Creative Evolution · 42 of 50

IV · Zeno's Arrow and the Eleatics

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.[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 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.