After revisiting Bohm’s implicate and expliocate orders, the chapter looks into the kinship between the implicate order and both Bergsonian duration and the continuity of the reading consciousness. Articulation and form also particpate intimately in ongoing duration. But what is the nature of the time of reading and how do we apprehend it? The chapter goes on to examine and criticize Bergson’s cinematographic account of language perceived as movement. Bergsonian duration and the dynamic of translation are compared with Impressionist painting. The chapter then moves on to consider the part played by voice and rhythm in the realization of duration and of intuitional relationships with text. It finally sets itself the task of identifying a rhythm pecular to translational activity itself. The chapter includes, as illustrations, translations from Eluard, Laforgue and Leconte de Lisle.