unchangeable, just because any change that occurs or that can occur to any being is already included amongst the objects known to the eternal point of view. The knowledge of this melody as one whole does not itself consist in an adding of other notes to the melody. The knowledge of all sequences does not itself follow as another sequence. Hence it is indeed not subject to the fate of sequence.
And finally, a mystery is very generally made of the fact that since time appears to us as inevitably infinite, and as therefore not, like the melody or the rhythm, capable of completion, an eternal knowledge, if it involves a knowledge of the whole of time, must be something that has to appear to us self-contradictory and impossible. Any complete answer to this objection involves, of course, a theory of the infinite. Such a theory I have set forth in the Supplementary Essay, published with the First Series of these lectures. The issue involved, that of the positive concept of an infinite whole, is indeed no simple one, and is not capable of any brief presentation. I can here only report that the considerations set forth in that Supplementary Essay have led me to the thesis that a Well-Ordered Infinite Series, under the sole condition that it embodies a single plan, may be rightly viewed as forming a totality, and as an individual whole, precisely as a musical theme or a rhythm is viewed by our experience as such a whole. That the universe itself is such an infinite series, I have endeavored, in that paper, to show in great detail. If you view the temporal order of the world as also forming such an endless whole, expressing a single plan and Will (as I think you have a right
