I take of the continuity of a particular becoming a series of views, which I connect together by "becoming in general." But of course I cannot stop there. What is not determinable is not representable: of "becoming in general" I have only a verbal knowledge. As the letter _x_ designates a certain unknown quantity, whatever it may be, so my "becoming in general," always the same, symbolizes here a certain transition of which I have taken some snapshots; of the transition itself it teaches me nothing. Let me then concentrate myself wholly on the transition, and, between any two snapshots, endeavor to realize what is going on. As I apply the same method, I obtain the same result; a third view merely slips in between the two others. I may begin again as often as I will, I may set views alongside of views for ever, I shall obtain nothing else. The application of the cinematographical method therefore leads to a perpetual recommencement, during which the mind, never able to satisfy itself and never finding where to rest, persuades itself, no doubt, that it imitates by its instability the very movement of the real. But though, by straining itself to the point of giddiness, it may end by giving itself the illusion of mobility, its operation has not advanced it a step, since it remains as far as ever from its goal. In order to advance with the moving reality, you must replace yourself within it. Install yourself within change, and you will grasp at once both change itself and the successive states in which _it might_ at any instant be immobilized. But with these successive states, perceived from without as real and no longer as potential immobilities, you will never reconstitute movement. Call them _qualities_, _forms_, _positions_, or _intentions_, as the case may be, multiply the number of them as you will, let the interval between two consecutive states be infinitely small: before the intervening movement you will always experience the disappointment of the child who tries by clapping his hands together to crush the smoke. The movement slips through the interval, because every attempt to reconstitute change out of states implies the absurd proposition, that movement is made of immobilities. Philosophy perceived this as soon as it opened its eyes. The arguments of Zeno of Elea, although formulated with a very different intention, have no other meaning. Take the flying arrow. At every moment, says Zeno, it is motionless, for it cannot have time to move, that is, to occupy at least two successive positions, unless at least two moments are allowed it. At a given moment, therefore, it is at rest at a given point. Motionless in each point of its course, it is motionless during all the time that it is moving.