. It is by this, and by this only, that the complex act is distinguished and defined. We should be very much embarrassed if we had to imagine the movements inherent in the actions of eating, drinking, fighting, etc. It is enough for us to know, in a general and indefinite way, that all these acts are movements.

Once that side of the matter has been settled, we simply seek to represent the general plan of each of these complex movements, that is to say the motionless design that underlies them. Here again knowledge bears on a state rather than on a change. It is therefore the same with this third case as with the others. Whether the movement be qualitative or evolutionary or extensive, the mind manages to take stable views of the instability. And thence the mind derives, as we have just shown, three kinds of representations: (1) qualities, (2) forms of essences, (3) acts.

To these three ways of seeing correspond three categories of words: adjectives, substantives, and verbs, which are the primordial elements of language. Adjectives and substantives therefore symbolize states. But the verb itself, if we keep to the clear part of the idea it calls up, hardly expresses anything else. * * * * *

Now, if we try to characterize more precisely our natural attitude towards Becoming, this is what we find. Becoming is infinitely varied. That which goes from yellow to green is not like that which goes from green to blue: they are different qualitative movements. That which goes from flower to fruit is not like that which goes from larva to nymph and from nymph to perfect insect: they are different evolutionary movements. The action of eating or of drinking is not like the action of fighting: they are different extensive movements. And these three kinds of movement themselves - qualitative, evolutionary, extensive - differ profoundly. The trick of our perception, like that of our intelligence, like that of our language, consists in extracting from these profoundly different becomings the single representation of becoming in general, undefined becoming, a mere abstraction which by itself says nothing and of which, indeed, it is very rarely that we think. To this idea, always the same, and always obscure or unconscious, we then join, in each particular case, one or several clear images that represent states and which serve to distinguish all becomings from each other. It is this composition of a specified and definite state with change general and undefined that we substitute for the specific change. An infinite multiplicity of becomings variously colored, so to speak, passes before our eyes: we manage so that we see only differences of color, that is to say, differences of state, beneath which there is supposed to flow, hidden from our view, a becoming always and everywhere the same, invariably colorless.

Suppose we wish to portray on a screen a living picture, such as the marching past of a regiment. There is one way in which it might first occur to us to do it. That would be to cut out jointed figures representing the soldiers, to give to each of them the movement of marching, a movement varying from individual to individual although common to the human species, and to throw the whole on the screen. We should need to spend on this little game an enormous amount of work, and even then we should obtain but a very poor result: how could it, at its best, reproduce the suppleness and variety of life? Now, there is another way of proceeding, more easy and at the same time more effective. It is to take a series of snapshots of the passing regiment and to throw these instantaneous views on the screen, so that they replace each other very rapidly. This is what the cinematograph does. With photographs, each of which represents the regiment in a fixed attitude, it reconstitutes the mobility of the regiment marching. It is true that if we had to do with photographs alone, however much we might look at them, we should never see them animated: with immobility set beside immobility, even endlessly, we could never

make movement. In order that the pictures may be animated, there must be movement somewhere. The movement does indeed exist here; it is in the apparatus. It is because the film of the cinematograph unrolls, bringing in turn the different photographs of the scene to continue each other, that each actor of the scene recovers his mobility; he strings all his successive attitudes on the invisible movement of the film. The process then consists in extracting from all the movements peculiar to all the figures an impersonal movement abstract and simple, movement in general, so to speak: we put this into the apparatus, and we reconstitute the individuality of each particular movement by combining this nameless movement with the personal attitudes. Such is the contrivance of the cinematograph. And such is also that of our knowledge. Instead of attaching ourselves to the inner becoming of things, we place ourselves outside them in order to recompose their becoming artificially. We take snapshots, as it were, of the passing reality, and, as these are characteristic of the reality, we have only to string them on a becoming, abstract, uniform and invisible, situated at the back of the apparatus of knowledge, in order to imitate what there is that is characteristic in this becoming itself. Perception, intellection, language so proceed in general. Whether

we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us. We may therefore sum up what we have been saying in the conclusion that the mechanism of our ordinary knowledge is of a cinematographical kind.

Of the altogether practical character of this operation there is no possible doubt. Each of our acts aims at a certain insertion of our will into the reality. There is, between our body and other bodies, an arrangement like that of the pieces of glass that compose a kaleidoscopic picture. Our activity goes from an arrangement to a rearrangement, each time no doubt giving the kaleidoscope a new shake, but not interesting itself in the shake, and seeing only the new picture. Our knowledge of the operation of nature must be exactly symmetrical, therefore, with the interest we take in our own operation. In this sense we may say, if we are not abusing this kind of illustration, that _the cinematographical character of our knowledge of things is due to the kaleidoscopic character of our adaptation to them_.

The cinematographical method is therefore the only practical method, since it consists in making the general character of knowledge form itself on that of action, while expecting that the detail of each act should depend in its turn on that of knowledge. In order that action may always be enlightened, intelligence must always be present in it; but intelligence, in order thus to accompany the progress of activity and ensure its direction, must begin by adopting its rhythm. Action is discontinuous, like every pulsation of life; discontinuous, therefore, is knowledge. The mechanism of the faculty of knowing has been constructed on this plan. Essentially practical, can it be of use, such as it is, for speculation? Let us try with it to follow reality in its windings, and see what will happen.

I take of the continuity of a particular becoming a series of views, which I connect together by "becoming in general." But of course I cannot stop there. What is not determinable is not representable: of "becoming in general" I have only a verbal knowledge. As the letter x designates a certain unknown quantity, whatever it may be, so my "becoming in general," always the same, symbolizes here a certain transition of which I have taken some snapshots; of the transition itself it teaches me nothing. Let me then concentrate myself wholly on the transition, and, between any two snapshots, endeavor to realize what is going on. As I apply the same method, I obtain the same result; a third view merely slips in between the two others. I may begin again as often as I will, I may set views alongside of views for ever, I shall obtain nothing else. The application of the cinematographical method therefore leads to a perpetual recommencement, during which the mind, never able to satisfy itself and never finding where to rest, persuades itself, no doubt, that it imitates by its instability the very movement of the real. But though, by straining itself to the point of giddiness, it may end by giving itself the illusion of mobility, its operation has not advanced it a step, since it remains as far as ever from its goal. In order to advance with the moving reality, you must replace yourself within it.

Install yourself within change, and you will grasp at once both change itself and the successive states in which it might at any instant be immobilized. But with these successive states, perceived from without as real and no longer as potential immobilities, you will never reconstitute movement. Call them qualities, forms, positions, or intentions, as the case may be, multiply the number of them as you will, let the interval between two consecutive states be infinitely small: before the intervening movement you will always experience the disappointment of the child who tries by clapping his hands together to crush the smoke. The movement slips through the interval, because every attempt to reconstitute change out of states implies the absurd proposition, that movement is made of immobilities.

Philosophy perceived this as soon as it opened its eyes. The arguments of Zeno of Elea, although formulated with a very different intention, have no other meaning. Take the flying arrow. At every moment, says Zeno, it is motionless, for it cannot have time to move, that is, to occupy at least two successive positions, unless at least two moments are allowed it. At a given moment, therefore, it is at rest at a given point. Motionless in each point of its course, it is motionless during all the time that it is moving.

Yes, if we suppose that the arrow can ever be in a point of its course. Yes again, if the arrow, which is moving, ever coincides with a position, which is motionless. But the arrow never is in any point of its course. The most we can say is that it might be there, in this sense, that it passes there and might stop there. It is true that if it did stop there, it would be at rest there, and at this point it is no longer movement that we should have to do with. The truth is that if the arrow leaves the point A to fall down at the point B, its movement AB is as simple, as indecomposable, in so far as it is movement, as the tension of the bow that shoots it. As the shrapnel, bursting before it falls to the ground, covers the explosive zone with an indivisible danger, so the arrow which goes from A to B displays with a single stroke, although over a certain extent of duration, its indivisible mobility. Suppose an elastic stretched from A to B, could you divide its extension? The course of the arrow is this very extension; it is equally simple and equally undivided. It is a single and unique bound. You fix a point

C in the interval passed, and say that at a certain moment the arrow was in C. If it had been there, it would have been stopped there, and you would no longer have had a flight from A to B, but two flights, one from A to C and the other from C to B, with an interval of rest. A single movement is entirely, by the hypothesis, a movement between two stops; if there are intermediate stops, it is no longer a single movement. At bottom, the illusion arises from this, that the movement, once effected, has laid along its course a motionless trajectory on which we can count as many immobilities as we will. From this we conclude that the movement, whilst being effected, lays at each instant beneath it a position with which it coincides. We do not see that the trajectory is created in one stroke, although a certain time is required for it; and that though we can divide at will the trajectory once created, we cannot divide its creation, which is an act in progress and not a thing. To suppose that the moving body is at a point of its course is to cut the course in two by a snip of the scissors at this point, and to substitute two trajectories

for the single trajectory which we were first considering. It is to distinguish two successive acts where, by the hypothesis, there is only one. In short, it is to attribute to the course itself of the arrow everything that can be said of the interval that the arrow has traversed, that is to say, to admit a priori the absurdity that movement coincides with immobility.

We shall not dwell here on the three other arguments of Zeno. We have examined them elsewhere. It is enough to point out that they all consist in applying the movement to the line traversed, and supposing that what is true of the line is true of the movement. The line, for example, may be divided into as many parts as we wish, of any length that we wish, and it is always the same line. From this we conclude that we have the right to suppose the movement articulated as we wish, and that it is always the same movement. We thus obtain a series of absurdities that all express the same fundamental absurdity. But the possibility of applying the movement to the line traversed exists only for an observer who keeping outside the movement and seeing at every instant the possibility of a stop, tries to reconstruct the real movement with these possible immobilities. The absurdity vanishes as soon as we adopt by thought the continuity of the real movement, a continuity of which every one of us is conscious whenever he lifts an arm or advances a step. We feel then indeed that the line passed over between two stops is described with a single indivisible stroke, and that we seek in vain to practice on the movement, which traces the line, divisions corresponding, each to each, with the divisions arbitrarily chosen of the line once it has been traced. The line traversed by the moving body lends itself to any kind of division, because it has no internal organization. But all movement is articulated inwardly. It is either an indivisible bound (which may occupy, nevertheless, a very long duration) or a series of indivisible bounds. Take the articulations of this movement into account, or give up speculating on its nature.

When Achilles pursues the tortoise, each of his steps must be treated as indivisible, and so must each step of the tortoise. After a certain number of steps, Achilles will have overtaken the tortoise. There is nothing more simple. If you insist on dividing the two motions further, distinguish both on the one side and on the other, in the course of Achilles and in that of the tortoise, the sub-multiples of the steps of each of them; but respect the natural articulations of the two courses. As long as you respect them, no difficulty will arise, because you will follow the indications of experience. But Zeno's device is to reconstruct the movement of Achilles according to a law arbitrarily chosen. Achilles with a first step is supposed to arrive at the point where the tortoise was, with a second step at the point which it has moved to while he was making the first, and so on. In this case, Achilles would always have a new step to take. But obviously, to overtake the tortoise, he goes about it in quite another way. The movement considered by Zeno would only be the equivalent of the movement of Achilles if we could treat the movement as we treat the interval passed through, decomposable and recomposable at will. Once you subscribe to this first absurdity, all the others follow.

Nothing would be easier, now, than to extend Zeno's argument to qualitative becoming and to evolutionary becoming. We should find the same contradictions in these. That the child can become a youth, ripen to maturity and decline to old age, we understand when we consider that vital evolution is here the reality itself. Infancy, adolescence, maturity, old age, are mere views of the mind, possible stops imagined by us, from without, along the continuity of a progress. On the contrary, let childhood, adolescence, maturity and old age be given as integral parts of the evolution, they become real stops, and we can no longer conceive how evolution is possible, for rests placed beside rests will never be equivalent to a movement. How, with what is made, can we reconstitute what is being made? How, for instance, from childhood once posited as a thing, shall we pass to adolescence, when, by the hypothesis, childhood only is given? If we look at it closely, we shall see that our habitual manner of speaking, which is fashioned after our habitual manner of thinking, leads us to actual logical dead-locks - dead-locks to which we allow ourselves to be led without anxiety, because we feel confusedly that we can always get out of them if we like: all that we have to do, in fact, is

to give up the cinematographical habits of our intellect. When we say "The child becomes a man," let us take care not to fathom too deeply the literal meaning of the expression, or we shall find that, when we posit the subject "child," the attribute "man" does not yet apply to it, and that, when we express the attribute "man," it applies no more to the subject "child." The reality, which is the transition from childhood to manhood, has slipped between our fingers. We have only the imaginary stops "child" and "man," and we are very near to saying that one of these stops is the other, just as the arrow of Zeno is, according to that philosopher, at all the points of the course. The truth is that if language here were molded on reality, we should not say "The child becomes the man," but "There is becoming from the child to the man." In the first proposition, "becomes" is a verb of indeterminate meaning, intended to mask the absurdity into which we fall when we attribute the state "man" to the subject "child." It behaves in much the same way as the movement, always the same, of the cinematographical film, a movement hidden in the apparatus and whose function it is to superpose the successive pictures on one

another in order to imitate the movement of the real object. In the second proposition, "becoming" is a subject. It comes to the front. It is the reality itself; childhood and manhood are then only possible stops, mere views of the mind; we now have to do with the objective movement itself, and no longer with its cinematographical imitation. But the first manner of expression is alone conformable to our habits of language. We must, in order to adopt the second, escape from the cinematographical mechanism of thought.

We must make complete abstraction of this mechanism, if we wish to get rid at one stroke of the theoretical absurdities that the question of movement raises. All is obscure, all is contradictory when we try, with states, to build up a transition. The obscurity is cleared up, the contradiction vanishes, as soon as we place ourselves along the transition, in order to distinguish states in it by making cross cuts therein in thought. The reason is that there is more in the transition than the series of states, that is to say, the possible cuts - more in the movement than the series of positions, that is to say, the possible stops. Only, the first way of looking at things is conformable to the processes of the human mind; the second requires, on the contrary, that we reverse the bent of our intellectual habits. No wonder, then, if philosophy at first recoiled before such an effort. The Greeks trusted to nature, trusted the natural propensity of the mind, trusted language above all, in so far as it naturally externalizes thought. Rather than lay blame on the attitude of thought and language toward the course of things, they preferred to pronounce the course of things itself to be wrong.

Such, indeed, was the sentence passed by the philosophers of the Eleatic school. And they passed it without any reservation whatever. As becoming shocks the habits of thought and fits ill into the molds of language, they declared it unreal. In spatial movement and in change in general they saw only pure illusion. This conclusion could be softened down without changing the premisses, by saying that the reality changes, but that it ought not to change. Experience confronts us with becoming: that is sensible reality. But the intelligible reality, that which ought to be, is more real still, and that reality does not change. Beneath the qualitative becoming, beneath the evolutionary becoming, beneath the extensive becoming, the mind must seek that which defies change, the definable quality, the form or essence, the end. Such was the fundamental principle of the philosophy which developed throughout the classic age, the philosophy of Forms, or, to use a term more akin to the Greek, the philosophy of Ideas.

The word [Greek: eidos], which we translate here by "Idea," has, in fact, this threefold meaning. It denotes (1) the quality, (2) the form or essence, (3) the end or design (in the sense of intention) of the act being performed, that is to say, at bottom, the design (in the sense of drawing) of the act supposed accomplished. _These three aspects are those of the adjective, substantive and verb, and correspond to the three essential categories of language._ After the explanations we have given above, we might, and perhaps we ought to, translate [Greek: eidos] by "view" or rather by "moment." For [Greek: eidos] is the stable view taken of the instability of things: the quality, which is a moment of becoming; the form, which is a moment of evolution; the essence, which is the mean form above and below which the other forms are arranged as alterations of the mean; finally, the intention or mental design which presides over the action being accomplished, and which is nothing else, we said, than the material design, traced out and contemplated beforehand, of the action accomplished. To reduce things to Ideas is therefore to resolve becoming into its principal moments, each of these being, moreover, by the hypothesis, screened from the laws of time and, as it were, plucked out of eternity. That is to say that we end in the philosophy of Ideas when we apply the cinematographical mechanism of the intellect to the analysis of the real.

But, when we put immutable Ideas at the base of the moving reality, a whole physics, a whole cosmology, a whole theology follows necessarily. We must insist on the point. Not that we mean to summarize in a few pages a philosophy so complex and so comprehensive as that of the Greeks. But, since we have described the cinematographical mechanism of the intellect, it is important that we should show to what idea of reality the play of this mechanism leads. It is the very idea, we believe, that we find in the ancient philosophy. The main lines of the doctrine that was developed from Plato to Plotinus, passing through Aristotle (and even, in a certain measure, through the Stoics), have nothing accidental, nothing contingent, nothing that must be regarded as a philosopher's fancy. They indicate the vision that a systematic intellect obtains of the universal becoming when regarding it by means of snapshots, taken at intervals, of its flowing. So that, even to-day, we shall philosophize in the manner of the Greeks, we shall rediscover, without needing to know them, such and such of their general conclusions, in the exact proportion that we trust in the cinematographical instinct of our thought. * * * * *

We said there is more in a movement than in the successive positions attributed to the moving object, more in a becoming than in the forms passed through in turn, more in the evolution of form than the forms assumed one after another. Philosophy can therefore derive terms of the second kind from those of the first, but not the first from the second: from the first terms speculation must take its start. But the intellect reverses the order of the two groups; and, on this point, ancient philosophy proceeds as the intellect does. It installs itself in the immutable, it posits only Ideas. Yet becoming exists: it is a fact. How, then, having posited immutability alone, shall we make change come forth from it? Not by the addition of anything, for, by the hypothesis, there exists nothing positive outside Ideas. It must therefore be by a diminution. So at the base of ancient philosophy lies necessarily this postulate: that there is more in the motionless than in the moving, and that we pass from immutability to becoming by way of diminution or attenuation.

It is therefore something negative, or zero at most, that must be added to Ideas to obtain change. In that consists the Platonic "non-being," the Aristotelian "matter" - a metaphysical zero which, joined to the Idea, like the arithmetical zero to unity, multiplies it in space and time. By it the motionless and simple Idea is refracted into a movement spread out indefinitely. In right, there ought to be nothing but immutable Ideas, immutably fitted to each other. In fact, matter comes to add to them its void, and thereby lets loose the universal becoming. It is an elusive nothing, that creeps between the Ideas and creates endless agitation, eternal disquiet, like a suspicion insinuated between two loving hearts. Degrade the immutable Ideas: you obtain, by that alone, the perpetual flux of things. The Ideas or Forms are the whole of intelligible reality, that is to say, of truth, in that they represent, all together, the theoretical equilibrium of Being. As to sensible reality, it is a perpetual oscillation from one side to the other of this point of equilibrium.

Hence, throughout the whole philosophy of Ideas there is a certain conception of duration, as also of the relation of time to eternity. He who installs himself in becoming sees in duration the very life of things, the fundamental reality. The Forms, which the mind isolates and stores up in concepts, are then only snapshots of the changing reality. They are moments gathered along the course of time; and, just because we have cut the thread that binds them to time, they no longer endure. They tend to withdraw into their own definition, that is to say, into the artificial reconstruction and symbolical expression which is their intellectual equivalent. They enter into eternity, if you will; but what is eternal in them is just what is unreal. On the contrary, if we treat becoming by the cinematographical method, the Forms are no longer snapshots taken of the change, they are its constitutive elements, they represent all that is positive in Becoming. Eternity no longer hovers over time, as an abstraction; it underlies time, as a reality. Such is exactly, on this point, the attitude of the philosophy of Forms or Ideas. It establishes between eternity and time the same relation as between a piece of gold and the small change - change so small that payment goes on for ever without the debt being paid off. The debt could be paid at once with the piece of gold. It is this that Plato expresses in his magnificent language when he says that God, unable to make the world eternal, gave it Time, "a moving image of eternity."

Hence also arises a certain conception of extension, which is at the base of the philosophy of Ideas, although it has not been so explicitly brought out. Let us imagine a mind placed alongside becoming, and adopting its movement. Each successive state, each quality, each form, in short, will be seen by it as a mere cut made by thought in the universal becoming. It will be found that form is essentially extended, inseparable as it is from the extensity of the becoming which has materialized it in the course of its flow. Every form thus occupies space, as it occupies time. But the philosophy of Ideas follows the inverse direction. It starts from the Form; it sees in the Form the very essence of reality. It does not take Form as a snapshot of becoming; it posits Forms in the eternal; of this motionless eternity, then, duration and becoming are supposed to be only the degradation. Form thus posited, independent of time, is then no longer what is found in a perception; it is a concept. And, as a reality of the conceptual order occupies no more of extension than it does of duration, the Forms must be stationed outside space as well as above time. Space and time have therefore necessarily, in ancient philosophy, the same origin and

the same value. The same diminution of being is expressed both by extension in space and detention in time. Both of these are but the distance between what is and what ought to be. From the standpoint of ancient philosophy, space and time can be nothing but the field that an incomplete reality, or rather a reality that has gone astray from itself, needs in order to run in quest of itself. Only it must be admitted that the field is created as the hunting progresses, and that the hunting in some way deposits the field beneath it. Move an imaginary pendulum, a mere mathematical point, from its position of equilibrium: a perpetual oscillation is started, along which points are placed next to points, and moments succeed moments. The space and time which thus arise have no more "positivity" than the movement itself. They represent the remoteness of the position artificially given to the pendulum from its normal position, what it lacks in order to regain its natural stability. Bring it back to its normal position: space, time and motion shrink to a mathematical point. Just so, human reasonings are drawn out into an endless chain, but are at once swallowed up in the truth seized by intuition, for their extension in space and time is only the distance, so

to speak, between thought and truth. So of extension and duration in relation to pure Forms or Ideas. The sensible forms are before us, ever about to recover their ideality, ever prevented by the matter they bear in them, that is to say, by their inner void, by the interval between what they are and what they ought to be. They are for ever on the point of recovering themselves, for ever occupied in losing themselves. An inflexible law condemns them, like the rock of Sisyphus, to fall back when they are almost touching the summit, and this law, which has projected them into space and time, is nothing other than the very constancy of their original insufficiency. The alternations of generation and decay, the evolutions ever beginning over and over again, the infinite repetition of the cycles of celestial spheres - this all represents merely a certain fundamental deficit, in which materiality consists. Fill up this deficit: at once you suppress space and time, that is to say, the endlessly renewed oscillations around a stable equilibrium always aimed at, never reached. Things re-enter into each other. What was extended in space is contracted into pure Form. And past, present, and future shrink into a single moment, which is eternity.

This amounts to saying that physics is but logic spoiled. In this proposition the whole philosophy of Ideas is summarized. And in it also is the hidden principle of the philosophy that is innate in our understanding. If immutability is more than becoming, form is more than change, and it is by a veritable fall that the logical system of Ideas, rationally subordinated and coördinated among themselves, is scattered into a physical series of objects and events accidentally placed one after another. The generative idea of a poem is developed in thousands of imaginations which are materialized in phrases that spread themselves out in words. And the more we descend from the motionless idea, wound on itself, to the words that unwind it, the more room is left for contingency and choice. Other metaphors, expressed by other words, might have arisen; an image is called up by an image, a word by a word. All these words run now one after another, seeking in vain, by themselves, to give back the simplicity of the generative idea. Our ear only hears the words: it therefore perceives only accidents. But our mind, by successive bounds, leaps from the words to the images, from the images to the original idea, and so gets back, from the perception of words - accidents called up by accidents - to the conception of the Idea that posits its own being. So the philosopher proceeds, confronted with the universe. Experience makes to pass before his eyes phenomena which run, they also, one behind another in an accidental order determined by circumstances of time and place.

This physical order - a degeneration of the logical order - is nothing else but the fall of the logical into space and time. But the philosopher, ascending again from the percept to the concept, sees condensed into the logical all the positive reality that the physical possesses. His intellect, doing away with the materiality that lessens being, grasps being itself in the immutable system of Ideas. Thus Science is obtained, which appears to us, complete and ready-made, as soon as we put back our intellect into its true place, correcting the deviation that separated it from the intelligible. Science is not, then, a human construction. It is prior to our intellect, independent of it, veritably the generator of Things.

And indeed, if we hold the Forms to be simply snapshots taken by the mind of the continuity of becoming, they must be relative to the mind that thinks them, they can have no independent existence. At most we might say that each of these Ideas is an ideal. But it is in the opposite hypothesis that we are placing ourselves. Ideas must then exist by themselves. Ancient philosophy could not escape this conclusion. Plato formulated it, and in vain did Aristotle strive to avoid it. Since movement arises from the degradation of the immutable, there could be no movement, consequently no sensible world, if there were not, somewhere, immutability realized. So, having begun by refusing to Ideas an independent existence, and finding himself nevertheless unable to deprive them of it, Aristotle pressed them into each other, rolled them up into a ball, and set above the physical world a Form that was thus found to be the Form of Forms, the Idea of Ideas, or, to use his own words, the Thought of Thought. Such is the God of Aristotle - necessarily immutable and apart from what is happening in the world, since he is only the synthesis of all concepts in a single concept. It is true that no one of the manifold concepts could exist apart, such as it

is in the divine unity: in vain should we look for the ideas of Plato within the God of Aristotle. But if only we imagine the God of Aristotle in a sort of refraction of himself, or simply inclining toward the world, at once the Platonic Ideas are seen to pour themselves out of him, as if they were involved in the unity of his essence: so rays stream out from the sun, which nevertheless did not contain them. It is probably this possibility of an outpouring of Platonic Ideas from the Aristotelian God that is meant, in the philosophy of Aristotle, by the active intellect, the [Greek: nous] that has been called [Greek: poiêtikos] - that is, by what is essential and yet unconscious in human intelligence. The [Greek: nous poiêtikos] is Science entire, posited all at once, which the conscious, discursive intellect is condemned to reconstruct with difficulty, bit by bit. There is then within us, or rather behind us, a possible vision of God, as the Alexandrians said, a vision always virtual, never actually realized by the conscious intellect. In this intuition we should see God expand in Ideas. This it is that "does everything," playing in relation to the discursive intellect, which moves in time, the same rôle as the motionless Mover himself plays in relation to the

movement of the heavens and the course of things.

There is, then, immanent in the philosophy of Ideas, a particular conception of causality, which it is important to bring into full light, because it is that which each of us will reach when, in order to ascend to the origin of things, he follows to the end the natural movement of the intellect. True, the ancient philosophers never formulated it explicitly. They confined themselves to drawing the consequences of it, and, in general, they have marked but points of view of it rather than presented it itself. Sometimes, indeed, they speak of an attraction, sometimes of an impulsion exercised by the prime mover on the whole of the world. Both views are found in Aristotle, who shows us in the movement of the universe an aspiration of things toward the divine perfection, and consequently an ascent toward God, while he describes it elsewhere as the effect of a contact of God with the first sphere and as descending, consequently, from God to things. The Alexandrians, we think, do no more than follow this double indication when they speak of procession and conversion. Everything is derived from the first principle, and everything aspires to return to it. But these two conceptions of the divine causality can only be identified together if we bring them, both the one and the other, back to a third, which we hold to be fundamental, and which alone will enable us to understand, not only why, in what sense, things move in space and time, but also why there is space and time, why there is movement, why there are things.

This conception, which more and more shows through the reasonings of the Greek philosophers as we go from Plato to Plotinus, we may formulate thus: _The affirmation of a reality implies the simultaneous affirmation of all the degrees of reality intermediate between it and nothing._ The principle is evident in the case of number: we cannot affirm the number 10 without thereby affirming the existence of the numbers 9, 8, 7, ..., etc. - in short, of the whole interval between 10 and zero. But here our mind passes naturally from the sphere of quantity to that of quality. It seems to us that, a certain perfection being given, the whole continuity of degradations is given also between this perfection, on the one hand, and the nought, on the other hand, that we think we conceive. Let us then posit the God of Aristotle, thought of thought - that is, thought making a circle, transforming itself from subject to object and from object to subject by an instantaneous, or rather an eternal, circular process: as, on the other hand, the nought appears to posit itself, and as, the two extremities being given, the interval between them is equally given, it follows that all the descending degrees of being, from the divine perfection down to the "absolute nothing," are realized automatically, so to speak, when we have posited God.

Let us then run through this interval from top to bottom. First of all, the slightest diminution of the first principle will be enough to precipitate Being into space and time; but duration and extension, which represent this first diminution, will be as near as possible to the divine inextension and eternity. We must therefore picture to ourselves this first degradation of the divine principle as a sphere turning on itself, imitating, by the perpetuity of its circular movement, the eternity of the circle of the divine thought; creating, moreover, its own place, and thereby place in general, since it includes without being included and moves without stirring from the spot; creating also its own duration, and thereby duration in general, since its movement is the measure of all motion. Then, by degrees, we shall see the perfection decrease, more and more, down to our sublunary world, in which the cycle of birth, growth and decay imitates and mars the original circle for the last time. So understood, the causal relation between God and the world is seen as an attraction when regarded from below, as an impulsion or a contact when regarded from above, since the first heaven, with its circular movement, is an imitation of God and all imitation is the reception of a form. Therefore, we perceive God as efficient cause or as final cause, according to the point of view. And yet neither of these two relations is the ultimate causal relation.

The true relation is that which is found between the two members of an equation, when the first member is a single term and the second a sum of an endless number of terms. It is, we may say, the relation of the gold-piece to the small change, if we suppose the change to offer itself automatically as soon as the gold piece is presented. Only thus can we understand why Aristotle has demonstrated the necessity of a first motionless mover, not by founding it on the assertion that the movement of things must have had a beginning, but, on the contrary, by affirming that this movement could not have begun and can never come to an end. If movement exists, or, in other words, if the small change is being counted, the gold piece is to be found somewhere. And if the counting goes on for ever, having never begun, the single term that is eminently equivalent to it must be eternal. A perpetuity of mobility is possible only if it is backed by an eternity of immutability, which it unwinds in a chain without beginning or end.

Such is the last word of the Greek philosophy. We have not attempted to reconstruct it a priori. It has manifold origins. It is connected by many invisible threads to the soul of ancient Greece. Vain, therefore, the effort to deduce it from a simple principle. But if everything that has come from poetry, religion, social life and a still rudimentary physics and biology be removed from it, if we take away all the light material that may have been used in the construction of the stately building, a solid framework remains, and this framework marks out the main lines of a metaphysic which is, we believe, the natural metaphysic of the human intellect. We come to a philosophy of this kind, indeed, whenever we follow to the end, the cinematographical tendency of perception and thought. Our perception and thought begin by substituting for the continuity of evolutionary change a series of unchangeable forms which are turn by turn, "caught on the wing," like the rings at a merry-go-round, which the children unhook with their little stick as they are passing. Now, how can the forms be passing, and on what "stick" are they strung? As the stable forms have been obtained by extracting from change everything that is definite, there is nothing left, to characterize the instability on which

the forms are laid, but a negative attribute, which must be indetermination itself. Such is the first proceeding of our thought: it dissociates each change into two elements - the one stable, definable for each particular case, to wit, the Form; the other indefinable and always the same, Change in general. And such, also, is the essential operation of language. Forms are all that it is capable of expressing. It is reduced to taking as understood or is limited to suggesting a mobility which, just because it is always unexpressed, is thought to remain in all cases the same. - Then comes in a philosophy that holds the dissociation thus effected by thought and language to be legitimate. What can it do, except objectify the distinction with more force, push it to its extreme consequences, reduce it into a system? It will therefore construct the real, on the one hand, with definite Forms or immutable elements, and, on the other, with a principle of mobility which, being the negation of the form, will, by the hypothesis, escape all definition and be the purely indeterminate. The more it directs its attention to the forms delineated by thought and expressed by language, the more it will see them rise above the sensible and become subtilized into pure concepts, capable of entering one within the other, and

even of being at last massed together into a single concept, the synthesis of all reality, the achievement of all perfection. The more, on the contrary, it descends toward the invisible source of the universal mobility, the more it will feel this mobility sink beneath it and at the same time become void, vanish into what it will call the "non-being." Finally, it will have on the one hand the system of ideas, logically coördinated together or concentrated into one only, on the other a quasi-nought, the Platonic "non-being" or the Aristotelian "matter." - But, having cut your cloth, you must sew it. With supra-sensible Ideas and an infra-sensible non-being, you now have to reconstruct the sensible world. You can do so only if you postulate a kind of metaphysical necessity in virtue of which the confronting of this All with this Zero is equivalent to the affirmation of all the degrees of reality that measure the interval between them - just as an undivided number, when regarded as a difference between itself and zero, is revealed as a certain sum of units, and with its own affirmation affirms all the lower numbers. That is the natural postulate. It is that also that we perceive as the base of the Greek philosophy. In order then to explain the specific characters of each of these

degrees of intermediate reality, nothing more is necessary than to measure the distance that separates it from the integral reality. Each lower degree consists in a diminution of the higher, and the sensible newness that we perceive in it is resolved, from the point of view of the intelligible, into a new quantity of negation which is superadded to it. The smallest possible quantity of negation, that which is found already in the highest forms of sensible reality, and consequently a fortiori in the lower forms, is that which is expressed by the most general attributes of sensible reality, extension and duration. By increasing degradations we will obtain attributes more and more special. Here the philosopher's fancy will have free scope, for it is by an arbitrary decree, or at least a debatable one, that a particular aspect of the sensible world will be equated with a particular diminution of being. We shall not necessarily end, as Aristotle did, in a world consisting of concentric spheres turning on themselves. But we shall be led to an analogous cosmology - I mean, to a construction whose pieces, though all different, will have none the less the same relations between them. And this cosmology will be ruled by the same principle. The physical will be defined by the logical. Beneath the changing phenomena will

appear to us, by transparence, a closed system of concepts subordinated to and coördinated with each other. Science, understood as the system of concepts, will be more real than the sensible reality. It will be prior to human knowledge, which is only able to spell it letter by letter; prior also to things, which awkwardly try to imitate it. It would only have to be diverted an instant from itself in order to step out of its eternity and thereby coincide with all this knowledge and all these things. Its immutability is therefore, indeed, the cause of the universal becoming.

Such was the point of view of ancient philosophy in regard to change and duration. That modern philosophy has repeatedly, but especially in its beginnings, had the wish to depart from it, seems to us unquestionable. But an irresistible attraction brings the intellect back to its natural movement, and the metaphysic of the moderns to the general conclusions of the Greek metaphysic. We must try to make this point clear, in order to show by what invisible threads our mechanistic philosophy remains bound to the ancient philosophy of Ideas, and how also it responds to the requirements, above all practical, of our understanding. * * * * *

Modern, like ancient, science proceeds according to the cinematographical method. It cannot do otherwise; all science is subject to this law. For it is of the essence of science to handle signs, which it substitutes for the objects themselves. These signs undoubtedly differ from those of language by their greater precision and their higher efficacy; they are none the less tied down to the general condition of the sign, which is to denote a fixed aspect of the reality under an arrested form. In order to think movement, a constantly renewed effort of the mind is necessary. Signs are made to dispense us with this effort by substituting, for the moving continuity of things, an artificial reconstruction which is its equivalent in practice and has the advantage of being easily handled. But let us leave aside the means and consider only the end. What is the essential object of science? It is to enlarge our influence over things. Science may be speculative in its form, disinterested in its immediate ends; in other words we may give it as long a credit as it wants. But, however long the day of reckoning may be put off, some time or other the payment must be made. It is always then, in short, practical utility that science has in view. Even when it launches into theory, it is bound to adapt its behavior to the general form of practice. However high it may rise, it must be ready to fall back into the field of action, and at once to get on its feet.

This would not be possible for it, if its rhythm differed absolutely from that of action itself. Now action, we have said, proceeds by leaps. To act is to re-adapt oneself. To know, that is to say, to foresee in order to act, is then to go from situation to situation, from arrangement to rearrangement. Science may consider rearrangements that come closer and closer to each other; it may thus increase the number of moments that it isolates, but it always isolates moments. As to what happens in the interval between the moments, science is no more concerned with that than are our common intelligence, our senses and our language: it does not bear on the interval, but only on the extremities. So the cinematographical method forces itself upon our science, as it did already on that of the ancients.

Wherein, then, is the difference between the two sciences? We indicated it when we said that the ancients reduced the physical order to the vital order, that is to say, laws to genera, while the moderns try to resolve genera into laws. But we have to look at it in another aspect, which, moreover, is only a transposition, of the first. Wherein consists the difference of attitude of the two sciences toward change? We may formulate it by saying that _ancient science thinks it knows its object sufficiently when it has noted of it some privileged moments, whereas modern science considers the object at any moment whatever_.

The forms or ideas of Plato or of Aristotle correspond to privileged or salient moments in the history of things - those, in general, that have been fixed by language. They are supposed, like the childhood or the old age of a living being, to characterize a period of which they express the quintessence, all the rest of this period being filled by the passage, of no interest in itself, from one form to another form. Take, for instance, a falling body. It was thought that we got near enough to the fact when we characterized it as a whole: it was a movement downward; it was the tendency toward a centre; it was the natural movement of a body which, separated from the earth to which it belonged, was now going to find its place again. They noted, then, the final term or culminating point ([Greek: telos, akmê]) and set it up as the essential moment: this moment, that language has retained in order to express the whole of the fact, sufficed also for science to characterize it. In the physics of Aristotle, it is by the concepts "high" and "low," spontaneous displacement and forced displacement, own place and strange place, that the movement of a body shot into space or falling freely is defined. But Galileo thought there was no essential moment, no privileged instant. To study the falling body is to consider it at it matters not what moment in its course. The true science of gravity is that which will determine, for any moment of time whatever, the position of the body in space. For this, indeed, signs far more precise than those of language are required.

We may say, then, that our physics differs from that of the ancients chiefly in the indefinite breaking up of time. For the ancients, time comprises as many undivided periods as our natural perception and our language cut out in it successive facts, each presenting a kind of individuality. For that reason, each of these facts admits, in their view, of only a total definition or description. If, in describing it, we are led to distinguish phases in it, we have several facts instead of a single one, several undivided periods instead of a single period; but time is always supposed to be divided into determinate periods, and the mode of division to be forced on the mind by apparent crises of the real, comparable to that of puberty, by the apparent release of a new form. - For a Kepler or a Galileo, on the contrary, time is not divided objectively in one way or another by the matter that fills it. It has no natural articulations. We can, we ought to, divide it as we please. All moments count. None of them has the right to set itself up as a moment that represents or dominates the others. And, consequently, we know a change only when we are able to determine what it is about at any one of its moments.

The difference is profound. In fact, in a certain aspect it is radical. But, from the point of view from which we are regarding it, it is a difference of degree rather than of kind. The human mind has passed from the first kind of knowledge to the second through gradual perfecting, simply by seeking a higher precision. There is the same relation between these two sciences as between the noting of the phases of a movement by the eye and the much more complete recording of these phases by instantaneous photography. It is the same cinematographical mechanism in both cases, but it reaches a precision in the second that it cannot have in the first. Of the gallop of a horse our eye perceives chiefly a characteristic, essential or rather schematic attitude, a form that appears to radiate over a whole period and so fill up a time of gallop. It is this attitude that sculpture has fixed on the frieze of the Parthenon. But instantaneous photography isolates any moment; it puts them all in the same rank, and thus the gallop of a horse spreads out for it into as many successive attitudes as it wishes, instead of massing itself into a single attitude, which is supposed to flash out in a privileged moment and to illuminate a whole period.

From this original difference flow all the others. A science that considers, one after the other, undivided periods of duration, sees nothing but phases succeeding phases, forms replacing forms; it is content with a qualitative description of objects, which it likens to organized beings. But when we seek to know what happens within one of these periods, at any moment of time, we are aiming at something entirely different. The changes which are produced from one moment to another are no longer, by the hypothesis, changes of quality; they are quantitative variations, it may be of the phenomenon itself, it may be of its elementary parts. We were right then to say that modern science is distinguishable from the ancient in that it applies to magnitudes and proposes first and foremost to measure them. The ancients did indeed try experiments, and on the other hand Kepler tried no experiment, in the proper sense of the word, in order to discover a law which is the very type of scientific knowledge as we understand it. What distinguishes modern science is not that it is experimental, but that it experiments and, more generally, works only with a view to measure.

For that reason it is right, again, to say that ancient science applied to concepts, while modern science seeks laws - constant relations between variable magnitudes. The concept of circularity was sufficient to Aristotle to define the movement of the heavenly bodies. But, even with the more accurate concept of elliptical form, Kepler did not think he had accounted for the movement of planets. He had to get a law, that is to say, a constant relation between the quantitative variations of two or several elements of the planetary movement. Yet these are only consequences - differences that follow from the fundamental difference. It did happen to the ancients accidentally to experiment with a view to measuring, as also to discover a law expressing a constant relation between magnitudes. The principle of Archimedes is a true experimental law. It takes into account three variable magnitudes: the volume of a body, the density of the liquid in which the body is immersed, the vertical pressure that is being exerted. And it states indeed that one of these three terms is a function of the other two.

The essential, original difference must therefore be sought elsewhere. It is the same that we noticed first. The science of the ancients is static. Either it considers in block the change that it studies, or, if it divides the change into periods, it makes of each of these periods a block in its turn: which amounts to saying that it takes no account of time. But modern science has been built up around the discoveries of Galileo and of Kepler, which immediately furnished it with a model. Now, what do the laws of Kepler say? They lay down a relation between the areas described by the heliocentric radius-vector of a planet and the time employed in describing them, a relation between the longer axis of the orbit and the time taken up by the course. And what was the principle discovered by Galileo? A law which connected the space traversed by a falling body with the time occupied by the fall. Furthermore, in what did the first of the great transformations of geometry in modern times consist, if not in introducing - in a veiled form, it is true - time and movement even in the consideration of figures? For the ancients, geometry was a purely static science. Figures were given to it at once, completely finished, like the Platonic Ideas. But the essence of the Cartesian geometry (although Descartes did not give it this form) was to regard every plane curve as described by the movement of a point on a movable straight line which is displaced, parallel to itself, along the axis of the abscissae - the displacement of the movable straight line being supposed to be uniform and the abscissa thus becoming representative of the time.

The curve is then defined if we can state the relation connecting the space traversed on the movable straight line to the time employed in traversing it, that is, if we are able to indicate the position of the movable point, on the straight line which it traverses, at any moment whatever of its course. This relation is just what we call the equation of the curve. To substitute an equation for a figure consists, therefore, in seeing the actual position of the moving points in the tracing of the curve at any moment whatever, instead of regarding this tracing all at once, gathered up in the unique moment when the curve has reached its finished state.

Such, then, was the directing idea of the reform by which both the science of nature and mathematics, which serves as its instrument, were renewed. Modern science is the daughter of astronomy; it has come down from heaven to earth along the inclined plane of Galileo, for it is through Galileo that Newton and his successors are connected with Kepler. Now, how did the astronomical problem present itself to Kepler? The question was, knowing the respective positions of the planets at a given moment, how to calculate their positions at any other moment. So the same question presented itself, henceforth, for every material system. Each material point became a rudimentary planet, and the main question, the ideal problem whose solution would yield the key to all the others was, the positions of these elements at a particular moment being given, how to determine their relative positions at any moment. No doubt the problem cannot be put in these precise terms except in very simple cases, for a schematized reality; for we never know the respective positions of the real elements of matter, supposing there are real elements; and, even if we knew them at a given moment, the calculation of their positions at another moment would generally require a mathematical effort surpassing human powers. But it is enough for us to know that these elements might be known, that their present positions might be noted, and that a superhuman intellect might, by submitting these data to mathematical operations, determine the positions of the elements at any other moment of time. This conviction is at the bottom of the questions we put to ourselves on the subject of nature, and of the methods we employ to solve them. That is why every law in static form seems to us as a provisional instalment or as a particular view of a dynamic law which alone would give us whole and definitive knowledge.

Let us conclude, then, that our science is not only distinguished from ancient science in this, that it seeks laws, nor even in this, that its laws set forth relations between magnitudes: we must add that the magnitude to which we wish to be able to relate all others is time, and that modern science must be defined pre-eminently by its aspiration to take time as an independent variable. But with what time has it to do?

We have said before, and we cannot repeat too often, that the science of matter proceeds like ordinary knowledge. It perfects this knowledge, increases its precision and its scope, but it works in the same direction and puts the same mechanism into play. If, therefore, ordinary knowledge, by reason of the cinematographical mechanism to which it is subjected, forbears to follow becoming in so far as becoming is moving, the science of matter renounces it equally. No doubt, it distinguishes as great a number of moments as we wish in the interval of time it considers. However small the intervals may be at which it stops, it authorizes us to divide them again if necessary. In contrast with ancient science, which stopped at certain so-called essential moments, it is occupied indifferently with any moment whatever. But it always considers moments, always virtual stopping-places, always, in short, immobilities. Which amounts to saying that real time, regarded as a flux, or, in other words, as the very mobility of being, escapes the hold of scientific knowledge. We have already tried to establish this point in a former work. We alluded to it again in the first chapter of this book. But it is necessary to revert to it once more, in order to clear up misunderstandings.

When positive science speaks of time, what it refers to is the movement of a certain mobile T on its trajectory. This movement has been chosen by it as representative of time, and it is, by definition, uniform. Let us call T_, T_, T_, ... etc., points which divide the trajectory of the mobile into equal parts from its origin T_0. We shall say that 1, 2, 3, ... units of time have flowed past, when the mobile is at the points T_, T_, T_, ... of the line it traverses. Accordingly, to consider the state of the universe at the end of a certain time t, is to examine where it will be when T is at the point T_t of its course. But of the flux itself of time, still less of its effect on consciousness, there is here no question; for there enter into the calculation only the points T_, T_, T_, ... taken on the flux, never the flux itself. We may narrow the time considered as much as we will, that is, break up at will the interval between two consecutive divisions T_{n} and T_{n-|-1}; but it is always with points, and with points only, that we are dealing. What we retain of the movement of the mobile T are positions taken on its trajectory. What we retain of all the other points of the universe are their positions on their respective trajectories. To each virtual stop of the moving body T at the points of division T_, T_, T_, ...

we make correspond a virtual stop of all the other mobiles at the points where they are passing. And when we say that a movement or any other change has occupied a time t, we mean by it that we have noted a number t of correspondences of this kind. We have therefore counted simultaneities; we have not concerned ourselves with the flux that goes from one to another. The proof of this is that I can, at discretion, vary the rapidity of the flux of the universe in regard to a consciousness that is independent of it and that would perceive the variation by the quite qualitative feeling that it would have of it: whatever the variation had been, since the movement of T would participate in this variation, I should have nothing to change in my equations nor in the numbers that figure in them.

Let us go further. Suppose that the rapidity of the flux becomes infinite. Imagine, as we said in the first pages of this book, that the trajectory of the mobile T is given at once, and that the whole history, past, present and future, of the material universe is spread out instantaneously in space. The same mathematical correspondences will subsist between the moments of the history of the world unfolded like a fan, so to speak, and the divisions T_, T_, T_, ... of the line which will be called, by definition, "the course of time." In the eyes of science nothing will have changed. But if, time thus spreading itself out in space and succession becoming juxtaposition, science has nothing to change in what it tells us, we must conclude that, in what it tells us, it takes account neither of succession in what of it is specific nor of time in what there is in it that is fluent. It has no sign to express what strikes our consciousness in succession and duration. It no more applies to becoming, so far as that is moving, than the bridges thrown here and there across the stream follow the water that flows under their arches.

Yet succession exists; I am conscious of it; it is a fact. When a physical process is going on before my eyes, my perception and my inclination have nothing to do with accelerating or retarding it. What is important to the physicist is the number of units of duration the process fills; he does not concern himself about the units themselves and that is why the successive states of the world might be spread out all at once in space without his having to change anything in his science or to cease talking about time. But for us, conscious beings, it is the units that matter, for we do not count extremities of intervals, we feel and live the intervals themselves. Now, we are conscious of these intervals as of definite intervals. Let me come back again to the sugar in my glass of water: why must I wait for it to melt? While the duration of the phenomenon is relative for the physicist, since it is reduced to a certain number of units of time and the units themselves are indifferent, this duration is an absolute for my consciousness, for it coincides with a certain degree of impatience which is rigorously determined. Whence comes this determination? What is it that obliges me to wait, and to wait for a

certain length of psychical duration which is forced upon me, over which I have no power? If succession, in so far as distinct from mere juxtaposition, has no real efficacy, if time is not a kind of force, why does the universe unfold its successive states with a velocity which, in regard to my consciousness, is a veritable absolute? Why with this particular velocity rather than any other? Why not with an infinite velocity? Why, in other words, is not everything given at once, as on the film of the cinematograph? The more I consider this point, the more it seems to me that, if the future is bound to succeed the present instead of being given alongside of it, it is because the future is not altogether determined at the present moment, and that if the time taken up by this succession is something other than a number, if it has for the consciousness that is installed in it absolute value and reality, it is because there is unceasingly being created in it, not indeed in any such artificially isolated system as a glass of sugared water, but in the concrete whole of which every such system forms part, something unforeseeable and new. This duration may not be the fact of matter itself, but that of the life which

reascends the course of matter; the two movements are none the less mutually dependent upon each other. The duration of the universe must therefore be one with the latitude of creation which can find place in it.

When a child plays at reconstructing a picture by putting together the separate pieces in a puzzle game, the more he practices, the more and more quickly he succeeds. The reconstruction was, moreover, instantaneous, the child found it ready-made, when he opened the box on leaving the shop. The operation, therefore, does not require a definite time, and indeed, theoretically, it does not require any time. That is because the result is given. It is because the picture is already created, and because to obtain it requires only a work of recomposing and rearranging - a work that can be supposed going faster and faster, and even infinitely fast, up to the point of being instantaneous. But, to the artist who creates a picture by drawing it from the depths of his soul, time is no longer an accessory; it is not an interval that may be lengthened or shortened without the content being altered. The duration of his work is part and parcel of his work. To contract or to dilate it would be to modify both the psychical evolution that fills it and the invention which is its goal. The time taken up by the invention, is one with the invention itself. It is the progress of a thought which is changing in the degree and measure that it is taking form. It is a vital process, something like the ripening of an idea.

The painter is before his canvas, the colors are on the palette, the model is sitting - all this we see, and also we know the painter's style: do we foresee what will appear on the canvas? We possess the elements of the problem; we know in an abstract way, how it will be solved, for the portrait will surely resemble the model and will surely resemble also the artist; but the concrete solution brings with it that unforeseeable nothing which is everything in a work of art. And it is this nothing that takes time. Nought as matter, it creates itself as form. The sprouting and flowering of this form are stretched out on an unshrinkable duration, which is one with their essence. So of the works of nature. Their novelty arises from an internal impetus which is progress or succession, which confers on succession a peculiar virtue or which owes to succession the whole of its virtue - which, at any rate, makes succession, or continuity of interpenetration in time, irreducible to a mere instantaneous juxtaposition in space. This is why the idea of reading in a present state of the material universe the future of living forms, and of unfolding now their history yet to come, involves a veritable absurdity. But this absurdity is difficult to bring out, because our memory is accustomed to place alongside of each other, in an ideal space, the terms it perceives in turn, because it always represents past succession in the form of juxtaposition.

It is able to do so, indeed, just because the past belongs to that which is already invented, to the dead, and no longer to creation and to life. Then, as the succession to come will end by being a succession past, we persuade ourselves that the duration to come admits of the same treatment as past duration, that it is, even now, unrollable, that the future is there, rolled up, already painted on the canvas. An illusion, no doubt, but an illusion that is natural, ineradicable, and that will last as long as the human mind!

Time is invention or it is nothing at all. But of time-invention physics can take no account, restricted as it is to the cinematographical method. It is limited to counting simultaneities between the events that make up this time and the positions of the mobile T on its trajectory. It detaches these events from the whole, which at every moment puts on a new form and which communicates to them something of its novelty. It considers them in the abstract, such as they would be outside of the living whole, that is to say, in a time unrolled in space. It retains only the events or systems of events that can be thus isolated without being made to undergo too profound a deformation, because only these lend themselves to the application of its method. Our physics dates from the day when it was known how to isolate such systems. To sum up, _while modern physics is distinguished from ancient physics by the fact that it considers any moment of time whatever, it rests altogether on a substitution of time-length for time-invention_.

It seems then that, parallel to this physics, a second kind of knowledge ought to have grown up, which could have retained what physics allowed to escape. On the flux itself of duration science neither would nor could lay hold, bound as it was to the cinematographical method. This second kind of knowledge would have set the cinematographical method aside. It would have called upon the mind to renounce its most cherished habits. It is within becoming that it would have transported us by an effort of sympathy. We should no longer be asking where a moving body will be, what shape a system will take, through what state a change will pass at a given moment: the moments of time, which are only arrests of our attention, would no longer exist; it is the flow of time, it is the very flux of the real that we should be trying to follow. The first kind of knowledge has the advantage of enabling us to foresee the future and of making us in some measure masters of events; in return, it retains of the moving reality only eventual immobilities, that is to say, views taken of it by our mind. It symbolizes the real and transposes it into the human rather than expresses it. The other knowledge, if it is possible, is practically useless, it will not extend our empire over nature, it will even go against certain natural aspirations of the intellect;

but, if it succeeds, it is reality itself that it will hold in a firm and final embrace. Not only may we thus complete the intellect and its knowledge of matter by accustoming it to install itself within the moving, but by developing also another faculty, complementary to the intellect, we may open a perspective on the other half of the real. For, as soon as we are confronted with true duration, we see that it means creation, and that if that which is being unmade endures, it can only be because it is inseparably bound to what is making itself. Thus will appear the necessity of a continual growth of the universe, I should say of a life of the real. And thus will be seen in a new light the life which we find on the surface of our planet, a life directed the same way as that of the universe, and inverse of materiality. To intellect, in short, there will be added intuition.

The more we reflect on it, the more we shall find that this conception of metaphysics is that which modern science suggests. For the ancients, indeed, time is theoretically negligible, because the duration of a thing only manifests the degradation of its essence: it is with this motionless essence that science has to deal. Change being only the effort of a form toward its own realization, the realization is all that it concerns us to know. No doubt the realization is never complete: it is this that ancient philosophy expresses by saying that we do not perceive form without matter. But if we consider the changing object at a certain essential moment, at its apogee, we may say that there it just touches its intelligible form. This intelligible form, this ideal and, so to speak, limiting form, our science seizes upon. And possessing in this the gold-piece, it holds eminently the small money which we call becoming or change. This change is less than being. The knowledge that would take it for object, supposing such knowledge were possible, would be less than science.

But, for a science that places all the moments of time in the same rank, that admits no essential moment, no culminating point, no apogee, change is no longer a diminution of essence, duration is not a dilution of eternity. The flux of time is the reality itself, and the things which we study are the things which flow. It is true that of this flowing reality we are limited to taking instantaneous views. But, just because of this, scientific knowledge must appeal to another knowledge to complete it. While the ancient conception of scientific knowledge ended in making time a degradation, and change the diminution of a form given from all eternity - on the contrary, by following the new conception to the end, we should come to see in time a progressive growth of the absolute, and in the evolution of things a continual invention of forms ever new.

It is true that it would be to break with the metaphysics of the ancients. They saw only one way of knowing definitely. Their science consisted in a scattered and fragmentary metaphysics, their metaphysics in a concentrated and systematic science. Their science and metaphysics were, at most, two species of one and the same genus. In our hypothesis, on the contrary, science and metaphysics are two opposed although complementary ways of knowing, the first retaining only moments, that is to say, that which does not endure, the second bearing on duration itself. Now, it was natural to hesitate between so novel a conception of metaphysics and the traditional conception. The temptation must have been strong to repeat with the new science what had been tried on the old, to suppose our scientific knowledge of nature completed at once, to unify it entirely, and to give to this unification, as the Greeks had already done, the name of metaphysics. So, beside the new way that philosophy might have prepared, the old remained open, that indeed which physics trod. And, as physics retained of time only what could as well be spread out all at once in space, the metaphysics that chose the same direction had necessarily to proceed as if time created and annihilated nothing, as if duration had no efficacy. Bound, like the physics of the moderns and the metaphysics of the ancients, to the cinematographical method, it ended with the conclusion, implicitly admitted at the start and immanent in the method itself: All is given.

That metaphysics hesitated at first between the two paths seems to us unquestionable. The indecision is visible in Cartesianism. On the one hand, Descartes affirms universal mechanism: from this point of view movement would be relative, and, as time has just as much reality as movement, it would follow that past, present and future are given from all eternity. But, on the other hand (and that is why the philosopher has not gone to these extreme consequences), Descartes believes in the free will of man. He superposes on the determinism of physical phenomena the indeterminism of human actions, and, consequently, on time-length a time in which there is invention, creation, true succession. This duration he supports on a God who is unceasingly renewing the creative act, and who, being thus tangent to time and becoming, sustains them, communicates to them necessarily something of his absolute reality. When he places himself at this second point of view, Descartes speaks of movement, even spatial, as of an absolute.