Creative Evolution · Henri Bergson
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.
· · ·
End of part 16 of 18
Continue readingChapter IV: The Cinematographical Mechanism of Thought and the Mechanistic Illusion: A Glance at the History of Systems: Real Becoming and False Evolutionism (Part 3)
Starvard