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This Masters thesis addresses the problem of the coherence of Henri Bergson's concept of image in his work Matière et mémoire (1896). The problem of the concept of image's coherence is difficult in light of two peculiar characteristics that belong to the concept. First, the concept of image possesses a plurality of meanings due to manner in which Bergson elaborates it: he initially develops an imprecise conception of image that he repeatedly modifies in the context of different philosophical problems over the course of his work. Second, the concept of image does not merely function as ordinary conceptual element of Matière et mémoire; on the contrary, it operates on at least four major orders within Bergson's philosphical system. In particular, it functions as a conceptual plane for diverse philosophcial problems, an ordinary conceptual element, a figurative device, and an anchor for the disconnected segements of Bergson's system.While the problem of the coherence of Bergson's concept of image is complicated, it is nevertheless of critical importance. The problem's importance is due to the fact that the possibility of the soundness of philosophical system articulated in Matière et mémoire hangs on it. Because the concept of image anchors the disconnected sections of Matière et mémoire, if the concept's meanings do not cohere, neither will Bergson's philosophical system. Conversely, if in some way the meaning of the concept does prove coherent, its coherence will retain the possibility of the soundness of Bergson's system.The concept of image's plurality of meanings and orders on which it operates would suggest that the concept will most likely prove incoherent. However, I maintain that Bergson's concept of image does, in fact, cohere. Drawing on Bergson's brief excursus on the task of philosophy as well as his intimate familiary with the principles of infinitesmial calculus, I propose that we can think of the concept's disjointed meanings as a di