things.” What Shakespeare refers to in Lear  as the “precious 
square of sense” probably has reference to the traditional 
“square of opposition” in logic and to that four-part analogy of 
proportionality which is the interplay of sense and reason. But 
with the isolation of the visual by this new intensity, Reason is 
also

     . . . isolated from exterior time, [and] it feels also equally 
     detached from the time of its mental life. The 
     modifications which happen to affect it by turns can, 
     indeed, in succeeding each other, give it the idea of an 
     interior duration. But this duration, consisting in modes 
     which replace one another, is by no means the duration of 
     the thinking being; it is solely the duration of the 
     successive ensemble of man’s thoughts. Separated from 
     the duration of things, and even from that of the modes