“To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.”

“Henri Bergson said: "To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly." (p. 165)”

“But, then, I cannot escape the objection that there is no state of mind, however simple, which does not change every moment, since there is no consciousness without memory, and no continuation of a state without the addition, to the present feeling, of the memory of past moments. It is this which constitutes duration. Inner duration is the continuous life of a memory which prolongs the past into the present, the present either containing within it in a distinct form the ceaselessly growing image of the past, or, more profoundly, showing by its continual change of quality the heavier and still heavier load we drag behind us as we grow older. Without this survival of the past into the present there would be no duration, but only instantaneity.”

“Pour un être conscient, exister consiste à changer, changer à se mûrir, se mûrir à se créer indéfiniment soi-même.”

“...Men do not sufficiently realizethat their future is in their own hands.Theirs is the task of determining first of all whether they want to go on living or not.Theirs is the responsibility, then, for deciding if they want merely to live,or intend to make just the extra effort requiredfor fulfilling, even on this refractory planet,the essential function of the universe,which is a machine for the making of gods.”

“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.”

“The universe is a machine for the making of Gods.”