that there is not really only one man moving, but a succession of films, each with a different momentary man. The illusion of persistence arises only through the approach to continuity in the series of momentary men. Now what I wish to suggest is that in this respect the cinema is a better metaphysician than common sense, physics, or philosophy. The real man too, I believe, however the police may swear to his identity, is really a series of momentary men, each different one from the other, and bound together, not by a numerical identity, but by continuity and certain intrinsic causal laws. And what applies to men applies equally to tables and chairs, the sun, moon and stars. Each of these is to be regarded, not as one single persistent entity, but as a series of entities succeeding each other in time, each lasting for a very brief period, though probably not for a mere mathematical instant. In saying this I am only urging the same kind of division in time as we are accustomed to acknowledge in the case of space. A body which fills a cubic foot will be admitted to consist of many smaller bodies, each occupying only a very tiny volume; similarly a thing which persists for an hour is to be regarded as composed of many things of less duration. A true theory of matter requires a division of things into time-corpuscles as well as into space-corpuscles.
The world may be conceived as consisting of a multitude of entities arranged in a certain pattern. The entities which are arranged I shall call "particulars." The arrangement or pattern results from relations among particulars. Classes or series of particulars, collected together on account of some property which makes it convenient to be able to speak of them as wholes, are what I call logical constructions or symbolic fictions. The particulars are to be conceived, not on the analogy of bricks
