Creative Evolution Part 12

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 subst.i.tution is therefore bound to be cut short. Instead of affirming that a second term is subst.i.tuted 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 pa.s.sive intelligence, mechanically keeping step with experience, neither antic.i.p.ating 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 antic.i.p.ate 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 subst.i.tution, 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 distinguis.h.i.+ng: it will no longer only note the present state of the pa.s.sing reality; it will represent the pa.s.sing 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 subst.i.tution 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 a.n.a.lyze 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 pa.s.ses 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 a.n.a.lysis has been necessary to show that _a self-sufficient reality is not necessarily a reality foreign to duration_. If we pa.s.s (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 const.i.tuting 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 antic.i.p.ated 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 a.s.sign no termination to any of our actions. We should feel each of them dissolve as fast as it was accomplished, and we should not antic.i.p.ate an ever-fleeting future. In order that our activity may leap from an _act_ to an _act_, it is necessary that matter should pa.s.s 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 coordinated 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 a.n.a.lysis, 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 repet.i.tion 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 const.i.tutes 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 const.i.tuted, 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 embarra.s.sed 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 att.i.tude 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 subst.i.tute for the specific change. An infinite multiplicity of becomings variously colored, so to speak, pa.s.ses 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 pa.s.sing 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 att.i.tude, it reconst.i.tutes 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 att.i.tudes 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 reconst.i.tute the individuality of each particular movement by combining this nameless movement with the personal att.i.tudes. 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 pa.s.sing 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 gla.s.s 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 ill.u.s.tration, 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 quant.i.ty, 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 reconst.i.tute 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 reconst.i.tute 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 pa.s.ses 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 pa.s.sed, 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 subst.i.tute 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 pa.s.sed 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 pa.s.sed through, decomposable and recomposable at will. Once you subscribe to this first absurdity, all the others follow.[99]

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 reconst.i.tute what is being made? How, for instance, from childhood once posited as a _thing_, shall we pa.s.s 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 fas.h.i.+oned 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 att.i.tude of thought and language toward the course of things, they preferred to p.r.o.nounce the course of things itself to be wrong.

Such, indeed, was the sentence pa.s.sed by the philosophers of the Eleatic school. And they pa.s.sed 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 cla.s.sic 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 princ.i.p.al 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 a.n.a.lysis 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, pa.s.sing 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 pa.s.sed through in turn, _more_ in the evolution of form than the forms a.s.sumed 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 pa.s.s 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 s.p.a.ce 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 const.i.tutive 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 att.i.tude 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 G.o.d, unable to make the world eternal, gave it Time, "a moving image of eternity."[100]