Henri Bergson

“ Such as he is in the lecture-room, such as he is in his books, unassuming, unpedantic, gracious, well-poised, subtle, tactful, alert, resourceful, stimulating, such Henri Bergson is in his every-day existence. In his case, and to an unusual degree, the style is the man. An easy talker, ever ready to speak freely upon all subjects,—his personal affairs, work, and politics excepted,—he nevertheless goes little into society, not because he dislikes social functions, but because he cannot contrive to make the necessary leisure. ”

“ Hence to assert the impenetrability of matter is simply to recognize the interconnexion between the notions of number and space, it is to state a property of number rather than of matter.—Yet, it will be said, do we not count feelings, sensations, ideas, all of which permeate one another, and each of which, for its part, takes up the whole of the soul?—Yes, undoubtedly; but, just because they permeate one another, we cannot count them unless we represent them by homogeneous units which occupy separate positions in space and consequently no longer permeate one another. ”

“ No man today would be justified in foreseeing the conclusions to which the doctrine of creative evolution will one day undoubtedly lead on this point. More than any other, I must forget here what I myself may have elsewhere tried to do in this order of ideas. But it was impossible not to feel the approach of the temptation. Mr Bergson's work is extraordinarily suggestive. His books, so measured in tone, so tranquil in harmony, awaken in us a mystery of presentiment and imagination; they reach the hidden retreats where the springs of consciousness well up. ”

“ True, it hurtles in its course against such formidable difficulties, it sees its logic end in such strange contradictions, that it very speedily renounces its first ambition. "It is no longer reality itself," it says, "that it will reconstruct, but only an imitation of the real, or rather a symbolical image; the essence of things escapes us, and will escape us always; we move among relations; the absolute is not in our province; we are brought to a stand before the Unknowable."—But for the human intellect, after too much pride, this is really an excess of humility. ”

“ In laughter we always find an unavowed intention to humiliate, and consequently to correct our neighbour, if not in his will, at least in his deed. This is the reason a comedy is far more like real life than a drama is. The more sublime the drama, the more profound the analysis to which the poet has had to subject the raw materials of daily life in order to obtain the tragic element in its unadulterated form. On the contrary, it is only in its lower aspects, in light comedy and farce, that comedy is in striking contrast to reality: the higher it rises, the more it approximates to life ”

“ Indeed, we have no choice: if our belief in a more or less homogeneous substratum of sensible qualities has any ground, this can only be found in an act which makes us seize or divine, in quality itself, something which goes beyond sensation, as if this sensation itself were pregnant with details suspected yet unperceived. Its objectivity—that is to say, what it contains over and above what it yields up—must then consist, as we have foreshadowed, precisely in the immense multiplicity of the movements which it executes, so to speak, within itself as a chrysalis. ”

“ It would greatly astonish a man unaware of the speculations of philosophy if we told him that the object before him, which he sees and touches, exists only in his mind and for his mind, or even, more generally, exists only for mind, as Berkeley held. Such a man would always maintain that the object exists independently of the consciousness which perceives it. ”

“ Every image is within certain images and without others; but of the aggregate of images we cannot say that it is within us or without us, since interiority and exteriority are only relations among images. To ask whether the universe exists only in our thought, or outside of our thought, is to put the problem in terms that are insoluble, even if we suppose them to be intelligible; it is to condemn ourselves to a barren discussion, in which the terms thought, being, universe, will always be taken on either hand in entirely different senses. ”

“ Not with that intentional, logical, systematical detachment—the result of reflection and philosophy—but rather with a natural detachment, one innate in the structure of sense or consciousness, which at once reveals itself by a virginal manner, so to speak, of seeing, hearing or thinking. Were this detachment complete, did the soul no longer cleave to action by any of its perceptions, it would be the soul of an artist such as the world has never yet seen. It would excel alike in every art at the same time ”

“ And so the tone in which the phrase is uttered gets more and more violent, Alceste becoming more and more angry—not with Oronte, as he thinks—but with himself. The tension of the spring is continually being renewed and reinforced until it at last goes off with a bang. Here, as elsewhere, we have the same identical mechanism of repetition.
For a man to make a resolution never henceforth to say what he does not think, even though he "openly defy the whole human race," is not necessarily laughable; it is only a phase of life at its highest and best. ”

“ It came from the fact that the living body became rigid, like a machine. Accordingly, it seemed to us that the living body ought to be the perfection of suppleness, the ever-alert activity of a principle always at work. But this activity would really belong to the soul rather than to the body. It would be the very flame of life, kindled within us by a higher principle and perceived through the body, as if through a glass. When we see only gracefulness and suppleness in the living body, it is because we disregard in it the elements of weight, of resistance, and, in a word, of matter ”

“ It is no use arguing that, even if there are no two deep-seated psychic states which are altogether alike, yet analysis would resolve these different states into more general and homogeneous elements which might be compared with each other. This would be to forget that even the simplest psychic elements possess a personality and a life of their own, however superficial they may be; they are in a constant state of becoming, and the same feeling, by the mere fact of being repeated, is a new feeling. ”

“ It would perceive all things in their native purity: the forms, colours, sounds of the physical world as well as the subtlest movements of the inner life. But this is asking too much of nature. Even for such of us as she has made artists, it is by accident, and on one side only, that she has lifted the veil. In one direction only has she forgotten to rivet the perception to the need. And since each direction corresponds to what we call a SENSE—through one of his senses, and through that sense alone, is the artist usually wedded to art. ”

“ In whatever way, in a word, freedom is viewed, it cannot be denied except on condition of identifying time with space; it cannot be defined except on condition of demanding that space should adequately represent time; it cannot be argued about in one sense or the other except on condition of previously confusing succession and simultaneity. All determinism will thus be refuted by experience, but every attempt to define freedom will open the way to determinism. ”

“ But he does not seem to have noticed that the process of our free activity goes on, as it were, unknown to ourselves, in the obscure depths of our consciousness at every moment of duration, that the very feeling of duration comes from this source, and that without this heterogeneous and continuous duration, in which our self evolves, there would be no moral crisis. The study, even the close study, of a given free action will thus not settle the problem of freedom. The whole series of our heterogeneous states of consciousness must be taken into consideration. ”

“ Art also tends to reveal nature to us, to suggest to us a direct vision of it, to lift the veil of illusion which hides us from ourselves; and aesthetic intuition is, in its own way, perception of immediacy. We revive the feeling of reality obliterated by habit, we summon the deep and penetrating soul of things: the object is the same in both cases; and the means are also the same; images and metaphors. Is Mr Bergson only a poet, and does his work amount to nothing but the introduction of impressionism in metaphysics? ”

“ He makes his models grimace, as they would do themselves if they went to the end of their tether. Beneath the skin-deep harmony of form, he divines the deep-seated recalcitrance of matter. He realises disproportions and deformations which must have existed in nature as mere inclinations, but which have not succeeded in coming to a head, being held in check by a higher force. His art, which has a touch of the diabolical, raises up the demon who had been overthrown by the angel. ”

“ Thus, even in our own individual, individuality escapes our ken. We move amidst generalities and symbols, as within a tilt-yard in which our force is effectively pitted against other forces; and fascinated by action, tempted by it, for our own good, on to the field it has selected, we live in a zone midway between things and ourselves, externally to things, externally also to ourselves. From time to time, however, in a fit of absentmindedness, nature raises up souls that are more detached from life. ”

“ It seems indeed somewhat improbable that nature, so profoundly utilitarian, should have here assigned to consciousness the merely scientific task of informing us about the past or the present, which no longer depend upon us. It must be noticed in addition that we rise by imperceptible stages from automatic to free movements, and that the latter differ from the former principally in introducing an affective sensation between the external action which occasions them and the volitional reaction which ensues. ”

“ Here, too, it is really a kind of automatism that makes us laugh—an automatism, as we have already remarked, closely akin to mere absentmindedness. To realise this more fully, it need only be noted that a comic character is generally comic in proportion to his ignorance of himself. The comic person is unconscious. As though wearing the ring of Gyges with reverse effect, he becomes invisible to himself while remaining visible to all the world. A character in a tragedy will make no change in his conduct because he will know how it is judged by us ”

“ The living activity of the self, in which we distinguish by abstraction two opposite tendencies, will finally issue either at X or Y. Now, since it is agreed to localize the double activity of the self at the point O, there is no reason to separate this activity from the act in which it will issue and which forms part and parcel of it. And if experience shows that the decision has been in favour of X, it is not a neutral activity which should be placed at the point O, but an activity tending in advance in the direction Ο X, in spite of apparent hesitations. ”

“ It will a priori accept the doctrine of the simple unity of knowledge and of the abstract unity of nature.
The moment it does so, its fate is sealed. The philosopher has no longer any choice save between a metaphysical dogmatism and a metaphysical skepticism, both of which rest, at bottom, on the same postulate, and neither of which adds anything to positive science. He may hypostasize the unity of nature, or, what comes to the same thing, the unity of science, in a being who is nothing since he does nothing, an ineffectual God who simply sums up in himself all the given ”

“ If we went no further, the part of consciousness in perception would thus be confined to threading on the continuous string of memory an uninterrupted series of instantaneous visions, which would be a part of things rather than of ourselves. That this is the chief office of consciousness in external perception is indeed what we may deduce a priori from the very definition of living bodies. For though the function of these bodies is to receive stimulations in order to elaborate them into unforeseen reactions, still the choice of the reaction cannot be the work of chance. ”

“ Deep-rooted in the comic, there is always a tendency, we said, to take the line of least resistance, generally that of habit. The comic character no longer tries to be ceaselessly adapting and readapting himself to the society of which he is a member. He slackens in the attention that is due to life. He more or less resembles the absentminded. Maybe his will is here even more concerned than his intellect, and there is not so much a want of attention as a lack of tension ”

“ Altogether different is the kind of observation from which comedy springs. It is directed outwards. However interested a dramatist may be in the comic features of human nature, he will hardly go, I imagine, to the extent of trying to discover his own. Besides, he would not find them, for we are never ridiculous except in some point that remains hidden from our own consciousness. It is on others, then, that such observation must perforce be practised. But it will, for this very reason, assume a character of generality that it cannot have when we apply it to ourselves. ”

“ Undoubtedly conscious perception does not compass the whole of matter, since it consists, in as far as it is conscious, in the separation, or the 'discernment,' of that which, in matter, interests our various needs. But between this perception of matter and matter itself there is but a difference of degree and not of kind, pure perception standing towards matter in the relation of the part to the whole. This amounts to saying that matter cannot exercise powers of any kind other than those which we perceive. ”