Yet it was to a non-temporal intuition that the immediate successors of Kant turned, in order to escape from the Kantian relativism. Certainly, the ideas of becoming, of progress, of evolution, seem to occupy a large place in their philosophy. But does duration really play a part in it? Real duration is that in which each form flows out of previous forms, while adding to them something new, and is explained by them as much as it explains them; but to deduce this form directly from one complete Being which it is supposed to manifest, is to return to Spinozism. It is, like Leibniz and Spinoza, to deny to duration all efficient action. The post-Kantian philosophy, severe as it may have been on the mechanistic theories, accepts from mechanism the idea of a science that is one and the same for all kinds of reality. And it is nearer to mechanism than it imagines; for though, in the consideration of matter, of life and of thought, it replaces the successive degrees of complexity, that mechanism supposed by degrees of the realization of an Idea or by degrees of the objectification of a Will, it still speaks of degrees, and these degrees are those of a scale which Being traverses in a single direction. In short, it makes out the same articulations in nature that mechanism does. Of mechanism it retains the whole design; it merely gives it a different coloring. But it is the design itself, or at least one half of the design, that needs to be re-made. If we are to do that, we must give up the method of _construction_, which was that of Kant's successors. We must appeal to experience--an experience purified, or, in other words, released, where necessary, from the molds that our intellect has formed in the degree and proportion of the progress of our action on things. An experience of this kind is not a non-temporal experience. It only seeks, beyond the spatialized time in which we believe we see continual rearrangements between the parts, that concrete duration in which a radical recasting of the whole is always going on. It follows the real in all its sinuosities. It does not lead us, like the method of construction, to higher and higher generalities--piled-up stories of a magnificent building. But then it leaves no play between the explanations it suggests and the objects it has to explain. It is the detail of the real, and no longer only the whole in a lump, that it claims to illumine. * * * * *