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Humanities_AnIntroductiontoMetaphysics_1918.txt
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An Introduction to
Metaphysics
By
Henri Bergson
Member of the Lutitute and Profeaaor of the Collllge de
Franoe
Translated by T. E. Hulme
Authorized Bdition, Revised by the Author, with
Additional Material
G. P. Putnam's Sons
New York and London
�be 'lmlcketbocka L'tess
CornuGRT, 1918
BY
0. P. PUTNAM'S SONS
Third Pri.nti.Dg
TRANSLATOR'S PREFACE
T
HIS
celebrated essay
was
first
pub
lished in the Revue de M ctaphysique
et de Morale, in January, 1903.
It ap
peared then after Time and Ji'ree Will and
Matter and Memory and before Creative
Evolution j and while containing ideas set
forth in the first two of these works, it
announces some of those which were after
wards developed in the last.
Though this book can in no sense be
regarded as an epitome of the others, it
yet forms the best introduction to them.
M. Edouard Le Roy in his lately published
book on M. Bergson's philosophy speaks
of
" this marvelously suggestive study which
<'onstitutes the best preface to the books
themselves."
It has, however, more importance than a
flimple introduction would have, for in it
l\1. Bergson explains, at greater length and
in greater detail than in the other
i.ii
books,
Preface
IV
exactly what be means to convey by the
word intuition.
The intuitive method is
treated independently and not, as elsewhere
in his writings, incidentally, in its appli
cations to particular problems.
For this
reason every writer who bas attempted to
give a complete exposition of M. Bergson's
philosophy has been obliged to quote this
eRsay at length ; and it is indispensable
therefore to the full understanding of its
author's position.
Translations into Ger
man, Italian, Hungarian, Polish, Swedish,
and Russian have lately appeared, but the
l"rP.nch original is at present out of print.
This translation bas had the great ad
vantage of being revised in proof by the
author.
I have to thank him for many
alternative renderings, and also for a few
slight alterations
in t he text, which he
thought would make his meaning clearer.
T. E. llULME.
ST. JOHN'S COLLEGE,
CAMBRIDGE.
An Introduction to
Metaphysics
A
COMPARISON of the definitions of
metaphysics and the various concep-
tions of the absolute leads to the discovery
that philosophers, in spite of their apparent
divergencies, agree in distinguishing two
profoundly different ways of knowing a
thing.
The
first
implies
that
we
move
round the object; the second that we enter
into it.
The first depends on the point of
view at which we are placed and on the
symbols by which we express ourselves.
The second neither depends on a point of
view nor relies on any symbol.
The first
kind of knowledge may be said to stop at
the
relative;
the
second,
in
those cases
where it is possible, to attain the
I
absolute.
An Introduction to
2
Consider, for example, the movement of
an object in space.
i
l\Iy perception of the
motion will vary w th the point of view,
moving or stationary, from which I observe
i t.
�I�· expression of it will v ary with the
systems of axes, or the points of reference,
to wh ich I relate it; that i s, with the sym
bols
by
double
which
I
translate
it.
For this
reason I call such motion relative:
in the one l'al'le, as in the othe r, I am placed
nnt!oliclP thc• ohjPct itself.
R ut when I speak
of an absolute movement, I am attributing
to tbt> mewing object an interior and, so to
Rpeak, stateR of mind; I also imply that I
am in sympathy with those states, and that
I inRt>rt myRelf in them by an effort of
imagination.
ject
Then,
according as the ob
iH moving or s tationary, according as
it adopts one movement or another, what
I experience will vary.
And what I ex
neither on the point
of viPw I may take up in regard to the
ohjt>ct, sine(> I am inHide the object itself,
JWrienee will depend
nor on the f!ymhols hy wh i ch I may t.rana·
Metaphysics
3
late the motion, since I have rejected all
translations in order to possess the original.
In short, I shall no longer grasp the move
ment from without, remaining where I am,
but from where it is, from within, as it is
in itself.
I shall possess an absolute.
Consider, again, a character whose ad
ventures are related to me in a novel.
The
author may multiply the traits of his hero's
character, may make him speak and act as
much as he pleases, but all this can never
be equivalent to the simple and indivisible
feeling which I should experience if I were
able for an instant to identify my�elf with
the person of the hero himself.
Out of that
indivisible feeling, as from a spring, all the
words, gestures, and actions of the man
would
appear
to me
to
1low
naturally.
They would no longer be accidents which,
added to the idea I had already formed of
the
idea,
character,
without
continually
ever
enriched
completing
it.
that
The
character would be given to me all at once,
in its entirety, and the thousand incidents
An Introduction to
4
which ma ni fest
it, i nstead of
t«>lves to the id ea and so
on
seem to me,
addi n g them
enriching it, would
the c o n t rary ,
to detach
themselveR from it, without, howe ver,
it
hausting
All the
or· impoverishing
t hin g�o� I
from whil'h I
t'llll
essence.
its
am told ah ou t
provide me with so
ex
t he man
many points of view
All th e
ohHt• rve him.
traits whieh di'HcriL<� him, and w hi ch can
make him known to me only uy flO many
compm·i�o�on�o� wi I h pt•r�o�ons o1· 1 h i n gs I kn o w
ah·Ntdy, art•
�o�
i�nH h_v whkh he i�o� expresst•d
Ry m hols and
more or l£':-11'1 s,nnholieally.
poin ts of
view, t lwl'(�for·e, plaec me outHitlc•
him; tlwy �-tivt• Ill<' only what he
has in
<·ommon with o tlwr�o�, nntl not wha t helongR
to him anti to him nlout•.
Jlut that which
is properly hi m Hel f, I hat wh ieh eo n s titu tes
e�o�sent'l'1
his
t 'tlll no t
he•
pt•r<·ei ved
from
w i t hou t, heing iutt·J·nnl by tlefinition, nor
lit'
expreHHetl
nwmmrahle
h_y
with
HJluhohl,
<'Vt•J·�·thing
�niptiou, hi �o� t ot·y , llntl
here
in
the
lj(_•ing
l't'lntiw.
in eo m
eli.4e.
Dt•
uunly�o�is lt•Rve me
Coinddence
with
Metaphysics
5
the person himself would alone give me
the absolute.
It is in this sense, and in this sense only,
that absolute is synonymous with perfec
tion.
Were all the photographs of a town,
taken from all possible points of view, to
go on indefinitely completing one another,
they would never be equivalent to the solid
town in which we walk about.
Were all
the translations of a poem into all possible
languages to add together their various
shades of meaning and, correcting each
other by a kind of mutual retouching, to
give a more and more faithful image of
the poem they translate, they would yet
never succeed in rendering the inner mean
ing of the original.
A representation taken
from a certain point of view, a translation
made with certain symbols, will always
remain imperfect in comparison with the
object of which a view has been taken, or,
which the symbols seek to express.
But the
absolute, which is the object and not its
representation, the original and not its
An Introduction to
6
translation, is perfect, by being perfectly
what it is.
It is doubtless for this reason that the
absolute has often been identified with the
infinite.
Suppose that I wished to com
municate to some one who did not know
Greek the extraordinarily simple impres
sion that a passage in Homer makes upon
me; I should first give a translation of the
lines, I should then comment on my trans
lation, and then develop the commentary;
in this way, by piling up explanation on
explanation, I might approach nearer and
nearer to what I wanted to express; but I
should never quite reach it.
When you
raise your arm, you accomplish a movement
of which you have, from within, a simple
perception; but for me, watching it from
the outside, your arm passes through one
point, then through another, and between
these two there will be still other points;
so that, iC I began to count, the operation
would go on for ever.
Viewed from the
.....
-. . .
inside, then, an absolute is a simple thing;
Metaphysics
7
but looked at from the outside, that is to
say, relatively to other things, it becomes,
in relation to these signs which express it,
the gold coin for which we never seem able
to finish giving small change.
Now, that
which lends itself at the same time both
to an indivisible apprehension and to an
inexhaustible enumeration is, by the very
definition of the word, an infinite.
It follows from this that an absolute
could only be given in an intuition, whilst
everything else falls within the province of
analysis.
By intuition is meant the kind
of ·intellectual sympathy by which
one
places oneself within an object in order to
coincide with what is unique in it and con
sequently inexpressible.
Analysis, on the
contrary, is the operation which reduces the
object to elements already known, that is,
to elements common both to it •and other
objects.
To analyze, therefore, is to ex
press a thing as a function of something
other than itself.
All analysis is thus a
translation, a development into symbols, a
An Introduction to
8
representation taken from successive points
of view from which we note as many re
semblances as possible
between
the
new
object which we are studying and other�o�
which we believe we know alreacly.
In its
eternally unsatisfied desire to emh1·ace the
object around
which
it
is
compelled
to
turn, analyRis multiplies without end the
number of itR pointR of view in order to
complete its always incomplet e representa
tion, and ceaselessly varies its symbols that
it may perfect the always imperfect
lation.
tram�
lt goes on, therefore, to infinity.
Rut intuition, if intuition is possible, is a
simple act.
Now it is eafoly to see tha t the ordinary
function
of
positive
seienee iR
ana lysh� .
Positive science works, then, above all, with
symbols.
Even the most. conerde of t h e
natural sciences, those concerned with life,
confine themselves to the visible form of
living beings, their organs and anatomita I
elements.
They make comparisons between
these forms, they reduce the more complex
Metaphysics
to the more simple; in short, they study
the workings of life in what is, so to speak,
only its visual symbol. If there exists any
means of possessing a reality absolutely in
stead of knowing it relatively, of placing
oneself within it instead of looking at it
from outside pofnts of view, of having the
intuition instead of making the analysis :
in short, of seizing it without any expres
sion, translation, or symbolic representation
-metaphysics is that means. _A!_etaphysicsJ
Jhen, is the science which claims to dispense
_with symbols.
•
•
•
'.r.IJ�re .is .one reality, at least, which WE
�� �_seize from within, by intuition and no1
by simple analysis. It is our own person·
ality in its flowing through time---{)ur sell
which endures. We may sympathize in·
tellectually with nothing else, but WE
certainly sympathize with our own selves.
When I direct my attention inward t<
contemplate my own self (supposed for >t�E
10
An Introduction to
moment to be inactive), I perceive a t first,
as a crust solidified on the s u rface, all the
perceptions which come to it from the
material world. These perceptions are clear ,
d ist inct, juxtaposed or juxtaposable one
with another; they tend to group them
selves into objects. Next, I notice the
memories which more or less adhere to
these perceptions and which serve to in
terpret them.
These memories have been
d etach Nl, as it were, from the depth of my
])Crsonality, d ra wn to the s urface by the
perceptions which resemble them ; they res t
on the surface of my mlnd without being
absolutely myse lf.
La s t l � , I
·
feel the stir of
tendencies and mo tor bahits-a crowd of
virtual actions, more or less firmly bound
to these perceptions and memm·ies .. All
•-
these clearly defint.>d elements appear more
d i sti nct from me, the more distinct they
from each other. Radia tin g, as they
do, from within outwards, tlJey form, c ol
m·e
led ivel y, the surface of a sphere wh ic h
te�u}R
to
grow la rger and lose itself in the
Metaphysics
II
exterior world. But if I draw myself in
from the periphery towards the centre, if I
search in the depth of my being that which
most uniformly, most constantly, and
most enduringly myself, I find an altogether
different thing.
is
There is, beneath these sharply cut crys
tals and this frozen surface, a continuous
flux which is not comparable to any flux I
have ever seen. There is a succession of
states, each of which announces that which
follows and contains that which precedes
it. They can, properly speaking, only be
said to form multiple states when I have
already passed them and turn back to ob
serve their track. Whilst I was experien
cing them they were so solidly organized, so
profoundly animated with a common life,
that I could not have said where any one
of them finished or where another com
menced. In reality no one of them begins
or ends, but all extend into each other.
This inner life may be compared to the
unrolling of a coil, for there is no living
An Introduction to
12
being
who does not
feel himself coming
g radually to the end of his r<ile; and to
live is to grow old.
llut it ma.r ju!4t as
well be compared to a continual rolling np.
like
that of a thread on a ba II, fo1· our past
follows us, it swells incessantly with the
present that it pickH up on its way; and
consciousness means memory.
But actually it is neither an unrolling
nor
a
rolling up, for these two similes t>voke
the idea of lines and surfaces
\Vhose
parts
are homogeneous and superposable on one
+
another.
Now, ther e are no two id{'utkal
moments
being.
poRe
it
in
the life of the same consdous
Take the t-�impleHt senHatiou, sup·
c onstant, abtmrb in it the entire
JX'rsonality: the consciommess which will
accompany
this
sensation cannot
I't>main
idl'nticnl with itself for two eon�t>l'ntive
moments, because t he seeond moment al
ways contains, over and above the first, the
memory that the first has hequeatbed to it.
A
consciousness which could experience two
identical
moments would be a consciousness
13
Metaphysics
It would die and be born
again continually. I n what other way
could one represent unconsciousness?
without memory.
It would be better, then, to use as a
comparison
the
myriad-tinted
spectrum,
with its insensible gradations leading from
one shade to another.
A current of feeling
whieh passed along t he �'�Pt>Ctrum, aBRuming
in turn the tint of eaeh of its shades, woulrl
experience
of which
a series of gradu al changes, each
would
announce the one to follow
and would sum u p thoRe which preceded
it.
Yet even here the successive shades of
the spectrum always remain external one
to another.
They are juxtaposed ; they
occupy space.
But
pure duration, on the
contrary, excludes all idea of juxtapm�ition,
reciprocal
externality,
Let us, then, rather,
and extension.
imagine
an infinitely
small elastic bod .v, contracted, if it were
possible, to a mathematical point. J.Rt this
he flrawn out gradually in such a manner
that from the point comes a constantly
lengthening
line.
Let us fix our attention
An Introduction to
14
not
on the line
as
a
line,
action by which it is traced.
but
on
the
Let us bear
in mind that this action, in spite of its
duration, is indivisible if accomplished with
out stopping, that if a stopping-point is in
serted, we have two actions instead of one,
that each of these separate actions is then
the indivisible operation of which we speak,
and that it is not the moving action itself
which is divisible, but, rather, the Rtation
ary line it leaves behind it as its track in
space.
Finally, let us free ourselves from
the space which underlies the movement in
order to consider only the movement itself,
the act of tension or extension; in short,
pure mobility.
We shall have this time a
more faithful image of the. development of
our self in duration.
However, even this image is incomplete,
and, indeed, every comparison will be in
sufficient,
because
the
unrolling
of
our
duration resembles in some of its aspectH
the unity of an advancing movement and
. in
others the
multiplicity
of
expanding
15
Metaphysics
states; and, clearly, no metaphor can ex
press one of these two aspects without
sacrificing the other. If I use the com
parison of the spectrum with its thousand
shades, I have before me a thing already
made, whilst duration is continually in the
,.
making. If I think of an elastic which is
being -stretched, or of a spring which is
extended or relaxed, I forget the richness of
color, characteristic of duration that is
lived, to see O!J.ly the simple movement by
which consciousness passeR from one shade
to another. The inner life i� all thj,�_.at
once : variety of qualities, continuity of
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