By the sole fact of being accomplished, reality casts its shadow behind it into the indefinitely distant past: it thus seems to have been pre-existen… - Henri Bergson

Might not certain vices have the same relation to character that the rigidity of a fixed idea as to intellect? Whether as a moral kink or a crooked twist given to the will, vice has often the appearance of a curvature for the soul. Doubtless there are vices into which the soul plunges deeply with all its pregnant potency, which it rejuvenates and drags along with it into a moving circle of reincarnations. Those are tragic vices. But the vice capable of making us comic is, on the contrary, that which is brought from without, like a ready-made frame into which we are to step. It lends us its own rigidity instead of borrowing from us our flexibility. We do not render it more complicated; on the contrary, it simplifies us. Here, as we shall see later in the concluding section of this study, lies the essential difference between comedy and drama. A drama, even when portraying passions or vices that bear a name, so completely incorporates them that the person is forgotten, their general characteristics effaced, and we no longer think of them at all, but rather of the person in whom they are assimilated; hence, the title of a drama can seldom be anything else than a proper noun. On the other hand, many comedies have a common noun as their title: L'Avare, Le Joueur etc.

usually when we speak of time we think of the measurement of duration, and not of duration itself. But this duration which science eliminates, and which is so difficult to conceive and express, is what one feels and lives.

"Plus la science approfondit la nature du corps dans la direction de sa "réalité", plus elle réduit déjà chaque propriété de ce corps, et par conséquent son existence même, aux relations qu'il entretient avec le reste de la matière capable de l'influencer."